Garhwali -Poet-6
Shushil Chandra : humorous poet
By : Bhishma Kukreti
Many Garhwali language poet does not get recognition because of living either in far area of Garhwal or living in cities far away from Delhi and Dehradun. Mostly, Garhwali poets get fame and recognition by reading their poetries in kavisammelan . Sushil Chandra is a Garhwali poet of immense potentiality for presenting us witty, humorous poems but he did not get chance for publishing many of his poems. He was born in 1970, in Kathgun, Maidadsyun, Pauri Garhwal.
A graduate and principle in a junior college Panchur, Sushil Chandra is writes amusing and uncomplicated poetry on the subject of our daily life and peoples’s suffering.
He is on his height on describing the corruption in government administration and in political world of Garhwal. We may find his way of narrating the corruption spread in many areas of Garhwal. One such poem is as :
Ek aadim karjauki bhainsi leenu blokam jand
File bananda-bananda , adda bhainsi wakhi khai jand
Sirri fatti bi: bank man bante jand
Bema karan koo vai ma kandood I rai jand
His way of narrating poetry is very simple and criticizing the ridicules happening in Garhwal as in the poem “mi jo mantri baun jaunlu to”, he shows us the way political workers act
Mi jo mantri baunu jaunloo
Kuchh kai-kai ko dikhauloo
Mafia ko sargana raiki
Des tain mafiamukt karauloo
Many people started saying that, now, Garhwali humorous poetry is nothing but elongated pun s and being written for kavisammelan. However, this not the case of poems created by Sushil Chandra. His poems are serious but with lot of wit and satire and by reading his poems we may also smile.
Sushil Chandra has created tens of poems published in local papers of Garhwal. He is also famous dramatist of Ekeshwar and Dhoundiyalsyun region.
Copyright@ Bhishma Kukreti, 5/3/2009, Mumbai, India
उत्तराखंडी ई-पत्रिका
Thursday, March 12, 2009
Garhwali-Poet -५ Shambhoo Prasad Dhashmana : less is more
Garhwali-Poet -5
Shambhoo Prasad Dhashmana : less is more
By: Bhishma Kukreti
Late Shambhoo Prasad Dhashman lived only for thirty six years (1930-1966) in this earth but he left his prints so powerful and deep that Bhakta Darshan Jee called him as one of the great Garhwali personalities in his famous and well researched book, “Garhwal ki Divangat Vibhtiyan”.
No doubt, the flute player, the drawing creator, a dramatist and music lover Shambhoo Prasad Dhashmana is famous in literary field for his Hindi poems but he also versed many Garhwali poems. We have only six Garhwali verses in print form and tens of his Garhwali poems are lost due to many reasons.
Shambhoo Prasad Dhashmana belonged to an elite family of Garhwal. Prayag Datt Dhashman “ Lakhpati Ji “ of ToLi village (Badalpur, Pauri Garhwal ) was his father and famous yogi Swami Ram was his uncle. He passed his graduation from Prayag Vishwavidyalaya with honour and did B.Ed. later on. He started his career as teacher and later on took commission in army and became Lieutenant in territorial army in 1962. His inclination was there for poetry and music from his childhood. He belonged to the same class of Hindi poetry creator , which Chandra Kumwar Bartwal belonged .
As said earlier he created many Garhwali poems but for record sake, we have only seven Garhwali poems .
Shambhoo Prasad Dhashmana’s poem Shri Badri Nath ki Jai Bola displays the prime importance for Garhwalis of Shri Badri Nath as Ganesh Ji is important for Hindus. He called Shri Badrinath jee the crown of Himalaya .
He used many newer and surprising symbols in his ‘Geet’ poetry. Geet poetry is about the responsibilities, actions , applications of our society for the growth and development . In this verse he also advocated about the care for below poverty people. The symbols in this poetry are boats, crossing the river, speed of boat, river water, storm and many more. In the same poem, he also presents the characterization of Garhwal and Garhwali community. I shall suggest the younger poets to read this poem and they . Definitely, will say that this poem is the example of , gagar men sagar’. The specialty and forte of this poem ‘Geet’ is that we don’t feel that the poet is teaching (aDaNu) us .
Other four poems , ‘mait chhuti ge’ ‘ghaur bauDi awa, ‘teru naunyaLu pardesh jandoo bwai’ and ‘yad oonki aand’ are the poems of pathos, memoir, love of separation, depending on luck and circumstances beyond human power. Here, also the versifier used many newer symbols of his time. The poet seems be very creative in finding the words of daily uses or what we come in contact on daily basis . He used words like kuyedi, simwaLu, hiLwans, dharDi for symbolization . These poems of pathos may be called as classic poems of Garhwali language.
No doubt, we have only seven verses of Shambhoo Prasad Dhashman but those seven are also gems of Garhwali literature. These seven poems are published with his Hindi poems in a book form, ‘Itni See Batiyan’ by his able son Ashok Dhashmana , Baroda in the year 2000.
We could have more Garhwali poems from Shambhoo Prasad Dhashmana but he died in a motor accident near Kanshkhet (Manyarsyun) on twenty second march, 1966, at the age of thirty six.
Copyright @Bhishma Kukreti, Mumbai, 2/3/2009, India , bckukreti@gmail.com
Shambhoo Prasad Dhashmana : less is more
By: Bhishma Kukreti
Late Shambhoo Prasad Dhashman lived only for thirty six years (1930-1966) in this earth but he left his prints so powerful and deep that Bhakta Darshan Jee called him as one of the great Garhwali personalities in his famous and well researched book, “Garhwal ki Divangat Vibhtiyan”.
No doubt, the flute player, the drawing creator, a dramatist and music lover Shambhoo Prasad Dhashmana is famous in literary field for his Hindi poems but he also versed many Garhwali poems. We have only six Garhwali verses in print form and tens of his Garhwali poems are lost due to many reasons.
Shambhoo Prasad Dhashmana belonged to an elite family of Garhwal. Prayag Datt Dhashman “ Lakhpati Ji “ of ToLi village (Badalpur, Pauri Garhwal ) was his father and famous yogi Swami Ram was his uncle. He passed his graduation from Prayag Vishwavidyalaya with honour and did B.Ed. later on. He started his career as teacher and later on took commission in army and became Lieutenant in territorial army in 1962. His inclination was there for poetry and music from his childhood. He belonged to the same class of Hindi poetry creator , which Chandra Kumwar Bartwal belonged .
As said earlier he created many Garhwali poems but for record sake, we have only seven Garhwali poems .
Shambhoo Prasad Dhashmana’s poem Shri Badri Nath ki Jai Bola displays the prime importance for Garhwalis of Shri Badri Nath as Ganesh Ji is important for Hindus. He called Shri Badrinath jee the crown of Himalaya .
He used many newer and surprising symbols in his ‘Geet’ poetry. Geet poetry is about the responsibilities, actions , applications of our society for the growth and development . In this verse he also advocated about the care for below poverty people. The symbols in this poetry are boats, crossing the river, speed of boat, river water, storm and many more. In the same poem, he also presents the characterization of Garhwal and Garhwali community. I shall suggest the younger poets to read this poem and they . Definitely, will say that this poem is the example of , gagar men sagar’. The specialty and forte of this poem ‘Geet’ is that we don’t feel that the poet is teaching (aDaNu) us .
Other four poems , ‘mait chhuti ge’ ‘ghaur bauDi awa, ‘teru naunyaLu pardesh jandoo bwai’ and ‘yad oonki aand’ are the poems of pathos, memoir, love of separation, depending on luck and circumstances beyond human power. Here, also the versifier used many newer symbols of his time. The poet seems be very creative in finding the words of daily uses or what we come in contact on daily basis . He used words like kuyedi, simwaLu, hiLwans, dharDi for symbolization . These poems of pathos may be called as classic poems of Garhwali language.
No doubt, we have only seven verses of Shambhoo Prasad Dhashman but those seven are also gems of Garhwali literature. These seven poems are published with his Hindi poems in a book form, ‘Itni See Batiyan’ by his able son Ashok Dhashmana , Baroda in the year 2000.
We could have more Garhwali poems from Shambhoo Prasad Dhashmana but he died in a motor accident near Kanshkhet (Manyarsyun) on twenty second march, 1966, at the age of thirty six.
Copyright @Bhishma Kukreti, Mumbai, 2/3/2009, India , bckukreti@gmail.com
Garhwali Poet-४ - Gokula Nand Kimothi : the bridge between older and newer Garhwali poetries
Garhwali Poet-4
Gokula Nand Kimothi : the bridge between older and newer Garhwali poetries
By: Bhishma Kukreti
After independence, there have been two types of Garhwali poets. The first type of poets did not leave the legacy of old precedent established by poets around 1850 AD. Late Aditya Ram Doodhphudi was one such poet who even in nineties followed the set pattern of Garhwali poetry in terms of physical format, style, conversation path with readers or audience, subject, writing verses more for moral teaching or we may say that the versifiers of this class were purely idealistic in form and subjects in Garhwali literature. Another class of Garhwali poets emerged after independent, which initiated to doing experiments in many dimension and direction of poetries . These experiment lovers broke all the borders of past pattern of Garhwali poems in terms of form, style, structure, composing scale , symbol, attitude, experiencing symbols of a common man, direct communication representation with the audience, and subject. The know critic of Garhwali poetry Bhagwati Prasad Nautiyal intimates that Abodh Bandhu Augean , Sarvesh Juyal, Kanhaya Lal Dandariyal, Jaya Nand Khuksal ‘BauLya‘, LalamJi’ Giridhari Lal Thapaliyal ‘kankal’, Sher Singh ‘Garhdeshi’ and Jagdish Bahuguna ‘kiran’ will be remembered in Garhwali poetry world for initiating new terms, new formats, variation in subject and characterization, subject of realism and new communication conduit of poetry. Most of the poets of eighties , nineties and this millennium have not only followed the path, which Nautiyal described above but newer generation of poets are more aggressive and do more experiments in all terms of poetry.
Born in 1920 in Kimotha, Pokhari, Chamoli Garhwal Gokala Nand Kimotha is the bridge between the two classes of Garhwali poets. Gokula Nand Kimotha meets both the ends. Being in army for twenty eight years, Gokula Nand Kimotha ‘s poetries are full of patriotism, idealistic in nature and are with moral building messages, which our poets of pre-independence stressed upon. However, at the same time Kimothi used new symbols, newer subjects emerged because of post-independence in Garhwal. From form , style and aim of teaching point of views, verses of Kimothi seems to be old Garhwali poems of pre-independence but subject, symbols, using fresh emblematic words for direct conversation or communicating with readers attach him to the new generation of Garhwali poets.
Gokula Nnand Kimothi published two books on collection of his Garhwali poetries ‘Garhwali -Gatha’ and Pitaroon Raibar’
As name suggests , Garhwali Gatha has poems of praise worthy characters of Garhwal and Garhwalis . The rhymes of Garhwali Gatha are in the form of folk Garhwali songs and subject.
There are seventeen poems in Pitarun ko Raibar and most of the verses are aimed towards idealistic way of life .
In Binti poem, Kimothi prays to Laxmi the goddess of wealth for enhancing the prosperity and modern facilities in Garhwal that no Garhwali inhabitant requires migration and faces the pain of insult before others :
PaNi, motor bijali di de
Panchun ki di de raj.
Bhair ni jan poD jo ham sani
dekhaN bada bada saab
Fazal poem describes the scene of morning happenings in a Garhwali village and while reading the poem, the reader experiences as if it is the time of morning in his/her village
If Boya ki Jikudi describes the sacrifice of a mother of Garhwali village, Sajj poem takes us showing the reality of breaking relationship , intolerance, fissures in the old customs, Garhwali leaving their own language due to migration from Garhwal and the struggles in the migrated land.
Though , Gokula Nand Kimothi spent twenty seven years in army out of Garhwal he could not adjust himself in so called foreign land (padesh) and there he remembers Garhwal and Garhwal. The poems Pyaro Garhwal and Teri Yad Man tell us how a migrated Garhwali feels frustrated in migrated land and how he remembers his motherland on and on. pyaro garhwal is also the extension of Garhwali folk song myaro gadhwaL kano bhagyan, kyaLa kulain ka chhan jakh bagwan and teri yad man poetry is annexing poetry tu wheli beera ghasiyaryun ka bhesh man created by Jeet Singh Negi
BaskyaL is the narration of rainy season in Garhwal and the beauty of Garhwal in rainy season. Same way, myaro gaun, byakhun dain poems are also the description of geographical beauty of Garhwal.
The ni hondu naunoo, pitrun raibar, palisi dida, swaanai-khan and uthau bhula haLsingo poems come under idealistic poems and teaches the importance of morals and morality. These poems pay attention on values, humanity, Garhwalism, village-ism and disciplined life.
The poem San 62 ki pukar of Kimothi is a call for all Garhwalis to serve the country and the description of tension generated around Neeti-Mana the Indo-China border villages of India.
Though, Kimothi wrote or published more poems in Hindi than Garhwali poems but Gokula Nand Kimothi got recognition in literary field because of Garhwali verses. Gokula Nand Kimothi will be remembered in Garhwali poetry field for his immense love for beauty of Garhwal, expression of pain of migration, destruction of Garhwali customs due to migration , extending the subject of folk songs and poetic subject of Jeet Singh Negi, creating patriotic poems as of Ram Dhari Singh Dinkar the famous Hindi poet and pathos rapture in remembering Garhwal through his Garhwali poems .
Copyright@Bhishma Kukreti, Mumbai, 2009, E-mail- bckukreti@gmail.com
Gokula Nand Kimothi : the bridge between older and newer Garhwali poetries
By: Bhishma Kukreti
After independence, there have been two types of Garhwali poets. The first type of poets did not leave the legacy of old precedent established by poets around 1850 AD. Late Aditya Ram Doodhphudi was one such poet who even in nineties followed the set pattern of Garhwali poetry in terms of physical format, style, conversation path with readers or audience, subject, writing verses more for moral teaching or we may say that the versifiers of this class were purely idealistic in form and subjects in Garhwali literature. Another class of Garhwali poets emerged after independent, which initiated to doing experiments in many dimension and direction of poetries . These experiment lovers broke all the borders of past pattern of Garhwali poems in terms of form, style, structure, composing scale , symbol, attitude, experiencing symbols of a common man, direct communication representation with the audience, and subject. The know critic of Garhwali poetry Bhagwati Prasad Nautiyal intimates that Abodh Bandhu Augean , Sarvesh Juyal, Kanhaya Lal Dandariyal, Jaya Nand Khuksal ‘BauLya‘, LalamJi’ Giridhari Lal Thapaliyal ‘kankal’, Sher Singh ‘Garhdeshi’ and Jagdish Bahuguna ‘kiran’ will be remembered in Garhwali poetry world for initiating new terms, new formats, variation in subject and characterization, subject of realism and new communication conduit of poetry. Most of the poets of eighties , nineties and this millennium have not only followed the path, which Nautiyal described above but newer generation of poets are more aggressive and do more experiments in all terms of poetry.
Born in 1920 in Kimotha, Pokhari, Chamoli Garhwal Gokala Nand Kimotha is the bridge between the two classes of Garhwali poets. Gokula Nand Kimotha meets both the ends. Being in army for twenty eight years, Gokula Nand Kimotha ‘s poetries are full of patriotism, idealistic in nature and are with moral building messages, which our poets of pre-independence stressed upon. However, at the same time Kimothi used new symbols, newer subjects emerged because of post-independence in Garhwal. From form , style and aim of teaching point of views, verses of Kimothi seems to be old Garhwali poems of pre-independence but subject, symbols, using fresh emblematic words for direct conversation or communicating with readers attach him to the new generation of Garhwali poets.
Gokula Nnand Kimothi published two books on collection of his Garhwali poetries ‘Garhwali -Gatha’ and Pitaroon Raibar’
As name suggests , Garhwali Gatha has poems of praise worthy characters of Garhwal and Garhwalis . The rhymes of Garhwali Gatha are in the form of folk Garhwali songs and subject.
There are seventeen poems in Pitarun ko Raibar and most of the verses are aimed towards idealistic way of life .
In Binti poem, Kimothi prays to Laxmi the goddess of wealth for enhancing the prosperity and modern facilities in Garhwal that no Garhwali inhabitant requires migration and faces the pain of insult before others :
PaNi, motor bijali di de
Panchun ki di de raj.
Bhair ni jan poD jo ham sani
dekhaN bada bada saab
Fazal poem describes the scene of morning happenings in a Garhwali village and while reading the poem, the reader experiences as if it is the time of morning in his/her village
If Boya ki Jikudi describes the sacrifice of a mother of Garhwali village, Sajj poem takes us showing the reality of breaking relationship , intolerance, fissures in the old customs, Garhwali leaving their own language due to migration from Garhwal and the struggles in the migrated land.
Though , Gokula Nand Kimothi spent twenty seven years in army out of Garhwal he could not adjust himself in so called foreign land (padesh) and there he remembers Garhwal and Garhwal. The poems Pyaro Garhwal and Teri Yad Man tell us how a migrated Garhwali feels frustrated in migrated land and how he remembers his motherland on and on. pyaro garhwal is also the extension of Garhwali folk song myaro gadhwaL kano bhagyan, kyaLa kulain ka chhan jakh bagwan and teri yad man poetry is annexing poetry tu wheli beera ghasiyaryun ka bhesh man created by Jeet Singh Negi
BaskyaL is the narration of rainy season in Garhwal and the beauty of Garhwal in rainy season. Same way, myaro gaun, byakhun dain poems are also the description of geographical beauty of Garhwal.
The ni hondu naunoo, pitrun raibar, palisi dida, swaanai-khan and uthau bhula haLsingo poems come under idealistic poems and teaches the importance of morals and morality. These poems pay attention on values, humanity, Garhwalism, village-ism and disciplined life.
The poem San 62 ki pukar of Kimothi is a call for all Garhwalis to serve the country and the description of tension generated around Neeti-Mana the Indo-China border villages of India.
Though, Kimothi wrote or published more poems in Hindi than Garhwali poems but Gokula Nand Kimothi got recognition in literary field because of Garhwali verses. Gokula Nand Kimothi will be remembered in Garhwali poetry field for his immense love for beauty of Garhwal, expression of pain of migration, destruction of Garhwali customs due to migration , extending the subject of folk songs and poetic subject of Jeet Singh Negi, creating patriotic poems as of Ram Dhari Singh Dinkar the famous Hindi poet and pathos rapture in remembering Garhwal through his Garhwali poems .
Copyright@Bhishma Kukreti, Mumbai, 2009, E-mail- bckukreti@gmail.com
Gadhwali Poet-३ - Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry
Gadhwali Poet-3
Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry
Bhishma Kukreti
(Read L as the L of chhalu, syalu, byali etc , D as in kadu, mod, and DH in paudh, gadhu etc.)
There tens of migrated Garhwali poets who crafted beautiful Garhwali verses about Garhwal and the pain, emptiness of Garhwal because of migration but there are only a couple of Garhwali poets who could create poetry showing the pain, hurting, insults, aloofness, paying struggle, worthless struggle, the burden of two places (in migrated place and in village of Garhwal), the new social community formation where his/her pride is pierced before him/her by the situation or displacement of a common Garhwali migrated to metro or cities of India from lovely Garhwal.
The common and helpless migrated Garhwali has to struggle with many dimensional situations just not for his own survival but for the present family in Garhwal and for building a new golden future for his next generation. At one side, the newly migrated Garhwali has to face the situation of fast adaptation for materialistic growth in the city and other side , he has to keep the burden of rural culture alive and be ready psychologically and physically at all the time for balancing both the burdens. Though most of the modern Garhwali poems were created by migrated Garhwali but very few Garhwali creative could pay attention on the burdens of migrated Garhwalis. Kanhaya Lal DandariyaL Lalam Ji and Jaya Nand Khuksal ‘ BauLya’ are remembered in Garhwali poetry field for their poems showing , describing , displaying the sting , the balances and imbalances in accommodating the newer situation occurring every time in migrated land, the soaring agonizing in keeping others happy of migrated Garhwalis . No doubt , Jeet Sing Negi was the first Garhwali verse creator to show the pain of migrated Garhwalis (tu wheli beera uchi nisi danyun man gashiyaryun ka bhesh man, khud man teri run lagun chhaun des pardes man). However, Jeet Singh Negi is more famous for his creating melodious songs (geet) than the modern poems.
Born on 17th October in a farmer family of NooNyun of Aswalsyun, Pauri Garhwal in the year 1925 , Jaya Nand Khuksal served twelve years in the army till 1954. After retiring from army Late Jaya Nand Khuksal shifted to New Delhi he worked Ganesh Flour Mills from 1955 to 1986.
He created around hundred of poems in Garhwali but we could find only twenty one poems in his only book ‘Ilmatu Da’published in the year1988.
Kanhaya Lal Dandariyal wrote about his unpublished poems, “Garhwali writers are unlucky in publishing their created literature and most of the literature of each writer is dumped in the corner of cupboards. Hundreds of poems created by Jaya Nand Khuksal are tied in funchis (bundles.)”
Most of the poems of Jaya Nand Khuksal come under utter realism. Many his unpublished poems were read by him in kavisamellan or before his literary friends like Dandariyal, Vinod Uniyal, Prem lal Bhatt, Netra Singh Aswal . One of his poem lover Shri Nand Uniyal said to me , once, about his poems, ‘His some poems are purely real experiences of a migrated Garhwali who is not well educated and struggling a lot in Delhi.”. Shri Nand Uniyal further explained about those poems, which seems to be the subject of Garhwal are in fact, displays the pain of a migrated Garhwali . Uniyal further said, “The beauty of narration of late ‘BauLya’ is that even the happenings of Garhwal in his poems show, display, reflect the feeling of migrated Garhwali. This is his exclusivity among Garhwali poets.” Chhabis January poem is the best example , which show a real pain of a migrated Garhwali and the real pain of migration.
His formats of Garhwali poetries are unique and became the directional force and inspirational force for newer poets of the language. His style and simplicity in composing the verses made him famous poet of kavisamellan of his time.
His famous poems are :
Ilmatu dada
Ghar basaula
Janm bhoomi
In marilya
Jog maya
GhutDu ki bwai
Chhabis January
Chal bichari Ghara
Chitthi
Control
Sun lya mera praN
Ghughati
Dhandai pukar
Jaya Nand BauLya was always a stern supporter of separate state for Uttrakhand and he criticized the discriminative acts and policies of Uttrapradesh government, administrative officials and red tapism.
The famous Garhwali verse critic Bhagwati Prasad Nautiyal comments on the wordings, composition and format of Jaya Nand’ BauLya’s poems that late Jaya Nand used unique symbols and similitude, which his other contemporary or older poets never used.
It is the tragedy for Garhwali literature that the creative has to arrange himself for publishing the literature and arrange free distribution too. Late Jaya Nand BauLya was not rich man and could publish only one collection of poems.
Jaya Nand BauLya was one of the poets who initiated realism in Garhwali poetry.
Copyright @Bhishma Kukreti, Mumbai ,2009, email---bckukreti@gmail.com
Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry
Bhishma Kukreti
(Read L as the L of chhalu, syalu, byali etc , D as in kadu, mod, and DH in paudh, gadhu etc.)
There tens of migrated Garhwali poets who crafted beautiful Garhwali verses about Garhwal and the pain, emptiness of Garhwal because of migration but there are only a couple of Garhwali poets who could create poetry showing the pain, hurting, insults, aloofness, paying struggle, worthless struggle, the burden of two places (in migrated place and in village of Garhwal), the new social community formation where his/her pride is pierced before him/her by the situation or displacement of a common Garhwali migrated to metro or cities of India from lovely Garhwal.
The common and helpless migrated Garhwali has to struggle with many dimensional situations just not for his own survival but for the present family in Garhwal and for building a new golden future for his next generation. At one side, the newly migrated Garhwali has to face the situation of fast adaptation for materialistic growth in the city and other side , he has to keep the burden of rural culture alive and be ready psychologically and physically at all the time for balancing both the burdens. Though most of the modern Garhwali poems were created by migrated Garhwali but very few Garhwali creative could pay attention on the burdens of migrated Garhwalis. Kanhaya Lal DandariyaL Lalam Ji and Jaya Nand Khuksal ‘ BauLya’ are remembered in Garhwali poetry field for their poems showing , describing , displaying the sting , the balances and imbalances in accommodating the newer situation occurring every time in migrated land, the soaring agonizing in keeping others happy of migrated Garhwalis . No doubt , Jeet Sing Negi was the first Garhwali verse creator to show the pain of migrated Garhwalis (tu wheli beera uchi nisi danyun man gashiyaryun ka bhesh man, khud man teri run lagun chhaun des pardes man). However, Jeet Singh Negi is more famous for his creating melodious songs (geet) than the modern poems.
Born on 17th October in a farmer family of NooNyun of Aswalsyun, Pauri Garhwal in the year 1925 , Jaya Nand Khuksal served twelve years in the army till 1954. After retiring from army Late Jaya Nand Khuksal shifted to New Delhi he worked Ganesh Flour Mills from 1955 to 1986.
He created around hundred of poems in Garhwali but we could find only twenty one poems in his only book ‘Ilmatu Da’published in the year1988.
Kanhaya Lal Dandariyal wrote about his unpublished poems, “Garhwali writers are unlucky in publishing their created literature and most of the literature of each writer is dumped in the corner of cupboards. Hundreds of poems created by Jaya Nand Khuksal are tied in funchis (bundles.)”
Most of the poems of Jaya Nand Khuksal come under utter realism. Many his unpublished poems were read by him in kavisamellan or before his literary friends like Dandariyal, Vinod Uniyal, Prem lal Bhatt, Netra Singh Aswal . One of his poem lover Shri Nand Uniyal said to me , once, about his poems, ‘His some poems are purely real experiences of a migrated Garhwali who is not well educated and struggling a lot in Delhi.”. Shri Nand Uniyal further explained about those poems, which seems to be the subject of Garhwal are in fact, displays the pain of a migrated Garhwali . Uniyal further said, “The beauty of narration of late ‘BauLya’ is that even the happenings of Garhwal in his poems show, display, reflect the feeling of migrated Garhwali. This is his exclusivity among Garhwali poets.” Chhabis January poem is the best example , which show a real pain of a migrated Garhwali and the real pain of migration.
His formats of Garhwali poetries are unique and became the directional force and inspirational force for newer poets of the language. His style and simplicity in composing the verses made him famous poet of kavisamellan of his time.
His famous poems are :
Ilmatu dada
Ghar basaula
Janm bhoomi
In marilya
Jog maya
GhutDu ki bwai
Chhabis January
Chal bichari Ghara
Chitthi
Control
Sun lya mera praN
Ghughati
Dhandai pukar
Jaya Nand BauLya was always a stern supporter of separate state for Uttrakhand and he criticized the discriminative acts and policies of Uttrapradesh government, administrative officials and red tapism.
The famous Garhwali verse critic Bhagwati Prasad Nautiyal comments on the wordings, composition and format of Jaya Nand’ BauLya’s poems that late Jaya Nand used unique symbols and similitude, which his other contemporary or older poets never used.
It is the tragedy for Garhwali literature that the creative has to arrange himself for publishing the literature and arrange free distribution too. Late Jaya Nand BauLya was not rich man and could publish only one collection of poems.
Jaya Nand BauLya was one of the poets who initiated realism in Garhwali poetry.
Copyright @Bhishma Kukreti, Mumbai ,2009, email---bckukreti@gmail.com
Tuesday, March 3, 2009
हौळ-तांगू - काब्य माळा
हौळ-तांगू
काब्य माळा
श्री भिष्म कुकरेती जी तैं समर्पित
एक खबर
एक खबर
चौदा बिभाग
अब पंचैत का अंडर आला।
पर प्रधान छन फिकरमन्द
अब सि क्य खाला
कैकै थैं द्याला।
--------------------------
इन्त्यान
संसद मा
जु लेण चाणा छां
हैंको इन्त्यान
वूंकै तोता उड़ गेनी।
यक्ष प्रश्न रै गेनी
रुप्योंमा अळज्यां
अर युधि भेसमा
दुर्योधन पकड़े गेनी।
--------------------------
उद्घार
काब्य माळा
श्री भिष्म कुकरेती जी तैं समर्पित
एक खबर
एक खबर
चौदा बिभाग
अब पंचैत का अंडर आला।
पर प्रधान छन फिकरमन्द
अब सि क्य खाला
कैकै थैं द्याला।
--------------------------
इन्त्यान
संसद मा
जु लेण चाणा छां
हैंको इन्त्यान
वूंकै तोता उड़ गेनी।
यक्ष प्रश्न रै गेनी
रुप्योंमा अळज्यां
अर युधि भेसमा
दुर्योधन पकड़े गेनी।
--------------------------
उद्घार
जंगलमा जब हिटुणू नि ए
त ठोकर त लगणि छै
पर बड़ा लोग्वी,बड़ी छ्वीं
ठोकर तैं, अहिल्यो उद्घार बतलै।
--------------------------
अकल
न जाणि
कब अकल आलि कुत्तम
बाघै समणा बगबौळ
हिंसाठिंसी अपड़म्।
--------------------------
बस स्टौप
द्वी सरिया
चार खम्भौं तौळ
खड़ा छन बस स्टौप।
पर धै लगैकि ब्वना छन
झणि कु दबेलू
म्यरा तौळ।
--------------------------
नेता
खेतीपाति होवु
चा हौळतांगू
पर बल्द निन जैका।
जन अजक्याळ
बिधायक छन
पर मंत्री निन
त नेता कै लैका?
--------------------------
बेकार
जबारि मिन बोली
तू पौ़लि,पौढ़लि
स्यू लुकणू रै।
जबारि मिन बोली
कुछ कौरलि,कौरलि
स्यू घुमणू रै।
अब नौनौकि फौज फटाक
मैकू ब्वनू
तिन कुछ नि कै।
--------------------------
नरेन्द्र कठैत
आकाशवाणी,पौड़ी ग़वाल,
उत्तराखण्ड,पिन246001
टिरिन्टिरिन्-01368-221016
मो0 9412934480
e-mail: narendrakathait9@gmail.com
(किसी भी कविता के उद्धरण, प्रकाशन के लिए लेखक की अनुमति आवश्यक है)
Garhwali language creative are ignorant about Garhwali working couples
Garhwali language creative are ignorant about Garhwali working couples
Bhishma Kukreti
A few days back, I was eager to know from my sons, nephews and nieces in their thirties, about their disinterest or indifferent towards Garhwali social organizations in Mumbai and the Garhwali literature.
My elder son expressed his displeasure over the myopic behaviors or short slightness of most of the executive committee members of Garhwali social organizations . My nephew supported my son that the present migrated social workers of so called social organizations still live in the past of pre-independence Garhwal and never seems to accept the changes and are fail to asses the future.
For their unresponsiveness towards Garhwali literature, after listening a couple of poems of Harish Juyal ‘kutz’ and Girish Sundariyal from my wife and my bhula-ki-bwari ( younger brother’s wife) my niece replied that Garhwali poets are also seem to be ignorant about what is happening in reality at individual family level or what is happening in nuclear family. All voiced in one term that Garhwali poets of contemporary age also beat the old path and do not watch our social changes from all angles. To proof their angle, they all said in one voice that they did not find any poems from Sundariyal and Kutz collection about the subject of Garhwali working couples.
Since, most of our migrated Garhwalis criticize our so called social workers of Mumbai on the same line, I did not think much about the comments of my sons, nephews and nieces. However, their comments for Garhwali literature vibrated me and forced me to think seriously.
The comments of new generation about contemporariness in Garhwali literature powered me to consider about today’s Garhwali poetry and a new social happenings in Garhwal and in the migrated lands for Garhwalis . There have been emergence of a new class among Garhwalis of Garhwal and migrated Garhwalis for more than two decades. This class , universally, called ‘working couples’. the social structure is somehow different of working couple than single working person of a married couple. Working couples bear many disadvantages than economical advantages in each society. However, the working couples in rural Garhwal area has to face an abnormally different adversity than working couples of migrated land. In rural Garhwal, mostly it is observed that the husband and wife work far from each other and do not live together daily as happened in plains. This problems of working couples in rural Garhwal creating another many new problems or pains for Garhwalis. These couples has to face many new social obligations, which were unheard till eighties or just before that time.
If the literature is the mirror of our society or mirror of social change, our comrade writers should have penned down on this issues of Garhwali working couples in cities and rural Garhwal . In fact, the famous Garhwali poet like Harish Juyal ‘kutz’ is experiencing the pain or joys of working couples in rural Garhwal. Harish Juyal is a teacher, his wife is also a teacher and both work in different areas far away from each other and their children live in Dehradun with their grandparents for better studies than Garhwal. The noted Garhwali poets Neeta Kukreti, Veena Benjwal , Puran Pant ’Pathik’, Shakuntala Ishtwal are also working couples . The famous Garhwali poet and social activist Veena Pani Joshi’s bahus (daughter in-laws) are working women but I have not seen any poetry or prose written by these creative (poets or prose makers) about Garhwali working couples. Recently, Puran Pant published his editorials of eleven years from his news paper Garhwali Dhai but I am sorry to say that he never wrote any write up or editorial on Garhwali working couples.
Like Harish Juyal, there are hundred of Garhwali couples in rural Garhwal and definitely, our Garhwali poets or Garhwali prose makers living in rural Garhwal will be well versed about this new community or social class. Same way, the Garhwali creative will be knowing the emergence of new class in our society. However, none of the Garhwali language poets and prose makers penned down on the joys, happiness, economic pleasures, family pressures, social obligation, frustration, women exploitation in working places, the fissuring problems between the couples, the imbalances in retention of old customary relations of the society and creation of required new relation outside the society and many more aspects regarding lifestyles of working couples.
We have been also witnessing a new alignment in our society , especially, in cities and that is inter caste marriages. I have not read any sensible literature on this subject in Garhwali language .
One school of thought suggests that since our Garhwali society, as a whole, in groups, as individual, in forum, in formal ways or informal ways does not discuss the enhancement of joys or happiness of individuals and society because of new class of working couples in our society , the creative in Garhwali language (part of society) did not consider talking about the mechanism , the new ethos, joys, pains, new type of struggle and many new happenings emerged in our society in their Garhwali language literature.
While another school of thought suggests that since, intellectual or aware class and working couples themselves are shy for discussing openly about the various aspects , the society and creative class are also ignoring the real new issue of our society. There are many issues and considerations before us about Garhwali working couples in various Indian cities and rural Garhwal , which require serious attention, which require resolution and discussion simultaneously at individual level, at family form, at social forums and at creative levels.
Ignoring to write about working couples and inter-caste marriages in contemporary Garhwali literature provide us many cues, clues, admonition, propositions, indication, suggestions, warnings and hints for telling us the unpopularity of Garhwali literature among new generation of migrated Garhwalis or rural Garhwalis too.
When the contemporary writers become myopic about the present happenings in the society, the literature becomes static and moves towards degeneration. The subject of burning issues in the contemporary literature not only vibrates the society but attract the readers too and such literature of contemporary issues also become the vital instrument or byunt for inspiring the readers for protecting, preserving and popularizing the language.
The biggest problems of modern Garhwali literature has been that it usually, failed to attract younger generation in terms of quality and quantity too. After analyzing the ignoring the subject of working couples in contemporary Garhwali literature, I may say that at all time, Garhwali literature ignored present and futuristic burning issues except Uttrakhand movement. This bigoted attitude of our creative is one of the reasons for low popularity of Garhwali literature among migrated Garhwalis and Garhwalis of Garhwal .
Time has come that contemporary writers become super sensitive about the recent happenings, changes, present effects of newer changes and coming consequences in the because of new changes . The requirement of super-sensitivity among contemporary Garhwali language creative for changes is an essential aspect for the growth of Garhwali literature .
Copyright @Bhishma Kukreti, Mumbai, India, 2009, bckukreti@gmail.com
Bhishma Kukreti
A few days back, I was eager to know from my sons, nephews and nieces in their thirties, about their disinterest or indifferent towards Garhwali social organizations in Mumbai and the Garhwali literature.
My elder son expressed his displeasure over the myopic behaviors or short slightness of most of the executive committee members of Garhwali social organizations . My nephew supported my son that the present migrated social workers of so called social organizations still live in the past of pre-independence Garhwal and never seems to accept the changes and are fail to asses the future.
For their unresponsiveness towards Garhwali literature, after listening a couple of poems of Harish Juyal ‘kutz’ and Girish Sundariyal from my wife and my bhula-ki-bwari ( younger brother’s wife) my niece replied that Garhwali poets are also seem to be ignorant about what is happening in reality at individual family level or what is happening in nuclear family. All voiced in one term that Garhwali poets of contemporary age also beat the old path and do not watch our social changes from all angles. To proof their angle, they all said in one voice that they did not find any poems from Sundariyal and Kutz collection about the subject of Garhwali working couples.
Since, most of our migrated Garhwalis criticize our so called social workers of Mumbai on the same line, I did not think much about the comments of my sons, nephews and nieces. However, their comments for Garhwali literature vibrated me and forced me to think seriously.
The comments of new generation about contemporariness in Garhwali literature powered me to consider about today’s Garhwali poetry and a new social happenings in Garhwal and in the migrated lands for Garhwalis . There have been emergence of a new class among Garhwalis of Garhwal and migrated Garhwalis for more than two decades. This class , universally, called ‘working couples’. the social structure is somehow different of working couple than single working person of a married couple. Working couples bear many disadvantages than economical advantages in each society. However, the working couples in rural Garhwal area has to face an abnormally different adversity than working couples of migrated land. In rural Garhwal, mostly it is observed that the husband and wife work far from each other and do not live together daily as happened in plains. This problems of working couples in rural Garhwal creating another many new problems or pains for Garhwalis. These couples has to face many new social obligations, which were unheard till eighties or just before that time.
If the literature is the mirror of our society or mirror of social change, our comrade writers should have penned down on this issues of Garhwali working couples in cities and rural Garhwal . In fact, the famous Garhwali poet like Harish Juyal ‘kutz’ is experiencing the pain or joys of working couples in rural Garhwal. Harish Juyal is a teacher, his wife is also a teacher and both work in different areas far away from each other and their children live in Dehradun with their grandparents for better studies than Garhwal. The noted Garhwali poets Neeta Kukreti, Veena Benjwal , Puran Pant ’Pathik’, Shakuntala Ishtwal are also working couples . The famous Garhwali poet and social activist Veena Pani Joshi’s bahus (daughter in-laws) are working women but I have not seen any poetry or prose written by these creative (poets or prose makers) about Garhwali working couples. Recently, Puran Pant published his editorials of eleven years from his news paper Garhwali Dhai but I am sorry to say that he never wrote any write up or editorial on Garhwali working couples.
Like Harish Juyal, there are hundred of Garhwali couples in rural Garhwal and definitely, our Garhwali poets or Garhwali prose makers living in rural Garhwal will be well versed about this new community or social class. Same way, the Garhwali creative will be knowing the emergence of new class in our society. However, none of the Garhwali language poets and prose makers penned down on the joys, happiness, economic pleasures, family pressures, social obligation, frustration, women exploitation in working places, the fissuring problems between the couples, the imbalances in retention of old customary relations of the society and creation of required new relation outside the society and many more aspects regarding lifestyles of working couples.
We have been also witnessing a new alignment in our society , especially, in cities and that is inter caste marriages. I have not read any sensible literature on this subject in Garhwali language .
One school of thought suggests that since our Garhwali society, as a whole, in groups, as individual, in forum, in formal ways or informal ways does not discuss the enhancement of joys or happiness of individuals and society because of new class of working couples in our society , the creative in Garhwali language (part of society) did not consider talking about the mechanism , the new ethos, joys, pains, new type of struggle and many new happenings emerged in our society in their Garhwali language literature.
While another school of thought suggests that since, intellectual or aware class and working couples themselves are shy for discussing openly about the various aspects , the society and creative class are also ignoring the real new issue of our society. There are many issues and considerations before us about Garhwali working couples in various Indian cities and rural Garhwal , which require serious attention, which require resolution and discussion simultaneously at individual level, at family form, at social forums and at creative levels.
Ignoring to write about working couples and inter-caste marriages in contemporary Garhwali literature provide us many cues, clues, admonition, propositions, indication, suggestions, warnings and hints for telling us the unpopularity of Garhwali literature among new generation of migrated Garhwalis or rural Garhwalis too.
When the contemporary writers become myopic about the present happenings in the society, the literature becomes static and moves towards degeneration. The subject of burning issues in the contemporary literature not only vibrates the society but attract the readers too and such literature of contemporary issues also become the vital instrument or byunt for inspiring the readers for protecting, preserving and popularizing the language.
The biggest problems of modern Garhwali literature has been that it usually, failed to attract younger generation in terms of quality and quantity too. After analyzing the ignoring the subject of working couples in contemporary Garhwali literature, I may say that at all time, Garhwali literature ignored present and futuristic burning issues except Uttrakhand movement. This bigoted attitude of our creative is one of the reasons for low popularity of Garhwali literature among migrated Garhwalis and Garhwalis of Garhwal .
Time has come that contemporary writers become super sensitive about the recent happenings, changes, present effects of newer changes and coming consequences in the because of new changes . The requirement of super-sensitivity among contemporary Garhwali language creative for changes is an essential aspect for the growth of Garhwali literature .
Copyright @Bhishma Kukreti, Mumbai, India, 2009, bckukreti@gmail.com
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