Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख (Read 1118162 times)

Bhishma Kukreti · « **Reply #440 on:** August 31, 2011, 09:12:21 PM »

Management Lessons in Garhwali Children Folk Songs
Bhishma Kukreti
One of the fundamental characteristics of highly evolved mammals is that the parents teach management to their offspring. Human being has more evolved capacity to teach management for future through various medium. Folk poetry and folk prose of all communities are having the literature of teaching managing the future for new generation.
The folk literature of Indian communities have been very prosperous that the great Management Guru of all time guru Bhargav (Guru- Shukra ) created the all time great management philosophy ‘Shukraneeti’ before Mahabharata was created. It was richness of Indian folk literature that the Guru of material management Vrihaspati wrote more than ten millions of Shlokas on management (Charvakneeti) (reference Mahabharata). The Indian folk literature was so flourishing that Guru Manu could create management Shashtra ‘Manusmiriti’. Mahabharat has hundreds of management principles. Chanakyaneeti is nothing but extract of Mahabharata and Shukraneeti.
Garhwali folk language is rich for providing literature for teaching management to children. One of the best examples of teaching management to children from the early age is the following children folk songs of lessons for learning alphabets. Apart from teaching alphabets to children, there is management lesson in ach line as
अ- आँदी गाडम फाळ नि मारणी Don’t jump into flooded rivulet
क- कुसंगी को संग नि करणी Don’t be friendly with nasty fellows
ख़- खारिक ठुपरी मुंड नि धरणी Don’t take load out of your capacity
ग- गलादारों दगड नि करणु Don’t be friendly with scoundrels
घ- घर घर कुकुर जन नि फिरणु Don’t roam in village as dogs
च - चोरी की चीज ड़्यार नि लाणi Don’t bring the things the things of others stolen by anybody
छ - छाणिक पीणु बरसाती पाणी Always, take filtered water in rainy season
ज - जान्दिक कबि संग नि जाणू Don’t be friendly with uncontrolled person /bankrupts
झ- झिल्ली खाट मा कबि नि सीणू Don’t sleep on uncomfortable cot
ट - टेडी लकड़ी काnd मा नि लाणी Not to bring bent log on shoulder
ठ - ठट्टा क मट्ठा ह्व़े जांद Making mockery/ fun of others may be dangerous
ड़- डौरिक रावा त बुरु नि होंद Being fearful is not so bad
ढ- ढगढयादि ढुंग मा खट नि धरणि Don’t use unstable base
त - तातु पाणीन कूड नि फुकेंद Hot ater does not burn house
थ- थुम थुम माणि दगड नि लाणी Don’t bring leaky measurement vessel to measure
द- द्यौ दिबतौं करणी नि गाणी Don’t copy deities for their mega actions
ध - धर्म की डाळी क चलचला पात The righteous path is the best path
न - नखरी भाषा कबि नि बुलणी Not to use abusive language or not to use bad language
प- पळत्यरों की कछड़ी नखरी Don’t keep sharp goods together
फ- फसल पात को रखणी आस Be always hopeful for better harvesting
ब- बड़ा बड़ों की बड़ी बात Rrich will talk about riches
भ- भितर की बात भैर नि लाणी Don’t disclose the family matters to outsiders
म- मिंढकूं से कबि हौळ नि लगदु frog does not plough field
य - यख की छ्वीं वख नि लगाणी Don’t talk the secrete of one mn to others
र- रवटि अपणि हत्थ कि खाणी Take your own food or don’t be greedy for other’s wealth
ल- लंगलंगी लांग कि सोराग टांग The base should be solid
व- वख जाणू जख हौंसिक आणू Do that work which provides pleasure
स - सबसे बडू च घिन्द्वा पधान The chair or position is greater than man
ह- हैंको बांठो कबि नि खाणों Don’t take other’s share
The above Garhwali children folk song is witness that there is strong custom in Garhwal for teaching management to next generation from the early age.
( Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal collected the above folk song)
Copyright@ Bhishma Kukreti

Bhishma Kukreti · « **Reply #441 on:** August 31, 2011, 10:50:28 PM »

Logic Learning in Garhwali Children Folk Songs

Bhishma Kukreti
The mode of reasoning is ‘Logic’. The Indian folk literature has been very rich in teaching logic to the next generation by old generation. This is the reason that philosopher Gautam created ‘ Nyay Darshan’ more than two thousand years back.
In Garhwal, there is tradition of teaching reasoning to children from early age. Garhwalis have been creating riddle poems for their children from the time the humanity settled in Garhwal. The following two children folk poems are proof that Garhwalis were conscious about teaching logic to their children from early age
The songs are having four lines in a poem and the language is simple that children could understand easily
पहेली बुझाने के गढवाली बालगीत
(गढ़वाली बालगीत, उत्तराखंडी बालगीत , हिमालयी बालगीत , भारतीय बालगीत )
----1---
मुंड मा म्यारो छारु च , Ash is on my head
इन च बुल्यां जोगी च As if I am ascetic
पेट मेरो गगडाँदू च The stomach sounds in disorder
इन च बुल्यां रोगी च As if I am sick
उत्तर : हुक्का Answer: Hukka
-------- 2-----

बुतत , बातत जामत जु
काटत फाटत फाटत फू
कूटत कूटत फूँकत फू
थड़कत भड़कत भकडम भू
मार सड़ाबड़ सपडम सू
उत्तर पळयो , छ्न्छिंडा Answer palyo or Buttermilk curry
(सन्दर्भ : डा नंदकिशोर ढौंडियाल व डा मनोरमा ढौंडियाल कि पुस्तिका )
There are other puzzle songs for children in Garhwali. There is remarkable tendency to teach children logically in Garhwali children folk songs
Copyright@ Bhishma Kukreti

Bhishma Kukreti · « **Reply #442 on:** September 01, 2011, 09:51:27 PM »

Naidaali PanyaanJami : A Garhwali Thadya Folk Dance-Song

Bhishma Kukreti
‘ Thadya’ I means on the ‘Thau’ or specific place or specific open place . The dance-song is performed at the time of festivals or fair. However , the villagers perform Thadya dance song a in the Geetun maina (The month of Songs- from Vasant panchami to Baishakhi/Bikhot) too in night as Manipuris perform dance-song in moonlight.
The ‘ Thadya’ dance-song is circle dance and the dancers sing the song as per the rhythm or subject. The dance has similarities with Hora of Slavic , Romania, Klezmere, Bulgaria which means round dance, speak ; Serbian ‘Koro’; ‘Hora’ of Turkish, ‘Valle’ of Albania; ‘Oro’ in Macedonia, Montenegro, Gypsy communities; Mayim Mayim of Israel ‘ Kantu’ of Bolivian highlands; Anyako Atsia of Africa; Ghuozhuo ‘ of China; ‘Dati of E-Ethnic group of china; Guoxi of Tibet, rauf dance of Kashmir,
Thadya dance-song has many variants. ‘ Thadya’ dance is performed by feals or males alone, or both genders dance together in circle depending upon the song. The dancers stand in circle and put their hands on the shoulders of oteach other and start dancing and singing. From this point, the variation of each Thadya dance start . Depending upon the song and subject the dancers change the instances.
Usually, when the community songs start the women sing an auspicious song and perform dance . The ‘ Naidali panyan’ is asocial and religious dance danced together by women in circle. The song is dedicated to Panyan tree and Khetrpal deity. The dance is rhythmic but with slow speed as the song is worshiping songs for Panyan an auspicious tree and deity Khetrapal’. All the dancers sing the song and the outsiders also sing the song. There is no need of musical instruments in this dance-song.

नैडाळी पैंयाँ जामी : गढवाली थड्या लोक नृत्यगीत
(गढवाली सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत , उत्तराखंडी सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत )
(Garhwali Folk Dance-song, Uttarakhandi Folk Dance-Song, Himalayan Folk Dance Song)
सेरा कि मींडोल्यूं नैडाळी पैंयाँ जामी At the Paddy filed mound, Panyan tree grew
दिब्तौं कि डाळी नैडाळी पैंयाँ जामी The dietary tree , Panyan tree grew
कूली की बेड़वाळ नैडाळी पैंयाँ जामी At the canal bank, Panyan tree grew
सेरों की ढीस्वाळी नैडाळी पैंयाँ जामी At the upper side of paddy filed, Panyan tree grew
चालों दीदा भुलाओं नैडाळी पैंयाँ जामी Let brothers-sisters go, Panyan tree grew
क्वी दूध चारयौन्ला नैडाळी पैंयाँ जामी A few irrigate by milk, Panyan tree grew
एक पत्ती ह्व़े ग्याय नैडाळी पैंयाँ जामी It is now one leaf plant, Panyan tree grew
दुपत्ती ह्व़े ग्याई नैडाळी पैंयाँ जामी Its now double leaves, Panyan tree grew
फूटी गेन फांकों नैडाळी पैंयाँ जामी The branches came up, Panyan tree grew
द्यू करा धूपाणा नैडाळी पैंयाँ जामी Let us do Dhoopano, Panyan tree grew
कै देव शोभली नैडाळी पैंयाँ जामी Which deity will come? Panyan tree grew
खेतरपाल शोभली नैडाळी पैंयाँ जामी Khetrapal will cme, Panyan tree grew
दिबतौं क सत न नैडाळी पैंयाँ जामी Due to deity’s blessing, Panyan tree grew
क्वी घांडा चढ़ावा नैडाळी पैंयाँ जामी Somebody will offer bell, Panyan tree grew
क्वी निशाण लगावा नैडाळी पैंयाँ जामी Somebody will offer flag, Panyan tree grew
* Panyan (Prunus ceresoidus ) kedarja, padm, is a Himalayan cherry or like deciduous African cherry
Sorce_ Shri Pitambar Datt Devrani’s personal collection and published in ‘ Garhwal ke Lok Nritygeet by Dr Shiva Nand Nautiyal. D Late Pitambar Datt devrani started his career from Silogi High School and later on became principal of Matiyali Intermediate College, Pauri Garhwal, Uttarakhand.
Copyright@ Bhishma Kukreti bckukreti@gmail.com

Bhishma Kukreti · « **Reply #443 on:** September 02, 2011, 11:42:54 AM »

Ranihat Ni Jan Gajesingh : A Garhwali Thadya Circle Folk Dance Song

Narration by : Bhishma Kukreti
‘Thadya ‘ dance song is very popular in Garhwal from the centuries. The historians as Dr Shiv Prasad Dabral, the cultural pundit as Dr Shiva Nand Nautiyal believe that the tradition of dancing in circle and singing had been there in Garhwal before Gupta era and might have been developed in Khas era. There are proofs that the ‘Thadya’ a circle dance-song was popular at the time of Great Poet Kalidas in Garhwal.
The Thadya is group dance-song and performed in circle with many variations.

The ‘ Thadya’ Dance-Song
The dance-song is performed in fairs, festivals, Geetun maina (month of songs), or at any time for pleasures. The place should be plain and wide enough for group dance.
There is no restriction of class or caste for performing the dance-song.
In month of songs (16th March to a5th April) , the dance-song is performed in evening after finishing all works and dinner. In fairs and festivals the Thadya dance- song could be performed at day time too.
First the dancers (only males or only females, males and females together, or children) make circle and keep hands on each other’s shoulders. The dancers depending upon the dance variety can put hands on the back of each other. However, depending upon the numbers of dancers, the group is divided into two groups. The first group just moves their feet and dance-sing. The second group stands there and only slaps the earth slowly by feet. When first group stop, the second groups start singing and dancing.
The second part of Thadya is the dancers leave their hands from the shoulders and put their both hands on each other’s back. The every dancer catches hold tightly the hands of every third’s dancers. Then the dance and song start. At this point the dance is more artistic and with fine rhythm. The face expressions of dancers depend upon the song contents and demand of story line.
The fourth stage of Thadya is dancers bringing emotions on their faces. In between the sequences of steps also change as per the need of the song and dance as there steps ahead and one step back. Lastly the group is divided and a group of two dancers dance together. There is variation of speed in dance in between the dance too.
The Gaje Sing Thadya dance is performed by males or females or together too. However, when the male dancers perform the dance, the dance is very speedy. The song is a story of one of the bravest personalities of Garhwal.

रणिहाट नि जाण गजेसिंग : एक लोकगाथा युक्त गढ़वाली थड्या लोकनृत्यगीत

(गढवाली सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत , उत्तराखंडी सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत )
(Garhwali Folk Dance-song, Uttarakhandi Folk Dance-Song, Himalayan Folk Dance Song)
Mother of Gaje Singh Advices
रणिहाट नि जाण गजे सिंग Don’t visit Ranihat , Hey! Gaje Singh
मेरो बुल्युं मानिले गजे सिंग Take my advice, Hey ! Gaje singh
हळजोत का दिन गजे सिंग Today is plough festival, Hey! Gaje Singh
तू हौन्सिया बैख गजे सिंग You’re love admirer, Hey! Gaje Singh
रणिहाट नि जाण गजे सिंग Don’t visit Rranihat , Hey! Gaje Singh
तेरा बाबू का बैरी गजे सिंग They’re your father’s enemy, Hey! Gaje Singh
रणिहाट नि जाण गजे सिंग Don’t visit Rranihat , Hey! Gaje Singh
त्वे ठौरि मारला गजे सिंग Brutally, they will kill you, Hey! Gaje Singh
तेरा कानू कुंडल गजे सिंग You’re putting earrings, Hey! Gaje Singh
तेरा हाथुं धगुला गजे सिंग You’re putting wrist band, Hey! Gaje Singh
त्वे राणी लूठ्ली गजे सिंग The queen will loot you, Hey! Gaje Singh
रणिहाट नि जाण गजे सिंग Don’t visit Ranihat , Hey! Gaje Singh
बैरियों का बधाण गजे सिंग Not to visit enemy’s place, Hey! Gaje Singh
सार्युं का डिसाण गजे सिंग There will be spiky bed, Hey! Gaje Singh
बड़ो बाबू का बेटा गजे सिंग you are son of great father, Hey! Gaje Singh
रणिहाट नि जाण गजे सिंग Don’t visit Ranihat , Hey! Gaje Singh

Gaje Singh Replies:
मर्द मरी जाण गजे सिंग Man dies, Hey! Gaje Singh
बोल रैय़ी जाण गजे सिंग His acts live on words for centurieslive, Hey! Gaje Singh

(गीत स्रोत्र : पीताम्बर दत्त देवरानी (लंगूर पट्टी ) एवम डा शिवानन्द नौटियाल कि पुस्तक ' गढवाल के लोक नृत्यगीत )

Bhishma Kukreti · « **Reply #444 on:** September 03, 2011, 12:12:54 AM »

Rama chham Jar Ko beedaa : An Entertaining Thadya Folk Dance-Song

रमा छम जर को बीड़ा : एक मनोरंजक थड्या लोक नृत्य गीत
इन्टरनेट के प्रस्तुतकर्ता : Bhishma Kukreti

अगुवा नर्तकी : रमा छम जर को बीड़ा
सह-नर्तकियां : रमा छम जर को बीड़ा
अगुवा नर्तकी: ए ब्व़े मी तैं सलुण्या पीड़ा
सह-नर्तकियां : रमा छम जर को बीड़ा
अगुवा नर्तकी ए ब्व़े मी थैं तिगुड़ी पीड़ा
सह-नर्तकियां : रमा छम जर को बीड़ा
अगुवा नर्तकी नौ पतेली बाड़ी खै छौ
सह-नर्तकियां : रमा छम जर को बीड़ा
अगुवा नर्तकी नौ दाणी लिम्बू खै छौ
सह-नर्तकियां : रमा छम जर को बीड़ा
( मूल स्रोत्र : श्री केशव अनुरागी : नाद नंदनी (अप्रकाशित)एवम दा शिवा नन्द नौटियाल की गढ़वाल के लोक नृत्यगीत )

Bhishma Kukreti · « **Reply #445 on:** September 03, 2011, 11:21:17 AM »

Nanda Jat Jagar
नंदा ज़ात जागर
Presented on Internet by Bhishma Kukreti
(Garhwali folk songs, Uttarakhandi folk Songs, Indian Folk Songs)
नंदा ज़ात जागर
सटेडि पुंगडि मैत्यों की सुखा पोड़ी जैन
झंगरेडी पुंगड़यों मैत्यों की झड्या ह्व़े जैन
कोदाड़ी पुंगडों मैत्यों की चाली जामी जैन
गेंवाड़ी पुंगड़ी मैत्यों की फ्यूंळी फूली जैन
भैसों का खरीक मैत्यों का बागी इ बागी ह्वेन
गायों का गुठ्यार मैत्यों का बोड़ इ बोड़ ह्वेन
भायों की संतान मैत्यों की नौनि ना ह्वेन
सिसुर जाण की बेला कैकु ना ऐन
Source: Abodh Bandhu Bahuguna :’Dhunyal’

Bhishma Kukreti · « **Reply #446 on:** September 04, 2011, 03:53:27 AM »

‘Dakwan’ (Murder of a Postman) : A True Incident Based Garhwali Thdya Folk Song

Bhishma Kukreti
Folk songs or folk literature cover a immense range of musical styles and speak various community topics. When the creator creates the folk song , it is contemporary and usually deals with the contemporary issues pertaining to the society. The issues may be changes happening, culture, Folk songs cover tens of areas as war, religion, society’s relationship, love political issues, conflicting subjects among society members, racism, memories, true incident narration, protest against various aspects of politics or society, education etc. In true sense, the folk songs are mirrors or reflections of society of that time when the song was created.
There have been hundreds of instances in each community, when the community members create songs narrating true events happened in the society. For example, ‘ Una rarde fesquita de mayo’ is a famous Latin American folk songs originated at the end of nineteenth century based on true event .
Irish writer Thomas Davis who initiated collection of Irish Folk Songs called the songs related to actual events as- Come-all-yes.
‘ Hua Mulan ‘ song an ancient Chinese folk song is based on true events.
Folk songs are not limited to ancient time only. Folk songs creation is as water flowing into the river. Today, folk songs are taking different root and films, TV serials, concerts are also taking place of folk songs . There are numerous examples of songs based on the true events in modern time all over the world.
John Labarbera provides many examples of Italian folk songs based on true events happened in the respective region in his brilliant book “ Traditional Sothern Italian Mandolin and Fiddle Tunes’.
In a fine book, ‘Howard W Odums folklore, Odyssey transformation to tolerance’, L.M sanders offers details of folk songs based on real happenings.
The readers may find folk songs based on real events in ‘ Ontario Library review , Volumes 36-37’.
G w Edwards presents examples of English Ballads based on true occurrences in his book ‘ a Book of Old English Ballads’.
T A Mood (2004) offers many folk songs which were based on true happenings in the book ‘ American folklore ; a research book and research guide’.
P V Bohlman (2004) describes the details of folk songs based true incidents in his book ‘ The Music of European Nationalism, cultural identity, Modern..’.
Franeil ( 2011) details of many Mexican folk songs originated because of true stories in the book ‘ Mexican American Folklores …’.
G M H Shoolbraid provides many examples of folk songs based on true incidents in the book ‘ The oral epics of Siberia and Central Asia’.
Kemp (2004) provides many examples of folk songs based on true events in the book ‘ Oral Tradition of Southeast Asia and Oceana ..’.
Amresh Datta ( 2006) provides many cases of folk songs of Indian communities in the book “ The Encyclopedia of Indian literature (Vol. 2)’.
In Volume 1 of ‘Peking Review’ (1958), there is descriptions of Chinese folk songs based on true events.
Spence (1990) details of many Egyptian folk songs based on real incidents in the book ‘ Ancient Egypt: Myths and legends’.
Watts (1988) in the book “ The Greek Folk songs’, Beaton ( 2004) in book ‘ Folk Poetry of Modern Greece’, and many writers details folk songs of Greece based on true happenings
By reviewing above literature, it may be concluded that each community time to time, creates folk songs based on true incidents taking place in the area concern. . some such folk songs survive for centuries and some die of natural death as happened today the death of news published on newspapers.

Tradition in Garhwal for Creating Folk Songs based on true Incidents

There tradition in Garhwal (India) to create folk songs based on real incidents. This author has been providing examples of Garhwali folk songs based on true happenings in his many articles. In each region of Garhwal (India), the villagers have been creating songs related to incidents took place there. Howver, the popularity of that song in all over Garhwal depends on its content, exclusivity, unique punctuations, melodies, wordings, and universal subject. This author heard many folk songs related to incidents of Dhangu but he did not hear them in other regions because of above reasons.
Murdering for greed is an universal property of human beings There have been murders for money in recent times ( pre independent and post independent ) . for example, there was a murder of a government servant late Sachidanand Barthwal of Khand (Bichhla Dhangu) near Bagon-uttinda. Though murder was not proved nor the murders were caught but it was believed that thugs of the area murdered Sachidanand Barthwal and they threw his body into Bhel (steep hill) after taking money of government treasury. The women created songs on the case in Bichhala Dhangu and they used to sing while cutting grass. However, the song did not come out of Bichhala Dhangu because the song was never sung in open.
Dr Sivanand Nautiyal writes about the following folk song ‘Dakvan’ that Bachu Singh a postman was murdered by his uncle Ganga Singh near Adwani area and later on people created folk song on the true incident

डाकवान :सच्ची घटना पर आधारित एक थड्या लोक नृत्यगीत

(गढ़वाली लोक नृत्यगीत , उत्तराखंडी थड्या लोक गीत, भारतीय लोक गीत )

झम बल, थेब सिंग का नौना रे गंगा Ganga was the son of Thebsingh
तीला धारु बोला . झम
झंगोरा की धाण
मैकू पकाऊ रोटी मांजी , Bachu said to his mother for cooking bread
मीन डाक लिजाण . झम I am going taking post
खेली जाली गेंद बचुरे , खेली जाली गेंद बचुरे
बचू रे तू डाक कू जांदी रे Mother said- hey! Bachu you are going for post
क्वी छट छट छीन्द , झम . Somebody sneaked
खेली जाली गेंद बचुरे , खेली जाली गेंद बचुरे
बचू रे तू डाक कू जांदी रे
क्वी छट छट छीन्द , झम
ग्युं लाइ गौन्छी
बचुरे घर बटी पैटी Bachu started journey from his house
बचुरे तू डाखाना पोंछी Bachu reached to post office
काटी जाली राई,
थेबसिंग कू नौनु गंगा Ganga was the son of Thebsing
त्वे दगडी आई . झम Ganga came with you (Bachu)
बाखरी बियाली ----बचुरे ---बाखरी बियाली ----बचुरे
अदवाणी का डांडा In Adwani mountain
बचुरे तमाखू पियाली . झम ganga said, “ hey Bachu ! Let you smoke tobacco’
घुमे जाली घोड़ी -- बचुरे , घुमे जाली घोड़ी -- बचुरे
तमाखू पीण कू , बचुरे ? For smoking
पता लेटी तोड़ी . झम Bachu took leaves
ढुंगा धोळी मारी - गंगा रे
रुप्यौं का बान गंगा रे For money, Ganga Sing ! you murdered bachusing
तिन डाक्वान मारी . झम
बाबुला की बोत -- गंगा रे, बाबुला की बोत -- गंगा रे
कन लगाईं तिन गंगा रे Ganga ! You hit him by an axe
कुलाड़ी की चोट . झम
बाखरी की तांद - झम , बाखरी की तांद - झम
को भागी बरतोलो गंगा रे . Bachu said, “ who will enjoy my beautiful wife shaka ?’
मेरी शाका बांद . झम
मारी च बिराळी --- गंगा रे , मारी च बिराळी --- गंगा रे
तीन लास धोल़े गंगा रे Ganga ! you threw the dead body below the road
सड़की तिरवाळी . झम
खाटी को जंगला --झम
खाली खचर ऐन , दादा रे the empty mule reached to post office at Pauri bunglow
पौड़ी का बँगला . झम
देखी जालो ऐना--दादा रे , देखी जालो ऐना--दादा रे
खाली खचर देखिक दादा रे . by watching empty mule, everybody became worried
सबि घबडै गेना . झम
चिलमो को पीच --दादा रे , चिलमो को पीच --दादा रे
दादा रे खाली खचर ऐना , दादा , Empty mule came
खचरोई क्वी नी च . झम no rider was there
तौली पाको भोज, दादा रे , तौली पाको भोज , दादा रे
खाली खचर ऐना , दादा रे ? Empty mule came
कारो डाक की खोज . झम Go! Find out postal material
मारी जालो कवा --दादा रे , मारी जालो कवा --दादा रे ,
क्वी अदवाणी जावा , दादा रे Somebody should go to Adwani shrine
क्वी थाणा मा जावा , दादा रे Go! somebody go to police station
कुखडा की बची --दादा रे , कुखडा की बची --दादा रे
तैं पौड़ी का बीच . दादा रे There was scuffles in Pauri
हैला-चल मची . झम
दाथुडि की धार --दादा रे , दाथुडि की धार
डाक क बाना .दादा रे The sent telegram
ऊन दे दीन तार . झम
बाबुला की गुच्छी दादा रे , बाबुला की गुच्छी दादा रे
क्वी जावा अदवाणी , दादा रे somebody ! go to Advani and bring Ganga
क्वी गंगा ल़ा पूछी
काटे जालो बांस दादा रे , काटे जालो बांस दादा रे
सड़कू क तिरवाळी दादा रे The dead body of Bachu was near road
तै बचू की लास . झम
गुठ्यारो को कीच दादा रे गुठ्यारो को कीच दादा रे
गंगा सिंग का ड़्यार , दादा रे they said that Ganga Sing was not at his house
गंगा सिंग नी च . झम
धागों की लाछड़ी दादा रे , धागों की लाछड़ी दादा रे
तै बचू की लास , दादा रे They took dead body of Bachu to Pauri court
पौड़ी की कछेड़ी , झम
ढुंगा धोळी गारी दादा रे , ढुंगा धोळी गारी दादा रे
खचरोई ब्वादन , दादा रे Other mule owners told that Ganga sing killed Bachusing
गंगासिंग न मारी .झम
काटे जालो तूण दादा रे , काटे जालो तूण गंगा रे
बचुसिंग की मांजी , गंगा रे Mother of Bachu started weeping
कन बैठी रूण . झम
मारे जाली सीटी --गंगा रे , मारे जाली सीटी --गंगा रे
बचुसिंग की मांजी , गंगा रे She was roaming in madness
घिंडुड़ी सी रीटी .झम
काटे जालो काण्ड गंगा रे काटे जालो काण्ड गंगा रे
गंगा रे कनु करे तीन , गंगा Hey Ganga! Hwo come you killed Bachu and made daughter inlaw as widow
जेठी ब्वारी रांड , झम
आलू काटे भुजी गंगा रे , आलू काटे भुजी गंगा रे
तिन भतीजो मारे , गंगा रे Ganga ! You killed nephew. How you thought?
त्वे कतै नि सूजी . झम
चिलमो को पीच गंगा रे , चिलमो को पीच गंगा रे
तिन डाक्वान मारे , गंगा रे Ganga! You killed postman between seven families
सात खोलोँ (खोळओं ) का बीच . झम
काटे जालो कांडा गंगा रे , काटे जालो कांडा गंगा रे
तीन भतीजो मार , गंगा रे ganga! You killed nephew in Advani shrine
अदवाणी का डांडा . झम
आंगड़ी को मैल गंगा रे , आंगड़ी को मैल गंगा रे
हतगड़ी लगी की गंगा सिंग Ganga Singh was handcuffed and brought Pauri jail
ल़ी गेन पौड़ी की जेल . झम
गैड़ी च तकमा गंगा रे , गैड़ी च तकमा गंगा रे
गंगासिंग कू ह्वेगे , गंगा रे There was order for death sentence for Ganga Singh the son of Thebsingh
फांसी को हुकमा , झम
(स्रोत्र: डा शिवानन्द नौटियाल, गढ़वाली लोक गीत,)
Dr shiva Nand Nautiyal mention it as inspirational story for society that not to indulge in inhuman activities.
The song is sung as Thadya dance style or it is group circle dance song of Garhwal.
The dakvan’ folk song is an example that in each community, people create songs based on real incidents and many songs become popular that they survive for many generations.
Copyright@ Bhishma Kukreti
Bcklukreti2gmail.com

Bhishma Kukreti · « **Reply #447 on:** September 04, 2011, 11:19:19 PM »

Origin of Chaufula or Chaunfula a Popular Garhwali Folk Dance Song Style

Bhishma Kukreti
There is no tendency among Garhwalis for doing research on the origin of folk dance of Garhwal. Barring Dr Chatak, Dr Nautiyal very few scholars touch the subject of origin of various Garhwali folk dances. Lately, a couple of scholars as Dr Baluni, Dr Hatwal came in the field but sorry to say that they did pay no attention on finding the history of dance and song as time has come to find the origin of each folk dance of Garhwal.
Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is one of the popular dance song sequence of Garhwal and Kumaun. Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is agroup dance and there is no restriction of genders. Both the genders can participate in the dance. However, mostly the dance is performed by females. In fact, as far as group dance is concerned, there is no restriction of gender in such dances as mentioned in Bharat Natyshashtra . Bharat uses Pindi for group dances (B N.S 4- 270) but there is no mention of restriction for any gender in Pindi dances. It seems that from the early age, in India, group dances were for females and males together.
Folk Stories behind Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dnace
Dr Shiva Nand Nautiyal states that from many stories in Garhwal, the two popular stories are relevant know the origin of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance-song in Garhwal.

Shiv Parvati Marriage
Chaunfula or Chaufula means blossom in all direction and other meaning is spread in all four direction. It is believed that daughter of Himalaya started Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) in Garhwal.
It is said that to please lord Shiva, Godess Parvati built a ‘Chaunri’ - a square or round stage of mud and stone. Parvati and her friends danced around ‘Chaunri’ together and sung the praising and love songs By the dance and songs, flowers bloomed around ‘ Chaunri’. By the sdance, song and bloom of various types of flowers, lord Shiva became cheerful and agreed for marrying Parvati. Later on, Shiva married with Parvati.
Due to dancing in all direction and blooming of flowers in all direction, the people named this dance sequence as Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) or flowers in all four direction. Another meaning of Chaunfula is spreading in all four direction and this is related to happiness spread in all direction after the dance of Parvati and her friends..

The stories of Fairy , Sirens or Nymph अन्छेरी सम्बन्धित लोक कथा

अन्छेरी (Anchheri) or fairy, nymphs are commonly talked about in Garhwal specially upper Garhwal. There is story that in the hills, Nymphs or fairies used to build ‘ Chaunri’ and used to dance and sing around ‘ Chaunri’. As soon as they finished the dance and songs, the flowers used to bloom around ‘ Chaunri’ . Due to blooming of flowers around ‘ Chaunri’ the Garhwali folks named as “ Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) ‘ for this type of dance-song
.
Time of Origin of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ)

The scholars as Dr Shiva Nand Nautiyal compares Chaufula or Chaunfula dance with Bihu dance of Assam and Garba dance of Gujrat. However, historians will agree that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) did not come in the form of Bihu of Assam as Bihu itself was introduced in Assam in the seventeenth century (Anil Saikia,, 2011, the learned scholar of Assamese Folk literature). Therefore, it cant be said that Chaufula came in Garhwal from Assama and in any case , there was less migration in Garhwal from Assam.
Kalidas describes in Jhumelo of Garhwal or Jambhalika dance in Vikramorshsheesh ( 4-450 and Raghuvansh ( 9-35). It means Jhumelo was popular before 2000 years in garhwal. However, Jhumelo is more developed dance than Chaunfula dance in terms of performance sand body acts. This indicates that prior to Jhumelo , Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) existed in Garhwal.
The literature of Kalidas indicate or prove that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) was existing in Garhwal before 2000 years.
There are similarities between Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance and Dandiya , Garba and Ras dances. Dandiya, Ras and Garba dances are devoted to mother Durga or Naudurga. However, the sect Durga did not flourish before fifth century from popularity point of view. Therefore it can’t be said that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) was the form of Garba or dandiya or Ras.
Even by studying the history of Uttarakhand in Dr Shiv Prasad Dabral’s Uttarakhand ka Itihas ( 2nd and 3rd parts) it may be said that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) in its primitive form was existing in Garhwal before first century. Dr Dabral’s study state that Shaivism came in Garhwal before than Durgaism or Markendiy Puranism . Historian will agree that Purans related to Shiva are far earlier than Markendiy Puran,. Durgaism became popular only after creation of Markendiy Puran . since, the story of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is realted to Shiv-Parvati, it may be said that there is no relation of origin of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) with Garba, Ras Dandiya and Behu,
It may be concluded that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) was existing in Khas , Kanaiti or Kainturai dynasties in Garhwal may be in its primitive style. Slowly, slowly the people developed the dance and today’s Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is found in refined form than when it was originated

References:
1-Dr Shiva Nand Nautiyal
2- Bharat Natya Shashtra 4- 270
3- Anil Saikia - Times Of Indian May 2011
4- dr Dabral, shiv Prasad ‘ Uttarakhand ka Itihas part 2nd and 3rd
Copyright@ Bhishma Kukreti, bckukreti@gmail.com

Bhishma Kukreti · « **Reply #448 on:** September 05, 2011, 01:43:04 PM »

Steps and Movement in Chaunfala चौंफुल़ा (ळ+आ) , a Garhwali Folk Dance

Bhishma Kukreti
Bhishma Kukreti (2011) concludes with references that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance is there in Garhwal before 2000 years back. The song is very popular in the region and part and participle of Garhwali culture. A prolific expert of Garhwali folk literature Dr Shiva Nand Nautiyal states that in most of the respects, Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is similar to garba of Gujrat, Bihu of Assama, Ras of Manipur and the dances of medieval time dances as Chamtkar Nrity, Chalit Nrity and Geet Nrity. Dr Shiva Nand Nautiyal argued that the people (who settled in Garhwal from various regions of India) added the new version into primitive Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance and song.
Since, the old classic books provide less literature on group dances , it is difficult to find out history of development of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance –song.
Bharat Naty Shashtra offered more time on Solo dance but orovided very less literature on group dances. Bharat called group dance as ‘Pindibandh’. Bharat described nd divided group dances as per the form the dancers create while dancing. That is why Bharat took cue from war strategy and called group dances as Mayurpindi, Trishulpindi (raudrpindi), Kamalpindi, Halpindi, Garudpindi etc (Bharat Natya Shashtra, 4- 221 to 272) similar to Battle strategy as Chakrvyuh, Mayurvyuh, Makdvyuh etc. Bharat did not mention any rule of gender discrimination in group dances.

Steps ,Movement and Chronological Satges of Chaunfula चौंफुल़ा (ळ+आ) Dance

The dance is performed in open place specially in country yard (Chauk). The dance starts by female dancers and male dancers standing in line separately. The female dancers come opposite of male dancers but not too far and the each dancer comes forward one step, put left hand on the left hand 9palm) of opposite dancer and again put right hand on the right hand of opposite dancer. After this the dancers come back on original position. In second stage, the dancers clap on the hands of opposite dancers with going forward one step and then coming back. In the third stage, each dancer moves in full circle with dance and then claps on the opposite dancer’s hands as in earlier stage In fourth stage, the dancers create a circle and moves in dancing form in anti-clock direction. Dancing in circle is fifth stage of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance. Now half of the dancers sing the song and other half repeat the song. The half dancers bend towards left and half dancers bend towards right while dancing in sixth stage. The dancers beat their feet on the earth and clap while dancing in circle. The singing also goes on.. from third stage the performing on face start (Mukhaabhinay). In later stage, the dance takes speed and singing takes back seat.

Major Types of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song.

There are many variants in Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song. However, Dr Shiva Nand Nautiyal provided two main varieties of Chaunfula dance as:
1- Khada Chaunfula dance
2-Laludi Chaunfula dance for both genders
3-Laludi Chaunfula dance for male dancers only
As far as numbers of dancers is concerned, there is no restriction for number of dancers. However, the dancers should be in even numbers for making pair.
The songs pertaining to Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song.are mainly of
1- Love rapture
2-humrous raptures
3- Satirical or playful raptures
4- Inspirational
5- Doubting to other or lovers songs
Specific Characteristic of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Songs.

Usually, in Garhwali folk songs, the first stanza or line is meaningless stanza and is used to make lyrical poetry.. The first meaningful line is always repeated.
However, in most cases, in Chaufula songs, te first meaning less stanza is not found and the firsts line is also not repeated with other stanzas

Here is an Old song of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song.

चौन्फ़ल़ा (ळ +आ) नृत्य गीत का एक उदाहरण

(गढवाली लोक गीत, उत्तराखंडी लोक गीत, भारतीय लोक गीत)

महात्मा गांधी बडो भागी छ, देस मुल्को अनुरागी छ Mahatma Gandhi is great man, He loves this country
बाखरी दूद ओ पीन्दो च, खाड़ी क लारा पैणदो च He takes the milk of goat, he wears Khadi dress
(सन्दर्भ: डा. शिवा नन्द नौटियाल गढवाल के लोक नृत्य-पृष्ठ ११२-११९) .

Group Circle Folk Dances-Songs of France
In most of the community, group circle folk dance-songs are common. Take example of France, there many types of folk group dance-songs which are performed in circle..in a brilliantly researched book’ Folk Dances from France, Fredericka Moore provides us the details of following group dance-songs which are performed in circle with graphic figures and musical notes and in all the following dances, children, girls and boys take part::
1- Girofle, Girofla ( In a couple of aspects , the dance has similarities with chaunfala as clapping, backward and forward movement etc)
2-Il court, Il court, Le Furet
3- Meunier, Tu dors
4-Nous N’Irons Plus au Bois
5-dans le jarden.. ( this is similar to Chaunfla dance in many aspects as in this dance song, the dancers make two lines facing each other and not too far.and later on makes circle. The difference between Chaunfala and this dance is that it is also a game of animals and birds.

The description of Garhwali Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song .and briefing about group circle folk dances of France is proof that circle group dance-songs have been there in the older societies allover world. The variation in foot movements and body parts may differ but the people gain same rapture all over the world.
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Bhishma Kukreti · « **Reply #449 on:** September 06, 2011, 12:12:53 PM »

Dadu Ka Jayun Ch: A Humorous and Teasing Garhwali Chaunfula Dance Love Song

Bhishma Kukreti
Love folk songs are common in all communities from the day human got language. With love song, the creator also mixes teasing language to make the song very humorous and entertaining. The following Irish folk song is also a love song and the teasing or humour is hidden in the song :
The water is wide and I can’t cross over
And neither have I wings to fly
Build me a boat that can carry two
And both shall row My love and I
Humorous and teasing love songs are not limited to one territory. For example, Marilyn Cvtanic states in his book (page 148) Culture and Custom of Croatia , “ Love, village life and humour are the main lyrical themes of this genre with becarac a style that originated in Slavonia,…”.

In Garhwali language, there are many love folk songs which are sung with folk dances as Chaunfula dance. In the following song there is humour and teasing rapture. The song has also anxiousness of the lover about whereabouts of her lover:
एक प्रेम व परिहास युक्त गढवाली चौन्फुल़ा लोक नृत्य गीत

मूल गीत संग्रहकार : डा. शिवानन्द नौटियाल
इंटरनेट प्रस्तुति : भीष्म कुकरेती

नणद तेरो दादू का जयुं च , दादू सुनार की , ओटी च
ओटी बैठिक क्या करदो च , नथ बेसर गडांदो च
बौकि जिकुड़ी झुरान्दो च , नणद तेरो दादू का जयुं च ,
दादू सुनार की ओटी च , ओटी बैठिक क्या करदो च
टाटा हंसूळी गडौंदो च, बौकि जिकुड़ी झुरान्दो च
Sis-in-law! Where is your brother? Brother’s gone to goldsmith
What’s he doing at goldsmith? He is ordering to make nose ring
He is teasing heart of Bhabhi, Sis-in-law! Where is your brother?
He is ordering making necklace, he is teasing heart of Bhabhi

In Garhwali Chunfula dance, usually the entertaining, lively, energetic songs are sung

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