Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख (Read 1484735 times)

Bhishma Kukreti · « **Reply #810 on:** March 01, 2012, 12:03:00 AM »

Bhakt Prahlad: The First Modern Garhwali Drama [/color]

(Review on a Garhwali Drama ‘Bhakt Prahlad’ by Bhavani Datt Thapliyal)
(Notes on Garhwali Stage Plays, Kumauni Stage Plays, Uttarakhandi Stage Plays, Himalayan Stage Plays)

Bhishm Kukreti

Bhakt Prahlad is the first published modern Garhwali drama by Bhavani Datt Thapliyal (Khaid, Mavalsyun, Pauri Garhwal, 1867-1932) in 1914 from Calcutta. However, Bhavani Datt Thapliyal wrote Jay-Vijay a Garhwali drama before Bhakt Prahlad but due to technical problem he could publish Jay-Vijay drama after Bhakt Prahlad. Jay-Vijay is based on well known folk Garhwali story and poem-Daint-Sanghar. Jay-Vijay drama is the foundation for Bhakt Prahlad drama. In Hindi drama scene, it was the transit period between Bhartendu Harish Chandra and Jay Shankar Prasad. The creation period of ‘Dhrub Swamini’ by Jay Shankar Prasad is same as of Bhakt Prahlad’.
Parsi theatre style (initiated in 1853) was dominating dramas of Indian vernacular languages. The form of Parsi theatre was highly electric and stories were taken from epics as Mahabharata. In the same period, Sankardas Swamigal had been initiating Tamil dramas for modernization and bringing professionalism from at the end of nineteenth century; D.L .Roy was accelerating the work of Golak Nath Das in the beginning of twentieth century ; C.V Raman Pillai wrote modern Malayalam drama ‘Kuruppillakkalari(1908) and Pandate Panchan introduced it in 1908’; in Telugu drama world, Chandala keshav Das’s ‘Kanak Tara’, Pundit K.Subramanya Sastri’s ‘Shir Krishna lilau (1914), Shrimula Sachidanand sastri’s ‘Savitri’(1915) dramas were staged and various regional groups staged mythological and social based dramas in Kannada too.
Jag Mohan Lala is the father of modern Oriya theatre (1875) who also wrote first Oriya play ‘Baba ji’.
In Marathi theatre, the era from 1882-1920 is called one of the productive eras. Around 1894-1928, Shripad Krishna Kolhatkar dominated Marathi drama world as his 12 plays were staged. There is similarity between the themes of ‘Bhakt Prahlad’ a Garhwali drama by Bhavani Datt Thapliyal and ‘ Kanchangadchi Mohana’ (1897) a Marathi drama by Krishnaji Prabhakar Khadilkar that both dramas were based on the well known mythological stories but both the dramas were full of contemporary relevancies. While Khadilkar the Marathi playwright created a Prataprao for propagating notion of independence in Kanchangadchi Mohana’ and Bhavani Datt Thapliyal created many new characters as Kaljugyanand a Guru who is a corrupt Guru, Gunda, Bhakunda, Durmati for attacking on political and social wrong -happenings . No doubt, Bhavani Datt Thapliyal dedicated the drama to George pancham but the drama criticized and make ridicules of British raj in the drama 9a dialogue- Amto Mister ho gaya ab yurpo jana mangta..”. Shenoi Goembab (1877-1946) played major role in developing Konkani dramas in this period. However, Shenoi Goembab adapted western dramas for Konkani.
In the same period, Jivan Jha wrote first modern Maithili plays –‘Sundarsanyoga’ (1904) and ‘Narmada Sagar’ (1906), both were social dramas and were staged in Varansi . Munsi raghunandan das wrote ‘Maithili’ and staged ‘Maithili’ play in Maithili area in 1910.
Shiv Charan Bhartiya was first Rajashthani dramatist published ‘Kesharvilas’ in 1900. The drama is a social drama and influenced by Parsi theatre.
The first Mizo drama written in Mizo script is ‘Krista pallai’(19340 directed by Chauwngzika.
Sorokhaibam lalit is called father figure of modern Manipuri drama. First modern Assamese drama is ‘Ramnavami’ by Gunabhiram Barua (1857). The drama is about widow remarriage. The mythological subjects with social messages dominated Assamese dramas from 1857-1920. Dhanbir Mukhiya staged a complete Nepali language drama in 1909 in Darjiling. Pahalaman Singh swar is credited for publishing first ever modern drama in Nepali language ‘Atalbahadur’ . the said drama was published from varansi in 1906,
Santan dharma Natak Samaj initiated staging mythological and moralistic Dogri plays from 1914 in Jammu.
Dip Cand bahman is called as ‘Kalidas of modern Haryanvi dramas who polished old folk theater style in Haryana around First World War.
By studying the various plays of various Indian languages, it is obvious that in the period 1880-1925, the Indian playwrights tried to infuse social messages into mythological subject. Mythology was serving two purposes that audience was easily involved with the drama and there was less censorship problem with British authority.
The theme of ‘Bhakt Prahlad’ is based on the story of Bhakt Prahlad of Hari Vishnu Puran. There are 28 acts in ‘Bhakt Prahlad’. Hirankashyapu is depicted as British Raj indirectly. Many characters in the drama represent the people of society and government administration.
The dialogues are the major elements of this drama for being very enjoyable. As –
Kaljugyanand – maraj mi par gusa ni howan sarkaar – mi t sab tadna kari chuki ye par bar bar –aur guru ji n bi ye tain dekhaye khoob dhudhkaar fatkar –parantu yel jara bhar ni chhodi bolano narayan hari katari –ya te mahaprabhu ! kuchh aap hi karan ye ko vichar –ham to hoi gayan ye tain bilkul lachaar
Though, there is less difference in languages spoken by various characters but the dialogues create the desired image of each character.
Jimidar – bin pani huye baanji saar, beej bi khaayiyan kistmar
Gothun goru gay gothyar , mai jimidar ji main jimidar ji
The dialogues create characterization and attack on wrong happenings either in the society or in state administration.
There are relevant lyrics in the drama. According to eminent Garhwali prose research scholar Dr Anil Dabral, the lyrics are very sharp and accelerate the speed of the drama.
The play is still relevant and the play has potentiality for making a feature film too. Bhavani Datt Thapliyal created a drama culture for modern Garhwali language. Bhavani Datt proved that drama is the best medium for showing the good and bad happening in the society.

Notes on Garhwali Stage Plays, Kumauni Stage Plays, Uttarakhandi Stage Plays, Himalayan Stage Plays to be continued …..

Copyright@ Bhishm Kukreti [/b]

Bhishma Kukreti · « **Reply #811 on:** March 01, 2012, 03:44:43 AM »

मध्य हिमालयी कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -47

Comparative Comparative Study of Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-47

सम्पादन : भीष्म कुकरेती

Edited by Bhishm Kukreti

कुमाउंनी और गढ़वाळी शब्दों में समानता और वैशिष्ठ्य -भाग- 8

Kumauni and Garhwali Agriculture Related Words - 6

हिंदी --------------------------------कुमाउंनी -----------------------गढ़वाली

अनाज को पौधों से अलग

करने के बाद बचा वशेष

जिसमे कुछ अन्न भी बचा रहता है --भूडा ------------------------??

मूषा -----------------------------------मूश ---------------------------मूस

अनाज को पुआल से अलग करना ----माणनॉ----------------- मांडण

नाली के नाप का ----------------------मानो /माणो ----------------माणु

उड़द ------------------------------------मांश ------------------------उड़द

मुट्ठी की नाप -------------------------मुट्ठी -------------------------मुट्ठी

शुरुवात -------------------------------मैशो-------------------------मिसाण/पवाण लगाण

मोल (बैलो के मुहं पर लगाये जाने वाला ) -मोल/म्वाल ------------------म्वाळ

वर्षा में सिर पर ओढ़ने वाला

मालू/बांस से बना उपकरण ---------मौंनो ----------------------------मुणक/मुणकि

सुखा मौसम --------------------------रूड़ -----------------------------रुडि

रोपाई --------------------------------रोपै -----------------------------रूपणि /रोपै

बरसाती नाला -----------------------रौड़ो-----------------------------रौड़ (रौड़ का दूसरा अर्थ भूतकाल में फिसलना भी है )

पशुओं द्वारा फसल चरना----------वलान/शर -----------------------------उज्याड़ खाण

संभलना-----------------------------शपड़तो----------------------------- संबाळण

एक जगह से दूसरी

जगह ल़े जाना----------------------शारनो/शारण--------------------------सरण /सारण

तिनका -------------------------------शिन्को/शिणुक----------------------सिणुक /सिणिकि

छीमी --------------------------- -------शिमि -----------------------------छीमि

कीचड़ वाली जगह --------------------शिमार -------------------------सिमलु/सिमार/ सीमंद

भुने धान से निकले चावल--------------शिरौला -----------------------चूड़ा

सींग -------------------------------------शींग --------------------------सिंग

सूप ---------------------------------------सुप्पो -----------------------सुप्प /सुप्पो

छाया----------------------------------------शेल /श्योव -----------------छैल /छैलू

बेंत से मारना -----------------------------शोट्ट्यूनों /शोट्युण ----------सूटक्याण /चुटण

काई---------------------------------------श्यांलो--------------------------सिंवळ

हांकना ------------------------------------ हकूनो/हकूण -----------------हकाण

वर्फ---------------------------------------ह्यूं --------------------------ह्यूं

हलवाहा -----------------------------------हलिया/हइया -------------हळया

हल - ---------------------------------------हलो/हव -----------------हौळ

सन्दर्भ -
1- अबंधु बहुगुणा , १९६० , गढ़वाली व्याकरण की रूप रेखा, गढ़वाल साहित्य मंडल , दिल्ली ( Structure of Garhwali Grammar)

२- बाल कृष्ण बाल , स्ट्रक्चर ऑफ़ नेपाली ग्रैमर , मदन पुरूस्कार, पुस्तकालय , नेपाल (Structure of Nepali Grammar)

३- डा. भवानी दत्त उप्रेती , १९७६, कुमाउंनी भाषा अध्ययन, कुमाउंनी समिति, इलाहाबाद (Study of Kumauni Language Grammar)

४- रजनी कुकरेती, २०१०, गढ़वाली भाषा का व्याकरण, विनसर पब्लिशिंग कं. देहरादून ( Grammar of Garhwali Language)

५- कन्हयालाल डंड़रियाल , गढ़वाली शब्दकोश, २०११-२०१२ , शैलवाणी साप्ताहिक, कोटद्वार, में लम्बी लेखमाला (Garhwali- Hindi Dcitionary)

६- अरविन्द पुरोहित , बीना बेंजवाल , २००७, गढ़वाली -हिंदी शब्दकोश , विनसर प्रकाशन, देहरादून (Garhwali hindi Dictionary )

७- श्री एम्'एस. मेहता (मेरा पहाड़ ) से बातचीत

८- श्रीमती हीरा देवी नयाल (पालूड़ी, बेलधार , अल्मोड़ा) , मुंबई से कुमाउंनी शब्दों के बारे में बातचीत

९- श्रीमती शकुंतला देवी , अछ्ब, पन्द्र-बीस क्षेत्र, , नेपाल, नेपाली भाषा सम्बन्धित पूछताछ

१० - भूपति ढकाल , १९८७ , नेपाली व्याकरण को संक्षिप्त दिग्दर्शन , रत्न पुस्तक , भण्डार, नेपाल (Briefs on Nepali Grammar)

११- कृष्ण प्रसाद पराजुली , १९८४, राम्रो रचना , मीठो नेपाली, सहयोगी प्रेस, नेपाल (Nepali Grammar)

१२- चन्द्र मोहन रतूड़ी , गढ़वाली कवितावली ( सं. तारा दत्त गैरोला, प्र. विश्वम्बर दत्त चंदोला) , १९३४, १९८९

13- Notes of Dr Achla Nand Jakhmola on Grammar book by Dr Bhavani Datt Upreti

. @ मध्य हिमालयी भाषा संरक्षण समिति

Bhishma Kukreti · « **Reply #812 on:** March 01, 2012, 12:29:30 PM »

Baba ji Ki Kapal Kriya: A Satirical Garhwali Drama Depicting Cruelty of a Son

(Review of ‘Baba Ji ki Kapal Kriya’ drama by Bhavani Datt Thapliyal)
(Notes on Garhwali Stage Plays, Kumauni Stage Plays, Uttarakhandi Stage Plays, Himalayan Stage Plays)

Bhishm Kukreti

‘Baba ji Ki Kapal Kriya’ drama is part of ‘ Bhakt Prahlad ‘ (1912/13) by Bhavani Datt Thapliyal and is an exclusive one act drama too. The drama theme is taken from Markandey Puran wherein sons snatch the wealth of their father and they leave him in the jungle. However, the father still is their well wisher.
In the story of ‘Baba ji Ki Kapal Kriya’ drama, the son declares his living father as dead that he could own the father’s property. The dialogue of son is the example of cruelty and selfishness of the son ‘ Jitna ham jap tap karenge utna gap sapp karenge., jise lampat –labar banenge..’
The son applies in the court for a bamboo stick for doing ‘Kapal Kriya ‘of his living father. The story is in exaggerated form but looks very realistic at the same time. The imagination of Bhavani Datt Thapliyal is fantastic in showing the selfishness of a son and kindness of learned father.
Bhavani Datt is the master in providing dialogues for the characters as per the time and as per the purpose of drama. The dialogues are agile and are in semi poetic form.
Eminent Garhwali prose critic Dr Anil Dabral claims that Bhavani Datt Thapliyal has been successful in characterization and developing the characters. The audience would definitely hate the son when they would watch the drama.
Reference:
Dr Anil Dabral, 2007, Garhwali Gady parampara.

Copyright@ Bhishm Kukreti
Notes on Garhwali Stage Plays, Kumauni Stage Plays, Uttarakhandi Stage Plays, Himalayan Stage Plays to be continued ….

Bhishma Kukreti · « **Reply #813 on:** March 01, 2012, 11:51:57 PM »

Hundred Years of Modern Garhwali Drama

Faundar Ji ki Kachhdi: A Garhwali Drama Attacking on Social Evils

(Review on ‘Faundar ji Ki Kachhdi’ a Garhwali Stage Play by Bhavani Datt Thapliyal)
(Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas)

Bhishm Kukreti

The father of Modern Garhwali Drama Bhavani Datt Thapliyal wrote ‘Faundar ji Ki Kachhdi’ drama. (1912). The ‘Faundar ji Ki Kachhdi’ drama exposes the immorality in society; delay in judgment and corruption in state courts; sales of unmarried girls and the mafias of such activities; selling bulls to slaughter houses with the help of mafias. The drama also speaks positively about need of cultural development through following the ritual norms. Bhavani Datt Thapliyal was definitely a visionary man. Thapliyal showed the evils which exist today too as delay and corruption in judiciary; prostitution prostration through sales of girls from rural areas, no care for caw-bull as they deserve.
The story ‘Faundar ji Ki Kachhdi’ drama is about Kumutu selling his daughter at thousand rupes to a rich man of Mumbai through Purohit Durachari. Purohit Durachari did not give him thousand rupees but only hundred bucks. Kumtu goes to Mumbai to take balance money and found that his daughter is in real is sold to abutcher and now his daughter is also involved in selling animal skin. Kumtu did not get money. After returning to village, when Kumtu informs the reality to his wife, she does suicide and his son runs away from village.
Now, at the same time, Purohit Durachari and village councilor put a case of nonpayment of state tax (Thakuransh) from the sale of daughter. The judge fines to Kumtu and all his property is transferred to village councilors and Purohit. There is openly corrupt methodology in the judiciary in the drama.
Though the drama is fast but the dramatist has been successful in characterization of each character.
The Garhwali drama ‘Faundar ji Ki Kachhdi ‘written around 1912 is effective in showing corrupt judiciary and where only money talks as the Russian drama ‘One Hour Eighteen Minutes’ authored by Yelena Gremina (2010); attacks on judiciary system sharply as Arthur Miller ‘s play ‘The Crucible’ (1952)attacks. The dialogues of ‘Faundar ji Ki Kachhdi’ drama make the drama humorous even showing cruel part of corrupt judiciary as also found in ‘Rape Upon Rape’ play by Henry Fielding (1730).
The drama has speed due to crispy screenplay and dialogues are marvelous as the judge speakers for describing himself ‘
Helo! Ham t chhanvaan pariyun ka payandaj! Paulisibaj! Najuk mijaj ! rat din dikhdaa randun ka naj-andaj! Ya ten fursat ka chhanvaan in mohtaj ki n t kauri sakdan sandhya, pooja-namaj n kachhedi ka kuchh kam –kaj.
The drama shows the benefits being taken by opportunists in the society due to injured judiciary system.
The drama ‘Faundar ji Ki Kachhdi’ is one act play and has all possibility in attracting the audience.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwali Rangmanch
4-Drama special issue of Chitthi Patri magazine

Copyright@ Bhishm Kukreti

Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas to be continued …..

Bhishma Kukreti · « **Reply #814 on:** March 02, 2012, 03:37:42 AM »

मध्य हिमालयी कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -48

Comparative Comparative Study of Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-48

सम्पादन : भीष्म कुकरेती

Edited by Bhishm Kukreti

कुमाउंनी और गढ़वाळी शब्दों में समानता और वैशिष्ठ्य -भाग- ९

घर सम्बन्धी शब्दावली

हिंदी --------------------------------कुमाउंनी -----------------------गढ़वाली

श्रृंखला --------------------------------शांगलो/शान्गोव

सीढियां --------------------------------खुटकुनो/खुटकण -----------सीडि

देहरी -----------------------------------देलि -------------------------देळि

दरवाजे का चौखटा -------------------मोल ---------------------------म्वsर /म्वार

बैठने के लिए बना

चौड़ा स्थान --------------------------चौथार ------------------------चौंतरा

दीवार -----------------------------------शै ---------------------------दिवाल/दिवलि

बल्ली -----------------------------------भरानो ---------------------बौळि

गौशाला ---------------------------------गोठ /छन -----------------छन /शनि /शन

------------------------------------------गढ़वाली में गोठ= जब पशुओं को खेतों में रखा जाता है

गोठ के ऊपर वाली मंजिल --------------मंज्याल-----------------मंज्यूळ

मंजिल के ऊपर की मंजिल ----------------पाड़-------------------तिपुर

छतों के स्लेटी पत्थर-------------------पाथर ---------------------पथर

आँगन के चारों की दीवार--------------भीड़ -----------------------भीड़

खलियान -------------------------------खलो /खव----------------खल्याण

घर के पीछे का स्थान ------------------कर्यडि -------------------कुलण/कुलिण

छत की प्रमुख लकड़ी ------------------घूर ------------------------पसूण

सन्दर्भ -
1- अबंधु बहुगुणा , १९६० , गढ़वाली व्याकरण की रूप रेखा, गढ़वाल साहित्य मंडल , दिल्ली ( Structure of Garhwali Grammar)

२- बाल कृष्ण बाल , स्ट्रक्चर ऑफ़ नेपाली ग्रैमर , मदन पुरूस्कार, पुस्तकालय , नेपाल (Structure of Nepali Grammar)

३- डा. भवानी दत्त उप्रेती , १९७६, कुमाउंनी भाषा अध्ययन, कुमाउंनी समिति, इलाहाबाद (Study of Kumauni Language Grammar)

४- रजनी कुकरेती, २०१०, गढ़वाली भाषा का व्याकरण, विनसर पब्लिशिंग कं. देहरादून ( Grammar of Garhwali Language)

५- कन्हयालाल डंड़रियाल , गढ़वाली शब्दकोश, २०११-२०१२ , शैलवाणी साप्ताहिक, कोटद्वार, में लम्बी लेखमाला (Garhwali- Hindi Dcitionary)

६- अरविन्द पुरोहित , बीना बेंजवाल , २००७, गढ़वाली -हिंदी शब्दकोश , विनसर प्रकाशन, देहरादून (Garhwali hindi Dictionary )

७- श्री एम्'एस. मेहता (मेरा पहाड़ ) से बातचीत

८- श्रीमती हीरा देवी नयाल (पालूड़ी, बेलधार , अल्मोड़ा) , मुंबई से कुमाउंनी शब्दों के बारे में बातचीत

९- श्रीमती शकुंतला देवी , अछ्ब, पन्द्र-बीस क्षेत्र, , नेपाल, नेपाली भाषा सम्बन्धित पूछताछ

१० - भूपति ढकाल , १९८७ , नेपाली व्याकरण को संक्षिप्त दिग्दर्शन , रत्न पुस्तक , भण्डार, नेपाल (Briefs on Nepali Grammar)

११- कृष्ण प्रसाद पराजुली , १९८४, राम्रो रचना , मीठो नेपाली, सहयोगी प्रेस, नेपाल (Nepali Grammar)

१२- चन्द्र मोहन रतूड़ी , गढ़वाली कवितावली ( सं. तारा दत्त गैरोला, प्र. विश्वम्बर दत्त चंदोला) , १९३४, १९८९

13- Notes of Dr Achla Nand Jakhmola on Grammar book by Dr Bhavani Datt Upreti

. @ मध्य हिमालयी भाषा संरक्षण समिति

Bhishma Kukreti · « **Reply #815 on:** March 02, 2012, 12:47:44 PM »

Uttarakhand Ki Sanskritik Dharohar-: Ravain Kshetr ki Lok Sahity ka Sanskritik Addhyayan: Illustrating Traditions, Values, Language and Culture of Ravain Region

(Review of book ‘Uttarakhand Ki Sanskritik Dharohar’ by Dr.Jagdish Prasad Naudiyal (Jaguu Naudiyal)

Bhishm Kukreti

Ravain region of district Uttarkashi, Uttarakhand, India is rich in its heritage and exclusive culture. The region is the valley between Tons and Yamuna Rivers. Rawain. Mahabharata and Skandpuran provide the glimpse of Ravain and its strategic and social importance of that time.
Ravain has exclusive social and cultural heritage. There is influence of Garhwali culture on the area but at the same time it has uniqueness and distinctiveness too. Therefore, it is necessary to explore the culture and social aspects of Ravain region exclusive than Garhwal as whole.
Dr Shiv Prasad Dabral provides the historical aspects of Ravain in his books ‘Uttarakhand ka Itihas’ . No doubt, there have been attempts for exploring about the culture, language, folk literature of Ravain as by Dr. Govind Chatak, Dr. Shiva Nand Nautiyal, Surendra Pundir. However, all works come under the category of tits and bits. Dr Jagdish Naudiyal alias Jaggu Naudiyal a Garhwali and Hindi creative is firs creative to explore the region from all social and cultural angles in this Hindi book.
The first chapter of the said book deals with general features as geography, forest and other economical aspects, famous tourist and religious places of Ravain.
In the second chapter, the readers will find about culture of Ravain - land, cultural features, customs , family tradition, religious and social norms etc
Third chapter of Uttarakhand Ki Sanskritik Dharohar is dedicated to all arms of general folk literature
Fourth chapter discusses about folk literature and cultural exclusivity.
The learned research scholar Dr Jagdish Naudiyal alias Jaggu Naudiyal did not forget to guess about future of the region by stating present aspects and changes being taken places.
The author Dr Jagdish Naudiyal alias Jaggu Naudiyal traveled village to village for exploring each aspect of society and culture of Ravain. There are 23 photographs collected by the author and supported his findings by 13 charts.
The book by Dr Jagdish Naudiyal alias Jaggu Naudiyal is based on the researches done for his PhD degree. However, Jaggu Naudiyal used simple Hindi phrases that book is different than the complex research write up.
Research scholars, learned intellectuals and all other people from different fields will definitely appreciate the work of Dr Jagdish Naudiyal alias Jaggu Naudiyal.
It I will be enough to conclude the words of Professor Braj Mohan Sharma of Punjab University that Dr Jagdish Naudiyal alias Jaggu Naudiyal has deep study of traditions, values, language, culture and folk literature of Ravain a Himalayan region, therefore Dr Jagdish Naudiyal is successful in presenting the original geographical, historical, political, life of Ravain. Professor Sharma appreciates the work of the scholar and states that Dr. Jagdish Naudiyal has tremendous capacity for examining the aspects of society and culture.
Book reviewed -
Uttarakhand Ki Sanskritik Dharohar-: Ravain Kshetr ki Lok Sahity ka Sanskritik Adhyan
Author –Dr Jagdish Prasad Naudiyal (Jaguu Naudiyal)
Publisher: Winsar Publishing Company
K.C. City Centre
4 Dispensary Road
Dehradun – 248001
Call- 0135-3294464
Winsar.nawani@gmail.com

Copyright@ Bhishm Kukreti

Bhishma Kukreti · « **Reply #816 on:** March 02, 2012, 10:23:37 PM »

Pankhu: A Garhwali Drama about Dilemma of Mismatched Marriage

(Review of ‘Pankhu’ a Garhwali stage Play)
(Notes on Garhwali dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas)

Bhishm Kukreti

The resident of Tihri Riyasat Shemiar established a ‘Shemiar Dramatic Club’ in Tihri on 17th October 1917. He built a drama hall in 1921. Most the officers of Tihri court were the members of this club. This club used to exhibit Parsi styled dramas in Urdu/Hindustani. Dr Sudhrani claims that ‘Pankhu’ a second drama in Garhwali was staged in Shemiar dramatic club hall in 1917. However, Dr. Anil Dabral claims that ‘Pankhu’ was staged first time in 1932 written by ‘char mitr sukhak’ (four friends –Pundit Satya Prasad Raturi, Devi Datt Nautiyal, Vidya Lal Nautiyal and Medhkar Nautiyal). Dr Anil seems to be more appropriate. Raturi performed as ‘Parma and Medhakar Nautiyal performed ‘Pankhu’ in the drama. Satya Prasad Raturi published the book in 1938 from Dehradun in 1938. Himalaya Press Muni ki Reti published second edition in 1955 and great historian Dr Shiv Prasad Dabral published its third edition in 1995 from veer gatha Press, Dugadda, Pauri Garhwal with an introductory note. Vijay Ram Raturi wrote songs for the drama.
The story of ‘Pankhu’ is the mirror of Garhwal of that period. However, the emotional presentation of the drama is forever.
The story is about a young girl ‘Pakhu’ was married to an old aged widower. She had a one minute romance before marriage with Parma in a jungle. When Pankhu is married, the drama opens many secrets of human psychology due to mismatch marriage. There is need of emotional love, need of physical satisfaction for a young woman, there is need of sharing with equal terms between husband and wife and there is frustration and fear of a old person due to his beautiful young wife in ‘Pankhu’ drama’. The dramatists have been successful in showing the deep love between active age’s persons with the help of songs on background.
The dialogues are from the society and are common today too. Father of ‘Pankhu’ wants to take more money for his daughter from old man who wishes to marry her and there is conversation as if ‘Pankhu’ was not a human but a she goat-
Barmi (later who becomes Pankhu’s husband)- pandra sau t tum kami mangadan? Aji pandra sau ma t hondu kano aur kano . sau aathek ma t kwee bi lee java.
Balkhu(Pankhu’s father)- t jan dya tum ni deen t …
The above conversation style still exist in Garhwal at the time of selling-purchasing of a domestic animals or field etc. The language in the conversation is perfect as per the situation and as per the character.
The duologues are helpful in creating characters of the role players in the drama.
The dramatists have been successful in showing the emotions by dialogues and the background activities of the role players as making patbedi (a Garhwali cigar), blowing Hukka, going to fair etc.
‘Pankhu’ had been a stepping stone in developing modern Garhwali drama tradition.

References:
References:
1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwali Rangmanch
4-Drama special issue of Chitthi Patri magazine
5-Dr Shiv Prasad Dabral, introductory notes of Pankhu’

Copyright@ Bhishm Kukreti

Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas to be continued …..

Bhishma Kukreti · « **Reply #817 on:** March 03, 2012, 02:23:23 AM »

Hundred Years of Modern Garhwali Drama

Samaj: A Garhwali drama about Social problems
(Information about ‘Samaj’ a Garhwali drama by Ghana Nand Bahuguna)
(Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas)

Bhishm Kukreti

There is less information available about a Garhwali drama ‘Samaj’.
Abodh Bandhu Bahuguna (1976) stated that after Bhavani Datt Thapliyal (1900-1940), most of the contributors of Garhwali literature contributed for Garhwali poetry. Mostly, Garhwalis preferred contributing to Hindi prose than Garhwali language prose. Bahuguna further said that a couple of Garhwali creative came in the field of Garhwali prose as Ghana Nand Bahuguna. Ghana Nand Bahuguna published ‘Samaj’ drama from Ganga Pustakmala Karyalay, Luchnow in the month February of 1930. The drama ’Samaj’ has a significant place in the field of Garhwali prose. ‘Samaj’ has been the instruments in stopping de-growth /de-generation of Garhwali prose. Bahuguna further narrated ‘Raula ki Khaulyau dekhik I gad ko pata chald . The said statement of Abodh Bandhu Bahuguna appreciated Ghana Nand Bahuguna for his contribution in Garhwali prose and the subject of ‘Samaj’ drama too.
It is clear that the subject of ‘Samaj’ is about social problems and social reforms.
Dr Hari Datt Bhatt Shailesh (1986) informed in his research article ‘Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan ‘that Ghanannand Bahguna published a Garhwali drama ‘ Samaj’ in 1930. Dr Bhatt further states that this way there was initiation of Garhwali drama (Bhakt Prahlad) and it gets continuous development (about ‘Samaj’).
Dr Bhakt Darshan (1986) provided the following briefing about ‘Samaj’ a Garhwali drama that Ghana nand Bahuguna was born in village Pokhari, Chalansyun (great Sanskrit scholar Meghakar Bahuguna’s great grandchild) of district Pauri Garhwal. Ghana Nand Bahuguna had been famous advocate f in Pauri. Ghana Nand Bahuguna was prolific writer of Garhwali, English and Hindi languages. Ghana Nand Bahuguna expired on 13th February 1964 in Pauri. Bahuguna was also an active social worker of Pauri who published a Garhwali drama ‘Samaj’.
(Recently, this author came in contact with the grand son (who is an advocate too) of Shri Ghana Nand Bahuguna through facebook . He wanted the copy of book where his life sketch is published and this author wanted the copy of ‘Samaj’ drama. However, the contact is broken due to mail pouring in my inbox. )

References:
1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwal ka Rangmanch
4-Drama special issue of Chitthi Patri magazine
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth

Copyright@ Bhishm Kukreti bckukreti@gmail.com

Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas to be continued …

Bhishma Kukreti · « **Reply #818 on:** March 03, 2012, 07:35:40 AM »

मध्य हिमालयी कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -49

Comparative ComparativeStudy of Kumaoni Grammar,GarhwaliGrammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-49

सम्पादन : भीष्म कुकरेती

Edited by Bhishm Kukreti

कुमाउंनी और गढ़वाळी शब्दों में समानता और वैशिष्ठ्य -भाग- 10

भोज्य पदार्थ

हिंदी -------------------------------------कुमाउंनी -------------------------गढ़वाली

पतला भोजन जो दालों खासकर गहथों

को भिगाकर पीसकर बनाया जाता है -- फाणो/फाण ------------------फाणु

भट्ट नामक की पदार्थ से बना खाद्य ------भट्ट्या----------------------भट्वणि

कढ़ी (बिन मसाले, नमक आदि का) --------पल्यौ----------------------पळयौ

कढ़ी (मसलादी मिलकर )-------------------झोली --------------------झुळि

चावल पीसकर या आटे का मिश्रण

झोंळी/ साग बनाने हेतु प्रयुक्त ------------बिश्वार-------------------आलण

सुखा साग या शिकार ----------------------- भुटवा------------------ भुटवा

अरबी ----------------------------------------पिणौ/पिनालू-----------पिंडळु

सन्दर्भ-

1- अबंधु बहुगुणा , १९६० , गढ़वाली व्याकरण की रूप रेखा, गढ़वाल साहित्य मंडल , दिल्ली ( Structure of Garhwali Grammar)

२- बाल कृष्ण बाल , स्ट्रक्चर ऑफ़ नेपाली ग्रैमर , मदन पुरूस्कार, पुस्तकालय , नेपाल (Structure of Nepali Grammar)

३- डा. भवानी दत्त उप्रेती , १९७६, कुमाउंनी भाषा अध्ययन, कुमाउंनी समिति, इलाहाबाद (Study of Kumauni Language Grammar)

४- रजनी कुकरेती, २०१०, गढ़वाली भाषा का व्याकरण, विनसर पब्लिशिंग कं. देहरादून ( Grammar of Garhwali Language)

५- कन्हयालाल डंड़रियाल , गढ़वाली शब्दकोश, २०११-२०१२ , शैलवाणी साप्ताहिक, कोटद्वार, में लम्बी लेखमाला (Garhwali- Hindi Dcitionary)

६- अरविन्द पुरोहित , बीना बेंजवाल , २००७, गढ़वाली -हिंदी शब्दकोश , विनसर प्रकाशन, देहरादून (Garhwali hindi Dictionary )

७- श्री एम्'एस. मेहता (मेरा पहाड़ ) से बातचीत

८- श्रीमती हीरा देवी नयाल (पालूड़ी, बेलधार , अल्मोड़ा) , मुंबई से कुमाउंनी शब्दों के बारे में बातचीत

९- श्रीमती शकुंतला देवी , अछ्ब, पन्द्र-बीस क्षेत्र, , नेपाल, नेपाली भाषा सम्बन्धित पूछताछ

१० - भूपति ढकाल , १९८७ , नेपाली व्याकरण को संक्षिप्त दिग्दर्शन , रत्न पुस्तक , भण्डार, नेपाल (Briefs on Nepali Grammar)

११- कृष्ण प्रसाद पराजुली , १९८४, राम्रो रचना , मीठो नेपाली, सहयोगी प्रेस, नेपाल (Nepali Grammar)

१२- चन्द्र मोहन रतूड़ी , गढ़वाली कवितावली ( सं. तारा दत्त गैरोला, प्र. विश्वम्बर दत्त चंदोला) , १९३४, १९८९

13- Notes of Dr Achla Nand Jakhmola on Grammar book by Dr Bhavani Datt Upreti

Bhishma Kukreti · « **Reply #819 on:** March 03, 2012, 11:05:47 PM »

Hundred Years of Garhwali Dramas

Basanti: A Garhwali Drama dealing with Social Problems

(Review of ‘Basanti’ a Garhwali Drama by Vishwambar Datt Uniyal)
(Garhwali Dramas, Kumauni Stage Plays, Dramas of Uttarakhand, Himalayan Dramas)

Bhishm Kukreti

Vishwambar Datt Uniyal (Uniyal Ganv, Saklana, Tihri Garhwal, 1904-1945) was the first Indian who became the member of Mossurie Municipal Corporation.
Vishwabar Datt Uniyal published a social Garhwali drama ‘Basanti ‘ from Uttarakhand, press, Dehradun, 1932 and dedicated the book to late Mahant Lakshman Das Ji of Guru Ram Rai Sahib.
Basanti is about five acts and fourteen scenes. The drama is idealistic and with clear objectives that society should stop mismatch marriage (old man and young female), the youth should have Neetivan and should have good conduct, and the saint should act always in selfless behavior.
The story is about parents of Basanti from a village who are worried about marriage of their young daughter and as the prevailing custom of that time are ready to marry her daughter to an old man. The parents feel that their duty is limited just to marry their daughter. The parents of a young man Hari Singh are also worried about marriage of their unmarried son. Well educated Hari singh is rebellion in Dehradun and fights many battles against wrong people or social evils. At the end hari singh and Basanti are engaged. There are other characters to develop the drama as saint, pundit and Gatti. Gatti is badi and sings song in the drama. The drama has many folk songs for expressing emotions which can’t be expressed through dialogues or prose.
Basanti drama is successful in showing the struggle of parents who are worried about their children marriage. The acts of Hari Singh preach for requirement of idealistic youth in the society with least preaching speeches.
The dramatist took care in developing characterization of the characters.
The dialogues are as per the nature of characters. The dialogues are effective and provide speed to drama as –
Basanti – didi !dekh dhaun hindu logun ma kano buro rivaj ch ki naunyun byau budyaun se kar dendan. Bhai ! ina karan se t jai din hweai vai I din baghai dyon t acchho rhee. Jindagi bhar ka ron dhon se t ni hon hi bhalo.
Or
Gatti- d1 thakuru ki chhween sunaan. Mai sani abi teen beesi ar paancho baras lagyun thakuro! Log t assi pichaasi baras ma byau kardan maaraaj
The chorus song at the end of drama is an example of imagining power of Vishwambar Datt Uniyal.
Hari Datt Bhatt Shailesh states that due to its dialogues and social needs, the drama was staged many times. Bhatt informs the people were influenced by the theme of this drama. The drama is less literature and is more of communication medium. Basanti drama worked well in its time to influence people going against mismatched marriages custom.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwal ka Rangmanch
4-Drama special issue of Chitthi Patri magazine
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth

Copyright@ Bhishm Kukreti bckukreti@gmail.com

Garhwali Dramas, Kumauni Stage Plays, Dramas of Uttarakhand, Himalayan Dramas to be continued …..

MeraPahad Community Of Uttarakhand Lovers

News:

Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख (Read 1484735 times)

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti

Re: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख