Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख (Read 723720 times)

Bhishma Kukreti · « **Reply #880 on:** March 22, 2012, 12:00:08 AM »

Jod Ghatuno: A Modern Garhwali drama about inner conflict among Migrated Garhwalis.

(Review of a Garhwali Drama ‘Jod Ghatuno’ by playwright Abodh Bandhu Bahuguna)
(Critical History of Modern Indian Drama, Critical History of Modern Himalayan Drama, Critical History of Modern Uttarakhandi Drama, Critical History of Modern Garhwali Drama, Hundred Years of Modern Garhwali Dramas)

Bhishma Kukreti
‘Jod Ghatuno’ is one the modern Garhwali dramas of ‘Chakrchal a modern Garhwali drama collection by Abodh Bandhu Bahuguna. Abodh Bandhu wrote this modern Garhwali drama for radio medium.
The modern Garhwali drama ‘Jod Ghatuno’ deals about inner conflicts among migrated Garhwalis. At one side the migrated Uttarakhandi has to improve his present condition in cities and struggle for materialistic world achievement. The Garhwali who is first generation migrated has sympathy, memories for his mother land. Second generation is more realistic and outspoken. If the second generation does not hate Pahad and Pahdi gaon the new generation watches the situation with realistic vision.
Fifty seven years old Devi Prasad is first class government officer in Delhi. Devi Prasad and his wife always remember that they are upper caste among upper caste Brahmin Chauthu Baman) and are proud of such caste. However their daughter marries a Mahrashtrian boy (whose caste is unknown?). The son Divakar who represents second generation is more realistic and criticizes a social worker Chakradhar swami for Garhwalis of Garhwal exploiting migrated Garhwalis.
The modern Garhwali drama writer Abodh Bandhu Bahuguna has been successful in showing the conflict between first generation migrated from Garhwal and second generation brought in Delhi
Devki- are par duniyadari t nabhauni padd. Kano lata chhe tu
Divakar no no mummy! Apni jindagau apno time teble hono chaind ar parivar ko apno family budget fer dekh aish asrat.
Devi Prasad- jindagi hisab kitab kwee sarkaari budget nee chh, ki ithga ghato rai ar ithga munafa rai ----ghato ko bajat bi hond.
The incidents of modern Garhwali drama ‘Jod Ghatuno’ take place in every migrated family. The drama ‘Jod Ghatuno’ is realistic modern Garhwali drama.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Modern, Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Moder, Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti, Mumbai, India

Notes on Critical History of Modern Indian Drama, Critical History of Modern Himalayan Drama, Critical History of Modern Uttarakhandi Drama, Critical History of Modern Garhwali Drama, Hundred Years of Modern Garhwali Dramas to be continued…….

Bhishma Kukreti · « **Reply #881 on:** March 22, 2012, 01:19:36 AM »

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-64

कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -64

Edited by Bhishm Kukreti

हिंदी, कुमाउंनी और गढ़वाली भाषाओँ में वाक्य भेद -9

७६- हिंदी - हे भगवान् ! आप क्यों नहीं आते?

कुमाउंनी -हे भगवान ! आपूं किलैनि ऊना

गढ़वाली - हे भगवान ! आप किलै नि औणा /आणा छंवां ?

७७-हिंदी - भैया! यहाँ आओ

कुमाउंनी -भया ! याँ आ

गढ़वाली - भया ! इखम आ

७८-हिंदी - कल क्या हुआ था?

कुमाउंनी -बेइ कि हौ ?

गढ़वाली - ब्याळि क्या ह्व़े/ह्वाई ?

७९-हिंदी - वै कैसे आये थे ?

कुमाउंनी -ऊं कशी आईं

गढ़वाली - उ/ वु कन ऐन ?

८०-हिंदी - वे चार भाई हैं.

कुमाउंनी -ऊं चार भै छन

गढ़वाली - ऊ चार भै छन

८१- हिंदी - मेरे पास पांच रूपये हैं

कुमाउंनी -म्यार पा पांच रुपैञ छन

गढ़वाली - मीम पांच रूप्या छन

८२-हिंदी - कक्षा में छ लडके हैं

कुमाउंनी -दर्ज में छै छयाल छन

गढ़वाली - दर्जा मा छौ लौड़ छन

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

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages to be continued .....

Bhishma Kukreti · « **Reply #882 on:** March 22, 2012, 12:08:02 PM »

A Rawain- Garhwali Folk Songs about Oppressed People

(Notes on Rawai Folk Songs about Oppressed People, Garhwali Folk Songs about Oppressed People, Uttarakhandi Folk Songs about Oppressed People, Himalayan Folk Songs about Oppressed People, Indian Folk Songs about Oppressed People, Asian Folk Songs about Oppressed People)

Bhishma Kukreti
Rawain is the area in the valley of Tons (Tamsa) and Yamuna Rivers of Uttarkashi district of Garhwal region. The area has a distinct culture and civilization from the Mahabharata era. The area Rawain was under Tihri King from 1815-1949. Dr. Shiv Prasad Dabral provided many oppressive methods of Tihri kings to get taxes from their subject. There had been many protests from Rawai region too especially by those inhabitants who had to settle in winter at southern Tihri Garhwal and in summer at Yamunotri area. There had been aggression from the King’s side for increasing Government forest area by diminishing the forest area of individual village. There had been tens of protests against the Tihri king in Rawain area.
The Tihri Riyasat police used to harass the people. The following folk song of Rawain area is the proof of oppression by Tihri Kings to their subject. Dr. Naudiyal states that still people of Rawain feel scared remembering the Tihri king.
टिहरी राजा खिलाप रवाईं को लोक गीत

हड़दी हड़ी काँवणी खिलादीना तीर रे
सुरेतू का डेरे दा बिजली से जोर रे
घरे दा लाणा गाडिया कटियों दा चूना रे
डेरे दा फूका सुरेतू गाँव का पड़ा सुना रे
फूली जाला फुलेटू डाटटी ना दाई रे
सुरेतू का डेरा पुलिस रे आई रे
तुमारे भीतर सुनेरी ना चाकी रे
थाणे दी आई पुलिस ओबेर दी राखी रे

(संकलन - डा. जगदीश नौडियाल )

References: Dr. Shiv Prasad Dabral, Uttarakhand ka Itihas
Dr. Jagdish Naudiyal, Uttarakhand ki Sanskritik Dharohar pg247

Copyright@ Bhishma Kukreti
Notes on Rawai Folk Songs about Oppressed People, Garhwali Folk Songs about Oppressed People, Uttarakhandi Folk Songs about Oppressed People, Himalayan Folk Songs about Oppressed People, Indian Folk Songs about Oppressed People, Asian Folk Songs about Oppressed People to be continued….

Bhishma Kukreti · « **Reply #883 on:** March 22, 2012, 12:11:01 PM »

बीपीएल नेता तुम धन्य हो !!!*******

by Narendra Guaniyal

हमारे बीपीएल नेता तुम धन्य हो..तुम्हारी माया (संपत्ति ) अपरम्पार है .;फिर भी तुम बीपीएल हो .२रु० किलो गेहूं,३रु० किलो चावल खाकर डकार भी नहीं लेते.देश में बढ़ते भ्रष्टाचार के सामानांतर तुम्हारी सेहत भी बढ़ रही है .तुम काफी मोटे हो गए हो .तुम्हारी खाल भी काफी मोटी हो गयी है .फर्जी ही सही,लेकिन बीपीएल के जरिये तुम्हें बहुत कुछ सपोड़ने का मौका मिल रहा है .गाँव की आंगनवाड़ी पर तुम्हारा कब्ज़ा है .गरीब ,कमजोर,कुपोषण से सूख रहे शिशुओं के बजाय तुम्हारे पशुओं-गाय-भैंस आदि की सेहत सुधर रही है .बाकी किसी पर मेहरबानी कर दो तो वो तुम्हारी मर्जी .वैसे कई फर्जी नाम भी तो चढ़ाये हैं .फर्जी बीपीएल हो तो फर्जी काम तो करोगे ही !.
धन्य हो बीपीएल नेताजी .! हर विभाग की मलाई चाट रहे हो बढ़ते कॉलेस्ट्रोल का भी ध्यान रखना .ज्यादा मलाई के चक्कर में कभी अस्पताल में न जाना पड़े.ज्यादा मलाई के दो बड़े खतरे हैं .इस से अस्पताल और जेल दोनों के रास्ते खुलते हैं.बीपीएल नेता तुम धन्य इसलिए भी,क्योंकि तुमने कोई विभाग नहीं छोड़ा.कोई बजट नहीं छोड़ा.कोई निधि नहीं छोड़ी,कोई राहत कोष नहीं छोड़ा.अपनी कुटुम्दारी के सभी सदस्यों के नाम कई-कई बार राहत कोष से लाखों रुपये सपोड़ दिए हैं.अपने चहेतों के लिए भी थोडा-थोडा जुगाड़ कर दिया है.नेतागिरी आगे भी तो करनी है.चुनाव लड़ना है.कमीशन खाकर सरकारी पैसा किसी के गले में डाला रहेगा तो पंचायती चुनाव में काम आयेगा.कई निधियों का लाखों रुपया अपने पेट में डालकर थोडा-थोडा अपने चेलों के मुंह पर भी लपोड़ना तुम्हें खूब आता है.गाड़ी,मकान,जमीन-जायदाद,धन-सम्पति,बैंक-बैलेंस सबकुछ नेतागिरी के कमीशन से बनाकर भी बीपीएल रहना बहुत बड़ी बात है.जहां सचमुच के गरीबों को भी अपने बीपीएल होने में भरी शर्म महसूस होती है.कई तो अपना बीपीएल कार्ड ही नहीं बना पाते.कार्ड बन भी गया तो उसका लाभ नहीं ले पाते.लेकिन तुम धन्य हो.फर्जी बीपीएल के बावजूद बिना शर्म-लाज के पूरे फायदा (गैर फायदा )उठाते हो.तुम्हारा भ्रष्टाचार भवन किसी रंगमहल से कम नहीं है.अधिकारी-कर्मचारी सबको पटाने में माहिर हो.सुरा-सुंदरी का फार्मूला तुम्हे खूब खपता है.चाहे कोई बदनाम हो,तुम्हें तो पास होना है.अपना मतलब हल करना है.तुम कफ़न से भी कमीशन निकलने में उस्ताद हो.बीपीएल नेता तुम सचमुच धन्य हो. तुम्हारा शुभचिंतक.. लालटेन प्रसाद

Copyright@ Dr Narendra Gauniyal

Bhishma Kukreti · « **Reply #884 on:** March 22, 2012, 09:03:00 PM »

[size=10pt]*******हे भुली !!*******

डॉ नरेंद्र गौनियाल

गौं का देवता-दीबा -भुम्या रकरके की देखणा
यख कु मन्खी कख सट्गी गे कुछ बता तू हे भुली

पुन्य की या भूमि सैरी खबेसों से च भरीं
कंस-रावण जन्मी गैनी यी कथा च हे भुली

जौंमा सौंप्यु राज-पाट ह्वैगें निख्वर्य-निर्भगी
खांदा-पींदा कन भुखारा सी ब्यथा च हे भुली

लदवाड़ी दनसट कैरिकैबी ल्यावा-ल्यावा छन बुना
माटु बि भसगैयाली तौन दून कत्गा हे भुली

देश जात्यों माँ बंटेगे गौं बंटनी ख्वालों माँ
हर्चली जो भयात तब क्य होलू हे भुली

जोड़दरों का ही हमारा टूकड़ा-टूकड़ा छन कर्याँ
क्वी भग्यान जोड़ी जांदू कुछ पता दे हे भुली ....

Copyright@ डॉ नरेंद्र गौनियाल[/size]

Bhishma Kukreti · « **Reply #885 on:** March 22, 2012, 09:28:08 PM »

Kulangar: A drama about Crooked Persons

(Review of ‘Kulangar’ drama by Abodh Bandhu Bahuguna)

Bhishma Kukreti

‘Kulangar’ is one of the sixteen dramas of ‘Chakrchal’ a drama collection by Abodh Bandhu Bahuguna. Abodh Bandhu Bahuguna wrote the drama for radio medium.
The subject and aim of the drama are very confusing. The playwright wanted to tell many mottos and in making so the dramatist failed to convey the desired message. There are characters as Chitra Singh his son Sher sing, mother of Chitra Singh, a Dalit his beautiful daughter, two Mitra Nand Bahuguna of Jhala village, Patwari .
Since, the dram is ineffective much is not possible to write about this drama.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Modern, Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Moder, Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058
Copyright@ Bhishm Kukreti, Mumbai, India

Bhishma Kukreti · « **Reply #886 on:** March 23, 2012, 12:21:29 AM »

SBK
Uttarakhand Place Branding -1
Why Should Every Uttarakhandi think about Uttarakhand Branding?

(Notes on Branding a Indian State, Branding a Himalayan Province, Place Branding for Uttarakhand, Branding of Places of Uttarakhand, Place Branding for Kumaun, Place Branding for Garhwal)

Bhishma Kukreti

Today, in the era of globalization, around the world, each village or metro of each region is competing with each other directly or indirectly. The common men should also know that every village of Garhwal or Kumaun is busy in competing thousands of villages around the world for getting development investment, for better employment for its inhabitants (there in Garhwal-Kumaun or migrated ones), for tourist attraction, for creating value, for inward workforce or for migration, wealth, attention and in many arenas. For example, there are hundreds of villages in the queue across the globe for getting a pie of aid from an international NGO. Today, an African village may be competing a Kumauni village for New Zealand tourists who want to spend a month in remote village. There may be indirect completion among Chinese, Jamaican , Garhwali or Cuban villages in getting aid from World Bank for water resource development.
When there is completion there is need for branding. When there is global completion there is need of professional marketing and branding. When there is indirect completion among villages across the earth there is need of perfect place branding. Today, place branding is the key for success of every place.
Benefits of Place Branding in Context of Uttarakhand
There are many benefits of place branding in context of Uttarakhand branding.
1-Sharing world wealth: Goswami Tulsi Das told that ‘Veer bhogya vasundhara’ that brave people enjoy the world wealth. Every day, there is new wealth in this earth and every Uttarakhandi has right to enjoy this wealth by ethical means. Place branding is the best medium for getting share of world wealth.
2-Export and import of talent: Migration is important aspect of globalization. The migration has two dimensional aspects- incoming migration and outgoing migration. If there is value in the name of Uttarakhand, Uttarakhand will be able for exporting talent at higher value and will be able to get better import of talent too.
3- Uttarakhand requires export of its different produces at higher values that Uttarakhand get revenues. Place branding is the best technique to export the products at higher values.
4- Uttarakhand requires continuous investment from inner prospects, Indian prospects and foreign prospects for its development. Place branding is the best criteria to inspire investors from Uttarakhand, Indian investors outside Uttarakhand and foreign investors for investment in Uttarakhand.
5- Attracting visitors: There are two types of visitors for Uttarakhand - the migrated Uttarakhandis that they visit Uttarakhand regularly and other visitors (Indian and International visitors). To attract both types of visitors, Uttarakhand requires strong branding for attracting both types of visitors. Place branding is solution for attracting visitors.
6- Better Import- Better import is an essential aspect for developing any place. Place branding is a criterion to get better import.
7-Playing a part and Indian and world affair: Uttarakhandis should know that when a place as Uttarakhand plays a great role in India and world affairs it will get more benefits. Place branding is a source of entering into right circle in India and other parts of world.
8- Reputation- Bright reputation is criteria in getting all the benefits. Place branding creates a reputation for any place as Uttarakhand. The citizens get respects and recognition by place branding.
9- Enhance civic pride: by place branding practices, Uttarakhandis (local or migrated ones) enhance self esteem and self esteem is essential aspects of manpower development.
10- Higher return on investment- Place branding is always helpful in getting higher return on investment.
11- Improving life style of Uttarakhandis- Place branding is always helpful in improving the life style of inhabitants.
12- Enhance business Climate- Uttarakhand requires a world class business climate. Place branding is the only source for creating world class business climate in the state.
The professional place branding for Uttarakhand will get increased effectiveness and efficiency for developing Uttarakhand. Place branding for Uttarakhand will bring many unexpected benefits to its stakeholders including migrated Uttarakhandis.

Copyright@ Bhishma Kukreti
Notes on Branding an Indian State, Branding a Himalayan Province, Place Branding for Uttarakhand, Branding of Places of Uttarakhand, Place Branding for Kumaun, Place Branding for Garhwal to be continued….

Part-2 … What is place branding? Definition and examples of place branding
Part-3 Uttarakhand place branding in its historical perspective

Comments of Shri Bhupesh Gauniyal, CA, Mumbai
Thank you Sir for a good subject close to my heart.

Universally I feel it’s the people with their interlocked sustainable living in their homeland keeping their identity culture and heritage, that creates the differentiated branding. It represents the softer but more importantly the stronger branding proposition, than the material showcase (of buildings and monuments no use to general living) as means of branding.

Having said this, for Uttarakhand Branding, I have this view point.

Our dear people with their natural mindset and service disposition (as a community), and the great natural endowments that we have received from Almighty, must stand out as one of the best examples in the world, in terms of living with environment in an organic, natural and sustainable manner, keeping our resources bountiful forever. This done with heritage wisdom mixed with contemporary knowledge would surely ensure we remain culturally Uttarakhandi but globally connected and acclaimed.

This would have to start with our nursery and kg standards, so that in 15 years we see the change. I see great role in women in villages and secondary students/youth in this.

If there is any discussion forum being organized on this topic, I would gladly attend it.

With regards

bhupesh gouniyal
Bhupesh.Gouniyal@unilever.com

Bhishma Kukreti · « **Reply #887 on:** March 23, 2012, 03:12:01 AM »

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-65

कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -65

Edited by Bhishm Kukreti

हिंदी, कुमाउंनी और गढ़वाली भाषाओँ में वाक्य भेद -10

८३- हिंदी - वहां सात व्यक्ति हैं

कुमाउंनी - वां सात मैश छन

गढ़वाली -उख सात आदिम/मनिख छन

८४-हिंदी -आठ दुकाने बन्द थीं

कुमाउंनी - आठ दूकान बन्द छीं

गढ़वाली -आट दूकान बन्द छे

८५-हिंदी -नौ पुस्तकें खरीदीं

कुमाउंनी -नौ किताब मोल ल्हीं

गढ़वाली -नौ किताब मोल लेन

८६-हिंदी -दस दिन बाकी हैं

कुमाउंनी -दस दिन बांकि छन

गढ़वाली --दस दिन बाकि छन

८७-हिंदी -तुम्हारा नाम क्या है ?

कुमाउंनी -तुमोर नाम कि छु ?

गढ़वाली --तुमर नौ क्या च ?

८८-हिंदी - वह कहां रहता है ?

कुमाउंनी -उ काँ रूं ?

गढ़वाली --उ कख रौंद?

८९-हिंदी -वे घर गये

कुमाउंनी -ऊं घर गईं

गढ़वाली --ऊ घर /ड़्यार गेन

९०-हिंदी -तुम जाते हो /मैं जाता हूं /वह जाती है

कुमाउंनी -तुम जान्छा /मैं जां /उ जैञ

गढ़वाली -- तुम जाणा छंवां अथवा तू जाणि छे /मि जाणु छौं /वा जाणि च

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

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages to be continued .....

Bhishma Kukreti · « **Reply #888 on:** March 23, 2012, 09:50:14 AM »

A Folk Mantra for keeping away Evil Spirit, Demon भूत भागने का मंत्र

(Notes on Indian Mysterious Traditional Literature, Himalayan Mysterious Traditional Literature, Uttarakhandi Mysterious Traditional Literature, Mysterious Traditional Literature from Garhwal, Mysterious Traditional Literature from Kumaun)

Bhishma Kukreti

There are folk songs in most of the societies for keeping away the Evil Spirit, Demon, भूत.
Rudolf Wagner provides in the book ‘Contemporary Chinese Historical drama ‘that there was tradition to use songs for killing demon or making circle for killing demon or evil spirit. Martha Beckwith provides folk stories related to demon in her book –Jamaica Anansi Stories’ (about folklore of Jamaica). There are many folk tales about demon in Irish literature.
There are many folk mantras or prose-poem to keep away the demon from demonic possessed person. The folk songs for taking away the demonic spirit from demonic possessed person in Garhwal are not in Garhwali as they are not created by Garhwalis but Nathpanthi preachers from Braj or Rajasthan regions.
In the following mantra, there is mention of Maimanda veer means that the Mantra is created influenced by Islamic brave person.
भूत भागने का मंत्र

ओउम नमो गुरु जी को आदेश , ओउम नमो गुरु जी को आदेश
ओउम नमो गुरु जी को आदेश , मैमंदा वीर को आदेश चार बीर चौरासी सिद्धों को आदेश,
मैमंदावरी माता पिंगला को आदेश , मैमंदा वीर वायुं हाथ अग्नी का
मस्तिक चढ़े चौरासी चेड़ा , कुर्विण चले , मड़े मसाड़ी कुर्विण चले , धरती अकास
कुढोणा होटमणा चले, मढ़े मसाण कुर्विण चले , मारकंरवां चले, तब कौं कौं को मारे ,
उल्लुपाक उखेला , रात सुइलो को नरग उखेला , मूल्या कि माटी उखेला
चौबाट कि धुल उखेला , लामसाणी की छया उखेला , काल़ा मासा उखेला,
, पिंगला धानोवला उखेल रे बाबा बीर भनैडा बार वीत्या , छतीस रोग कुतुब्त की
उखेला , निल्लायी त माता तुरकरणी कु बोल जाई , अपणा गुरु को मांस खाई , फॉर मंत्र इश्वरो
वाच:
Xx xx xx
संकलन व सम्पादन - डा. नन्द किशोर ढौंडियाल
गढवाली लोकमंत्र , हिमाद्री प्रकाशन, कोट्द्वारा
मूल स्रोत्र - संदीप इष्ट्वाल , इसोड़ी,मवाळस्यूं
धैर्यराम बौड़ाई , भरपूर, साबळी
गिरीश डबराल, डाबर, डबरालस्यूं
प.केशवानंद मैंदोला , रिखणि खाळ
घुताराम जागरी , बिल्कोट नैनीडांडा

Notes on Indian Mysterious Traditional Literature, Himalayan Mysterious Traditional Literature, Uttarakhandi Mysterious Traditional Literature, Mysterious Traditional Literature from Garhwal, Mysterious Traditional Literature from Kumaun to be continued……

Bhishma Kukreti · « **Reply #889 on:** March 23, 2012, 10:42:39 PM »

Dugharya: A Garhwali Social Drama about remarrying by a Widow

(Review of a Garhwali Social drama ‘Dugharya’ written by Abodh Bandhu Bahuguna)
(Notes on Garhwali Social drama, Uttarakhandi Social drama, Himalayan Social Drama, Indian Social drama)

Bhishma Kukreti

‘Dugharya’ mean the woman who leaves her first husband house and remarry with other person. The woman marries with other person due to many reasons. The society accepts and criticizes at the same time to ‘Dugharya’ woman.
‘Dugharya’ a Garhwali social drama is about a woman ‘Dauntha’ remarrying another man because death of her husband in army. From her first husband there is a nine year old boy ‘Gundru’ and his old grandfather ‘Jimthu’ takes care about ‘Gundru’ ‘. Dauntha has three girl children from her second husband.
Gundru asks his grandfather about his mother and his grandfather replies that she is no more. ‘Dauntha’ comes to Jimthu and request to offer her the boy.
The social drama is simple with struggle of Jimthu an old man in taking care of his grandchild. The social drama ‘Dugharya’ shows conflict between Jimthu and Dauntha with keeping social norm intact. Bahuguna could depict easily the psychology of a child and a mother.
The dialogues are I appropriate with characters and with lot of Garhwali sayings and proverbs.

‘Dugharya’ a Garhwali social drama is written for radio medium by Bahuguna.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Social Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali Social dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Social Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary Garhwali Social Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Modern, Contemporary Garhwali Social Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary Garhwali Social dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Modern, Contemporary Garhwali Social drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Social Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti, Mumbai, India

Notes on Garhwali Social drama, Uttarakhandi Social drama, Himalayan Social Drama, Indian Social drama to be continued….

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