Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख (Read 723451 times)

Bhishma Kukreti · « **Reply #890 on:** March 23, 2012, 11:01:17 PM »

******हमारा भरतार ******

रचनाकार - डॉ नरेंद्र गौनियाल

जौंकी मूणिम भार देशकु भोल का भरतार छन
लप्सयाँ छन सब्बि जवान भितर बिटि बीमार छन

गिच भितर गुटका भर्युं अर हाथ माँ सिगरेट चा
थुकी-थुकी की भितर-भैर कन बन्या मंत्वार छन

म्यार मुल्कै जवानी तै तिन्ग्गा पोड्ना हर कदम
गिचीअन्ध्यर्पट,गल्वड़ी पिचगीं आंखि बैठीं क्वार छन

ब्वैन रोटी देई घूसिकी जा ब्याटा कुछ सीखी ले
लाल रस्तम गुच्छी ख्य्लना राम कै खंद्वार छन

कौम की होलि तरक्की कुछ समझ नि आन्दु कन
बाट माँ कछ्डी लगाणा छोरों की सरकार छन

दूधि छोड़ी दारू पीना आज सब नौन्याल छन
खाला-म्यालों ब्यो-बरातों रंगमता सब धार छन
Copyright@ Dr Narendra Gauniyal,

Bhishma Kukreti · « **Reply #891 on:** March 24, 2012, 02:13:58 AM »

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-66

कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -66

Edited by Bhishm Kukreti

हिंदी, कुमाउंनी और गढ़वाली भाषाओँ में वाक्य भेद -११

कुमाउंनी व गढ़वाली के पृथक अस्तित्व पर डा.भवानी दत्त उप्रेती के स्पष्ट विचार

डा भवानी दत्त उप्रेती कुमाउनी भाषा के भाषा विज्ञान के प्रकांड विद्वान् माने जाते हैं. ऊंका गढ़वाली-कुमाउंनी भाषाओँ के वैशिष्ठ्य पर

विचार इस पारकर हैं -

उपयुक्त विवेचन के उपरान्त उल्लेख्य है कि कुमाउंनी का स्वतंत्र अस्तित्व है

कुमाउंनी गढ़वाली से भिन्न है .

पर्याप्त अंश में शब्दावली समान होने पर भी कुमाउंनी व गढ़वाली में महत्वपूर्ण उच्चारणगत भेद है उतना ही जितना

बंगाली और पंजाबी में है

अट: इन्हें केवल क्षेत्र के आधार पर मात्र सुविधा को ध्यान में रखते हुए मध्य पहाड़ी न कह कर प्र्तिथक पृथक कुमाउंनी और गढ़वाली कहना

युक्ति संगत है .

दूसरी ओर कुमाउंनी को हिंदी की एक बोली कहने कि अपेक्षा 'विभाषा' कहना ही उचित होगा

हिंदी और कुमाउंनी का सम्बन्ध इससे ही समझा जा सकता है कि हिंदी और राजस्थानी में परस्पर जितना सादृश्य है

उससे बहुत ही कम साद्रिश्य हिंदी और कुमाउंनी में है और हिंदी व राजस्थानी में जितना परस्पर पार्थक्य है उससे कहीं

अधिक पार्थक्य हिंदी और कुमाउंनी में है

यह बात -उच्चारण, व्याकरणीय रूप, शब्दावली , वक्य्प्रकार, आदि अनेक भाषा तत्वों के तुलनात्मक अन्वेषण से स्पष्ट है

(डा. भवानी दत्त उप्रेती , १९७६, कुमाउंनी भाषा अध्ययन, कुमाउंनी समिति, इलाहाबाद, पृष्ठ २१९)

Bhishma Kukreti · « **Reply #892 on:** March 24, 2012, 12:03:38 PM »

Bhabhoot Mantra: Mysterious and Spiritual Folk Song from Rawain, Garhwal

(Notes on Mysterious and Spiritual Folk Song from Rawain, Mysterious and Spiritual Folk Song from Garhwal, Mysterious and Spiritual Folk Song from Uttarakhand, Mysterious and Spiritual Folk Song from Himalaya, Indian Mysterious and Spiritual Folk Song India, Asian Mysterious and Spiritual Folk Song )

Bhishma Kukreti

Mantras were there in local Languages long before Vedas

As discussed in past that Nathpant started its influence from sixth century in Garhwal especially from Jaunsar, Jaunpur and Rawain regions. Many learned persons claimed that Mantras came in existence from Vedas. Sorry! The Mantra concept was there from the day a human being came in existence. Mantras were available in local languages among Indian societies centuries back from Vedas. Vedas recorded Mantras in grammatically refined language ‘Vedic Sanskrit ‘
Guru Gorakhnath and his successors created Mantras (created Tantras too) in local language –Rajashthani, Braj and Panjabi languages. When the Nathpanthi preachers came to Garhwal region, these preachers popularized Mysterious and Spiritual Mantras among common people. Since the language of these Mysterious and Spiritual Mantras were easily understandable among people of Garhwal and at the same time, King Ajaypal and his successors also promote Nathpanthi preachers, the Nathpanthi Mysterious and Spiritual Mantras of Rajashthani and Braj languages became part of Garhwali culture. These Mysterious and Spiritual Mantras seem as if they are created by Garhwalis. Due to this reason learned scholars as Dr. Govind Chatak, Abodh Bandhu Bahuguna, Dr. Shiva Nand Nautiyal, Dr Bhatt, Dr. Vishnu Datt Kukreti and Dr. Nand Kishor Dhoundiyal called these Mysterious and Spiritual Mantras ‘Garhwali Mantras’. In the same way Dr Jagdish Naudiyal calls Nathpanthi Mysterious and Spiritual Mantras practiced in Rawain as if these Mysterious and Spiritual Mantras were in Rawain language.
There is no doubt that Garhwalis have been practicing these Mysterious and Spiritual folk prose songs for tens of centuries. However, these Mysterious and Spiritual folk songs are not in Garhwali language. Yes these Mysterious and Spiritual folk songs are part and partial of Garhwal but scholars never call these Mysterious and Spiritual folk songs as Garhwali Mysterious and Spiritual folk songs but should call Mysterious and Spiritual folk songs from Garhwal.
Dr. Jagdish Naudiyal collected the following Nathpanthi Mysterious and Spiritual folk song from Rawain region of Garhwal. When a person becomes ill due to any reason first of all the family member goes to Mantrik for Bhabhhot. The Mantrik speaks Mantra and at the same time mixes ash in a paper or leave. When the Mantra is over, the Mantrik rubs the Bhabhhoot – the ash practiced by Mantras on the ailing person.
Dr Jagdish Naudiyal provides following Bhabhhoot Mysterious and Spiritual Mantra practiced in Rawain region of Garhwal.

रवाईं क्षेत्र में भभूत मंत्र

ओउम नमो भभूत माता भभूत पिता
भभूत तीन लोक तारणी
ओउम नमो भभूत माता भभूत पिता सर्व दोष की निवारणी
ईश्वर औणी गौ जाली छाणी
अनंत सिद्धौ ण मस्तक चढ़वाणी
चढ़े भभूत निपडे हाउ
रक्षा करें आतम विस्वामी गुरु गोरखनाथ
जरे-जरे तरी फले धरेती माता गायत्री चारे
सुषे -मुषे अग्निमुख जले सयास भभूत
नौनाथ पूर्षु चढ़े
तिरा तेरा भभूत तीन लोक कू चढ़े
चतुर्थी भभूत चार वेद कू चढ़े
पंचमे भभूत पंच देव कू चढ़े
हंसन देवे तुम्हारे आऊँ
आय गुरु दाता तारी

1-Collection of folk song by- Dr Jagdish Naudiyal, Uttarakhand ki Sanskritik Dharohar
2-Other works on Mysterious and Spiritual folk literature/songs of Garhwal by Abodh Bandhu Bahuguna, Dr. Chatak, Dr Nautiyal and Dr Vishnu Datt Kukreti)

Copyright@ Bhishma Kukreti

Notes on Mysterious and Spiritual Folk Song from Rawain, Mysterious and Spiritual Folk Song from Garhwal, Mysterious and Spiritual Folk Song from Uttarakhand, Mysterious and Spiritual Folk Song from Himalaya, Indian Mysterious and Spiritual Folk Song India, Asian Mysterious and Spiritual Folk Song to be continued

Bhishma Kukreti · « **Reply #893 on:** March 24, 2012, 12:06:58 PM »

************निखणी **********

रचनाकार : डॉ नरेन्द्र गौनियाल

जैको पैली बटी ही
छक्वे खयूं
वैकी लदवड़ी हौरि बड़ी ह्वै जान्द
वे पर
लगि जान्द
भस्मक रोग
अर जैन पैली
कबी नि पाई
कबी नि खायी
वो भोर्यूं भद्यलो देखिकै
रंग्सले जान्द
तातु-तातू खैकी
जीभ जले दींद
खताफोल कैरिकै
अधा लारों माँ
आधा भुयां माँ
खैति दींद
कुछ गिच्चा पर
कुछ बौंलों पर
लपोड़ी दींद
अर सब्बि छंछ्या
अफु ही सपोड़नै मारामारी माँ
भद्यलो ट्वटगो कैरी के
सब्यों कि निखणी कैरी दींद..................

Copyright@ Dr. Narendra Gauniyal

Bhishma Kukreti · « **Reply #894 on:** March 24, 2012, 11:26:18 PM »

Andrtal (अन्द्रताळ): A Realistic Modern Garhwali Drama about Suffering of Migrated Garhwalis

(Review of Realistic Modern Garhwali Drama ‘Andrtal (अन्द्रताळ)’ written by Playwright Abodh Bandhu Bahuguna)
(Notes on Realistic Modern Garhwali Drama, Realistic Modern Uttarakhandi drama, Realistic Modern Himalayan drama, Realistic Modern Indian Local language drama, Realistic Modern Asian drama)

Bhishma Kukreti
The scholars provide the characteristics of Modern Realistic drama as –
1-Characters of Modern Realistic drama talk and act like real people.
2-The setting of Modern Realistic drama should be real
3-The setting of Modern Realistic drama should be from real places as home, workplaces etc
4-The setting of Modern Realistic drama should be from modern times
5-The subject of Modern Realistic drama should deal with real events, and political, or social issues
The modern Garhwali drama ‘Andrtal (अन्द्रताळ)’ is definitely modern realistic Garhwali drama. The drama deals with the subject of suffering of migrated Garhwali family. Birju is fifty years old migrated Garhwali who sold his ancestral house in Garhwal and built a house in Delhi. However, the land was illegal from legal point of view and Delhi administration sent Bulldozer to diminish the house. Birju, his wife Basanti and their son are in turmoil. The sadness does not end here. The police take their son Nandu to police office and get unmarried Nandu operated under completing the government target of ‘family planning-nasbandi’.

Ibsen is the father of European realistic modern drama. Ibsen the father of European realistic modern drama wrote a letter to August Lindberg (August 1883),”The language (of modern realistic drama) must sound natural and the form of expression must be characteristic of each individual person in the play…”
The characters speak their own cultural language in the realistic modern drama ‘Andrtal (अन्द्रताळ)’. As
The dialogues of Birju are
1-अपणि भुजिं बुखण छन . बुकौण पड़लि
2-मुंड्यूँ त बल , जग तर जावो, अध्--मुंड्यूँ कख जावो ...
3-- अरे राम . अब मटि फिरद त इन्नी फिरद . पुरखों कि छोड़कूड़ी बेचई बि, सौब यियीं कूड़ी
पर लगाये .किनमजाद खम्बुदारतिबारी छै .
Or
Birju- हमुन बोले कान्च्दार मकान इ सुन्दर च
Or
Basanti- ज्यूडि फुके गे पर मरोड़ नि गे

Or
मोची- काम मोची ----काम --
बसंती - क्वा मौ च ? हम छा दादा सबळि -खाटळी का
The realistic modern Garhwali drama ‘Andrtal (अन्द्रताळ)’ definitely provides the illusion of recognizable reality. The realistic modern Garhwali drama ‘Andrtal (अन्द्रताळ)’ is capable of providing contemporary perspective.
The drama ‘Andrtal (अन्द्रताळ)’ shows the tragedy of migrated Garhwali family effectively and compels the audience/readers to think about the sad situation of such migrated Garhwali family.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Realistic Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali Realistic dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Realistic Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary Garhwali Realistic 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 Realistic Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary Realistic 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 Modern, Contemporary Realistic Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Realistic Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti, Mumbai, India

Notes on Realistic Modern Garhwali Drama, Realistic Modern Uttarakhandi drama, Realistic Modern Himalayan drama, Realistic Modern Indian Local language drama, Realistic Modern Asian drama to be continued…….

Bhishma Kukreti · « **Reply #895 on:** March 25, 2012, 11:31:03 PM »

Kachbital: A Garhwali Drama about Rural Garhwalis Exploiting the Migrated Garhwalis

(Review of a Garhwali Drama ‘Kachbital’ written by Abodh Bandhu Bahuguna
(Notes on Modernism in Garhwali Dramas, Modernism in Uttarakhandi Dramas, Modernism in Himalayan Dramas, Modernism in Indian Dramas, Modernism in Asian Dramas)
Bhishma Kukreti

There are two distinct dramatists or dramas in Garhwali language drama about narrating the position of migrated Garhwalis. One type of Dramas is as Girish Sundariyal’s ‘Asgar’ which accuses migrated Garhwalis for bad happening in rural Garhwal. Another type of modern Garhwali dramas is Kachbital’ written by Abodh Bandhu Bahuguna which shows exploitation of migrated Garhwalis by their own family members of rural Garhwal.
The drama ‘Kachbital’ is about Shobha a migrated woman visiting her own home to Garhwal from Delhi with her children. Shobha have her brother in law Damodar and his wife Kali in village. As per conspiracy between Damodar and his wife Kali, Kali accuses very badly Shobha as soon as she comes there. Damodar shows he is angry on her wife’s behavior. Shobha leaves for her Maika and tells that infact she came to take Damodar’s son for higher education. After Shobha leaves Damodar and Kali felt sorry that their conspiracy Drama has been harmful for them only.
Bahguna wrote drama ‘Kachbital’ for radio medium. The characterization is real. You may find all characters everywhere in Garhwal. The drama language fit for conflict and struggle of the characters.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (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 (Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (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 Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna,1986, ‘Chakrchal’ , 16 Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti, Mumbai, India

Notes on Modernism in Garhwali Dramas, Modernism in Uttarakhandi Dramas, Modernism in Himalayan Dramas, Modernism in Indian Dramas, Modernism in Asian Dramas to be continued…….

Bhishma Kukreti · « **Reply #896 on:** March 26, 2012, 02:39:13 AM »

Uttarakhand Branding -2
Defining Place Branding in the Context of Uttarakhand

(Notes on Place branding for India, Place branding for Himalayan region, Place branding for Kumaun, Place branding for Garhwal, Place branding for Uttarakhand)

Bhishma Kukreti

Brand means a proper noun. Every proper noun is brand and every brand is a proper noun.
Branding is a natural phenomenon and nature has given this unique quality to every living organism. Every living organism does branding for itself. Charles R.Pettis states that a brand is the proprietary visual, emotional, rational and culture image that you associate with a company or a product.
Therefore it may be stated that a place brand is the property visual, emotional, rational and culture image that a place associates with its geographical, political, cultural and social aspects.
Sebastian Zenker (2011) states that in truth, place brands are very complex: they contain many different elements which could be classified in general categories.
Zenker and Braun further define a place brand as “Network of associations in the consumers‘s mind based on the visual, verbal and behavioral express of a place which is embodied through the aims ,communication, values, and the general culture of place’s stakeholders and overall place design.”
Therefore, Uttarakhand brand is not what is communicated by government advertisement or communicated by Uttarakhandis but in reality Uttarakhand brand is the perception of communication about Uttarakhand in the mind of target group or groups.

Uttarakhand province is a brand whose brand value is gauged by the perception of its own people and perception of other people.
According to Lucarelli, Guy and Marvin, the place branding is a procedure of image communication to a target market. It means that branding of Uttarakhand is a procedure of image, communication to a target market for retaining old investors, calling new investment, new fruitful inward and outward migration, retaining old vistors9as tourists) and attracting newer visitors.
Some Conventional Examples of Place Branding by Uttarakhandis

Though, after persuading write ups by Simon Anholt ‘Place branding’ is recent talk of the marketing world, however, place branding is not new concept. Place branding concept started with the human being from the day human started speaking. Vedas, Mahabharata, Ramayana and Bharat Muni’s Natyshashtra are witness that place branding is very old concept. In Mahabharata or Natyshashtra, the readers find the appreciation or criticism of particular places and admiration and disapproval of places.
-
1-Proverbs-
When a Malla Dhangu person say,”Bichhla Dhangu walunk Arsha bda hondan’ (the arsha of Bichhla Dhangu are bigger in size”) the speaker is branding Bichhla Dhangu.
When a proverb says that ‘Chaundkotya Band ar Barasyun bagan’, it is nothing but branding of Chaundkot and Barasyun pattis. The old proverb ‘jano Dhangu ano aango’ (be careful while visiting Dhangu’ is the negative branding of Dhangu Patti.
2-Folk Songs- There many folk songs in Uttarakhand which are best example of place branding as
A-‘..Almdmoda ki nanda Devi ...’ folk song talks about Almoda and Nanda Devi Mountain or deity too.
B-There is a folk song in Gangaslan which narrate the characteristics of a couple of villages of Dhangu and Darbralsyun and Uadypur patti as
Gweel kaunki sikki badi (the people of Gweel village are arrogant)
Jalth kaunki Dhoti badi (the people of Jalth put on long Dhoti)
Amaldu kaunka raudya badaa (The men of Amaldu rubs white chandan paste on their forehead)
Udaypur kaunkaa chhunyal bada (the people of Udaypurtalk much)
C- The following folk song is another example of place branding
Vasudhara ko thando pani
Kedar ko thaur
Trijugi narain takh
Badree sirmaur –hunchali dandyun kee chali hinwali kankor ..
3- Today’s Example- On people’s daily life, people talk about places as ‘The people of such places are very rough or people of those places are friendly’. When Garhwali literature creative say ,” Delhi ‘s Garhwali literature creative think that they only serve Garhwali literature” or “ At present Pauri is second capital of Garhwali literature and Dehradun is capital of Garhwali literature” , that means they are practicing place branding.
Examples of Place Branding in immediate modern time

The advertisements related to ‘incredible India’ are examples of place branding. The tourist based advertisements of any place is nothing but is example of place branding. Uttarakhand government releases various advertisements or takes part in various exhibitions for attracting tourists and investors are examples of place branding.
There are differences between a product branding and place branding. The place branding is more complex than product or service branding because all places have more stake holders and more complexities among stakeholders than normal commercial product or service.
Place branding is now quickly getting importance and millions of towns or cities are in race for branding themselves. Place branding of Uttarakhand will fetch economic and social development not only to inhabitants of Uttarakhand but to all migrated ones too. Therefore, each Uttarakhandi should be aware of place branding.

References:
1-Sebastian Zenker (2011)’ How to Catch a city’, Journal of Place Management and Development,
Vol-4 issue 1
2- Zenker S., Braun E.2010, Branding a City…, 39th European Marketing Academy Conference, Denmark.
Notes on Place branding for India, Place branding for Himalayan region, Place branding for Kumaun, Place branding for Garhwal, Place branding for Uttarakhand to be continued…..

Copyright@ Bhishma Kukreti

Bhishma Kukreti · « **Reply #897 on:** March 26, 2012, 12:45:22 PM »

Ornaments, Jewels and Jewelry in Garhwali Folk Songs

Notes on Ornaments, Jewels and Jewelry in Garhwali Folk songs, Ornaments, Jewels and Jewelry in Uttarakhandi Folk songs, Ornaments, Jewels and Jewelry in Himalayan Folk songs Ornaments, Jewels and Jewelry in Indian Folk songs, Ornaments, Jewels and Jewelry in Asian Folk songs

Bhishma Kukreti

Ornaments, gems Jewels, and Jewelry attract women the most all over world. That is the reason that ornaments, gems, Jewels, and Jewelry are found in folk songs or traditional poems of all languages of all times.
There is folk saying about ornaments, gems, Jewels, and Jewelry among Miao people an ethnic group of China that attractiveness of golden pheasants lies in their feathers and beauty of Miao community girls lie in their silver ornaments.
A folk song of Chinese ethnic group Dong people describes ornaments, gems, Jewels, and Jewelry as follows -
I cannot leave you, what should I do?
I offer my golden pins to you
I cannot leave you, what should I do?
I offer my silver Xangdi to you
The translator and introducer Yand Haixia (dong) of the above folk poem provides the list of ornaments, gems, Jewels, and Jewelry as bracelets, silver earrings, golden rings, horse mounting robe, etc in this Chinese ethnic folk song.
Jonathan H.X. Lee and K.M. Nadeau provide many examples of folk songs which speak about Ornaments, Jewels and Jewelry in their famous book ‘Encyclopedia of Asian American folklore and Folk life’.
A Kapampangan folk song ‘Atin Cu Pung Singsing’ is about a costly ring.

Ornaments, Jewels and Jewelry in Garhwali Folk Songs

There are many Garhwali folk songs which narrate about ornaments, jewels and jewelry. For example, there is mention of Radhakahndi traditional song as
राधा कृष्ण नाच- गाण कु गीत

कृष्ण: तेरा खुटुका घुंघुरू बाजा,छनना , छनना , छन-छन
तूभली छै बांदाराधा छनना , छनना, छन-छन.
राधा: तू बडीहौन्सिया कन्हया , छनना , छनना, छन-छन
भलो विराजदेंदा हाथ की वान्सु ळी , छनना, छनना , छन-छन
कृष्ण : तेरा मुंडकि लटूली उड़ीनसररा , सररा सरसर
तू बडीरंगीली राधा छनना, छनना , छन-छन
राधा : मेरो दिललागी कन्हैया, त्वेपरफररा, फ़ररा फरफर
तू बड़ोहिन्सौण्या कन्हैया , सररा , सररा सरसर
कृष्ण : तेरी नथुलीबुलाक हिली , झलला,झलला झल-झल
तू मेरीदिल कि पियारी, सररा , सररा सरसर
राधा : तेरी गौडियों कीघांडी बाजि , ठननाठनना ठन-ठन
उनि मुरलीकी सोर बाजि, हररा, हररा , हरहर
कृष्ण : राधा कीगागर फूटी .ठननाठनना ठन-ठन
बैठी ग्याईराधा रुण , आंसूऐना तरर , तररतर तर
राधा : तीन मुरलीबजाई , छनना , छनना, छन-छन
तब दौड़ीऐग्युं मी, हीरिरि,हीरिरि , हिर-हिर

कृष्ण : तेरा खुटुका घुंघुरू बाजा,छनना , छनना , छन-छन
तू फूलूँमाकी फूल राधाछनना , छनना , छन-छन
(Song source- Dr Nautiyal)
There are other folk songs which talk about ornaments, jewels and jewelry as
तेरा खुटु कि पाजवी बाजली छमा छम
हिट ले धमधम
The following Garhwali traditional song talks about neck ornaments as -
गाडे जालो गुलबंद को नगीना
त्वे तैं मेरी सासू ब्वार्युं की अगीना
(Collection by Kukreti)
Ornaments, Jewels and Jewelry in Folk Songs of Rawain Region of Garhwal

The following folk song of Rawain region of Garhwal is sung at the time of marriage ceremony. The folk song of Rawain, Garhwal narrates about various ornaments, gems, jewels and jewelry required for the bride from her father side-

रवाईं क्षेत्र के लोक गीतों में गहने आभूषण

मुई देण बा लो कानू की लाबी
मुई देण बा लो हाथूं की पोंछी
मुई देण बा लो नाक नथूलू
मुई देण बा लो लांबी बिसार
मुई देण बा लो शीशफूल सुहाग
मुई देण बा लो जेवरूं की खाण
(Source- Dr Naudiyal)

The above examples show that ornaments, gems, jewels and jewelry are commonly found in folk songs of each region and there are many folk songs of Garhwal which narrate about ornaments, gems, jewels and jewelry abundantly.

Reference:
1-Dr Shiva Nand Nautiyal, Shyam Chham Ghunghuru Bajlaa
2- Dr Jagdish Naudiyal Uttarkahnd ki Sanskritik Dharohar

Copyright@ Bhishm Kukreti, Mumbai

Notes on Ornaments, Jewels and Jewelry in Garhwali Folk songs, Ornaments, Jewels and Jewelry in Uttarakhandi Folk songs, Ornaments, Jewels and Jewelry in Himalayan Folk songs Ornaments, Jewels and Jewelry in Indian Folk songs, Ornaments, Jewels and Jewelry in Asian Folk songs to be continued…….

Bhishma Kukreti · « **Reply #898 on:** March 26, 2012, 09:22:32 PM »

Lalit Mohan Thapliyal: The Great Indian Playwright famous for Humor and Twist in Dramas

(Tribute to World’s Great Playwright Lalit M Thapliyal on the occasion of World Theatre Day)

Notes on World’s Great Playwrights, Great Indian Playwrights, Great Himalayan Playwrights, Great Uttarakhandi Playwrights, Great Garhwali Playwrights

Bhishma Kukreti

Lalit Mohan Thapliyal (1920-2005) is one of the great playwrights of modern dram world. Madan Duklan an editor, a Garhwali dramatist and famous Garhwali film personality states that Lalit Mohan Thapliyal is great playwrights among modern dramatists as Alexander Dumas, August Wilson, Arthur Miller, Anton Chekhov, Bartolt Brecht, Dante, Euripides, Edward Albee, Eugene O’Neil, George Bernard Shaw, Graham Greene, Horton Foote, , Henrik Ibsen, Samuel Becket, Lorraine Hansberry, Neil Simon, Oscar wild, Shankar Shes Sophocles, Thornton Wilde, Tennessee Williams, William Shakespeare etc for developing dramas in their respective languages. Puran Pant ‘Pathik’ a famous Garhwali poet remarks that great playwright Lalit Mohan Thapliyal is Kalidas of Garhwali in terms of popularizing Drama in his own time though, both are of different genes.
The great Playwright Lalit Mohan Thapliyal was born in 1920 in the village Shrikot, Khatsyun, Pauri Garhwal of Uttarakhand. After getting M.A (English) degree from Allahabad University, the great Playwright Lalit Mohan Thapliyal joined journalism as career. The great Playwright Lalit Mohan Thapliyal joined ‘Pioneer’ newspaper as junior journalist. After some time the great Playwright Lalit Mohan Thapliyal joined ‘Leader’ newspaper in Allahabad as deputy editor. After Second World War, when National Herald was restarted, the great Playwright Lalit Mohan Thapliyal joined the editorial board of National Herald. In 1953, the great Playwright Lalit Mohan Thapliyal joined ‘Hindustan Times, Delhi as senior deputy Editor. The great Playwright Lalit Mohan Thapliyal joined World Health Organization, South Asian region as information officer in 1955. The great Playwright Thapliyal joined WHO at UNO, New York in 1964. In 1972, World Health Organization ho transferred the great Playwright Lalit Mohan Thapliyal to Geneva from New York. The great Playwright Lalit Mohan Thapliyal retired from W.H.O. in 1980 settled in Ghaziabad in 1982. The great Playwright Lalit Mohan Thapliyal expired in 2005.
The great Playwright Lalit Mohan Thapliyal was born theatre man. The great Playwright Lalit Mohan Thapliyal had been participating in theatre work from his student life. The great Playwright Lalit Mohan Thapliyal was always connected with theatre in New Delhi, New York and Geneva. The great Playwright Lalit Mohan Thapliyal presented many dramas in New York and Geneva. The great Playwright Lalit Mohan Thapliyal founded ‘Hindi Naty Mandali’ in Geneva and produced and staged three complete plays and many one act plays in Geneva. In Ghaziabad, the great Playwright Lalit Mohan Thapliyal was busy in writing and staging plays till his death.

Hindi plays written by great Playwright Lalit Mohan Thapliyal

The great Playwright Lalit Mohan Thapliyal wrote following Hindi plays-
Complete Hindi plays -
Kala Raja, Kalpana ke Khel,Vidroh ke Prateek, Do Yatri, Brahman ki Beti based on story by Sharat Chandra, Alag Alag raso, Chimte Vale baba
One Act plays in Hindi -
Hamsafar, Imthan ki Taiyari, Jis din chor aya, Anchheriyon ka Talab, Subah Hoti Hai –Sham Hoti hai, Chhuti ka din, Cinderella, Kaka babu, Dhakad Party, Lado rani and Jhamela.
Garhwali Plays written by the great Playwright Lalit Mohan Thapliyal

The great Playwright Lalit Mohan Thapliyal is famous for accelerating the theatre in Garhwali language. The great Playwright Lalit Mohan Thapliyal is one of the pioneer dramatists of Garhwali whose dramas still attract the crowd for Garhwali theatre. The great Playwright Lalit Mohan Thapliyal is the Garhwali dramatist whose dramas were staged the most in Garhwali theatre circle.
The great Playwright Lalit Mohan Thapliyal is famous more for ‘Kahdu lapata ‘ a Garhwali drama .’Anchheriyon ka Tal ’,‘ Gharjavain ’,‘ Chimte wale baba and ‘Ekikaran’ are other Garhwali dramas written by the great Playwright Lalit Mohan Thapliyal. The specialty of Garhwali dramas written by the great Playwright Lalit Mohan Thapliyal is that all have a great humor and twist to attract audience. All the Garhwali dramas written by the great Playwright Lalit Mohan Thapliyal are timeless. Raman Kukreti a prominent Garhwali theatre of Mumbai states that all the plays of the great Playwright Lalit Mohan Thapliyal are evergreen and time does not bind their attraction as the drama subject are having timeless emotions and dialogues are from real world.
The great Playwright Lalit Mohan Thapliyal founded Jagar and Sadhna Natya Kendra organizations for promoting Garhwali Theater.
Till dramas will be played or will be read in this earth people will remember the great Playwright Lalit Mohan Thapliyal for his contribution in developing Garhwali theatre.

Copyright@ Bhishma Kukreti

Bhishma Kukreti · « **Reply #899 on:** March 26, 2012, 09:40:10 PM »

*******आखिर कब तक !!?********

Modern Garhwali poems, Modern uttarakhandi Poems, Modern himalayan Poems, Modern inian Poems

रचनाकार - डॉ नरेन्द्र गौनियाल

सर्र चली गैनी
दिन,मैना , साल
अर हम
गाणि करदा ही रै गयाँ की
हम बि कब्बी भोगला
आजादी को सुख
देश-परदेश,वार-पर
गाँव-गल्यो आली बरकत
अन्न-पाणी
दूध-घ्यू का घत्गारा
बाटा-घाटा,गोर-गुठ्यार
डंडी-कांठी चरि तरफ
होलि बहार
पण अब्बी तक बि
पढे -लिखै ,औखद-पाणी
तमाम धाणी
जन-जरूरत
सबकुछ खुन
तरसन ही रै गयाँ हम
कतने लोगों तै नि मिलदु एक गफ्फा
जैसे बुझि सक लादोड़ी कि आग
लैरी-लत्ती -ख़तड़ी,कमली-चदरी
जू ढकी साक हमारी नाक
ये ब्वै !!!
आजादी का इत्गा साल बाद बि
नि मिली सकणी एक कूड़ी
जैक पुटग कुचे सकां हम
घाम-पाणी से बचनौ
हे भज्ञान ! हे नेताजी !!
आजादी का इत्गा साल बाद बि
हमरि भैंसी -ढेबरी अर हम
पीणा रौंला
एक ही खाल कु
गंद्लो पाणि....
आखिर कब तक ?........................

Copyright@ Dr Narendra Gauniyal

narendragauniyal@gmail.com

MeraPahad Community Of Uttarakhand Lovers

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