Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

[Bhishma Kukreti]

Dandyo k Maiti: A Lyrical Garhwali Stage Play based on Bravery of Two Folklore Legends

(Review of Garhwali Lyrical drama 'Dandyo k Maiti' written by Om Prakash Badhani and directed by Suraksha Rawat, staged in 2005)
Notes on Stage Plays about Brave Folk Legends; Spanish Stage Plays about Brave Folk Legends; Asian Stage Plays about Brave Folk Legends; South Asian Stage Plays about Brave Folk Legends; SAARC Countries Stage Plays about Brave Folk Legends; Indian subcontinent Stage Plays about Brave Folk Legends; Indian Stage Plays about Brave Folk Legends; North Indian Stage Plays about Brave Folk Legends; Himalayan Stage Plays about Brave Folk Legends; Mid-Himalayan Stage Plays about Brave Folk Legends; Uttarakhandi Stage Plays about Brave Folk Legends; Kumauni Stage Plays about Brave Folk Legends; Garhwali  Stage Plays about Brave Folk Legends

                                                  Bhishma Kukreti

                Every region has its own brave folk legends. Therefore, staging plays on the basis of folk tales about brave folk legends is common practice everywhere. For example, a Spanish playwright wrote and staged a play 'El Burlador de Sevilla' based on folk legends in 1630. The dramatists staged plays based on brave folk legends as plays like 'Anansi: Three tales is Caribbean or African folk tale   based stage play; 'Boy who could do anything,The' is Maxican folk legend based play; Coyote and Blue Flowers ' is native American Folk Legend based stage play; Chinese folk tale 'White snake' is staged many times in lyrical drama form; Aram Sweaters presented Irish ballads in musical forms in America in 1961. Wayang Orang is traditional form of dance lyrical dramas of Java. Javanese dramatists staged many lyrical plays based on folk legends of Java.
             The folk tale of bravery, sacrifice and love of two brave legends Bhads Naru and Bijula  is very popular in Uttarkashi district of Uttarakhand , India. There are many folk songs popular in the region about brave Bhads Naru and Bijula.
     Naru Bijula fell in love and for attaining their loves they won the territory under Tihri Riyasat . Famous Garhwali intellectual and folk singer Om Badhani wrote a lyrical stage play 'Dandyo k Maiti' based on the tale of bravery, sacrifice and love story of two brave folk legends –Naru and Bijula. The play is in lyrical form and music is based on Uttarkashi region. The lyrical stage play based on bravery of folk legends attracts heart of audience. Kala Darpan , Uttarkashi presented the stage play 'Dandyo k Maiti' in 2005 at the occasion of Folk Drama festival organized by Akhil Garhwal Sabha, Dehradun. Suraksha Rawat directed 'Dandyo k Maiti' a lyrical stage play based on the story of two brave legends -Bhads Naru and Bijula. Th audience and critics appreciated the stage play based on the tale of brave folk legends Naru-Bijula of Garhwal Uttarkashi.

Copyright @ Bhishma Kukreti, 16/5/2012


Notes on Stage Plays about Brave Folk Legends; Spanish Stage Plays about Brave Folk Legends; Asian Stage Plays about Brave Folk Legends; South Asian Stage Plays about Brave Folk Legends; SAARC Countries Stage Plays about Brave Folk Legends; Indian subcontinent Stage Plays about Brave Folk Legends; Indian Stage Plays about Brave Folk Legends; North Indian Stage Plays about Brave Folk Legends; Himalayan Stage Plays about Brave Folk Legends; Mid-Himalayan Stage Plays about Brave Folk Legends; Uttarakhandi Stage Plays about Brave Folk Legends; Kumauni Stage Plays about Brave Folk Legends; Garhwali  Stage Plays about Brave Folk Legends to be continued.....

[Bhishma Kukreti]

             How did Kukretis of Dyusi   Migrate from Barsudi?
Notes on folk story/ story behind migration of Kukretis from Jaspur to Barsudi, folk story/ story behind migration of Kukretis from Jaspur to Dhangal; folk story/ story behind migration of Kukretis from Jaspur to Gweel, folk story/ story behind migration of Kukretis from Dhangal to Kheda; folk story/ story behind migration of Kukretis from Barsudi to Dyusi; folk story/ story behind migration of Kukretis from Jaspur to Khaman ;  folk story/ story behind migration of Kukretis from Jaspur to Dehradun; folk story/ story behind migration of Kukretis from Jaspur to Masan Tihri Garhwal, folk story/ story behind migration of Kukretis from Jaspur to Kathud Bada; folk story/ story behind migration of Kukretis from Jaspur to Raneth

                        Bhishma Kukreti of Jaspur

          Migration is a way of human life. When Kukretis settled in Jaspur the migration also started after some years.  Two Kukreti brothers migrated from Jaspur (Malla Dhangu) to Barsudi (Langoor, near Bhairongarh). One night Kukreti of Barsudi took Devi's idol from original Devi temple of Jaspur.
               Kukreti prosperous in Barsudi and Kukretis got respects and honor in region.  Kukretis of Barsdudi got fame becoming Pundits and Tantric in the region.  There are two stories about migration of Kukretis from Barsudi to Dyusi (Patti- Maniyarsyun).
                                   Folk Story about Migration of Kukretis from Barsudi to Dyusi
              Uday Ram Kukreti (now, residing in Mumbai) of Barsudi told the following folk story about migration of Kukretis from Barsdudi to Dyusi.
         There is a place Dhandal on top of Barsudi village. The air flow near Dhandal is very high. Once Gauri Datt Kukreti was going there taking pall for Goth. The air flow was so high that Gauri Datt Kukreti flew to Dyusi village crossing Nayar River from Dhandal along with Pall. Gauri Datt Kukreti liked Dyusi region. When Gauri Datt Kukreti returned to his village he desired to settle in Dyusi. Parents and family members agreed and Gauri Datt Kukreti and his younger brother migrated to Dyusi from Barsudi. Alomh with Gauri Datt Kukreti a couple of Negi families also migrated to Jakhnoli (Maniyarsyun) a nearby village of Dyusi.
                            Another Story about Migration of Kukretis from Barsudi to Dyusi


       Pundit Rameshwar Kukreti (now, resides in Mumbai) of Dyusi told a story behind migration of a family of Kukretis from Barsudi to Dyusi.
         Kukretis of Barsudi were famous Pundits and Tantric of Langur Patti and their fame was also there in Maniyarsyun which is another side of Nayar River.   It is said that there was no any Pundit and Tantric family near Dyusi, Manyarsyun Patti.  The people of Dyusi region requested Kukretis of Barsudi to send a couple of Kukreti Pundits and Tantric to Dysui-Patti Maniyarsyun.  The people of Dyusi region agreed to offer desired land and Padhanchari to Kukreti after he settled in Dyusi. Kukretis of Barsudi sent Pundits and tantric Gauri Datt and his younger brother. Negis from Barsdudi region were also sent with them and Negis were settled in Jakhnoli. Gauri Datt Kukreti of Barsudi settled in Dyusi. Younger brother of Gauri Datt Kukreti did not marry and became sansyasi. 

Copyright@ Bhishma Kukreti
Notes on folk story/ story behind migration of Kukretis from Jaspur to Barsudi, folk story/ story behind migration of Kukretis from Jaspur to Dhangal; folk story/ story behind migration of Kukretis from Jaspur to Gweel, folk story/ story behind migration of Kukretis from Dhangal to Kheda; folk story/ story behind migration of Kukretis from Barsudi to Dyusi; folk story/ story behind migration of Kukretis from Jaspur to Khaman ;  folk story/ story behind migration of Kukretis from Jaspur to Dehradun; folk story/ story behind migration of Kukretis from Jaspur to Masan Tihri Garhwal, folk story/ story behind migration of Kukretis from Jaspur to Kathud Bada; folk story/ story behind migration of Kukretis from Jaspur to Raneth

[Bhishma Kukreti]

Veer Vadhu Devki: A Garhwali Drama based on Ballad of a Heroic, Brave Woman Fought against * Attack
Notes on Dramas based on Ballad of Heroic, Brave Women; Asian Dramas based on Ballad of Heroic, Brave Women; South Asian Dramas based on Ballad of Heroic, Brave Women; SAARC Countries Dramas based on Ballad of Heroic, Brave Women; Indian Subcontinent Dramas based on Ballad of Heroic, Brave Women; Indian Dramas based on Ballad of Heroic, Brave Women; North Indian Dramas based on Ballad of Heroic, Brave Women; Himalayan Dramas based on Ballad of Heroic, Brave Women; Mid Himalayan Dramas based on Ballad of Heroic, Brave Women; Uttarakhandi Dramas based on Ballad of Heroic, Brave Women; Kumauni  Dramas based on Ballad of Heroic, Brave Women; Garhwali Dramas based on Ballad of Heroic, Brave Women

                                     Bhishma Kukreti

                    The brave woman takes birth in every society in every era. There are ballads regarding heroic, brave women in every community.  There are books about heroic , brave women described in ballads.  The Chinese ballad 'The ballad of Mulan' describes the bravery of brave heroic, woman Mulan. There are descriptions of heroic brave women in many Irish ballads. Laura Secord was a Canadian heroic, brave woman described in modern ballads. Alfred Henry Miles (1909) provides records of many heroic brave women in the book 'Ballads of Brave Women'. Dianne Dugaw provides various examples of heroic and brave women in the book Warrior Women and popular Balladry from 1650-1850. H.D. Rawnsley 91896) describes many heroic, brave women in the book   'Ballads of Brave Deeds'.  Dinesh Chandra Sen (1988) gives details of heroic brave women of Bengal in the book The Ballads of Bengal, vol.1. Ballad of Suh Dong is based on a story Korean heroic, brave woman princess Sonhwa.
             Since, heroic and brave women is common in ballads in every society, it is common factor that these heroic, brave women of ballads inspire dramatists to stage drama or produce films based on ballads of heroic and brave women. There had been film based on Mulan a Chinese ballad based heroic, brave woman. There has been stage of a drama Ballad of Suh Dong based on a story Korean heroic, brave woman princess Sonhwa.
              Veer Vadhu Devki is famous heroic brave woman of Rath, region of Garhwal. Devki became widow as her armyman husband died in war with Germany.  The heroic brave woman Devki dedicated her life in helping people of her area by all means. Once in night a strange Pathan business man came to her door and requested for shelter to spend the cold night in her house. The heroic, brave woman Devki was generous woman and kind person and she offered Pathan businessman a room to stay on. In mid night Pathan knocked her room and when heroic, brave, generous woman Devki open the door Pathan business man attacked poise widow for *. Initially, Devki was at sudden loss due to unwanted acts of guest. Later on, she focused her strength and killed Pathan by an axe. Heroic, brave woman was caught by police and a case was registered in Pauri court. When the judge heard her case, the judge not only freed heroic, brave woman Devki but he gave her special honor too for protecting her vanity. There are folk songs and modern poems on the subject of heroic, brave Garhwali woman Veerangana  Devki.
                         Navankur Naty Samooh , Pauri staged a fine drama based on the ballad of heroic, brave woman Veer Vadhu Devki  in 2005, at the occasion of Akhil Garhwal Sabha's Veer Singh Thakur Smriti Uttarakhand Lok Natya Mahotsay , Dehradun. Young Garhwali drama activist Bhupnesh Kumar directed the Veer Vadhu Devki, a Garhwali Drama based on Ballad of a Heroic, Brave Woman Fought against * Attack. Audience, intellectuals and drama critics appreciated Veer Vadhu Devki, a Garhwali drama based on ballad about a heroic, brave woman.

Copyright@ Bhishma Kukreti, 17/5/2012
Notes on Dramas based on Ballad of Heroic, Brave Women; Asian Dramas based on Ballad of Heroic, Brave Women; South Asian Dramas based on Ballad of Heroic, Brave Women; SAARC Countries Dramas based on Ballad of Heroic, Brave Women; Indian Subcontinent Dramas based on Ballad of Heroic, Brave Women; Indian Dramas based on Ballad of Heroic, Brave Women; North Indian Dramas based on Ballad of Heroic, Brave Women; Himalayan Dramas based on Ballad of Heroic, Brave Women; Mid Himalayan Dramas based on Ballad of Heroic, Brave Women; Uttarakhandi Dramas based on Ballad of Heroic, Brave Women; Kumauni  Dramas based on Ballad of Heroic, Brave Women; Garhwali Dramas based on Ballad of Heroic, Brave Women to be continued...

[Bhishma Kukreti]

Gangu Ramola: A Garhwali Theatre, Drama based on Religious Folk-Rites /Folk Rituals

Notes on Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Asian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; South Asian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; SAARC Countries Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Indian subcontinent Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Indian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; North Indian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Himalayan Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Mid Himalayan Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Uttarakhandi Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Kumauni Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Garhwali Theatres, Dramas based on Religious Folk-Rites /Folk Rituals


                                             Bhishma Kukreti

                              Nagraja is one of the main deities of Garhwal and Kumaun. Nagraja is incarnation of Lord Krishna. There are many religious folk tales related to lord Krishna in Garhwal and Kumaun. There are many Jagrs (a lyrical form of telling story in folk religious ritual) about lord Krishna or Nagraja in Garhwal and Kumaun. The Jagari (who narrates the lyrical religious folk ritual tales) narrates various folk religious ritual tales in a religious ceremony 'Ghadela'. When Jagris narrate religious folk tale related to lord Krishna and play folk musical instruments –Daunru and   Thali the devotee (those on whose bodies   Krishna's spirit enter) dance with rhythm.
               There are hundreds of temples related to Nagraja or lord Krishna in Garhwal and Kumaun. One of the famous temple of Nagraja or lord Krishna is Seem-Mukhim in Tihri Garhwal. Every year, lakhs of pilgrims come to visit as Seem Jatra and pay their offerings to Seem Mukhim from all corners of Garhwal and other parts of India.
     Jagris sing the religious folk tale of Gangu Ramola related to Seem Mukhim temples. The folk religious tales goes back to Dwapar era. Gangu Ramola was a prosperous landlord who had hundreds of caws, buffalos, goats, sheep, horses and fertile farms. Gangu Ramola has a wife Maina and did not have children. However Gangu Ramola was very proud and never likes to pay respect to guests or other people. His wife was opposite of Gangu – very mild, religious and helping nature.When gangu was hundred years old and his wife was eighty years old, one day at night , lord Krishna came his house in the form of sage. The sage asked for shelter but Gangu Ramola, even after hard persuasion from Maina refused to provide shelter to the sage. The sage became angy went from his house.
       In morning Gangu and his wife Maina swa with shock that their all domestic animals are in the form of stone.  Gangu and Maina understood easily that it happened because of curse by the sage.
   Gangu Ramola went to search the sage that he can beg pardon from the sage. In the way a Brahmin (lord Krishna) met him and told him that he should build temples in Seem region. Gangu build six temples there in Seem but every temple became invisible. Gangu and Maina became sad; there was an akshvani that these temples would be worshipped in the name of Gupt Seem. The Akashvani informed that the lord should be worshipped by milk and flowers. Gangu and Maina worshipped at temple as per instruction of Akashvani.  Lord Krishna became visible to Gangu Ramola and his wife. Gangu became fifteen years old and Maina became twelve years old young girl. All his animals became visible. Later on they got two sons Sidhwa and Bidhwa.
  The folk belief about Seem temple is a popular belief of Garhwal.
   Dinesh Gusai and his team wrote a fine drama 'Gangu Ramola' based on the above religious folk tale, folk ritual or folk rites of Garhwal.  Gadh Jagriti Sanskritik evam  Samajik  Samiti, Kotdwara presented and staged 'Gangu Ramola' drama based on  above religious folk tale, folk ritual or folk rites of Garhwal at the function of Uttarakhand Natya Mahotsav  organized by Akhil Garhwal Sabha , Dehradun in 2007.Dinesh Gusain directed  'Gangu Ramola' based on the popular  religious folk tale, folk ritual or folk rites of Garhwal.
Copyright@ Bhishma Kukreti, 18/5/2012
Notes on Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Asian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; South Asian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; SAARC Countries Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Indian subcontinent Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Indian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; North Indian Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Himalayan Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Mid Himalayan Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Uttarakhandi Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Kumauni Theatres, Dramas based on Religious Folk-Rites /Folk Rituals; Garhwali Theatres, Dramas based on Religious Folk-Rites /Folk Rituals to be continued....

[Bhishma Kukreti]

चंडीगढ़ में गढ़वाली नाट्य मंच और गढ़ कला संगम
एशियाई नाटक, दक्षिण एशियाई नाटक, सार्क देशीय नाटक, भारतीय नाटक, उत्तर भारतीय नाटक, पंजाब में खेले गये गढ़वाली नाटक, हरियाणा में खेले गए गढ़वाली नाटक, चंडीगढ़ में खेले गये गढ़वाली नाटक, हिमालयी नाटक, मध्य हिमालयी नाटक, कुमाउनी नाटक, उत्तराखंडी नाटक, गढ़वाली नाटक लेखमाला

              प्रस्तुति: डी डी सुन्दरियाल "शैलज

चंडीगढ़ के रंगमंच पर गढ़वाली नाट्य विधा  का उदय गढ़ कला संगम के जन्म के साथ ही माना जा सकता है ।हालांकि इससे पहले भी गढ़वाल सभा द्वारा अपने वार्षिक अधिवेशनों में श्री जीत सिंह नेगी द्वारा लिखित नाटक /नाटिकाएँ "भारी भूल ", "जीतू बगडवाल", "मलेथा की कूल", " रामी बौराणी" तथा भवानी दत्त थपलियाल कृत" दुर्जन कि कछड़ी," ललित मोहन थपलियआल कृत "अंछ्रियून कु ताल", "खाड़ू लापता" आदि प्रस्तुतियाँ पहले भी होती रहीं हैं। सन 1977 में सभा द्वारा पाराशर गौड़ के "चोली" नाटक को "चोली चाखुली" नाम से खेला गया जिसमे सर्वप्रथम महिला कलाकारों ने भाग लिया था। श्रीमतीं सावित्री बिष्ट, माहेश्वरी लखेरा, सुशीला नेगी आदि ने रंगमंच पर आकर चंडीगढ़ के गढ़वाली नाट्य मंच में क्रांति सी ला दी थी। इससे पूर्व उत्तराखंड रामलीला मंडली नें टैगोर थिएटर में "मीन नि जाणी " शीर्षक से तीन घंटे का लंबा गढ़वाली नाटक मंचित किया पर उसमे महिला पात्रों की भूमिका भी पुरुष कलाकारों ने ही निभाई थी ।
गढ़वाल सभा तथा रामलीला मंडलियों से जुड़े कुछ कला प्रेमियों  ने  जो गढ़वाली भाषा तथा नाटकों से लगाव रखते थे सन 1978 में  एक अलग  संस्था का गठन किया और इसे गढ़ कला संगम नाम से रजिस्टेरेड करवाया । डी डी सुन्दरियाल (शैलज), चंडी भट्ट (भारती), राजेंद्र नेगी (राजू नीरजल), नारायण दत्त लखेड़ा, ठाकुर सिंह नेगी, जगमोहन रावत आदि इसके संस्थापक सदस्य थे जिसमें बादमें जुडने वालों में श्री आलम सिंह रावत , ओम प्रकाश धसमाना, बलवंत सिंह रावत "कवि", सतोष रावत, कमला राणा,  सुनीता जुयाल, राजेंद्र उनियाल , कविता रावत, संगीता रावत, जसवंत  सिंह रावत, उर्मिला रावत, सते राम जुयाल, कलावती जुयाल, विमल नैथानी, कांति नैथानी, प्रेम सिंह नेगी, मुरलीधर नवनी, कुसुम नवनी, आदि प्रमुख हैं।
गढ़ कला संगम अपने आप में एक अनूठा प्रयोग था । इसके सदस्य परिवार एक ही कला परिवार के सदस्य थे। सब मिलजुल कर नाटक लिखते, पटकथा तयार करते, डाइलॉग लिखते, पत्रों का चयन करते,,यहाँ तक की तकनीकी कार्यों में भी सभी सम्मिलित होते पर जिसका जो मूल शौक़ या गुण होता उसके हिस्साब से क्रेडिट दिया जाता। उदाहरण के लिए लेखक या गीतकार के रूप में नारायण लखेडा, डी डी सुंदरियाल और बलवंत सिंह रावत "कवि" प्रमुख थे तो निर्देशक के तौर पर चंडी भट्ट भारती, डी डी सुंदरियाल, संवाद में इनके अलावा राजू नीरजल, बलवंत "कवि", लाइट और साउंड में जसवंत  रावत, मेकअप में कविता रावत, सुशीला सुंदरियाल, कलावती जुयाल आदि प्रमुख थे।
सते राम जुयाल –कलवाती जुयाल, राजू नीरजल-कमला राणा, संतोष रावत, जसवंत रावत-उर्मिला रावत, सुनीता जुयाल-परमानंद जुयाल, मुरलीधर नवनी-कुसुम नवनी  मुख्य कलाकार थे जबकि स्व श्री देवी प्रसाद अनथ्वाल, श्री कुन्दन सिंह राणा, डी डी सुंदरियाल, सुशीला सुंदरियाल, विमल नैथानी, कांति नेथानी संगीता रावत, रजनी रावत, आदि ने समय समय पर संगम के नाट्य आन्दोलन में प्रमुख भूमिका निभाई है । अधिकतर नाटकों के निर्देशक चन्डी भट्ट भारती प्रमुख हास्य कलाकार के रूप में उन दिनों चंडीगढ़ में ऐसे छाए हुये थे की उन्हे स्टेज पर देखते ही दर्शक बरबस हंस पड़ते थे।
संगम ने कुछ नए प्रयोग किए, जैसे मनोरंजन के लिए कहानी में गीत संगीत व हास्य प्रधान सामाजिक नाटक तयार किए जिनहे देखने लोग बड़ी संख्या में आते क्योंकि उन्हे एक स्वस्थ मनोरंजक फिल्म का मजा मिलता था। साउंड की समस्या सुलझाने के लिए कई नाटकों को रेकॉर्ड करके भी प्रस्तुत किया गया। संगम ने दो गढ़वाली गीतों की कसेटेस भी निकाले पर कंपनी वालों ने उन कसेटेस का क्या किया ये आज तक पता नहीं है।
सन 1979 से 1994 तक दर्जन नाटकों के दो दर्जन शो चंडीगढ़ पानीपत, कुरुक्षेत्र, लुधियाना आदि शहरों में किए। जाति प्रथा की बूराइयों पर आधारित दुखांत प्रेम कहानी " जौंल- बुरांश" (ले0 डी डी सुंदरियाल "शैलज", निर० चाँदी भट्ट भारती), अंधविसवास के कारण अनाथ लड़की पर हुये अत्याचार की कहानी "औंसी कु चाँद" (ले0 डी डी सुंदरियाल "शैलज", निर० चंडी भट्ट भारती), शराब के कारण बर्बाद परिवार की कहानी घुङ्ग्टो (ले० नारायण दत्त लखेड़ा, नि भट्ट भराती ) पुरानी और नई पीढ़ियों की टकराहट से उत्पन्न "दनु देवता बूढ़ू केदार " (प्रभु जोशी की कहानी का  सुंदरियाल द्वारा नाटकीकरण व निर्देशन), ऐतिहासिक लोक कथा पर आधारित प्रेम कहानी "धौलि का आँसू" (सुंदरियाल  शैलज व भट्ट भारती), पलायन की दुख भरी दास्तां "खन्द्व।र" (सुंदरियाल शैलज व भट्ट भारती ), अंधविसवास  व कुरीतियों में फंसे लोगों का चालआक तांत्रिकों द्वारा शोषण की कथा "जगवाल" (ले० नारायण दत्त लखेड़ा , नि० चंडी भट्ट भारती ) जिसे बाद में "हंत्या" शीर्षक से भी मंचित किया गया,
ऐतिहासिक गाथा "तीलू रौतेली" ( ले० नि० सुंदरियाल "शैलज"), विधवा विवाह की वकालत करता नाटक "रतब्योंना" व पारवारिक रिश्तों की विवेचना करता "आस निराश" ( ले० नारायण दत्त लखेड़ा, नि० चंडी भट्ट भारती ) सरकारी भ्रष्टाचार, राजनीतिक गंदगी से पिसते गरीब युवा वर्ग की दास्तान "सर्ग दीदा पाणि पाणि..." और सडी गली शिक्षा व्यवस्था पर कुठराघात करती कथा "जथगा डाड डाड..." (ले० डी डी सुंदरियाल शैलज व नि० चंडी भट्ट भारती ) तथा मैदान व पहाडी संस्कृति  के टकराने से उत्पन्न पारिवारिक द्वंद की कहानी "अर सुपिन्या सच ह्वै ग्याई..." (ले० बलवंत रावत "कवि", नि० भारती ) संगम द्वारा मंचित प्रमुख नाटक हैं। इसके अलावा संगम ने सुंदरियाल की लिखी दो  लघु नाटिकाएँ "पंछी मास्टर" व "अकलकंठ" की प्रस्तुतियाँ भी दी। संगम के कलाकारों के साथ  मिलकर देवेंद्र मुंडेपि एक फिल्म बनाने की तयारी भी कर रहे थे उनके दुबई चले जाने के बाद प्रोजेक्ट धीमा हो गया था। अब वे फिर वापस आ गए हैं तो उम्मीद की जानी चाहिए कि गढ़वाली नाट्य  मंच और फिल्म जगत को कुछ नया मिलेगा।

सन १९९५ में संगम ने लोकगायक व कवि नरेंद्र सिंह नेगी के गीतों पर एक प्रतियोगिता करवाई तथा नेगीजी को गढ़ गौरव पुरुसकार से सम्मानित भी किया। सन १९९६ में स्व० अर्जुन सिंह गुसाई जी को "हिलान्स " पत्रिका के माध्यम से गढ़वाली-कुमाओनी भाषाओं के विकास, आंचलिक पत्रकारिता, सामाजिक व सांस्कृतिक चेतना जगाने के लिए गढ़ गौरव से सम्मानित किया गया। इसी वर्ष से संगम ने एक जागरण पुरूस्कार भी प्रारम्भ किया था और पहला पुरुसकार श्रीमति स्वर्ण शर्मा, प्रिन्सिपल, हरियाणा मोडेल स्कूल पंचकुला (हरयाणा) को प्रदान किया गया था।

गढ़ कला संगम  से प्रेरित होकर चंडीगढ़ में अन्य लोग भी सक्रिय हुये और गढ़वाल कला निकेतन , (के॰एस नेगी, दौलत सिंह नेगी ) ने वीर सिपाईं  , मंदाकिनी कला मंच (राकेश डंडरियाल, देवेंद्र मुंडेपि  आदि)ने नाटिकायों  व नृत्य नाटिकायों तथा यू के आर्ट क्लब (बलबीर सजवांन, भगवान चंद, शेर सिंह, आदि) ने मिलकर नाटक किए तथा बाद में गढ़वाली फिल्म बनाने की दिशा में भी कुछ काम किया। सौकार सिंह रावत, जो राकेश डंडरियाल व देवेंद्र मुंडेपि के साथ ही गढ़ कला संगम से जुड़े रहे थे, ने  बाद में रामी बौराणी नाम से फिल्म बनाई। संगम द्वारा पर पहली बार मंच पेर लाये गए कई कलाकारॉ ने नाम कमाया है। वीरेंद्र सजवान आजकल लोकल कलाकारों के मैंटर हैं तो देवेंद्र मुंडेपि जसपाल भट्टी  के उल्टा पुल्टा में अदाकारी के जौहर दिखा चूकें हैं।
प्रस्तुति: डी डी सुन्दरियाल "शैलज", शैल कुंज, 49 शिवालिक विहार, पटियाला रोड जीरकपुर (पंजाब)
मोबाइल: 09501150981
एशियाई नाटक, दक्षिण एशियाई नाटक, सार्क देशीय नाटक, भारतीय नाटक, उत्तर भारतीय नाटक, पंजाब में खेले गये गढ़वाली नाटक, हरियाणा में खेले गए गढ़वाली नाटक, चंडीगढ़ में खेले गये गढ़वाली नाटक, हिमालयी नाटक, मध्य हिमालयी नाटक, कुमाउनी नाटक, उत्तराखंडी नाटक, गढ़वाली नाटक लेखमाला जारी

[Bhishma Kukreti]

Pandava Gatha: A Jaunsari –Babar Lyrical-Musical –Dance -Theatre, Drama based on Folklores
Notes on Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Asian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; South Asian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; SAARC Countries Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Indian subcontinent Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Indian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; North Indian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Himalayan Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Mid Himalayan Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Uttarakhandi Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Kumauni Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Garhwali Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Jaunsari-Babar Musical-Lyrical-Dance Theatres, Dramas based on Folklores

                                         Bhishma Kukreti

            Pandavas were main characters of Mahabharata. When Yudhisthir the eldest brother of Pandavas lost gamble game with Duryodhan, Pandavs had to spend their life in Jungle (Vanvash) for thirteen years and one year in Guptvas(secretly living). Pandavas spent Guptvas in Jaunsar-Babar area of Garhwal (western Dehradun and south Tihri Garhwal). Gadh Bhairat of Jaunsar-Babar was the territory where king Bairat ruled and Pandavas took shelter in the court of Birat. There are historical evidences that Pandavas lived in the Jaunsar-Babar region. The people o Jaunsar-Babar f took many heritages from Pandavas and still the communities of Jaunsar-Babar practice many customs learnt from Pandavas.
               The people of Jaunsar-Babar perform dance-drama based on the time of Guptvas of Pandavas in Mandvana Nrity-Geet or Pando Nritya geet.
       The drama, theatre team of Jaunsar-Babar Sanskritik Lok kala Manch , Chakrata, Uttarakhand  created a musical-lyrical  drama, theatre 'Pandava Gatha' . Jaunsar-Babar Sanskritik Lok kala Manch , Chakrata, Uttarakhand  presented this  musical-lyrical  drama, theatre 'Pandava Gatha' at the occasion of Veer Singh Thakur Smroti Uttarakhand Lok-Natya Mahotsav organized by Garhwal Sabha, Dehradun in 2005. Nand Lal Bharati directed the folklore based musical, lyrical, dance theatre, drama 'Pandava Gatha'. The old folk songs, well known story of Pandavas, the music and dances of performers attracted the audience.

Copyright @ Bhishma Kukreti, 19/5/2012

Notes on Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Asian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; South Asian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; SAARC Countries Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Indian subcontinent Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Indian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; North Indian Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Himalayan Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Mid Himalayan Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Uttarakhandi Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Kumauni Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Garhwali Musical-Lyrical-Dance Theatres, Dramas based on Folklores; Jaunsari-Babar Musical-Lyrical-Dance Theatres, Dramas based on Folklores to be continued

[Bhishma Kukreti]

Tiladi, Ek Bisree Yad: a Garhwali Drama Theatre, Stage Play about People's Movement, People's Resistance, People's Martyr, against Oppression of Tihri King
(Review of a Garhwali Drama/Stage Play "Tiladi Ek Bisree Yad' by Playwright Pramod Rawat (2007) about Political theatre, People's Movement, People's Martyr against Oppression of Tihri King)
Notes on Dramas, Theatres, Stage Plays about Political theatre, People's Movement, People's Resistance, People's Martyr, against Oppression of King; Asian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; South Asian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; SAARC Countries Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King;  Indian Subcontinent   Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Indian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; North Indian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Himalayan  Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Mid Himalayan Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Uttarakhandi  Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Kumauni Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Garhwali Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King

                                                      Bhishma Kukreti

       Folk theatre or folk dramas had been is good medium for awareness of human rights, educating people about social causes, social changes requirements.  There are many folklores, folk songs are for social awareness and also tell the tale of people's movement and people sacrifice for their human rights. In many countries, political theaters or stage plays were used for promoting underground activities of revolutionists and the political theater activists used old historical events of people's movements, people's resistance against oppression for public awareness. In many countries, Marxist theater personalities had been famous for using stage plays or dramas for public awareness about principles of Carl Marx. Bertolt Brecht used a sophisticated way for Marxist movement awareness by new tactic of using aesthetic-epic Theater. The Indian and African playwrights were greatly influenced by the tactics of Bertolt Brecht for political dramas or theatres. Peter Weiss wrote plays based on historical documents. Arthur Miller wrote two plays probing the human behavior as political and social animals. Feminist authors took help of theatre medium for raising the feminist's issues as Elfriede Jelinek and Caryl Churchill. Judith Malina and her husband her husband Julian Beck (The Brig drama); Jack Gelber (play and film – The Connection) ; Antonia Ataud (famous for absurd dramas); many regional theatre/drama groups and playwrights or street theatre personalities as Jackob Apple of America, Bhupnesh Kumar of Garhwal and Habeeb Tabveer in Indian scenes; David Hare (Stuff Happens-political drama) ; David Edgar; Mark Ravenhill ; Howard Brenton ; Dario Fo; Jean Janet ; Jarzy Grotowsky; Harold Pinter; Erwin Piscator etc are a few famous International who took theatre for political and social awareness.
                Pramod Rawat a famous Garhwali drama, theatre activist who wrote a Drama/theatre about raising the issue on non development of Ravain tribal region of Uttarkashi district of Uttarakhand. Theatre activist and playwright took the subject of 'Tiladi Kand' for political and social awareness about non-development in the region.
'Tiladi Kand'  is equally cruel and inhuman acts of Tihri Riyasat against its subject as Jaliyan wala bag event by cruel British rule. When king Sudarshan took the regime of Tihri Riyasat as diplomatic gift from British he was a poor person. King Sudarshan had to run a small shop for his family living. Learning from British government from the administration in British Garhwal (Pauri-Chamoli Garhwal and Kumaun), kings of Tihri Riyasat paid attention on selling forest produces as export business for Tihri Riyasat. The kings of Tihri Riyasat nationalize the village forests and there was no forest land available for the villagers. Garhwalis were dependent on forests and forest produce for their livings for thousands of years. Villagers did not know how human beings could survive without forests. The people were deprived from grass, wood and other forest produce by the administration of Tihri Riyasat. On 20th May 1930, People's representatives of Ravain went to Narendra Nagar to plead their pleas about forest rights of villagers to the British Governor. The Tihri administration threw the people's representatives into cold water pond.  When people of Ravain came to know the cruel behavior of Tihri Riyasat they revolted against Tihri rule and came in masses to Tiladi Plato at the bank of Yamuna river for mass protest on 30th May 1930. Chakrdhar Juyal the prime minister of Tihri cruelly took order to fire on people .197 men were killed by firing and 197 people were taken to custody. Other 294 people were taken from their houses by Tihri administration. 9 people were killed in jail.
     Tiladi Kand is greatest sacrifice by Garhwali people against oppression and is best example of political movement for human rights. Still, there is no development in the region. Pramod Rawat took the subject of Tiladi Kand for social awareness in the political drama 'Tiladi- ek Bisree Yad' as still; there are tens of folk songs in Ravain region sung by people against Tihri Riyasat.
              Nav Rang Manch , Nauganv, Uttarkashi presented the  'Tiladi- ek Bisree Yad' a Garhwali Drama, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of Tihri King  written by playwright Pramod Rawat. The director Tilak Tamola and playwright Pramod Rawat used folk songs and folk dances for making the Garhwali Drama, Theatres, and Stage Plays about Political theatre People's Movement, People's Resistance, and People's Martyr, against Oppression of Tihri King vibrant and meaningful. Nirmala Aswal was music director of the  'Tiladi- ek Bisree Yad' a Garhwali Drama, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance and  People's Martyr, against Oppression of Tihri King.
                 Asian theatre literature lovers will always remember Pramod Rawat as they remember the works of Bertolt Brecht; Elfriede Jelinek and Caryl Churchill. Judith Malina and her husband her husband Julian Beck (The Brig drama); Jack Gelber (play and film – The Connection) ; Antonia Ataud (famous for absurd dramas); many regional theatre/drama groups and playwrights or street theatre personalities as Jackob Apple of America, Bhupnesh Kumar of Garhwal and Habeeb Tabveer in Indian scenes; David Hare (Stuff Happens-political drama) ; David Edgar; Mark Ravenhill ; Howard Brenton ; Dario Fo; Jean Janet ; Jarzy Grotowsky; Harold Pinter; Erwin Piscator etc for taking theatre as medium for raising political and social issues.       
Reference:
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (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 (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (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 Garhwali drama)
8- Souvenirs of Akhil Garhwal Sabha, Dehradun, Uttarakhand Naty samaroh (2005 and 2007)
9- Wikipedia, http://en.wikipedia.org/wiki/Political_theatre
10- Patterson, Michael, Strategy of Political Theatre, 2003
Copyright@ Bhishma Kukreti, 20/5/2012
Notes on Dramas, Theatres, Stage Plays about Political theatre, People's Movement, People's Resistance, People's Martyr, against Oppression of King; Asian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; South Asian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; SAARC Countries Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King;  Indian Subcontinent   Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Indian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; North Indian Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Himalayan  Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Mid Himalayan Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Uttarakhandi  Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Kumauni Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King; Garhwali Dramas, Theatres, Stage Plays about Political theatre People's Movement, People's Resistance, People's Martyr, against Oppression of King to be continued....

[Bhishma Kukreti]

Rana Ghameru: A Garhwali Lyrical, Dance Drama based on Popular Chivalry Folklore

(Review of a Garhwali Lyrical, Dance Drama 'Rana Ghameru' written by Om Badhani)

Notes on Lyrical, Dance Dramas based on Popular Chivalry Folklores; Asian Lyrical, Dance Dramas based on Popular Chivalry Folklores; South Asian Lyrical, Dance Dramas based on Popular Chivalry Folklores; SAARC Countries Lyrical, Dance Dramas based on Popular Chivalry Folklores; Indian subcontinent Lyrical, Dance Dramas based on Popular Chivalry Folklores; Indian Lyrical, Dance Dramas based on Popular Chivalry Folklores; North Indian Lyrical, Dance Dramas based on Popular Chivalry Folklores; Himalayan Lyrical, Dance Dramas based on Popular Chivalry Folklores; Mid-Himalayan Lyrical, Dance Dramas based on Popular Chivalry Folklores; Uttarakhandi Lyrical, Dance Dramas based on Popular Chivalry Folklores; Kumauni Lyrical, Dance Dramas based on Popular Chivalry Folklores; Garhwali Lyrical, Dance Dramas based on Popular Chivalry Folklores

                                                  By Bhishma Kukreti
                      Still, Dramas based on Chivalry folklores attract the audience. Modern dramatists have been writing dramas based on chivalry folklores of particular regions as Harold Segel provides a couple of examples of modern Russian dramas based on chivalry folklores in the book 'Twentieth Century Russian Drama. There is a culture of Chinese dramas based on chivalry folklores as A.J.Toynbee and E. Glahn provide examples of modern dramas based on chivalry folklores of China and Japan in the book "Half the World". Mosusova  (2008) states that 'Prince of Zeta is Hellenic-Shakespearean drama with full of love and chivalry .  James T.Araki provides examples of dramas (Kowaka) based on chivalry folklores of Japan. Araki further states that Kowaka were often performed in  military encampments in his book The Ballad-Drama of Medieval Japan'(pp-13).
                    Om Badhani wrote a Garhwali lyrical, dance drama based on famous chivalry folklore of Rana Gambheer Singh Rana alias Ghameru. The three hundred years old chivalry folklore of Dayara Bugyal, Taknor Patti of Uttarkashi district of Uttarakhand narrates the brave work of Gambheer Singh Rana 'Rana Ghameru'. Rnana ghameru fought with bravery with Geenthis the encroachers of his Jungle. When Ghameru won the battle, returned back to home, started telling the tale of his chivalry acts,by mistake,  Ghameru Rana injured seriously  his wife Malalya. When Malyalya was dieing she requested her father to marry her younger sister Keedi with Ghameru Rana. 
   One day Ghameru Rana went to beautiful Bugyal (valley of flowers in Taknor), fairies took his life and Ghameru died there.   Keedi became 'Sati' with Ghameru's body.
                      The drama is full of chivalry and love romance and depicts loyalty, devotion too. Dinesh Bhatt directed the drama on the occasion of Uttarakhand Natya Mahotsava held in Dehradun in 2007. Kala Darpan , Uttarkashi presented this  Garhwali Lyrical, Dance Drama based on Popular Chivalry Folklore.

Copyright@ Bhishma Kukreti, 21/5/2012


Notes on Lyrical, Dance Dramas based on Popular Chivalry Folklores; Asian Lyrical, Dance Dramas based on Popular Chivalry Folklores; South Asian Lyrical, Dance Dramas based on Popular Chivalry Folklores; SAARC Countries Lyrical, Dance Dramas based on Popular Chivalry Folklores; Indian subcontinent Lyrical, Dance Dramas based on Popular Chivalry Folklores; Indian Lyrical, Dance Dramas based on Popular Chivalry Folklores; North Indian Lyrical, Dance Dramas based on Popular Chivalry Folklores; Himalayan Lyrical, Dance Dramas based on Popular Chivalry Folklores; Mid-Himalayan Lyrical, Dance Dramas based on Popular Chivalry Folklores; Uttarakhandi Lyrical, Dance Dramas based on Popular Chivalry Folklores; Kumauni Lyrical, Dance Dramas based on Popular Chivalry Folklores; Garhwali Lyrical, Dance Dramas based on Popular Chivalry Folklores to be continued.....

[Bhishma Kukreti]

शेरसिंह बिस्ट 'अनपढ़'  दगडा छ्वी-बथ 



                             वार्ताकार : वीरेन्द्र  पंवार



(शेरसिंह  बिस्ट 'अनपढ़' कुमाउनी / कुमोनी का जणयां -मणयां कवि छन.ये दाना कवि तै आपन कत्गाई बार मंच पर बि कुमोनी मा कविता पाठ करदा सुणी होलो .आज ७८ साल कि  उम्रमा यु कवि जब मंच बटी कविता पाठ करदा त वे टैम पर लगदा कि 'शेरदा' अबी प्रेम-प्यार कि छविं-बतुमा  ज्वानु  तै बि छकै सक्दन. पूरा प्रदेशमा वू  इन्ना बुजुर्ग कवि छन जौंतई लोग पूरी गंभीरता अर  टक्क  लगैकी सुणदन. मंच पर कविता सुणोंणा अपणा ख़ास अंदाज का कारण वु सुणदरोंमा खास लोकप्रिय  छन.वूँका ब्यक्तित्व  अर कृतित्व   पर रिसर्च बि हुयां  छन.

           अबारी तक 'मेरी लटपटी', 'जोठी घुँघर', 'फचैक', 'दीदी बैणि', 'हंसणया- बहार','ये कहानी है नेफा लधाक  कि,

         'शेरदा- समग्र',जनि किताबु का लिखवार शेरदा लिखण से लेकि  कवि सम्मेलानुमा खास लोकप्रिय छन. वूंकी कवितोंमा सामाजिक ब्यवास्थों  पर जोरदार चोट  होंद त कत्गाई बतु तैं वु अफु पर घटैकी लोखु तैं जीवन जिणों तरीका बतोंदन .

२-३-४ अप्रैल २०११ का दौरान उत्तराखंड भाषा संस्थान देहरादून द्वारा उरायाँ  लोकभासा सम्मेलनमा  वूँ दगड़ा सुबेर चाय पर  मुखाभेंट व्हे. वीरेन्द्र पंवार अर बिमल नेगी दगड़ा होईं  वीं बातचीत कि ख़ास -ख़ास बात---)



सवाल...शेरदा आपन लिखनै सुरुवात कब बटी करि अर कुमोनीमा लिखणै प्रेरणा आपतै  कख बटी मिली ?

जवाब...मि सन १९६० बटी लिख्णु छौं. सन १९३३ को मेरु जनम छ.,अर सन १९५० मा मि फ़ौज मा भर्ति व्हेगे छौ.१३ साल कि उम्र बटी लिख्णु सुरु करेली छौ.अनपढ़ छौ,इल्लै हिंदीमा मिन नि लिखी. बाळपन बटी हि  मैतै कुमोनी कविता सुणनौ बडू शौक छौ.बस यी शौक  मेरि प्रेरणा को कारण बणी.मैतै लगि कि मेतै बी कुमोनीमा हि लिखण चयेणु छ.



सवाल... आप पढ़याँ  लिख्यां नी छा,फेर बी आपन खूब लेखी.क्या यु हम तै 'गोड -गिफ्ट' बोलण चयेणु छ?

जवाब...मनखी अपणा अनुभवों से लिख्णु सिखदा. मन का भित्र बिचार पैदा हुन्दन अर वुन्तई कागज पर लिख देंदो. सब कुछ मन मा याद जनो आन्द. एक तरों से आप येतैं 'गोड -गिफ्ट' बी बोल सक्दन.



सवाल...जबारी आपन कुमोनी मा लिख्णु सुरु  करि वु  दौर आज चुलै कन्नु छौ ?

जवाब...वू टैम बडू सीधु सादु छौ .पढ़यां -लिख्याँ लोग कम छा.ईमानदारी से ब्वन्न त वु दौर सिधू-सचु दौर छौ.लोगुं को अपड़ी भाषा से जुड़ाव बी छौ.आज  लोकभासा मा पढ़यां लिख्याँ लोग बी औणअ  छन अर लोगु कि मानसिकता मा बदलाव औणु छ. वे टैम बटी कुमोनी मा भोत्त फरक ऐगी .लोग अपड़ी भाषा तैं अपनौणा छन. बिचारों मा बी काफी फैलावा दिखेनु छ. समाजमा जाग्रति औणी छ.कुमोनीमा आज सब्बि बिधोंमा लेखन होणु छ.कविता ,कहानी,उपन्यास अर हौरि  बिधाओं मा पिछ्ल्या कुछ बरस बटी कत्गाई लोग काम कन्ना छन.लोकभासों का वास्ता या भोत्त अछि बात अर सुरुवात छ.



सवाल  ... पुराणा  दौर का मुकाबला आज आपतै  क्या फरक नजर औणु छ?

जवाब...  हाँ..फरक साफ़ दिखेणु छ.आज साहित्य  -लेखनमा तेजी ऐगी. लोकभासामा आज डिग्रीधारी लोग बी छन. इल्लै साहित्य को स्तर बी बढ़ीगे.पुराणी अर आजै कवितामा अंतर बी साफ़ दिखेणु छ.कंटेंट मा बी फरक दिखेणु छ.लेखनमा समाज कि चिंता साफ़ दिखेणी छ.





सवाल...कुमोनीमा बि  गढ़वाली कि तरों कत्गाई बोली छन,यांका  कारण भाषा का मानकीकरण को झगडा वख बी छ,आप तै  क्या लगदो कि कुमोनी कें तरों से लिखीं  चयेणी छ?

जवाब...कुमोनीमा बी भोत्त बोली छन,इल्लै हमते एक मानक भाषा त बणोंण  हि पड़लि.फेर बी जादा से विद्वानु को  बोलण छ कि कुमोनी मा ख़ास प्राज्य( अल्मोड़ा का आस पास ) कि भाषा  हि कुमोनी भाषा को अच्छो प्रतिनिधित्व  करदी,या कुमों कि सबसे सौंगी भाषा छ अर पूरो कुमों ईं भाषा तै अच्छा ढंग से समझी सकदा.



सवाल...शेरदा प्रदेश मा लोक्भासों का बिकास का वास्ता सरकार कि क्या भूमिका होंण  चयेणी छ?

जवाब... प्रदेशमा गढ़वालि अर कुमोनी का विकास  का वास्ता सरकार तै अगव़ाड़ी  औंण चयेणु छ.अब तक सरकारन  याँ खुण कुछ नी करि. हमारा मुख्यमंत्री अफु साहित्यकार बी छन. वूँसे उम्मीद छ कि जरुर कुछ करला. उत्तराखंड भाषा संस्थान अब लोकभाषाओं का वास्ता काम कनु छ. या हमारा लोक कलाकारों अर लोक भाषा प्रेम्युं तैं एक शुभसंकेत छ.



सवाल...आपतैं नी लगदो कि संस्कृत अर हिंदी अकादमी कि तरों प्रदेशमा बी एक लोकभासा अकादमी होंण चयेणी छ?

जवाब... लोकभासों पर तबी काम अगव़ाड़ी  बढ़ी सक्दो जब प्रदेशम बी लोकभासा अकादमी को गठन करे जालो.सरकार तैं याँपर जल्दी कारवाई कन चयेणी छ.





वीरेन्द्र पंवार (उत्तराखंड खबर सार १ जून २०११) : पौड़ी

[Bhishma Kukreti]

                 Bakharon Gwer Syal: A Garhwali Satirical Drama about of Political Maneuvering,

(Review of a Political Maneuvering based Garhwali Drama 'Bakharon Gwer Syal' (1989) by Bhishma Kukreti)

Notes on Satirical Dramas about Political Maneuvering; Asian Satirical Dramas about Political Maneuvering; South Asian Satirical Dramas about Political Maneuvering; SAARC countries Satirical Dramas about Political Maneuvering; Indian subcontinent Satirical Dramas about Political Maneuvering; Indian Satirical Dramas about Political Maneuvering;  North Indian Satirical Dramas about Political Maneuvering; Himalayan Satirical Dramas about Political Maneuvering; Mid Himalayan Satirical Dramas about Political Maneuvering; Uttarakhandi Satirical Dramas about Political Maneuvering; Kumauni Satirical Dramas about Political Maneuvering; Garhwali Satirical Dramas about Political Maneuvering

                                              Bhishma Kukreti

                        Mahabharata is first record of drams of political genre wherein political maneuvering is part and partial of political power struggle. The list of political dramas/films provided at the end of review is proof that there is relevancy of political dramas in this era too.
              The plot of Political Maneuvering based one act Garhwali Drama 'Bakharon Gwer Syal' is about wrong medicines for well diagnosed patient. When the villagers require real developmental schemes, the gram Pradhan is busy in political maneuvering for his grand ambition of becoming state leader. There are two other village politicians having grand ambitions.   The political base drama 'Bakharon Gwer Syal' has potentiality to be played as street stage play. The political base drama 'Bakharon Gwer Syal' is contemporary in its immediate appeal. The drama asks many questions about people's fate when the system does not support development.
The initial background dialogues declare the intension of political maneuvering in the drama.
(पर्दा बैक गौंड मा आम पाहडी गावक चित्र पैथर बिटेन कुछ आवाज )
एक जनानी क बाच (अवाज)- छि भै ए गाँव मा त नाम लीणो क्वी असल चीज बि नि मिलदी .मेरी डिल्ली मा ल़े ......
हैंकि जनानी क बाच - ए भूलि कब ऐ तू डिल्ली बिटेन? तीन ऊं तै बि द्याख उख ? तीन मैना ह्व़े गेन मन्योडर नि भ्याज ...इख लाला रोज तून देणु रौंद..
तीसरी जनानी - पल्ली गां ले बांजुं पर मौळयार ऐ गे अर हमर गांवक बांजुं फर अबि बि बंजगोळि फुळणा छन
एक हैंकि जनानी क बाच- ए जी ! यू नौनु भूकन रुणु च. क्या जी कौरू ?
बुडड़ी क बाच- ये ब्वारी तू तैक हथ मा खिल्वणि पकडै दि बौगे जालो.
( टन टन टन स्कुलै घंटी बजदी )
एक नौनु बाच - बाबा मी स्कूल जाणो छौं ! आज छमै इम्तान च ..!
बुबा की किड़कताळ - उत्कू घस्सा . स्कूल जाणो छे अर स्यू छ्वटु भुला तेरी ननि न पकड़ण . जा भुला तैं पकड़ .
एक नौनी क बाच - ये बौ , ये बौ मी जरा झाड़ा जाणु छौं
हैंकि जनानी क अवाज - हाँ हाँ झाड़ा हैं झाड़ा . अर स्यू उबर तेरी काणि ब्वेन लिपण? दुफरा मा लगै तै पुटकी पर आग .
हैंकि जनानी क बाच - ये दीदी म्यार छ्वटु तै अखळ लगीं छन. सुबेर बिटेन उन्द अर उब ..
हैंकि जनानी - इ राम दां ये मुलक मा हस्पताळ ल़े हुंद त ..इन कौर डाम धौरी दे
  The leader uses common resources of people for his fame gain. The intellectuals could make awareness but they are
Xxxxx

                 The dialogues are as per the social and economical status of the each character as:
परधान - (रुसेक ) द्याखो जी ! तुम प्रधानो तिबारी मा अयाँ छंवां. त मी तै परधान जी परधान जी बोलीक भट्याओ
रिख्वा - कनो अब त्वे तैं गजे बिटा गजे बिटा कौरिक नि भट्याण?
परधान - नही अब मै इस बगत सिराफ ग्राम प्रधान हूं
रिख्वा (खौंळेक) ये मेरी ब्व़े ! हैं क्या जमानो ऐ गे. अब परधान मनिख नि राई. हैं ! पण पैल बि हमर इख थोकदार होंदा छया पण ओ त नाता रिश्ता कबि नि बिसरदा छया. हैं ...कुज्याण कळजुग मा
Xxxxxx
                  The playwright is successful in showing the cruelty of political maneuvering for gaining the political ambitions and the political leaders don't hesitate in taking the lives of innocent people for expanding their political region.
धर्मा - क्या बुना छंवां ? कु सच्च मानल ?
धिंग्वा - अरे बिचकीं छुँयुं फर , बथों फर सौब भर्वस करदन .
धर्मा - पण वा ब्वारी त सती साबितरी च वीन सती ब्वारी क बदनामी करण भली बात नि च !
धिंग्वा- अरे बेवकूफ, लाटो , राजनीति क अठ्वाड़ मा कै ना कै तैं ब्याला बणाण जरोरी च. राजनीति मा ना क्वी ब्वारी होंद ना क्वी बेटी बस नाम इ बड़ी चीज होंद
धर्मा .पण ..
धिंग्वा - ईं राजनीति क अठ्वाड़ मा बळि को ब्याला खुज्याण इ पोडल . अब बन्वारी क सती साबितरी जन ब्वारी इ सै .
               The Garhwali phrases are definitely satirical.  The political maneuvering drama has dialogues and situations of real life. Many real life incidents as Mayvati's construction of Ambedkar parks in Uttar Pradesh in 2010-2011 are there in political base drama 'Bakharon Gwer Syal' written  in 1989 and published in weekly 'Rant Raibar' , Dehradun in series in 2003. There is suspense for audience to be curious about next scene of the play. The characters are of political maneuvering drama 'Bakharon Gwer Syal' not from elsewhere but from the real world. There is suspense for audience to be curious about next scene of the play.   
                     The Garhwali satirical drama 'Bakharon Gwer Syal' is one of the dramas with political maneuvering subject is the strong proof that modern Garhwali dramas developed with more speed than modern Garhwali fiction literature.

Copyright@ Bhishma Kukreti, 22/5/2012


            List of a few political dramas or movies and comments on them
A: Amzon list by M. Henke is as 

Nixon – Master piece among political maneuvering dramas
Primary Colors – truly great film/drama from political maneuvering angle
All the President's men – perfection in dramatization from political maneuvering angle
Bulworth- best political satire film means that there is   political maneuvering in the drama/film
Dave- A feel good comedy, means there is political drama in the film
JFK- Definitely is full of scenes of political maneuvering dramatic scenes in the drama/film
B- List of Films/dramas based on politics and political maneuvering

Ashes and diamonds (1958) is a Polish film/drama about war and political maneuvering.
The Battle of Algiers (1966) is a film/drama about war maneuvering and political maneuvering
The assassination of Tortsky (1972) is a British film/drama of political maneuvering
The candidate (1972) is an American film/drama about how political machine corrupts and methods for winning election through political maneuvering
The Man (1972) is an American film/drama about ambitions and political maneuvering in high places.
Mephisto (1981) is a Multilanguage film/drama is about  political maneuvering with different style.
Asesinto en el Senado de la Nacion (1984) is an Argentine film/drama showing crimes and political maneuvering by politicians.
New Delhi Times (1986) is a Hindi film/drama about political maneuvering.
Though The Deadline (1987) is war film/drama but is with political maneuvering too.
The Brighter Summer Day (1991) is a Taiwanese film/drama about political environment and political maneuvering of an age in Taiwan.
The City of Hope (1991) is an American film/drama about corruption in the system and politician's maneuvering
Carla's Song (1996) is a British film/drama about suffering of victims due to political struggle and political maneuvering.
City Hall (1996) is an American film/drama about fulfilling grand ambitions and political maneuvering.
Angel Face (1998) - is an Argentinean Spanish film/drama about political maneuvering genre.
Tea with Mussolini (1999) is an Anglo-Italian film/drama with full  political maneuvering
Chronicle of an Escape (2006) is an Argentine (Spanish language) film/drama about military political maneuvering.
4 Months, 3 weeks and 2 days (2007); A Romanian film/drama based on political maneuvering genre.
Captive (2005) is an Argentine film/drama of different political maneuvering genre.

          C -Shakespeare's dramas about political maneuvering

Alexander Leggatt discusses in details about political maneuvering in the dramas of Shakespeare in the book 'Shakespeare's Political Dramas'.
     E- Miscellaneous briefs about dramas about political maneuvering
Stanley Hochman provides many examples of dramas of political maneuvering and political ambitions in 'McGraw encyclopedia of World drama' as – The Clique or the Helping Hand (1837) is a satirical political maneuvering drama, Bertrand and Raton i(1832) is a political comedy showing political maneuvering. Longino and Longino provide briefs of dramas about political maneuvering in the book 'Orientalism in French Classical drama'.   William J. Slater provides details of drama of Roman era in   the book 'Roman theatre and Society. R.G Hogan illustrates many examples of Irish dramas about political maneuvering in the book 'After the Irish Renaissance: A critical history of Irish Drama'.  Gainor offers a good examples of dramas about political maneuvering in the book 'Imperialism and Theatre:' Brockett et all (History of theatre) ;  Watson et all (A cultural history of Theatre); Cohen (Theatre); Magill (Critical survey of Drama); Quinn (Reader's Encyclopedia of World Drama) ; Burstein (Theatre of Revolt); Dharwadkar (Theatres of Independence); Nathans  (Early American theatres from Revolution to Jefferson) ; Wagner (Contemporary historical Chinese dramas ) ; Chen (Acting the Right Part);  illustrate dramas about the subject of political maneuvering.

  F- A few Top Political Maneuvering, Satirical Dramas /Films

First lady (1937) is satirical drama and film depicting political maneuverings by two political rivals. 
The Great Dictator film (1940) shows political maneuvering through satirical methodology.
The Great McGinti (1940) a satirical film and drama is about political maneuvering by two competitors in other fields.
All the King's Man (1949) film is full of political maneuvering, satirical drama. 
Being There (1979) film has satirical genre and political maneuvering drama   
The candidate (1972) film has political maneuvering in political campaign and is with satirical genre in the film-drama.
The Front (1976) film is a satirical, political maneuvering drama in entertainment world. 
Revolution 1 A Red Comedy (1991) film is another example of satirical and political maneuvering in film's drama   
Bob Roberts (1992) film is good example of dramas based on satirical base and political maneuvering.
Casino Jack (2010) – a satirical film is about supper lobbyist with full of satire and political maneuvering drama.

Notes on Satirical Dramas about Political Maneuvering; Asian Satirical Dramas about Political Maneuvering; South Asian Satirical Dramas about Political Maneuvering; SAARC countries Satirical Dramas about Political Maneuvering; Indian subcontinent Satirical Dramas about Political Maneuvering; Indian Satirical Dramas about Political Maneuvering;  North Indian Satirical Dramas about Political Maneuvering; Himalayan Satirical Dramas about Political Maneuvering; Mid Himalayan Satirical Dramas about Political Maneuvering; Uttarakhandi Satirical Dramas about Political Maneuvering; Kumauni Satirical Dramas about Political Maneuvering; Garhwali Satirical Dramas about Political Maneuvering to be continued...