Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

[Bhishma Kukreti]

             Rapture of Affection for Parents in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में प्रति वात्सल्य रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -67

                                    Bhishma Kukreti
  The rapture of affection for parents is demonstrated by deep relationship between parents and children. The daughter or son usually talks about her/his parents favoring, protecting, and adoring their children.
Here, in the following folk song and dance , a motherless married woman is remembering her mother that had her mother would alive she would invite her (daughter) to Mayaka (Parental home) in spring time.
The following folk song also depicts images of post spring months of Garhwal.
 
गढ़वाली लोक नाटकों में प्रति वात्सल्य  रस

उलारी मैनों कि ब्वै , ऋतू बौड़ि गे। 
हौरि ह्वैने डांडि ब्वै , फूल फूली गैने।
घुघती घूरलि ब्वै , डाळि डाळयुं  मांज।
मैतुड़ा बुलालि ब्वै ,बोई होलि जौंकी।
मेरी जिकड़ी मा ब्वै, कुयेड़ी लौंकी।
लाल बणी ह्वेली ब्वै ,काफुळ की डाळी।
खांदा होला ब्वै , लूण राळि  राळी।
गौंकी दीदी भूलि ब्वै , जंगळु मा जाली।
कंडी भोरि भोरि ब्वै , हिसर बिराली।
बाडळि लागलि ब्वै, आग भभराली।
बोई बोदि होली ब्वै , मैत आलि आली।
याद औंद मीतै ब्वै , अपणा भूलों की।
मेरी जिकड़ी मा ब्वै, कुयेड़ी लौंकी।
ल्हाली कुरी गाडि ब्वै , गौंकी बेटी ब्वारी।
हरी -भरीं होली ब्वै , गेंउ जौ की सारी।
यूँ बार मैनों कि ब्वै ,बार ऋतू आली।
जौंकि बोई होलि ब्वै , मैतुड़ा बुलाली
मैतु ऐ गे होलि ब्वै , दीदी भूलि गौंकी।
मेरी जिकड़ी मा ब्वै, कुयेड़ी लौंकी।

(गीत संकलन : डा शिवा नंद नौटियाल, खुदेड़ गीत )

The above folk song is very good example of rapture of affection for parents.

Copyright@ Bhishma Kukreti 1/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
Xx
Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Rapture of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Rapture  of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Rapture of Affection for Parents  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Rapture of Affection for Parents in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में   प्रति वात्सल्य  रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य  रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य   रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में प्रति वात्सल्य  रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य  रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य  रस;चमोली गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य   रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  प्रति वात्सल्य   रस;

[Bhishma Kukreti]

                                   प्रोबेसनरी ऑफिसर याने गऴया बौड़ ! 
                                 चुगनेर,चबोड़्या -चखन्यौर्या -भीष्म कुकरेती


(s =आधी अ  = अ , क , का , की ,  आदि )

(ब्याळि आपन पौढ़ कि शिक्षा मंत्री घ्याळ दा तैं अपण कार्यकर्ता तैं ठहराणो वास्ता शिक्षा विभागौ गेस्ट हॉउस मा कमरा चयेणु छौ।  त प्राइवेट सेक्रेटरी माणावाल जीन सूचना देकि गेस्ट हाउस दस साल तलक बुक च।  सबसे मथि मंज्यूळ पर कुमाऊं अर गढ़वाल मंडल का क्षेत्रीय निदेशकुन अड्डा जमायुं च। )
घ्याळ दा -माणावाल जी ! जगमोहन तैं मथ्या वीआइपी कमरा नि चयाणा छन।  साधारण कमरा से काम चलि जाला जख भितरी टट्टी पेसाबो इंतजाम हो।
माणावाल -हां ग्राउंड फलोर मा इन कमरा छन जख बाथरूम ट्वाइलेट की सुविधा भितरी च।    एक कमरा मा दुयुं तैं रौण पोड़द अर मेज कु इंतजाम नी च।
घ्याळ दा -मेज कु क्वी जरूरत नि पोड़लि।  पढ्युं लिख्युं ह्वेक बि जगमोहन अपण घरवाळि कुण चिठ्ठी कै हैंक से ही लिखवांदु छौ।
माणावाल -वेरी स्ट्रेंज ! पौढ़ लेखिक फिर बि गां मा ?
घ्याळ दा -किलै अपवाद नि हुन्दन।
माणावाल -एस सर ! कुछ बेढंगा लोग बि हूंदि  छन।
घ्याळ दा -हां तो माणावाल जी ! जगमोहन कु इंतजाम ग्राउंड मा कै कमरा मा करे दयावो . ठीक च !
माणावाल -येस सर ! नो सर !
घ्याळ दा -क्या मतलब ?
माणावाल -सर ग्राउंड फलोर का सब कमरा ओवर ऑक्युपाइड छन।  एकै कमरा मा तिन तिन लोग छन।
घ्याळ दा -कनो कैकि बरात ठैरिं च ?
माणावाल -नै नै ! सर ! बरात कि बात नी च।
घ्याळ दा -तो ?
माणावाल -उख ग्राउंड फलोर का कमरों  मा शिक्षा विभाग का प्रोबेसन का ऑफिसर या कलर्क याने नये नये अप्वाइंटेड अधिकारी ठैर्यां छन।
घ्याळ दा -हैं ? यूँन जब देहरादून मा ही काम करण  त यी ऑफिसर देहरादून मा अपण कमरा नि ले सकदन ?
माणावाल -सर यी प्रोबेसनरी ऑफिसर देहरादून मा पोस्टेड नि छन।
घ्याळ दा -हैं यि प्रोबेसन का ऑफिसर देहरादून मा पोस्टेड नि छन ?
माणावाल -येस सर !
घ्याळ दा -यि ऑफिसर कख पोस्टेड छन ?
माणावाल -सर सबि प्रोबेसन  ऑफिसरुं  रूरल उत्तराखंड मा पोस्टिंग हुईं च।
घ्याळ दा -पोस्टिंग ग्रामीण उत्तराखंड मा अर रौंदन देहरादून मा ? यु क्या मकड़जाळ च भै ?
माणावाल -सर यु मकड़जाळ नि च।  बड़ो सीधो अर सरल च।
घ्याळ दा -क्या ? भै नौकरी पहाड़ों मा अर बसेरा देहरादून मा ?
माणावाल -सर मि बारीकि से समजान्दु।
घ्याळ दा -ठीक च जरा समजावो कि नौकरी धारचूला , पिथोरागढ़ मा अर रौण देहरादून मा कन सम्भव च ? क्या रोज बस से धारचुला जांदन ?
माणावाल -सर अधिकाँश युवाओं कु लालन पोषण अर पढ़ाइ लिखाइ त मैदानो मा हि हूंद।  फिर जब पढ़ाई बाद मैदानो मा नौकरी नि मिल्दि त एज्यूकेटेड यूथ सरकारी नौकरी वास्ता तैयार ह्वे जांद।
घ्याळ दा -नै नै ! सरकारी नौकरी आज बी बढ़िया नौकरी माने जांद।
माणावाल -हां जी सर ! अब जब यूं मैदानी संस्कार वाळु या पहाड़ी युवा जौंक पढै लिखै मैदानुं  मा ह्वे वु जब  ऑफिसर बणदन तो प्रोबेसन का समय यूं तैं पहाड़ याने रूरल एरिया  मा भिजे जांद।
घ्याळ दा -ट्रेनिंग का वास्ता  नया नया अधिकार्युं तै पहाड़ी क्षेत्र मा भिजे जांद ?
माणावाल -नै नै सर !
घ्याळ दा -तो ?
माणावाल -सर परमानेंट अधिकारी तो पहाड़ जाण इ नि चांदन तो एकी कौम च अर वा कौम च प्रोबेसनरी  ऑफिसरों की जो पहाड़ जाणो ना नि बोल सकदन।
घ्याळ दा -फिर ?
माणावाल -कुछ तो उखि अपण टेम्पोरेरी बसेरा बणै लींदन पण कुछ इन गऴया बौड़ बि होंदन जु हौळ -ज्यू   देखिक ही भीम पोड़ जांदन ऊनि कुछ नया नया ऑफिसर पहाड़ मा स्थानांतर नाम सुणिक बीमार पोड़ जांदन
घ्याळ दा -त गेस्ट हॉउस मा इ सब बीमार प्रोबेसनरी ऑफिसर रुक्यां छन।
माणावाल -हां कै ना कै बहाना से यि प्रोबेसनरी ऑफिसर गेस्ट मा रुक्यां छन।
घ्याळ दा -त यून परमानेंटली गेस्ट हाउस मा ही रौण ?
माणावाल -ना ना ! जनि यी परमानेन्ट ह्वे जाला तो यी गेस्ट हॉउस छोड़ि द्याला।
घ्याळ दा -अर फिर यूंक जगा नया  नया प्रोबेसनरी ऑफिसर ऐ जाला।
माणावाल -बिलकुल सही बात च सर !
घ्याळ दा -एक बात बतावदी जब यि ऑफिसर उख नि जादन तो उख पहाड़ों मा काम कनकै हूद ?
माणावाल -नै सर ! शनिवारों कुण यी लोग हाजरी लगाणो पहाड़ जाँद छन।
घ्याळ दा -इन मा पहाड़ों मा शिक्षा विभाग मा  कामौ काम क्या होलु ?
माणावाल -नो सर काम फिर भी हुंदी च अर ठीकि हूंद।  केंद्रीय सरकरारन भौत दै उत्तराखंड सरकार तैं प्रसस्ति पत्र बि दे.
घ्याळ दा - हमर राज्य दिवतौं धरती च तो द्यो दिवता बि सहायता करदा ही होला ! उत्तराखंड शिक्षा कु मालिक भगवान ही च। नि बोल जाण ?
माणावाल - येस सर ! नो सर !

** कल पढ़ें गेस्ट हॉउस के  फर्स्ट फलोर के परमानेन्ट गेस्ट कौन हैं ?

Copyright@ Bhishma Kukreti  2/1/2014

[गढ़वाली हास्य -व्यंग्य, सौज सौज मा मजाक  से, हौंस,चबोड़,चखन्यौ, सौज सौज मा गंभीर चर्चा ,छ्वीं;- जसपुर निवासी  के  जाती असहिष्णुता सम्बंधी गढ़वाली हास्य व्यंग्य; ढांगू वाले के  पृथक वादी  मानसिकता सम्बन्धी गढ़वाली हास्य व्यंग्य;गंगासलाण  वाले के  भ्रष्टाचार, अनाचार, अत्याचार पर गढ़वाली हास्य व्यंग्य; लैंसडाउन तहसील वाले के  धर्म सम्बन्धी गढ़वाली हास्य व्यंग्य;पौड़ी गढ़वाल वाले के वर्ग संघर्ष सम्बंधी गढ़वाली हास्य व्यंग्य; उत्तराखंडी  के पर्यावरण संबंधी गढ़वाली हास्य व्यंग्य;मध्य हिमालयी लेखक के विकास संबंधी गढ़वाली हास्य व्यंग्य;उत्तरभारतीय लेखक के पलायन सम्बंधी गढ़वाली हास्य व्यंग्य; मुंबई प्रवासी लेखक के सांस्कृतिक विषयों पर गढ़वाली हास्य व्यंग्य; महाराष्ट्रीय प्रवासी लेखक का सरकारी प्रशासन संबंधी गढ़वाली हास्य व्यंग्य; भारतीय लेखक के राजनीति विषयक गढ़वाली हास्य व्यंग्य; सांस्कृतिक मुल्य ह्रास पर व्यंग्य , गरीबी समस्या पर व्यंग्य, आम आदमी की परेशानी विषय के व्यंग्य, जातीय  भेदभाव विषयक गढ़वाली हास्य व्यंग्य; एशियाई लेखक द्वारा सामाजिक  बिडम्बनाओं, पर्यावरण विषयों   पर  गढ़वाली हास्य व्यंग्य, राजनीति में परिवार वाद -वंशवाद   पर गढ़वाली हास्य व्यंग्य; ग्रामीण सिंचाई   विषयक  गढ़वाली हास्य व्यंग्य, विज्ञान की अवहेलना संबंधी गढ़वाली हास्य व्यंग्य  ; ढोंगी धर्म निरपरेक्ष राजनेताओं पर आक्षेप , व्यंग्य , अन्धविश्वास  पर चोट करते गढ़वाली हास्य व्यंग्य    श्रृंखला जारी  ]   

[Bhishma Kukreti]

History aspects of General Administration in Chand Dynasty in Kumaon Kingdom


          (History of Kumaon from 1000-1790 AD)
      
                     (History of Panwar Dynasty Rule in Kumaon)
History of Uttarakhand (Garhwal, Kumaon, Haridwar) - Part 235

                                              By: Bhishma Kukreti

                        Faujdar of Kiledar in Chand Dynasty in Kumaon Kingdom

             Faujdar means regional defense commander of a Pargana. Faujdar used to have a small permanent armed force. Initially in Champawat, men from Karki, Bora, Tadagi and Chaudhri families were Faujdar of Chand Kings.
     In later stage, Rautela (from Chand family) were appointed as Faujdar of won territory.
  Faujdar or Kiledar words were taken from Muslim and Mogul Empire style of administration.

          Other Governing Employees in Chand Rule
            There were no exclusive departments to look after defense, offense, justice, internal security and administration. Depending upon the choice of King, the work was handed over to any minister.
               Purushottam Pant led the winning battle of Seera. He was called 'Parshdon me Sharvshreshth' or the best among ministers. The army commanders Shiv Dev Joshi is described as 'Kumaun ka Seerdar Seev Dev Bisht'. Now, Bisht is Rajput caste. However, initially Bisht word was derived from Vishishth or exclusive or the best.
     The government used to pay regular salaries to Rasoiya (Cook); Rasoi Daroga (police officer of Kitchen); Musahab and Rajcheliyan (maid servants) of palace. Rasoi Daroga had to taste food before cook and the king before the King start taking meal.
       Shakti Gusain divided administrative officers into Srdar, Faujdar and Negi as Manger, Supervisors and workers. Sardar were regional head of administration. Faujdar used to look after defense services and Negi were working class in administration. Negi used to get salary and Dasture (customery grains from village).
  The administrator of Mal 9Bhabhar and Tarai) was designated as Mal Sardar. There were no fixed rules for salary, promotion and pension. 
Chakar, Chopdar, Khavas, Khavasan were different low cadre servants. Nakkarchi, Mirasi and Bhand were for entertaining the King and other elites.
Vakil were ambassadors sent to neighboring countries, Mogul court. Valik used to inform the current situation of other country.

                 Sayana, Budha, Thokdar

        Sayana, Budha or Thokdar were to collect revenue taxes.
The tax collectors in Pali and Baramandal were called 'Sayana'
The tax collectors in Kali Kumaon, Johar and Darma were called Budha.
The tax collectors in the regions were called Thokdar.
Usually, Budha, Sayana and Thokdar were authorized to use their flags and drums to announce their arrival.
The Kumaon Kings used to take advices from Budha of Kali Kumaon at critical situations as appointing heir for the Kingdom.
Mara and Fadtyal groups were among sayana, Budha and Thokdar.
By law, sayana, Budha and Thokdar were supposed to cooperate and help Kingdom regional or national army.
Budha, sayana used to collect tax as 'Sayanachari either in form of money or materials. These tax collectors used to collect specific additional tax as per King announcement. Villagers used to work free on specific works as in marriage or festive time in the family of Sayana, Thokdar or Budha.
Initially there were four Sayana from Katyuri family in Pali. Bajbahadur appointed Sanvaliya Bisht and Bangari Raut as Sayana. These Bisht and Bangar Raut deceived their motherland (Garhwal) from Kumaon King Bajbhadur.
In Kali Kumaon, there were eight Budha those were from Tadagi, Kharku, Bora and Chaudhri families.
Sayana, Budha or Thokdar were authorized to appoint village chief (Padhan). After appointment, Padhan used to pay tribute to sayana in form of lamb meat (thigh portion) , milk, ghee, maize and gifts in the marriage time of Sayana, Budha or Thokdar.

                  Ritual Performing Class

          There were Guru, Pauranik and Dharmadhikary types of positions for religious ritual performers.
        The Brahmin scholars as Joshi from Jhinjhad; Pande from Shimalt; Pande from Devliya or Mandoliya were appointed on such positions. These were called 'Chauthani'. Later on Tiwari caste was also included.
   For Tantrik performances, the Brahmins from Bangal or Maghad were called.
Pauranik Brahmins used to tell the religious stories etc.
Purohit used to perform Karmkand religious rituals.
Dharmadhikari were to provide decision of religious matter a s repent etc. Dharmadhikari used to looking after management of temples and Sanskrit schools. Dharmadhikari used to administrate caste system in the Kingdom.





Copyright@ Bhishma Kukreti -bckukreti@gmail.com 2/1/2014

                                      References

Dr. Shiv Prasad Dabral, Uttarakhand ka Itihas Bhag 10, Kumaon ka Itihas 1000-1790
Badri Datt Pande, 1937, Kumaon ka Itihas, Shri Almora Book Depo Almora
Devidas Kaysth, Itihas Kumaon Pradesh
Katyur ka Itihas, Pundit Ram Datt Tiwari
Oakley and Gairola, Himalayan Folklore
Atkinson, History of District Gazette
Menhadi Husain, Tuglak Dynasty
Malfujat- E Timuri
Tarikh -e-Mubarakshahi vol 4
Kumar Suresh Singh2005, People of India
Justin Marozzi, 2006, Tamerlane: Sword of Islam
Bakshsingh Nijar, 1968, Punjab under Sultans 1000-1526 
The Imperial Gazetteer of India, Volume 13 page 52 
Bhakt Darshan, Gadhwal ki Divangit Vibhutiyan
Mahajan V.D.1991, History of Medieval India
Majumdar R.C. (edited) 2006, The Sultanate
Rizvi, Uttar Taimur Kalin Bharat
Tarikhe Daudi
Vishweshara nand , Bharat Bharti lekhmala
Aine-e Akbari
Akbari Darbar
Tareekh Badauni
Eraly Abraham, 2004 The Mogul Throne
The Tazuk-i-Jahangiri
Maularam- Gadh Rajvansh Kavya
Ramayan Pradeep
Annatdev's Smriti-Kaustubh
Sarkar, History of Aurangzeb
Jadunath Sarkar, History of Aurangzeb
Sarkar, fall of Mogul Empire
Sailendra Nath Sen, 2010, An Advanced History of Modern India
(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
   
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -236   
History of Kumaon (1000-1790) to be continued....
Himalayan, Indian History of Chand Dynasty rule in Kumaon to be continued...
  (Himalayan, Indian History (740-1790 AD to be continued...)
Xx
History of Kumaon, Himalaya; History of Pithoragarh Kumaon, Himalaya; History of Champawat Kumaon, Himalaya; History of Bageshwar Kumaon, Himalaya; History of Nainital Kumaon, Himalaya; History of Almora Kumaon, Himalaya; History of Udham Singh Nagar Kumaon, Himalaya; History of Kumaon, Himalaya, North India; History of Kumaon, Himalaya, South Asia; History aspects of General Administration in Chand Dynasty in Kumaon Kingdom; History aspects of General Administration in Chand Dynasty in Bhabhar –Tarai of Kumaon Kingdom; History aspects of General Administration in Chand Dynasty  in Pithoragarh of Kumaon Kingdom; History aspects of General Administration in Chand Dynasty  in Champawat of Kumaon Kingdom; History aspects of General Administration in Chand Dynasty  in Bageshwar of Kumaon Kingdom; History aspects of General Administration in Chand Dynasty  in of Nainital Kumaon Kingdom; History aspects of General Administration in Chand Dynasty  in Almora  of Kumaon Kingdom;

[Bhishma Kukreti]

                 पर्यटन व्यवसाय में   अंतर्देशीय पयटक स्थलों की जानकारियों का महत्व
                Importance of  Understanding Features of Inland Destinations in Tourism Development

(Tourism and Hospitality Marketing Management for Garhwal, Kumaon and Hardwar series--30)

                                          उत्तराखंड में पर्यटन व आतिथ्य विपणन प्रबंधन -भाग 30 
                                                       लेखक : भीष्म कुकरेती     
                       
                                          (विपणन व विक्री प्रबंधन विशेषज्ञ )

पर्यटक व्यापारी को विदेसी पर्यटक स्थलों की जानकारी के साथ साथ अंतर्देशीय पर्यटक स्थल व अंतर्देशीय  पर्यटन स्थलों की कार्यशैली का ज्ञान व मुख्य प्रतियोगी पर्यटन स्थलों का ज्ञान होना आवश्यक है।
भारत में मुख्य पर्यटक स्थलों का वर्गीकरण इस प्रकार है -

                 भारत में सांस्कृतिक पर्यटक स्थल


धार्मिक -सासंकृतिक पर्यटक स्थल
ऐतिहासिक पर्यटक स्थल
म्यूजियम
आधुनिक सांस्कृतिक एवं राजनैतिक पर्यटक स्थल
शैक्षणिक संस्थान

            परम्परा संबंधी पर्यटक स्थल

रास्ट्रीय अथवा क्षेत्रीय त्यौहर   संबंधी पर्यटक स्थल
कला संबंधी त्यौहार , मेले , प्रदर्शनी आदि
संगीत , नृत्य आदि संबंधी पर्यटक स्थल
अन्य परम्परा निभाने वाले पर्यटन

             दृश्य संबंधी पर्यटक स्थल

नभ , जल व जमीन जो पर्यटकों को आकर्षित करने वाले स्थल हैं।
पार्क , जल विचरण , रिजॉर्ट , , पहाड़िया पक्षी व वनस्पति निहारण  आदि


                मनोरंजन संबंधी पर्यटक स्थल

सिनेमा , खेलकूद , क्लब , रात्रि मनोरंजन , भोजन आदि संबंधी पर्यटक स्थल


               अन्य आकर्षक पर्यटक स्थल

जलवायु परिवर्तन संबंधी स्थल , स्वस्थ्य वर्धक स्थल  , स्पा , व विशेष पर्यटक स्थल

उत्तराखंड पर्यटन को बहुत से पर्यटक स्थलों से प्रतियोगिता करनी पड़ती है विशेषकर हिमाचल प्रदेस व कश्मीर पर्यटक स्थल उत्तराखंड पर्यटन के पारम्परिक  प्रतियोगी क्षेत्र हैं।

  अपने मुख्य प्रतियोगी पर्यटन स्थल की जानकारी से ही विपणन व ब्रैंडिंग रणनीति बनाई जाती है।




Copyright @ Bhishma Kukreti 2 /1/2014

Contact ID bckukreti@gmail.com

Tourism and Hospitality Marketing Management for Garhwal, Kumaon and Hardwar series to be continued ...

उत्तराखंड में पर्यटन व आतिथ्य विपणन प्रबंधन श्रृंखला जारी ...

                                    References

1 -भीष्म कुकरेती, 2006  -2007  , उत्तरांचल में  पर्यटन विपणन परिकल्पना , शैलवाणी (150  अंकों में ) , कोटद्वार , गढ़वाल
xx


Importance of Understanding Features of Indian  Destinations in context Tourism development in Uttarakhand; Importance of Understanding Features of Indian  Destinations in context Tourism development in Dhangu Patti, Garhwal, Uttarakhand; Importance of Understanding Features of Indian  Destinations in context Tourism development in Gangasalan Garhwal, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Lansdowne Tehsil Garhwal, Uttarakhand; Understanding Features of Worldwide Destinations in context Tourism development in Pauri Garhwal, Uttarakhand; Importance of Understanding Features of Worldwide Destinations in context Tourism development in Chamoli Garhwal, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Rudraprayag Garhwal, Uttarakhand; Importance of Understanding Features of Indian  Destinations in context Tourism development in Tehri Garhwal, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Uttarkashi Garhwal, Uttarakhand; Importance of Understanding Features of Indian  Destinations in context Tourism development in Haridwar Garhwal, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Dehradun Garhwal, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Udham Singh Nagar Kumaon, Uttarakhand; Importance of Understanding Features of Indian  Destinations in context Tourism development in Nainital Kumaon, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Almora Kumaon, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Champawat Kumaon, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Bageshwar Kumaon, Uttarakhand; Importance of Understanding Features of Indian Destinations in context Tourism development in Pithoragarh Kumaon, Uttarakhand;

[Bhishma Kukreti]

Bhratri Prem (Brotherhood): Garhwali Folk Story for Chief Executive Officers

Garhwali Folk Tales, Fables, Traditional stories, Community Narratives for Effective Managers, Effective executives, Effective Boss, Effective Supervisors or Stories for Effective management, management Lesson from Garhwali Folk Literature from Garhwal, part- 46   

       Collected and edited by: Bhishma Kukreti (Management Training Expert)

             There were seven brothers whose parents die early. They had thick affection among themselves. They always believed and acted upon equal distribution.
           One day, they were grazing cattle in the forest. Their youngest brother was far away and was playing flute and six brothers were together.
  One brother found a sesame seed. He handed over sesame seed to his eldest brother. Elder brother divided sesame seed among all equally but forgot youngest brother. When all ate sesame seed portion, they came to know that they forgot to give seed portion to youngest one. They all felt sorry for their forgetting their brother.
  They all seven brothers went to a village and married their youngest brother as they could not give portion to him. 
   The moral of the folk story is that there should be equal distribution of materials or welath.

Copyright @ Bhishma Kukreti 1/1/2014 for review and interpretation    
Garhwali Folktales, Fables, Traditional stories for Managers,/executives, boss, supervisors or Stories for management from Garhwal to be continued...

                                 References

1-Bhishma Kukreti, 1984, Garhwal Ki Lok Kathayen, Binsar Prakashan, Lodhi Colony, Delhi 110003, 
2- Bhishma Kukreti 2003, Salan Biten Garhwali Lok Kathayen, Rant Raibar, Dehradun
3- Bhishma Kukreti, Garhwali Lok Kathaon ma Prabandh Vigyan ka Tantu , Chitthi Patri's Lok Kathayen Visheshank  , Dehradun
Xx
Garhwali Folk Story for Chief Executive Officers (CEO); Garhwali Folk Story from Dhangu Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Gangasalan Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Lansdowne Tehsil Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Pauri Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Haridwar Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Dehradun Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Uttarkashi Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Tehri Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Chamoli Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Rudraprayag Garhwal for Chief Executive Officers (CEO); Garhwali Folk Story from Garhwal, Himalaya for Chief Executive Officers (CEO); Garhwali Folk Story from Garhwal, North India  for Chief Executive Officers (CEO); Garhwali Folk Story from Garhwal, South Asia  for Chief Executive Officers (CEO);

[Bhishma Kukreti]

          Alankar or Figure of Speeches in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -68

                                    Bhishma Kukreti

            According to Bhama Sastri (Kavyalankar), defines Kavya (poetry) as word and meaning taken together constitute 'Kavya' (Poetry). It is of two kinds 'prose' and 'verse'. According to Bhama Sastri, drama comes under Kavya or Poetry.
  Ornamentation or stylish devices are necessarily used in every literature.
         The words or phrases those beautify the drama /poetry or other literary segment is called 'Alankar' or figure of speech. 
          Figure of speech is using word/words or phrases that excel its literal interpretation.
        According to Dr Shiva Nand Nautiyal, there are following characteristics of uses of Figure of Speeches in every Folk Drama –
1-The beautification of words or phrases are must for folk songs or drama.
2- The words or scene should create sensitivity and figure of speeches should be used for effect.
3- There should be relevancy in using figure speeches
4- Figure of speeches should not be pushed from outside but should be part of poetry or drama. 
According to Jensen (2008),, there are following main components of figure of speeches (rhetorical operations ) –
1-Addition (repetition/expansion/superabundance etc)
2-Omition (lack/subtraction/abridgement)
3-Transportation (transferring)
4-Permutaion (switching/interchange/substation/transmutation

          Figure of speeches are used in both the form of folk dramas that is in folk prose and folk poetic dramas.
Some uses of Figure of Speeches in Garhwali folk drama-
Adnomination Figure of Speech: repletion of words with same root word.
स्यु अणबुल्या अणछण्या ग्युं तक नि लै सौक.
Alliteration: Series of words that begin with same consonant
1-कुखुड़ कुकरौं डौरी कोड़ि पैथर चली गेन अर कुकर कुकडुंक कुछ नि बिगाड़ सकिन I
  2- चोरुंक चर चर बचन I   
          In the following chapters, we shall discuss various types of figure speeches of Sanskrit and English as well.



Copyright@ Bhishma Kukreti 2/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
Xx
Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में    अलंकार ;

[Bhishma Kukreti]

                 सर ! बिचारु बलात्कार केस मा फंस्युं च त जरा हमदर्दी  ...!

                          चुगनेर,चबोड़्या -चखन्यौर्या -भीष्म कुकरेती


(s =आधी अ  = अ , क , का , की ,  आदि )

(ब्याळि आपन पौढ़ बल शिक्षा विभाग कु गेस्ट हॉउस मा उ अधिकारी रौंदन जु प्रोबेसन मा छन अर पहाड़ जाणो जगा मैदान मा ट्रांसफर की प्रतीक्षा मा छन।  अब अग्वाड़ी पढ़ा )
शिक्षा मंत्री घ्याळ दा -त माणावाल जी आप जगमोहनौ  कुण फस्ट फलोर पर एक कमराक इंतजाम करि दयावो !
प्राइवेट सेक्रेटरी माणावाल - सर ! कास मि इन कौर सकुद !
घ्याळ दा -कनो ! माखन छींक दे क्या ?
माणावाल -नो सर ! तन क्वी बात नी च बट इट इज नॉट पॉसिबल टु ऑक्युपाइ मिस्टर जगमोहन इन फस्ट फ़्लोर ।
घ्याळ दा -किलै ?
माणावाल -सर शिक्षा विभागौ गेस्ट हॉउस कु फस्ट फ्लोर मा द्वी खंड छन।  एक दक्षिण मुखी च त हैंक उत्तर मुखी च। बड़ा कमरा , अटैच्ड बाथरूम -ट्वाइलेट , सबी सुविधा छन रूमों मा  ....
घ्याळ दा -तो ठीक च दक्षिण मुखी खंड मा  ...
माणावाल -सर  दक्षिण मुखी खंड मा उ ऑफिसर छन जौंक प्रमोसन हूणो बाद ट्रांसफर मैदानो से पहाड़ों मा ह्वै गे पण जु पहाड़ो मा जाण नि चांदन।
घ्याळ दा -तो पहाड़ों मा उं तै भ्याजो जु जाण चाणा छन।
माणावाल -सर क्वी बि अधिकारी पहाड़ों मा काम नि करण चाणा छन । सर जब हम राजधानी गैर सैण नि बणै सकदवां तो ऑफिसर किलै पहाड़ जाण चाला ? इलै इ त प्रोबेसनरी अर प्रोमोसन का बहाना इन अधिकार्युं तैं पहाड़ भिजे जांद।  कुछ त दिन काटणो पहाड़ चलि जांदन पण कुछ इख गेस्ट हाउस मा  ....
घ्याळ दा -एक बात बतावदी कि यी लोग देहरादून मा गेस्ट हॉउस मा रैक क्या करदन ?
माणावाल -सर वो इना उना  कोशिस करदन कि ऊंक ट्रांसफर मैंदानों मा ह्वे जावो।
घ्याळ दा -माणावाल जी ! इन किलै नि बुलदवां कि यी लोग जुगाड़ भिड़ाणो इख देहरादूनम पड्यां रौंदन ?
माणावाल -सर ! मि कार्यालय मा असंवैधानिक भाषा इस्तेमाल नि कौर सकुद।
घ्याळ दा -अच्छा त गेस्ट हाउस कु फस्ट फ्लोर कु उत्तरी दिशा का कमरा कन छन?
माणावाल -सर ! वु  कमरा अधिक सुविधाजनक छन।  आप तैं वूं कमराउं मा थ्री स्टार होटल  जन सुविधा मिल जालि।
घ्याळ दा -त जगमोहन कु इंतजाम उख करि द्यावो।
माणावाल -इट इज जस्ट इम्पॉसिबल टु  ऑक्युपाइ दियर ऐनि रूम
घ्याळ दा -किलै ?
माणावाल -सर उख उ ऑफिसर्स रौंदन जौंक ट्रांसफर पनिशमेंट का तहत पहाड़ों मा करे गे।
घ्याळ दा -पनिशमेंट ? कन पनिशमेंट या दंड ?
माणावाल -सर जन कि क्वी ऑफिसर घोटाला या  घूस लींद पकड़े गे तो लखनऊ की परम्परानुसार इन ऑफिसरों तैं पनिशमेंट दीणो बान पहाड़ों मा ट्रांसफर करे जांद।
घ्याळ दा -वाह ! घूसखोर , घोटालाबाज,अपराधी  अधिकार्युं कुण पहाड़ चारागाह बण्या छन।  हैं ?
माणावाल -सर मि इख  पर क्वी आधिकारिक अर व्यकिगत टिप्प्णी नि कौर सकुद।
घ्याळ दा -अच्छा ! एबरी कथगा आरोपी अधिकारी छन गेस्ट हाउस मा ?
माणावाल -सर तीन अधिकारी वु छन जु घूस लींद पकड़े छया , द्वी कड़क अधिकारी ट्रांसफर घोटाला मा फंस्यां अधिकारी छन।   अर  ... एक
घ्याळ दा -अर एक ?
माणावाल -बिचारो बलात्कार का केस मा फंस्युं अधिकारी च जैक ट्रांसफर गंगोत्री साइड हुयुं च
घ्याळ दा -क्या माणावाल जी !  बलात्कारी बिचारो कनकैक ह्वे गे ?
माणावाल -सर वै अधिकारीक वाइफ मय बालबच्चों वै तैं छोड़िक चलि गे ना।  तो इलै मीन बिचारो ब्वाल। अब ! छौंद परिवार का बेपरिवार वाळ से हमदर्दी ह्वैइ जांद !
घ्याळ दा (जोर से हंसद ) -वाह ! बलात्कारी बिचारो ह्वे गे !
माणावाल -नो सर , आइ डिड नॉट मीन दैट।
घ्याळ दा - ह्यां पण ! जब यी अधिकारी दोषी छन तो यूं तैं बर्खास्त किलै नि करे जाणु च ?
माणावाल - नो सर ! यी आरोपी अधिकारी छन पण दोषी नि छन।  जब तक न्यायालय इन अधिकार्युं तैं दोषी नि ब्वालल तब तलक यूं तैं बर्खास्त नि करे सक्यांद।
घ्याळ दा -मतबल तब तलक यूं अपराधी , आरोपी अधिकार्युंन  सरकारी चारागाह मा चारा खाणु रौण।?
माणावाल - येस सर ! नो सर !

Copyright@ Bhishma Kukreti  3/1/2014

[गढ़वाली हास्य -व्यंग्य, सौज सौज मा मजाक  से, हौंस,चबोड़,चखन्यौ, सौज सौज मा गंभीर चर्चा ,छ्वीं;- जसपुर निवासी  के  जाती असहिष्णुता सम्बंधी गढ़वाली हास्य व्यंग्य; ढांगू वाले के  पृथक वादी  मानसिकता सम्बन्धी गढ़वाली हास्य व्यंग्य;गंगासलाण  वाले के  भ्रष्टाचार, अनाचार, अत्याचार पर गढ़वाली हास्य व्यंग्य; लैंसडाउन तहसील वाले के  धर्म सम्बन्धी गढ़वाली हास्य व्यंग्य;पौड़ी गढ़वाल वाले के वर्ग संघर्ष सम्बंधी गढ़वाली हास्य व्यंग्य; उत्तराखंडी  के पर्यावरण संबंधी गढ़वाली हास्य व्यंग्य;मध्य हिमालयी लेखक के विकास संबंधी गढ़वाली हास्य व्यंग्य;उत्तरभारतीय लेखक के पलायन सम्बंधी गढ़वाली हास्य व्यंग्य; मुंबई प्रवासी लेखक के सांस्कृतिक विषयों पर गढ़वाली हास्य व्यंग्य; महाराष्ट्रीय प्रवासी लेखक का सरकारी प्रशासन संबंधी गढ़वाली हास्य व्यंग्य; भारतीय लेखक के राजनीति विषयक गढ़वाली हास्य व्यंग्य; सांस्कृतिक मुल्य ह्रास पर व्यंग्य , गरीबी समस्या पर व्यंग्य, आम आदमी की परेशानी विषय के व्यंग्य, जातीय  भेदभाव विषयक गढ़वाली हास्य व्यंग्य; एशियाई लेखक द्वारा सामाजिक  बिडम्बनाओं, पर्यावरण विषयों   पर  गढ़वाली हास्य व्यंग्य, राजनीति में परिवार वाद -वंशवाद   पर गढ़वाली हास्य व्यंग्य; ग्रामीण सिंचाई   विषयक  गढ़वाली हास्य व्यंग्य, विज्ञान की अवहेलना संबंधी गढ़वाली हास्य व्यंग्य  ; ढोंगी धर्म निरपरेक्ष राजनेताओं पर आक्षेप , व्यंग्य , अन्धविश्वास  पर चोट करते गढ़वाली हास्य व्यंग्य    श्रृंखला जारी  ]   

[Bhishma Kukreti]

        History of Feature of Court Administration in Chand Dynasty Rule

          (History of Kumaon from 1000-1790 AD)
      
                     (History of Panwar Dynasty Rule in Kumaon)
History of Uttarakhand (Garhwal, Kumaon, Haridwar) - Part 236

                                              By: Bhishma Kukreti

                                      Salary Payment System
              The Highest cadre employees were provided Jagir (a few villages or region who used to pay tax to officers). Kumaon kingdom used to pay in cash to their officers as 'Rojina' as daily allowances etc.
   Many officers were provided village families who used to provide grains etc to officers. Th employees used to collect salary from Pragana officer against order or Rukka.
  Shakti Gusain fixed some villages whose tax was fixed for court employees.

                   Capitals of Chand Kings

       Abhay Chandra captured Champawat from Khasiya Raut in 1361 and established capital as Champawat.Bhishma Chandra planned to shift capital to Khagmarakot. Balo Kalyan Chandra shifted capital to Khagmarakot in1533. H e built a palace near Nail Pokhara. Slowly, forts, other palaces, court buildings, temples and individual houses were built there. Champawat was sub capital for fifty years. Later on the capital was shifted to Almora to defend Mal territory. From the beginning till 1790, Almora saw many murders of kings and administrators due to infighting among various groups.

                          Court
  The court or parliament used to be in a portion of palace. The princes, ministers, record keepers, army commanders, regional commanders or tax collectors used to be present in court. The king used to hear the matter and used to provide decision.
  In evening court was transformed into entertaining place or Majlish. Pauranik and Guru used to preach religious preaching. Dances, singer, and poets or scholars used to participate there for various activities. Elites and high cadre employees used to be there. Poets and artists used to show their arts for rewards from the King.


Copyright@ Bhishma Kukreti -bckukreti@gmail.com 3/1/2014

                                      References

Dr. Shiv Prasad Dabral, Uttarakhand ka Itihas Bhag 10, Kumaon ka Itihas 1000-1790
Badri Datt Pande, 1937, Kumaon ka Itihas, Shri Almora Book Depo Almora
Devidas Kaysth, Itihas Kumaon Pradesh
Katyur ka Itihas, Pundit Ram Datt Tiwari
Oakley and Gairola, Himalayan Folklore
Atkinson, History of District Gazette
Menhadi Husain, Tuglak Dynasty
Malfujat- E Timuri
Tarikh -e-Mubarakshahi vol 4
Kumar Suresh Singh2005, People of India
Justin Marozzi, 2006, Tamerlane: Sword of Islam
Bakshsingh Nijar, 1968, Punjab under Sultans 1000-1526 
The Imperial Gazetteer of India, Volume 13 page 52 
Bhakt Darshan, Gadhwal ki Divangit Vibhutiyan
Mahajan V.D.1991, History of Medieval India
Majumdar R.C. (edited) 2006, The Sultanate
Rizvi, Uttar Taimur Kalin Bharat
Tarikhe Daudi
Vishweshara nand , Bharat Bharti lekhmala
Aine-e Akbari
Akbari Darbar
Tareekh Badauni
Eraly Abraham, 2004 The Mogul Throne
The Tazuk-i-Jahangiri
Maularam- Gadh Rajvansh Kavya
Ramayan Pradeep
Annatdev's Smriti-Kaustubh
Sarkar, History of Aurangzeb
Jadunath Sarkar, History of Aurangzeb
Sarkar, fall of Mogul Empire
Sailendra Nath Sen, 2010, An Advanced History of Modern India
(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
   
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -237   
History of Kumaon (1000-1790) to be continued....
Himalayan, Indian History of Chand Dynasty rule in Kumaon to be continued...
  (Himalayan, Indian History (740-1790 AD to be continued...)
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History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom; History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom including Udham Singh Nagar region ; History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom including Nainital region;  History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom including Almora region; History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom including  Champawat region; History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom including  Bageshwar region; History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom including  Dwarhat region; History of Feature of Court Administration in Chand Dynasty Rule in Kumaon Kingdom including  Pithoragarh region; History of Kumaon, Himalaya; History of Pithoragarh Kumaon, Himalaya; History of Champawat Kumaon, Himalaya; History of Bageshwar Kumaon, Himalaya; History of Nainital Kumaon, Himalaya; History of Almora Kumaon, Himalaya; History of Udham Singh Nagar Kumaon, Himalaya; History of Kumaon, Himalaya, North India; History of Kumaon, Himalaya, South Asia; 
 

[Bhishma Kukreti]

Anubhav ki Mahtva: Garhwali Folk Story stating Importance of Experience to Modern Managers

Garhwali Folk Tales, Fables, Traditional stories, Community Narratives for Effective Managers, Effective executives, Effective Boss, Effective Supervisors or Stories for Effective management, management Lesson from Garhwali Folk Literature from Garhwal, part- 47   

       Collected and edited by: Bhishma Kukreti (Management Training Expert)

                On that time, the bride family had more say than groom family in marriage procession and practice.
          In one engagement, the father of would be bride put a condition before father of groom, "The condition is  that there would be twenty five guests and the maximum age of each guest including music instrument players should not exceed more than twenty five."
          The father of groom was shocked to know the condition. The girl was beautiful and her father was rich man. The groom's father did not want to lose the bride. However, the father of groom accepted the condition that the age of each guest will not be over twenty five in the marriage party.
             When groom's father reached his village he rushed to an old and most knowledgeable person of the village Jogi Ji. Jogi Ji heard the condition of bride's father and told," Don't worry. I shall tell you the trick the  day before marriage procession."
               Jogi Ji made a wooden box from carpenter. The box was made of two horizontal partitions. There were holes on the base of the wooden box.
  Before marriage procession for bride village from bride house started, Jogi Ji sat into the lower partition of box and on upper portion there were filled with dress as objects (Bardali)  for the bride.  The age of each guest was below twenty five.
        Barat or marriage procession reached to bride village after evening. There was marvelous welcome for the guests.  After breakfast, the bride's father told to young marriage guests that the marriage is possible only when all twenty five guests consume twenty five goats. The young guests were in great shock. It was just impossible that twenty five young men could consume twenty five goats.
One guest went near the box and told the problem to old Jogi Ji. Jogi Ji told the solution.
          Now, the guests started Pando Dance and Song surrounding camp fire on country yard. The drum players were playing drums with enthusiasm. One goat was killed and roasted on other camp fire. The roasted goat was cut into pieces, was mixed with salt and little bit chilly and meat pieces were distributed among young twenty five persons.  All young boys were dancing and eating roasted goat meat pieces. Twenty five young boys consumed the goat with ease. Then another goat was killed and roasted, and distributed among boys who were dancing too.
      This way by the morning, young boys consumed all twenty five goats without any problem.
        Watching the scenario that all goats are consumed with ease, the bride's father addressed to all guests, "I am happy that my Samadhi (groom's father) respects the importance of experienced person.  Definitely, there is an experienced person who suggested you the strategy to consume goats one by one and to dance too. "
            The guests asked to bride's father," How did you know that there is an experience person with us."
      Bride's father told," You could not complete my condition without suggestion from an old man. Only experienced person knows that by dancing the boys would feel hungry. Experienced person was aware that if goat was consumed one by one at any point nobody would fill the stomach fully."
         The young marriage guests showed the old man hiding inside box. Bride's father was the happiest person by knowing that his daughter's father in law believed in importance of experience.
                    Immediately bride's father sent a messenger to call groom's father from his village. Happily marriage took place. 

Copyright @ Bhishma Kukreti 3/1/2014 for review and interpretation    
Garhwali Folktales, Fables, Traditional stories for Managers,/executives, boss, supervisors or Stories for management from Garhwal to be continued...

                                 References

1-Bhishma Kukreti, 1984, Garhwal Ki Lok Kathayen, Binsar Prakashan, Lodhi Colony, Delhi 110003, 
2- Bhishma Kukreti 2003, Salan Biten Garhwali Lok Kathayen, Rant Raibar, Dehradun
3- Bhishma Kukreti, Garhwali Lok Kathaon ma Prabandh Vigyan ka Tantu , Chitthi Patri's Lok Kathayen Visheshank  , Dehradun
Xx
Garhwali Folk Story stating Importance of Experience to Modern Managers; Garhwali Folk Story from Dhangu Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Gangasalan Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Lansdowne Tehsil Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Pauri Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Uttarkashi Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Tehri Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Rudraprayag Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Chamoli Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Dehradun Garhwal stating Importance of Experience to Modern Managers; Garhwali Folk Story from Haridwar Garhwal stating Importance of Experience to Modern Managers;

[Bhishma Kukreti]

Purnopama Alankar (A Type of Simile Figure Speech) in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में पूर्णोपमा अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -69

                                    Bhishma Kukreti
    According to Sanskrit literature, there are two main Figure speeches.
1-Arthalankar or figure of Speech by meaning- Figure of speech is when the meanings create enhancement from poetry or other literature
2-Shabdalankar or figure of speech by words – Shabdalankar is when words create ornamental effects are called figure of speech by words
.

                       Arthalankar or Figure of Speech by Words 

There are following Alankars under Arthalankar -
1-Upma Alankar (Simile)
2-Rupak Alankar (Metaphor)
3-Arishayokti Alankar (Hyperbole)

                     Upma Alankar or Simile Figure of Speech in Garhwali Folk Drama

                              Upma Alankar or Simile Figure of Speech is when a person or thing is compared by words with a similar but famous or well known person or thing.
There two important parts of Upma Alankar
Upmey or Subject of comparison or that which is compared with
Upman- Upman is by whom the subject is compared or resemblance or the standard of comparison or analogy.
In Upma characteristic of standard become very normal .For example उपमा अलंकार  का उदाहरण -
ताजमहल  जन कूड़
Here, Tajmhal is Upman and Kood or house is Upmey


          Example of Complete Simile or Purnopma Alankar in Garhwali Folk Drama

When there are uses of object that is compared; comparable; general characteristics and message all together in a poem or drama dialogue that is called Purnopma Alankar

            पूर्णोपमा अलंकार (गुण सादृश्य)


अ -धुंआ जन धुपली -राजुला जन राणी


बी- सेलंग डाळि सी गात की छड़छड़ी
धुंआ सी हापली पाणी सी पाथली

(Reference Dr. Shiv Prasad Nautiyal)

This Purnopma Alankar is by characteristics or Gun Sadrishya.




Copyright@ Bhishma Kukreti 3/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
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Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Dhangu Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Lansdowne Tehsil Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Pauri Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Chamoli Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Rudraprayag Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Tehri Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Uttarkashi Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Dehradun Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Haridwar Garhwal; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Garhwal, Himalaya; Purnopama Alankar (A Simile Figure Speech) in Garhwali Folk Drama from Garhwal, North India;