Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

[Bhishma Kukreti]

Savayav Rupak Alankar or Divisible Metaphor Figure of Speech in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  सावयव  रूपक  अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -76 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
When an object is described by various comparative objects such figure of speech is called Divisible Metaphor figure of speech.

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  सावयव रूपक अलंकार   का उदाहरण
त्वै 'सरी गुलाबी फूल' , मेरी भग्यानी बौ
मैं 'सरी  का भौंर ', मेरी भग्यानी बौ
xxx
तू 'स्युणी को धागा' ,मेरी भग्यानी बौ
यु 'गुलाब को फूल' , मेरी भग्यानी बौ


(*Reference- Dr Shiva Nand Nautiyal)

Copyright@ Bhishma Kukreti 10/1/2014

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
Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor 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  सावयव रूपक  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में सावयव रूपक  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में सावयव रूपक  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   सावयव रूपक  अलंकार ;

[Bhishma Kukreti]

 History Review of Metal Sculpture Art in Chand Period in Kumaon 

          (History of Kumaon from 1000-1790 AD)
       Characteristics of Chand Rule in Kumaon    
   
History of Uttarakhand (Garhwal, Kumaon, Haridwar) - Part 243

                                              By: Bhishma Kukreti
             There were hundreds of metal sculptures made or erected in Chand period. Hundreds of sculptures were looted by Muslim attackers and tens of sculptures were theft by smugglers.
               Metal craftsmen of Nepal became famous for making mixed metal sculpture in twelfth century and their fame was intact till nineteenth century.  Nepali metal craftsmen made many metal sculptures for Kumaon temples too. There is a Paunraja sculpture made of eight metals alloy in Katarmall temple. The height of sculpture is of 4'6".  Paunraja is wearing a small Dhoti, upper garment, small cap and he is in Gyanmudra position shown by his left hand and right hand.
        Another type of Paunraja mixed metal sculpture was in Jageshwar temple. The sculpture was theft by smugglers in 1974 and was recovered from smugglers in Delhi in 1975. The height of this sculpture is four feet and weight is 112 kilograms.  The sculpture is supposed to be established by Purushottam Singh in twelfth century.
                                          Lost Sculptures from Kumaon
Krishna Chandra Bhatt provides following information for thefts of sculptures from Kumaon –
Paunraja eight metal sculpture was theft in 1966-67
             The smugglers took away sculptures of Shiv, Parvati, Chamunda and Ganesh from Jageshwar Durga temple on 10th July 1967.
          The half kilogram silver lotus, gold Janeu (thread), forty kilogram silver sculpture of Trimall Chandra with gems were theft on 28th September 1968 from Jageshwar Jyotirling temple.
Six stone sculptures of Dandeshwar temple (near Jageshwar) were theft in 1967-68
In 1969-70, smugglers theft Ekmukhi Shivling and dancing Ganesha sculpture from Dandeshwar.
A Nanda Devi sculpture made by 200 gold coins was theft from nanda Devi temple of Almora in 1971.
             In 1972, the smugglers theft the Kali metal sculpture with valuable gems from Mahakali temple of Khaspadkhola.
On 6th April 1977, Panchdhatu sculpture of Aditya , gold Janeu and silver ritual vessels were smuggled by smugglers from Bridh Jageshwar temples.
On 19th April 1982, the Gun Aditya sculpture worth rupees forty lakhs was theft from  Rangod (Pali).
Smugglers theft Radha Krishna and Datatrey sculptures from Pinakeshwar temple in May 1982.
On 26th September 1982, Thieves theft Vishnu sculpture from Pumaun (Salam) temple.
In October 1982, Smugglers smuggled sculpture of Rinmoksheswar from Moksheswar temple.

Copyright@ Bhishma Kukreti -bckukreti@gmail.com 10/1/2014

                                      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
Kanti Kumar Nautiyal , Archeology of Kumaon including Dehradun , Chaukhamba Prakash
Hema Uniyal Kumaon ke Mandir (Book and Cassette Disc)
Madan Jit Singh, Himalayan Arts
Krishna Chand Bhatt, Information about Thefts of Archeological Materials from Kumaon, Pahad
(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
   
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -244   
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 Review of Metal Sculpture Art in Chand Period in Kumaon; History Review of Metal Sculpture Art in Chand Period in Pithoragarh Kumaon; History Review of Metal Sculpture Art in Chand Period in Bageshwar Kumaon; History Review of Metal Sculpture Art in Chand Period in Champawat Kumaon; History Review of Metal Sculpture Art in Chand Period in Almora Kumaon; History Review of Metal Sculpture Art in Chand Period in Nainital Kumaon;  History Review of Metal Sculpture Art in Chand Period in Udham Singh Nagar Kumaon; History of theft of metal sculptures from Katarmall  temple, Kumaon; History of theft of metal sculptures from Jageshwar temple, Kumaon; History of theft of metal sculptures from Dandeshwar  temple, Kumaon; History of theft of metal sculptures from Nanda Devi temple, Kumaon; History of theft of metal sculptures from Khaspadkhola temple, Kumaon; History of theft of metal sculptures from Pinakeshwar temple, Kumaon; History of theft of metal sculptures from Pumaon (Salam) temple, Kumaon;

[Bhishma Kukreti]

                     उत्तराखंड पर्यटन विकास परिपेक्ष्य में दुबई का सुयोग्य अंतर्राष्ट्रीय  पर्यटक स्थल बनने के कारण Part -1

               
               Development of Dubai as an International Tourism Destination an Example for Uttarakhand Tourism Development
Part -1

(Tourism and Hospitality Marketing Management for Garhwal, Kumaon and Hardwar series--36)

                                          उत्तराखंड में पर्यटन व आतिथ्य विपणन प्रबंधन -भाग 36 
                                        लेखक : भीष्म कुकरेती  (विपणन व विक्री प्रबंधन विशेषज्ञ )


         पिछले कुछ दशकों में संसार में कुछ नये अंतर्राष्ट्रीय स्तर के पर्यटक क्षेत्र विकसित हुए हैं जिनकी जानकारी प्रत्येक उत्तराखंडी को होनी चाहिए।
दुबई के पर्यटन विकास  कहानी निम्न साँखिकीय तालिका से स्पष्ट हो जाता है कि दुबई  ने एक विशेष आकर्षण पैदा किया है -
             दुबई में होटल व्यापार
----------------------------होटल अतिथि -------------2013 में विकास प्रतिशत
सन 2001 में संख्या लाख में -------300
सन 2012 संख्या लाख में ---502. 7 --------------------
सन 2013 , संख्या लाख में ---558. 3 -------------------------------11 . 1
                          रात्रि विश्राम

सन 2012 संख्या लाख में ---192 . 09  -----------------------
सन 2013  संख्या लाख में ---217 . 15-----------------------13 . 01
रात्रि प्रति अतिथि सन 2012 -------3 . 82 -------------------------------
रात्रि प्रति अतिथि सन 2013 -------3 . 89 ---------------------------13 . 01

       होटलों के कमरों से आय

सन 2012 ---------------- AED -6. 04 बिलियन
सन 2013 -------------------AED -7 . 12 बिलियन
सन 2013 में प्रतिशत वृद्धि -17 . 8 प्रतिशत

अन्य आय 2012 - AED 3 . 75  बिलियन्स
अन्य आय 2013  - AED 4 . 50 बिलियन्स
सन 2013 में प्रतिशत वृद्धि - 19 . 8 प्रतिशत

  पर्यटकों के लिए कमरों  की  उपलब्धि

सन 2002  में होटल्स संख्या --------------400
सन 2012 होटल संख्या -------------------587
सन 2013 होटल संख्या ------------------603


सन 2002  में कमरों की उपलब्धि ----------------------------31355
सन 2012 में कमरों की संख्या ----------76008
सन 2013  में कमरों की संख्या ---------81492

होटल रूम ऑक्युपेंसी
सन 2012 ----------81 . 8 %
सन 2013 --------------84 . 6 %
होटल अपार्टमेंट ऑक्युपेंसी

सन 2012 --- 79 . 3 %
सन 2013 ----- 85 . 8 %




शेष अगले भाग में ............।

Copyright @ Bhishma Kukreti 11 /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


Development of Dubai as an International Tourism Destination an Example for Uttarakhand Tourism Development; Development of Dubai as an International Tourism Destination an Example for Pithoragarh Kumaon, Uttarakhand Tourism Development; Development of Dubai as an International Tourism Destination an Example for Champawat Kumaon, Uttarakhand Tourism Development; Development of Dubai as an International Tourism Destination an Example for Bageshwar Kumaon, Uttarakhand Tourism Development;Development of Dubai as an International Tourism Destination an Example for Almora Kumaon, Uttarakhand Tourism Development;Development of Dubai as an International Tourism Destination an Example for Nainital Kumaon, Uttarakhand Tourism Development; Development of Dubai as an International Tourism Destination an Example for Udham Singh Nagar Kumaon, Uttarakhand Tourism Development; Development of Dubai as an International Tourism Destination an Example for Deharadun Garhwal , Uttarakhand Tourism Development;Development of Dubai as an International Tourism Destination an Example for Haridwar Garhwal , Uttarakhand Tourism Development;Development of Dubai as an International Tourism Destination an Example for Uttarkashi  Garhwal , Uttarakhand Tourism Development; Development of Dubai as an International Tourism Destination an Example for Tehri Garhwal , Uttarakhand Tourism Development;Development of Dubai as an International Tourism Destination an Example for Chamoli Garhwal , Uttarakhand Tourism Development;Development of Dubai as an International Tourism Destination an Example for Rudraprayag Garhwal , Uttarakhand Tourism Development;Development of Dubai as an International Tourism Destination an Example for Lansdowne Tehsil Garhwal , Uttarakhand Tourism Development; Development of Dubai as an International Tourism Destination an Example for Pauri Garhwal , Uttarakhand Tourism Development;

[Bhishma Kukreti]

Pathya Chinkhu or Pathya Goat Kid a Garhwali Folk Story for Human Resource Manager

Garhwali Folk Tales, Fables, Traditional Stories, Community Narratives -53

  Compiled and Edited by: Bhishma Kukreti (Management Training Expert)

              Pathya goat kid was orphan. He was fatter and taller than his age. Pathya used to be sad by remembering that his mother was no more. One day, an elder goat informed him that his elder sister is married in a village far away from their village. A dense forest was in between the two villages.
Pathya Chinkhu wanted to visit his sister but was afraid of dense forest in between his and his sister village. It was told to him that there were cruel tiger, foxes, leopard in the dense forest.
          One night, an old goat was preaching to all that if you have faith you will accomplish your goal. Pathya Chinkhu was inspired by old goat preaching.
      Next morning, Pathya started his journey to his sister village. He was passing through the dense forest that Pathya met a tiger. Pathya was afraid to see tiger. Tiger was just to jump on Pathya.
               Pathya Chinkhu told to the tiger," O tiger! I am very weak at this stage. I am visiting to my sister village. I shall get energetic diet there. I shall become fatter than today. You consume me when I am fatter and strong."
                 Tiger agreed to Pathya and took promise from Pathya that he would meet tiger at this place only while returning from his sister village. Pathya promised to meet at that place only while returning for his village.
         Pathya reached to his sister village. His sister was pleased to meet her brother. His sister offered him tasty food. However, Pathya did not touch the food. His sister asked his bad mood. Pathya told the reason. His sister told him the trick to get free from the tiger. Pathya was pleased and took food. There he ate tasty and nourished food. Pathya became fatter and tall within a couple of days by consuming tasty nourished food.
                Pathya had to return to his village from his sister village. His sister came to village border to see him off. By heavy heart both got separated.
  Pathya was very slow in walking in dense forest. He reached to that place where he met tiger. The tiger was waiting for Pathya. Tiger was ready to kill Pathya.
Pathya told to tiger, I am ready to become your food. However, answer my couple of questions."
Tiger agreed to answer Pathya's questions.
Pathya asked, "Do you know? Why is human wiser than tiger?"
Tiger did not have answer.
Pathya said," Because the human consume roasted goats and lambs.
The tiger told, "I want to become wise too. I shall consume you by roasting you. Tell me the method of roasting you"
As per advice from Pathya, Tiger collected dry oak branches.
    Pathya asked tiger to dig a pit. Tiger dug a pit. Pathya sat inside the pit. Now Pathya asked the tiger to put a flat stone over the pit. Tiger followed the instructions. Pathya asked tiger to put dried oak wood on the stone. Tiger did same what he was advised. Pathya told tiger from the pit that the tiger should put wood on the stone and lit the wood and should put his mouth on the fire when there was crackling sound of burning oak wood.
  Tiger put wood on the stone and lit the wood. There was crackling sound of burning oak wood.  Tiger put his mouth on fire and from the pit Pathya pushed the stone towards tiger mouth. The burning wood burn the tiger and tiger jumped towards valley and died there. Pathya got rid of tiger as per his sister's advice.
     Now, Pathya was fearless on the road for his village.




Copyright @ Bhishma Kukreti 11/1/2014 for review and interpretation
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, to be continued ...in next chapter

                                 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
Pathya Goat Kid a Garhwali Folk Story from Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Dhangu Patti Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Gangasalan Pargana Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Lansdowne Tehsil Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Pauri Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Rudraprayag Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Chamoli Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Tehri Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Uttarkashi Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Dehradun Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Haridwar Garhwal for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Garhwal Himalaya for Human Resource Manager; Pathya Goat Kid a Garhwali Folk Story from Garhwal North India for Human Resource Manager;

[Bhishma Kukreti]

 Atmaparak Rupak Alankar: Vehicle Designing Tenor type of Metaphor Figure of Speech in Garhwali Folk Drama

           गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  आत्मपरक  रूपक  अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -77 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
When the vehicle designs the tenor in a figure of speech, that figure of speech is called Atmaparak Rupak Alankar.

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  आत्म परक  रूपक अलंकार   का उदाहरण
१-सुपा लाइ दैण , तू मेरी धरती , मै तेरो गैण
२-सुपा लाइ दैण
भगतु की  गीता छुमा छुयों की रामैण
३- बांज की सोंटी
गळा की घण्डुली छई तोड़ी ना दौंळि


(*Reference- Dr Shiva Nand Nautiyal)

Copyright@ Bhishma Kukreti 10/1/2014

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
Vehicle Designing Tenor type of Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Vehicle Designing Tenor type of Metaphor Figure of Speech  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor 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  आत्मपरक  रूपक  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में आत्मपरक  रूपक  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक   अलंकार ;

[Bhishma Kukreti]

                      मि घूस नि लींदु, कृपया मुझे घूस देने की कोशिस ना करें
                                      चुनगेर ,चबोड़्या -चखन्यौर्या -भीष्म कुकरेती       

(s =आधी अ  = अ , क , का , की ,  आदि )

ब्याळि मि दिल्ली मा कै पछ्याणक वाळ तैं मिलणो राज्य पीडब्ल्यूडी दफ्तर  ग्यों।  मोबाइल नंबर नि छौ त फोन पर बात नि ह्वे साक।
मीन गेट पर पता लगाण चै कि म्यार पछ्याणक वाळो विभाग कु होलु।
म्यार पुछण से पैलि गेट मा बैठ्या द्वी मनिख एकदगड़ि बुलण बिसेन - साब ! हम तैं घूस दीणै कोशिस नि कारो हाँ।  हम इमानदार कर्मचारी छंवां।
मी - भई मिस्टर आनंदी लाल से मिलण छौ।
एक - आप भितर पूछो।
मि भितर ग्यों एक चपड़ासी जन मनिख दिख्यायि त मीन पूछ - भाई  साहेब ! आनंदी लाल जी कखम बैठद ह्वाल।
वु - श्रीमान जी मी घूस नि लींदु तो आप कृपया मि तैं घूस दीणै कोशिस नि करिन।
मि - मि ये ऑफिसम घूस दीणो नि आयुं छौं।  मि आनंदी लाल जी से मिलणो आयूं छौं।
वु - देखो मि फिर से बुलणु छौं कि मी घूस नि लींदु।
मि - पर साब मी घूस लीणो बात ही नि करणु छौं।  मी त आनंदी लाल जी से मिलण चाणु छौं।
वु - त आप पूछताछ काउंटर पर जावो।  मि तै किलै पुछणा छा ?
मि - पूछताछ काउंटर कख च ?
वु - देखो मि फिर से बुलणु छौं मि घूस नि लींदु।  आप स्वयम ही ढूंढो कि पूछ ताछ काउंटर कखम च।  मि त यि जाणदु कि मि घूस नि लींदु।
मि एक काउंटरम ग्यों अर मीन उखम  जनानि तैं पूछ - मैडम ! पूछताछ काउंटर कखम होलु ?
जनानि - प्लीज डोंट ट्राइ टु ब्राइब मि बिकॉज आइ डोंट टेक ब्राइब।
मि - मैडम मि ब्राइब नि छौं दीणु।  मि पुछणु छौं कि इनक्वारी काउंटर कखम च ?
जनानि - मि दुबर बुलणु छौं कि मि घूस नि लींदु।  आप हैंक काउंटर वाळ से पूछो।
मि जै बि काउंटरम ग्यों उख एकी जबाब मील कि मि घूस या ब्राइब नि लींदो।
कै तरह से मि तैं पूछ ताछ काउंटर मील।
मीन पूछ - साब आनंदी लाल जी कखम बैठदन ?
काउंटर वुमनन जबाब दे - इन्डियन पैनेल कोड xx yy, दिल्ली राज्य उपनियम del अर मुम्बई हाइ ऑर्डर 33333xx  का हिसाब से घूस दीण अर लीण गुनाह च तो कृपया आप मि तैं घूस नि देन।  मि घूस नि लींद।
मीन बोलि - मैडम मि घूस नि दीणु छौं।  मि पुछणु छौं कि मिस्टर आनंदी लाल कखम बैठदन ?
काउंटर वुमन - म्यार काम खुलासा करण च कि मि घूस नि लींदु।  द्याखो ये ऑफिसम चार आनंदी लाल छन।  तुम कौं आनंदी लाल की बात करणा छा ?
मि - जी वु पैंतालेस -पचास सालुं का होला।
काउंटर वुमन- द्याखो इंडियन पैनेल कोड का हिसाब से घूस दीण अर लीण गुनाह च।  मि घूस नि लींदु।  जी यां से पता नि लग सकद कि तुम कै आनंदी लाल जी से मिलण चाणा छा।
मि - क्वी त समाधान होलु ?
काउंटर वुमन- द्याखो इंडियन पैनेल कोड का हिसाब से घूस दीण अर लीण गुनाह च। मि आउट गोइंग रजिस्टर दिखुद हां।  एक आनंदी लाल जी अपण बेटीक केजी मा ऐडमिसन का वास्ता शिक्षा मंत्री मनीष शिसोदिया का जनता दरबार मा जयां छन।
मि -नै म्यार आनंदी लाल इथगा जवान नि ह्वे सकदन।
काउंटर वुमन- द्याखो नि आगाह करदु घूस दीण अर लीण गुनाह च। एक आनंदी लाल जी अपण नौनु तैं जल बोर्ड मा परमानेंट करणा गुहार लगाणा मुख्यमंत्री जनता दरबार जयां छन।
मि - नै म्यार आनंदी लाल जी इथगा बुड्या बि नि ह्वे सकदन।
काउंटर वुमन- देखो मी घूस नि लींदु।  तिसर आनंदी लाल पर्स्याक स्टिंग ऑपरेसन मा फंस्युं अपण स्याळ तैं छुड़ाणो कोर्ट जयां छन।
मि - जी म्यार आनंदी लाल कु स्याळ दिल्ली मा नि रौंद।
काउंटर वुमन- देखो मी घूस नि लींदु।  तो आपका आनंदी लाल दुसर मजिल कु चौथा खंड मा 36 नंबर की टेबल मा बैठदन।
मि आनंदी लाल जीक टेबल तक पौंछि ग्यों।
आनंदी लाल जीक समिण द्वी आदिम बैठ्या छा तो ऊन एक कुर्सी मा बैठणो इसारा कार।  मि बैठ ग्यों।
आनंदी लाल  - देखो मि घूस नि लींदु। आपन अपण अप्लिकेसन मा अठाणवे सर्टिफिकेट   संलग्न कर्याँ छन जब कि नियम अनुसार सौ सर्टिफिकेट आवश्यक छन।
अभ्यार्थी - पण साब यि द्वी सर्टिफिकेट मीलि नि सकदन।
आनंदी लाल - मी आप तैं बताइ दींदु कि मि घूस नि लींद।  सर्टिफिकेट पूरा नि हूण से मि आपकी फ़ाइल अग्वाड़ी नि बढ़ाई सकुद।  मि अबि लेखी दींदु कि मीन आपक काम समयनुसार कार अर जब आप पूरा सौ सर्टिफिकेट लै जैलि तो आपको काम ह्वे जालो।
अभ्यार्थी -पण यि द्वी सर्टिफिकेट  कनकैक लाणन   ?
आनंदी लाल - सॉरी सर ! मि घूस नि लींदु।  आप हमर हेड ऑफिसम जावो तो उख वो लोग बताइ सकदन कि ...।
पैलो अभ्यार्थी चली जांद।
दुसर अभ्यार्थी - सर ! आपन  पचास सर्टिफिकेट लाणो बोलि छौ पण एक सर्टिफिकेट कम च।  आपका हेड ऑफिस मा बुलणा छन कि ये सर्टिफिकेट कु  प्रिस्क्राइब्ड फॉर्म आउट ऑफ प्रिंट च। अर तीन मैना बाद ही प्रिस्क्राइब्ड फॉर्म मील सकद।
आनंदी लाल - श्रीमान जी मि घूस नि लींदु।  सर्टिफिकेट तो प्रिस्क्राइब्ड फॉर्म मा ही चयांद।
दुसर अभ्यार्थी - सर क्वी समाधान ?
आनंदी लाल - कृपया मुझे घूस देने की कोशिस ना करें।  मी घूस नि लींदु।
दुसर अभ्यार्थी - सर मि घूस नि दीणु छौं।  मि त एक आम आदमी  की हैसयत से आपसे सहायता मांगणु छौं।
आनंदी लाल - ठीक च।  आम आदमी की सहायता करना हमारा कर्तव्य है। शायद एकाद प्रिस्क्राइब्ड फॉर्म हमर ऑफिस का समिण रद्दी वाळम  मील जाल।  सफाई कर्मचारी जब सफाई करदन तो वु  रद्दी वाळ भौत सा कागज बटोरि लींद।  मि घूस कतै नि लींद।
दुसर अभ्यार्थी - धन्यवाद।
दुसर अभ्यार्थी बि चलि जांद।
रामा रूमी का बाद मीन आनंदी लाल जी पूछ - यी क्या च जी ? हरेक बुलणु च मि घूस नि लीन्दु , कृपया मुझे घूस देने की कोशिस ना करें।
आनंदी लाल - वु क्या च सबी स्टिंग ऑपरेसन का डौरन बुलणा छन कि मि घूस नि लीन्दु , कृपया मुझे घूस देने की कोशिस ना करें।यदि कखि पकडे जौंला त हमम प्रूफ च कि हमन त बोली छौ कि हमें घूस देने की कोशिस ना करें।  इखमा अब घूस देने वाले की अधिक जुमेवारी हो जायेगी।
मि - यि रद्दी वाळम प्रिस्क्राइब्ड फॉर्म मिलणै वाळी बात असल मा क्या बात च ?
आनंदी लाल - हाँ रद्दी वाळ वै फॉर्म तैं तीस हजार मा ब्याचल।
मि - औ घूस अबि बि बंद नि ह्वे ?
आनंदी लाल - जब चाणक्य का टैम पर घूस बंद नि ह्वे छे तो अब क्या होलि। 




Copyright@ Bhishma Kukreti  12 /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 review of Aipan, Wood Crafts, Paintings, Music-Dance in Kumaon in Chand Period

          (History of Kumaon from 1000-1790 AD)
       Characteristics of Chand Rule in Kumaon    
   
History of Uttarakhand (Garhwal, Kumaon, Haridwar) - Part 243

                                              By: Bhishma Kukreti

                             Origin of Aipan

             The rock wall painting tradition had been found in Kumaon from prehistoric time. Lakhu Udyar and Lwethap are famous prehistoric rock painting examples in Kumaon.
      Aipan is classic example of art of Kumaon. Aipan is derived from Sanskrit word 'Alimpana' that means to plaster or coat with. Other synonymous words for Aipan in India are Chauk Purana and 'Alpana'. Some scholars state that 'Aipan' is derived from 'Arpan'.
It seems that Aipan started from Katyuri period in Kumaon.
Aipan is art decoration on ground, wall, paper and cloths by drawing of various geometric and other figures of god/goddesses or nature. 
The major raw materials for 'Aipan' are ochre or Geru and rice paste. Fir the object or ground is pasted by ochre and then the desired drawing is done by rice paste.
There are different forms of Aipan – Sarswati Chauki, Chamunda Hast Chauki, etc. The women create Aipan in many auspicious occasions.

                         Wood Crafts
The wood crafts were well developed in Kumaon from Katyuri period. The wood craftsmen used to carve drawing on Tun or Devdaru wood. The best artistic wood craft is seen on door of Bad Aditya temple of Katarmall.
The wood crafts could also be seen on old Tibari, Chhajja, Jangla. The artists used to carve images of nature, plants, Purnkumbh, animals, god, goddesses and other Hindi cionic images on wood columns. 

             No drawing Art
Chand kings did not sponsor drawing artists or painters. There are no paintings of Chand Kings and their armed or administrative ministers as found n Garhwal.

              Music and Dance
 
     Chand Kings followed Mogul culture and promoted Majlish culture where in night, dancers and musicians used to show their art. There were court dancers and court musicians. The Chnad Kings levied Tax as Bajniya on people for paying salaries to court dancers and musicians.
  King Vijay Chandra was addicted to music, songs, dance and wine.
King Udyot Chandra built an entertainment hall in his palace.
King Jagat Chandra was sponsor of gambling and the gambling players.
King Devi Chandra was famous for sponsoring artists of music, dance. He built an entertainment building too.
The administrators Manik and Puran Mal Gaida were great lovers of music and female dancers.
There were teachers to teach dance, music for queens and princesses.
Kumaoni people also developed folk music and folk dance by their own.

Copyright@ Bhishma Kukreti -bckukreti@gmail.com 10/1/2014

                                      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
Kanti Kumar Nautiyal , Archeology of Kumaon including Dehradun , Chaukhamba Prakash
Hema Uniyal Kumaon ke Mandir (Book and Cassette Disc)
Madan Jit Singh, Himalayan Arts
Krishna Chand Bhatt, Information about Thefts of Archeological Materials from Kumaon, Pahad
(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
   
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -245   
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 review of Aipan, Wood Crafts, Paintings, Music-Dance in Kumaon in Chand Period; History review of Aipan, Wood Crafts, Paintings, Music-Dance in Udham Singh Nagar Kumaon in Chand Period; History review of Aipan, Wood Crafts, Paintings, Music-Dance in Nainital Kumaon in Chand Period; History review of Aipan, Wood Crafts, Paintings, Music-Dance in Almora Kumaon in Chand Period; History review of Aipan, Wood Crafts, Paintings, Music-Dance in Champawat Kumaon in Chand Period; History review of Aipan, Wood Crafts, Paintings, Music-Dance in Bageshwar Kumaon in Chand Period; History review of Aipan, Wood Crafts, Paintings, Music-Dance in Pithoragarh Kumaon in Chand Period;

[Bhishma Kukreti]

Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story for Production Managers

Garhwali Folk Tales, Fables, Traditional Stories, Community Narratives -55

  Compiled and Edited by: Bhishma Kukreti (Management Training Expert)

             (The physical composition of gold is such that copper missing is must to make gold ornament. However, in Garhwal there is another reason for mixing copper with gold for making ornament. )
   The folk story is as –
   Every goldsmith is blessed for using corrupt method for making gold ornaments. If a goldsmith does not mix anything with gold he would get sin.
   Century back, once upon a time, there was a goldsmith in our village. As usual he was corrupt goldsmith in mixing copper with gold for making ornaments.
   The goldsmith was rich too. He had a daughter who was beautiful and well behaved girl. The goldsmith was worried man as his daughter marriage date was very near. The goldsmith was busy in making sizable ornaments for his daughter marriage. While he was making a gold necklace for his daughter his wife advised him to make pure gold ornament for daughter. Goldsmith tried to make understand his wife not to make pure gold ornament. However, his wife insisted to make pure gold ornaments. Goldsmith had to follow his wife advice. Goldsmith made pure gold ornaments for his daughter marriage.
       The marriage procession was one of the very huge events in the region. Goldsmith offered lots of gifts to his daughter in marriage.
   However, the daughter of goldsmith became widow on the other day of marriage. Goldsmith was very sad and he asked the astrologer for the reason his daughter becoming widow immediately after marriage. The astrologer told that since goldsmith made pure gold ornaments for his daughter she became widow immediately after marriage.
             The goldsmith took a vow not to make pure gold ornaments. From that day, no goldsmith make pure gold ornament for anybody.




Copyright @ Bhishma Kukreti 12/1/2014 for review and interpretation
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, to be continued ...in next chapter

                                 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
Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Dhangu Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Gangasalan Pargana Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Lansdowne Tehsil Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Pauri Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Rudraprayag Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Chamoli Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Tehri Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Uttarkashi Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Dehradun Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Haridwar Garhwal for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Garhwal, Himalaya for Production Managers; Sunar ki Beti Vidhwa Huno Karan or Reasons for Goldsmith following Malpractices: A Garhwali Folk Story from Garhwal, North India  for Production Managers;

[Bhishma Kukreti]

Meri Ganga Hweli ta Meem Ali, My Ganga will come to me: A Garhwali Folk Tale for Managers to believe on Conviction

Garhwali Folk Tales, Fables, Traditional Stories, Community Narratives -54

  Compiled and Edited by: Bhishma Kukreti (Management Training Expert)

                  Kumbh festival in Haridwar is celebrated after every twelve years. Garhwal king was o given due respect for dipping into Ganga at Kumbh festival. The custom was that after Akhada bath, Garhwal king would dip first into Ganga than other Indian Kings.
               There was Kumbh festival. Tens of Indian Kings gathered in Haridwar for dipping into holy Ganga. Garhwal King also arrived to take dip.
             Night before the dipping day, other Indian Kings decided that they would not allow Garhwal King to take bath earlier than them. Indian Kings from all over India were ready for battle as they were equipped with army and weapons.
              Garhwal king was with only his body guards in Haridwar. Garhwal King came to know the conspiracy of other kings. His tent and camp was far away from Ganga. The tents of other kings were nearer to Ganga bank.
  Garhwal King prayed all the deities and goddesses. Garhwal king said loudly, "Meri Ganga hweli ta meem ali or if Ganga is mine she would come to me."
            Next morning the holy dipping day, everybody in Haridwar was shocked to see that Ganga changed its bank and was flowing near to tent of Garhwal King. Indian kings understood the power of devotion.
              Every Indian Kings came to camp of Garhwal King and requested pardon. Garhwal King pardoned everybody and as per custom dipped into Ganga before other kings.
 

Copyright @ Bhishma Kukreti 12/1/2014 for review and interpretation
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, to be continued ...in next chapter

                                 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
My Ganga will come to me: A North Indian Garhwali Folk Tale for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Dhangu Garhwal for Managers to believe on Conviction; My Ganga will come to me: A Garhwali Folk Tale from Gangasalan Pargana Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Lansdowne Tehsil Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Pauri Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Haridwar Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Dehradun Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Uttarkashi Garhwal for Managers to believe on Conviction My Ganga will come to me: A North Indian Garhwali Folk Tale from Tehri Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Chamoli Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Rudraprayag Garhwal for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Garhwal, Uttarakhand  for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Garhwal, Himalaya for Managers to believe on Conviction; My Ganga will come to me: A North Indian Garhwali Folk Tale from Garhwal, North India  for Managers to believe on Conviction;

[Bhishma Kukreti]

                        मंत्री त आंद जांद रौंदन पण प्रशासनिक सेवा  अटल रौंदि

                                  चुनगेर ,चबोड़्या -चखन्यौर्या -भीष्म कुकरेती       


(s =आधी अ  = अ , क , का , की ,  आदि )

              राज्य शिक्षा मंत्री घ्याळ दा आज एकाद घंटा कुण खाली छा याने प्राइवेट सेक्रेटरी या चीफ एज्युकेशन सेक्रेटरी बिहीन छया।  घ्याळ दा तैं समज मा ऐ गे कि मंत्र्युं हालात बद्रीनाथ जी जन च। गढ़वा राजा बद्रीनाथ का नाम से राज करदा छा।  सब सुकर्म या कुकर्म बद्रीनाथ जीक नाम से ही हूंद छा अर बिचारा बद्रीनाथ जी सिर्फ पत्थर बौणिक  कुकर्म देख सकद छा अर कुछ कौर नि सकद छा।  अबौ समौ पर बि मंत्री असल मा एक मूकदर्शी हूंद अर चलदी तो प्रशासनिक अधिकार्युं  की ही च।
घ्याळ दाक प्राइवेट सेक्रेटरी माणावाल जी अर चीफ एज्युकेशन सेक्रेटरी रावत जी , एज्युकेशन सेक्रेटरी कौशिक जी , परमानेन्ट अंडर सेक्रेटरी चड्ढा जी अर डेप्युटी सेक्रेटरी सबि राज्य चीफ सेक्रेटरी द्वारा बुलाईं मीटिंग मा जयां छया।
यदि सेक्रेटरी नि ह्वावन तो मंत्री बैशाखियुं बगैर डूंड मनिख ह्वे जांद।  सेक्रटरी नि ह्वावन तो मिनिस्टर लकवा मार्युं मनुष्य जन ह्वे जांद।
घ्याळ दा अपण ऑफिस मा बैठ्याँ छा अर मेज मा एज्युकेशन मिनिस्टर की कार्य दैनंदनी याने डायरी पड़ीं छे। यद्यपि डायरी एज्युकेशन मिनिस्टर की च पण डायरी भरणो काम मंत्री जीक प्राइवेट सेक्रटरी करद। या डायरी  हर समय माणावाल जीक  रौंद। जल्दी बाजी मा आज माणावाल जी यीं डायरी मिनिस्टर साब की मेज मा छोड़ी चलि गेन।
घ्याळ दा मा करणो कुछ नि छौ त डायरी दिखण लगी गेन।  अगला एक साल तक का वास्ता मंत्री जीक हरेक  दिन का अप्वाइंटमेंट छौ।
डायरी दिखद दिखद घ्याळ दा तैं एक कागज मील डायरी पर चिपकायुं छौ। लेटर हेड  इन्डियन ऐडमिनिस्ट्रेटिव सर्विस ऐसोसिएसन लखनऊ कु छौ।  अर शीर्षक छौ प्रशासनिक अधिकार्युं वास्ता अमर नियम।  तारीख 22 दिसंबर 1997।  .
प्रशासनिक अधिकार्युं वास्ता अमर नियम इन छा -
१- मंत्री आंद छन जांद छन।  औसतन एक मंत्री विभाग मा अठारा मैना कुण ही रौंद।
२- प्रशासनिक अधिकार्युं मुख्य जुम्मेदारी च कि मंत्री लोग विभाग का बजट अपण मर्जी से खर्च नि कारन।  मतबल प्रशासनिक अधिकारीक कर्तव्य च कि मंत्री तैं खर्च करण से रुकण।  इखमा मंत्री तैं मानसिक परेशानी हूणी ह्वावो तो हूण द्यावो।
३- मंत्री  तैं हर समय, प्रत्येक पल  मानशिक परेसानी मा रौण चयेंद ; आतंकित रौण चयेंद, मंत्री का आस पास -हर बगत  अफरा तफरी को माहौल  हूण  चयेंद।  राजनीतिज्ञ पैनिक अवस्था पसंद करदन ।  राजनीतिज्ञ अफरा तफरा से प्यार करदन। राजनीतिज्ञ हर समय क्रियाशील रौण चांदु। आतंकित अवस्था या अफरा तफरी की  स्थिति याने पैनिक सिचुएसन  से रणजीतिग्य क्रियाशील रौंद।  राजनीतिज्ञ इन क्रियाशीलता तैं अपण सफलता समजद।
४-जब भी क्वी मंत्री कुछ भी चाहे सही बात बि ब्वालो  तो भी प्रशासनिक अधिकारी तैं पैल ना बुलण चयेंद।  मंत्री की जायज मांग  पर भी बहस करण चयेंद। . आखिर विधायक  क्वी जनता का चुन्यूं प्रतिनिधि छैंइ नी च। वै तैं त राजनीतिक दल चयन करद याने मनोनीत करद अर जनता राजनीतिक दलों द्वारा मनोनीत सदस्यों मादे कै एक कु चयन करद।
५- कै बि विधान सभा मा सौ विधायकों मादे कम से कम पचास सरकारी दल का हूँदन। यूं पचास मादे पंद्रा विधायक इथगा बुड्या अर मुर्ख हूंदन कि अपण गां क्या अपण परिवार मा बि मुखिया पद लैक नि रै जांदन। पचास विधयकों मादे पंद्रा विधयाक जवान अर अनुभवहीन हूंदन।  पांचेक  विधायक त इन हूँदन जौं तैं खौड़ सुरणै बि तमीज नि हूंद।  बस पचास विधयकों मादे दस या बारा ही मंत्री बणन लैक हूँदन।  पण राजनीतिक दलों मा चुनाव जितणो ध्येय का कारण क्वी बि मंत्री बौण जांद।
६- याने मंत्री बणणो बान क्वी प्रोपर सेलेक्सन प्रोसेस अर प्रशिक्षण नि हूंद।  प्रजातांत्रिक व्यवस्था मा क्वी  बि मोळ माटौ मादेव मंत्री बणी जांद।
७- - याने कि मंत्री बणणो चुनाव प्रक्रिया ही गलत च तो हम प्रशासनिक अधिकार्युं प्रमुख कर्तव्य च कि इन लियाकत हीन मंत्र्युं से सही निर्णय लिवावां याने निर्णय हमारो हो अर ठप्पा योगयताहीन मंत्री को हो। राजा महानंद ह्वावो या चन्द्रगुप्त मौर्य ह्वावो निर्णय तो प्रधान आमात्य  राक्षस या महा आमात्य चाणक्य को ही हूण चयेंद।
शिक्षा मंत्री घ्याळ दा प्रशासनिक अधिकार्युं वास्ता अमर नियम पौढिक आश्चर्य चकित ह्वे गेन कि आम लोग तो सुचदन कि मंत्री काम करदन जब कि काम क्वी हौरी करदन। 




   Copyright@ Bhishma Kukreti  13 /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  ]