Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

[Bhishma Kukreti]

Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -101
                गढ़वाली   लोक नाटकों में अक्षरसंघात लक्षण का उदाहरण

                     Bhishma Kukreti (लोक साहित्य शोधार्थी)

         According to Bharat's Natyashastra, when a wonderful sense is communicates or expressed by means of small numbers of syllabus with double entendre it is called the mark named Compactness.
  Following is the example of Compactness in Garhwali folk dramas.

गढ़वाली  लोक नाटकों में अक्षरसंघात लक्षण का उदाहरण


अक्षरसंघात: नाट्यशास्त्र में व्याख्या की गयी है कि जब थोड़े शब्दों पर श्लिष्ट शब्दों में विचित्र वर्णन हो उसे अक्षरसंघात कहते हैं।
उदाहरण -
एक  लोक नाटक में एक औरत अपने पहले पति को छोड़ देती है तो एक देवर उससे प्रश्न करता है
देवर -----ये छुमा बौ! अब तू अपण पैलाक पति तैं एकदम किलै नि छोड़ि दींदी ?

(संदर्भ:  ,: गढ़वाली लोक नाटकों का मुख्य  गुण व विश्लेषण में भीष्म कुकरेती द्वारा संकलित गढ़वाली  लोक नाटकों के वार्तालापों से , शैलवाणी के 2014 के कई अंकों में )


Copyright@ Bhishma Kukreti 25 /2/2014

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
Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Aksharsanghat Laksana or Compactness Mark  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia;   Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia;  Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;    Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Aksharsanghat Laksana or Compactness Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  अक्षरसंघात लक्षण,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  अक्षरसंघात लक्षण;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में अक्षरसंघात लक्षण, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में अक्षरसंघात लक्षण  ;देहरादून गढ़वाल के गढवाली लोक नाटकों में अक्षरसंघात लक्षण;पौड़ी गढ़वाल के गढवाली लोक नाटकों में अक्षरसंघात लक्षण;चमोली गढ़वाल के गढवाली लोक नाटकों में अक्षरसंघात लक्षण; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में अक्षरसंघात लक्षण ;

[Bhishma Kukreti]

               ओपिनियन पोल याने मार्केट सर्वे कु अर्धसत्य

                       भीष्म कुकरेती       
(s =आधी अ  = अ , क , का , की ,  आदि )

              मीन एक दैं लेखी छौ बल हमारी समस्या भ्रस्टाचार नी च बलकण मा शिक्षा अर सामजिक शिक्षा च।
ब्याळि एक समाचार टीवी चैनलन एक स्टिंग ओपेरेसन से बताइ कि कन ओपिनियन पोल याने मार्केट सर्वे कु भतिया भंद होणु च अर  मांग उठणी च कि चुनाव से पैल ओपिनियन पोल बंद हूण चयेंद। जै देश मा ओपिनियन पोल कु उपयोग ओपिनियन जानणो बान ना ओपिनियन बणाणो बान ह्वावो वै देस मा ओपिनियन पोल पर प्रश्न चिन्ह लगण ही छन !
            मि तब त्याइस सालो जवान रै होलु त अपण ऑफिसौ काम से हर हफ्ता एक मार्किट रिसर्च कम्पनीम  आइएमआरबी जांद छौ।  तख से मीन  जाण कि कोलगेट या लीवर कम्पनी हर समय कुछ ना  कुछ सर्वे कराणा रौंदन।
          मि तब मर्फी रेडिओ मा काम करदो छौ अर हमर बॉस लोग  विज्ञापन कंपनी से सर्वे करवांद छा  पण हम ब्रांच मैनेजर कबि बि वे सर्वे से सहमत नि हूंद छा।  फिर बि वै बगत सर्वे सरल छौ किलैकि लोगुं इच्छा , आशा, ज्ञान  भौत कम छौ।
मि जब केनस्टार मा सेल्स मैनेजर छौ अर हमर हेड ऑफिस वाळुन केनस्टार लांच हूणो छै मैना बाद एक मार्केट रिसर्च कम्पनी से डीलर ओपिनियन पोल करवाई जखमा डीलर कम्पनी का प्रति क्या सुचदन पर जोर छौ।  उखमा एक अजीब रिजल्ट आयुं छौ खासकर दादर अर  लोहार चाल (मुबई का प्रसिद्ध किचन आपलियेंसेज बजार ) का डीलरु सर्वे।  यु सर्वे बताणु छौ कि केनस्टार की सेल्स टीम दुकानदारूं से मिलणो नि आदि अर सर्विस भौत ही खराब च।  कम्पनी तैं खुलीं छै मैना ह्वे छौ अर सर्वे का हिसाब से दुकानदार बुलणा छा कि केनस्टार आउट औफ गारेंटी की सर्विस पर ध्यान कतई नि दींदी , आउट औफ गारेंटीका वास्ता स्पेयर पार्ट्स बि नि मिल्दन।  हकीकत मा मि भैरॉक टूर करिक दादर या लोहार चाल का दुकानदारूं से मिलणो अवश्य जांद छौ।  मुख्य दुकानदारो तैं द्वी तीन मैना मा पार्टी बि दींद छौ।
मीन अपण मैनेजिंग डायरेकटर से गुस्सा मा बोलि दे कि यु सर्वे बकबास ही ना झुटो च।  फिर निर्णय ह्वे कि हेड ऑफिस से द्वी अधिकार्युं दगड़  म्यार दगड़ दादर या लोहार चाल जाल अर असलियत पता लगाल।  अधिकतर  दुकानदार मि तैं म्यार नाम से जाणदा छा अर काम का दुकानदार मि तैं सेल्स गुरु बि बुल्दा छा यदयपि किचन आपलियेंसेज उद्योग मा अयाँ मी तैं छै मैना ही हुयां छा ।  फिर सर्विस का बारा मा बि क्वी हमारी शिकायत नि छे पर कुछ दुकानदारूं शिकायत छे कि हमारा स्पेयर पार्ट्स बजार मा नि मिल्दन।  यूँ दुकानदारूं हिसाब से केनस्टार अर केनवुड एक ही कम्पनी छे  , एक ही ब्रैंड छौ ।  असल मा अधिकतर  दुकानदार सर्वे की गम्भीरता समझदा ही नि छन अर सवालुं जबाब मा अंट संट जबाब दे दीन्दन।  मि आज बि दुकानदारूं सर्वे तैं रति भर बि महत्व नि दींद।  कुछ ही दुकानदार हूँदन जौंक सोच निरपरेक्ष हूंद।  अधिसंख्य दुकानदार प्रोडक्ट का मामला मा भूतकाल गामी हूंदन अर मार्जिन का मामला मा स्वार्थी हूंदन .
  फिर आंद बात फील्ड सर्वेयरूं की त दुनिया मा डोअर टु डोअर सेलसमैन अर मार्केट सर्वे का फील्ड सर्वेयर से जादा निराश कौम यीं दुनिया मा हैंक कौम क्वी नि हूंद।
            अधिकतर सर्वेयर एक दिन सर्वे करदन अर बकै दिन इनी अपणी मर्जी से क्वेसनरी फार्म भरिक अपण कम्पनी तैं दे दीन्दन।  सर्वे का काम छुटि छुटी कम्पनी ही करदन अर कम तनखा मा स्कुल्या छ्वारों से सर्वे करांदन . जब सर्वे करण वाळ ही फ्रस्ट्रेटेड  ह्वावो तो वु क्या सही सर्वे कारल ? फिर अप्रशिक्षित सर्वेयर अवश्य ही गलत रिपोर्ट ही कारल कि ना ? ये सर्वेयर अधिकतर चाय की दुकान मा बैठिक फार्म भरदा मील जाल।
आज भी भारत मा मार्किट रिसर्च मा बड़ी मूलभूत समस्या च अर वा समस्या च सर्वेयरूं सर्वे करणो कमिटमेंट।  पता ही नि चल्दो कि सर्वेयरन सही सर्वे कार कि अफीक फॉर्म भार।

कुछ ओपिनियन पोल कम्पन्युं लोभ , राजनीतिक पार्ट्यूं लोभ अर सर्वेयरुं बदजाति  (अळगस , कमिटमेंटहीनता , अप्रशिक्षण ) का कारण से ओपिनियन पोल की सत्यता पर प्रश्न लग्यां छन।

Copyright@ Bhishma Kukreti  26  /2/2014

[Bhishma Kukreti]

         History of Chauhan of Chandpur Garh, East-North Border of Garhwal

           History of Garhwal including Haridwar (1223- 1804 AD) –part -27
   
History of Uttarakhand (Garhwal, Kumaon and Haridwar) -272

                       By: Bhishma Kukreti (A History Student)

                 Chandpur Garh was famous Garh in north east border of Garhwal. This Gadh or fortes was established on top of a hill at right hand of Atagad Rivulet of Pindar valley. Still, the ruins are seen there. There were hills on east, south and west and Pindar River was in north of Chandpur Garh. Therefore, Chandpur Garh was natural fort for protection.
           Baijnath, Lakhanpur and Dwarhat of Kumaon were not for from Chandpur Garh. Therefore, Chandpur Garh had importance from defense strategic point of view. 

                   Bhanu Pratap

            Less is not about Chauhan capturing Chandpur Garh. It is said (Raturi) that before Ajay Pal Panwar captured chandpur Garh, Bhanu Pratap Chauhan was ruler of Chandpur Garh. It is said that the maternal grandfather of Bhanu Pratap declared Prithviraj as Delhi King. Rahul assumes that Bhanu Pratap was from Prirhviraj Chauhan family.
         Among Chauhan chieftains of Chandpur Garh, Bhanu Pratap was strongest chieftain of Chandpur Garh.
   According to folklore, Bhanu Pratap had two daughters. He married one daughter to Kumaon prince Rajpal and another daughter to Kanak Pal. He handed over his kingdom to his son in law Kanak Pal.
The rulers of Chandpur Garh were equal to Badrinath.
Whatever may be the case, historical records are lacking about Bhanu Pratap except folklores.

Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com 25/2//2014
                                      References

1-Dr. Shiv Prasad Dabral, 1971, Uttarakhand ka Itihas Bhag-4, Veer Gatha Press, Dogadda, Pauri Garhwal, India 
2-Harikrishna Raturi, Garhwal ka Itihas
3-Dr. Patiram, Garhwal Ancient and Modern
4-Rahul Sankrityayan, Garhwal
5- Oakley and Gairola, Himalayan Folklore
6- Bhakt Darshan, Garhwal ki Divangit Vibhutiyan
7-Foster, Early Travels in India William Finch
8-Upadhyaya, Shri Shankaracharya
9-Shering, Western Tibet and British
10-H.G. Walton, Gazetteer of British Garhwal
11-B.P.Kamboj, Early Wall Paintings of Garhwal
12-H.g Walton, Gazetteer of Dehradun
13- Vimal Chandra, Prachin Bharat ka Itihas
14-Meera Seth, Wall Paintings of Western Himalayas 
15-Furar, Monumental Antiquities
16-Haudiwala, Studies in Indo-Muslim History
17- Rahul Khari 2007, Jats and Gujjar Origin, History and Culture
18- Upendra Singh, 2006, Delhi: Ancient History, Barghahan Books
19- B.S. Dahiya, 1980, Jats the Ancient Rulers (A Clan Study) , Sterling Publications
20- Maithani, Bharat –Gotrapravardeepika
21 Prem Hari Har Lal, 1993 , The Doon Valley Down the Ages
22-Dashrath Sharma, Early Chauhan Dynasties

(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
History of Garhwal from 1223-1804 to be continued in next chapter    
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -273   
Xx
History of Chauhan Rulers in Garhwal; History of Chauhan Rulers in Pauri Garhwal; History of Chauhan Rulers in Pindar valley Garhwal; History of Chauhan Rulers in Rudraprayag Garhwal; History of Chauhan Rulers in Chamoli Garhwal; History of Chauhan Rulers in Tehri Garhwal; History of Chauhan Rulers in Uttarkashi Garhwal; History of Chauhan Rulers in Dehradun Garhwal; History of Chauhan Rulers in Haridwar, Garhwal;

[Bhishma Kukreti]

                Ekikaran or Unification of Social Organizations
(A Hilarious, Satirical, humorous, Inspiring Modern Garhwali Drama)

                            Playwright: Lalit Mohan Thapliyal

                            Translation by: Bhishma Kukreti

(The Garhwali Play Ekikaran was staged first on 24th March 1959, in Sarojani Community Hall, Delhi by Garhwal Sangit Natak Samaj)

                                   Characters
Narrator
Din Dayal
Mrs. Din Dayal
Mathyal Ji
Baguleshwar
Poet or Kavi Ji
Editor Ji
                       Request by Narrator –
Ladies, Gentlemen and Drama Lovers!
Welcome in this Stage Hall!
We promised you that we shall show you another Drama!
But! You all are experienced and wise people-
You would ask-
How shall we show the Drama?
Yes! Here is no decorated Stage!
Yes! Here is no colorful Curtain for the Stage!
Yes! You won't find make for artists of stage!
Definitely, there are no musical instruments for the Stage!
Even there is no curtain that opens door for new scene! new world! New Galaxy!
The Curtain is not there that takes audience away from own real world to next unknown realism!
There is no stage that opens the inner conscious of audience that takes another view of thousands of windows of next realism!
Yes1 we don't have stage that takes you new secrets of consciousness!
You are absolutely Right!
However, you don't need any stage for our stage play!
Whatever is here that is stage and product of stage.
You, me, he we are the stage characters!
Means, in this stage play, you all are characters!
Every character will emerge from you and play his or her part!
The dram is mirror of us.
Every good and wrong act has its own shadow!
You will see black spot!
The play is satire on our own society.
We shall laugh on us!
We shall laugh loudly on our own absurdness!
Might be! The satire might provoke you!
Might be it may hurt you!
However, don't take it by heart!
Please don't take wrong as it is time of Holi!
(Deen Dayal comes on Stage)
Deen Dayal- What a bad Sunday today! Wherever I went the person was not in his flat. My half Sunday is wasted. (Sees that from Audience Mathyal Ji is coming towards stage). Who is he coming on the road? Oh! He is Mathyal Ji! Namaskar Mathyal Ji!
Mathyal Ji- At present I am in hurry. I shall meet you next time
Deen Dayal- Come in Please sit for a moment. Hot Tea is waiting for you.
Mathyal Ji- Well coming to you. I am in hurry.
Deen Dayal- Rest for a moment. Towards inside) - Listen! Boil tea for Mathyal Ji! He is visiting.
Mathyal Ji-What is news?
Deen Dayal-. No News Wees. From morning, I have been visiting to many could not find anybody at home. I did not find place for playing cards.
Mathyal Ji-Did you not hear that there is unionization? Everybody has gone there for unionization.
Deen Dayal-Who is getting united?
Mathyal Ji-It is dam surprising! You did not know about Unionization. You should be Garhwali of Delhi and should not behave as Garhwali of Garhwal. Be Delhi ties if you live In Delhi.
Deen Dayal- Is Garhwali of Delhi different species than Garhwali of Garhwal?
Mathyal Ji-I will make you understand.  Let us smoke cigarette (Mathyal offers cigarette to Deen Dayal. Both smokes cigarette) Do you have three rupees?
Deen Dayal- Yes! I have. What do you want by three rupees?
Mathyal Ji- Give me three rupees. (Deen Dayal gives three rupees and Mathyal brings out a receipt book out and writes) Take receipt. Now, you are real Garhwali of Delhi. As you have become a member of a Garhwali organization you are now Garhwali of Delhi.
Deen Dayal- What will I do of becoming member? It is no use for me.
Mathyal Ji-we shall have meeting on Saturday-Sunday. We shall discuss seriously there on wrong and right matter.  We shall make constitution for the organization. We'll pass non confidence motion. Now, we have come to city. We should now behave like city dwellers.
Deen Dayal- Whose member I became? (Sees receipt)Oh! You are president of the organization!
Mathyal Ji-Not today! I am president for twelve years.
Deen Dayal- Who is secretary of the organization?
Mathyal Ji-I am secretary too.
Deen Dayal- Oh! You are all in all.
Mathyal Ji-No! No! I am president, secretary and treasurer. Other members are workers. You attend the meeting. If there is any position left I shall offer you position in the organization.
Deen Dayal- Well! Is this your unitization?
Mathyal Ji-No! No! You did not understand me. There are more than hundred Garhwali organizations in Delhi. There should be unionization of these all organizations. It will be very big organization of all Garhwali organizations. By unity we shall progress together or will jump into valley together.
Deen Dayal- Very nice thought and concept! Did you find the way and means for progress?
Mathyal Ji-No, till date we could not find the means for progress. However, very soon we shall find one day the keys for progress
Deen Dayal- पैल जा खाड अर तब मी गाड मी गाड. First jump into deep pit and then call for help to come up.
Mathyal Ji-Oh! It happens like this way only. It takes time for social benefits. We can't change your situation in one night.
(Mrs. Deen Dayal comes with two glasses of tea)
Mrs. Dayal- Take tea.
Deen Dayal- (takes from Mrs. Dayal and offers to Mathyal Ji)
Mathyal Ji (Sipping tea) - Oh! What a pleasure! Sister! You are incarnation of Annapurna Devi! (sips again) What a perfect blending of tea, sugar and milk! Mind Boggling Taste of Tea! I will not call it culinary but pure chemistry (Sips tea very fast)
(Deen Dayal takes empty glasses and come near to his wife)
Mrs. Dayal-He is talking very sweet and sweet! Did you pay him subscription?
Deen Dayal- Do you mean Membership subscription?
Mrs. Dayal- Yes! I paid three rupees.
Mrs. Dayal- Shit! You are fool of fools. You should have asked me before handing him well earned three rupees.
Mrs. Dayal- Let the bear make him runs.
(Deen Dayal goes towards Mathyal Ji. Mrs. Dayal writes on a paper)
Mathyal Ji-Your wife is Sulakshani! What a woman! Dayal! You are Lucky. Yesterday, I was with Colonel Sab. What a bad tea there in his home! He is big man. I should have not criticized him. But your wife prepares excellent tasty tea.
Mrs. Deen Dayal- Bother! You tell just to please me. Otherwise, you might have tasted tea from thousands of houses.
Mathyal Ji-Yes! I have tasted tea in many houses. I might have tasted thousands of cups of tea from the day I came in social field as social worker.
Mrs. Deen Dayal- Yes! Bhaiji! You don't have shortage of tea.
Mathyal Ji-Shortage of Tea? Yes, wherever I go everybody offers tea because I am famous social worker. As social worker, I can't deny offer.
Mrs. Deen Dayal- Bhaiji! You are famous social worker. Teach some trick to my husband too. He is very simple person. Please offer him a position in social organization committee..
Mathyal Ji-Definitely! You have high thinking. Now, your hubby has become member of my organization. I shall put him in a position.
Mrs. Deen Dayal- Bhaiji! Do you know that we have also a woman welfare organization?
Mathyal Ji-Yes I heard about it. Your organization is doing marvelous job. Are you also member of this woman organization?
Mrs. Deen Dayal- What member! I am the whole and sole of the organization.
Mathyal Ji-Very good! Do you favor unitization or federalism of our Garhwali social organizations?
Mrs. Deen Dayal- Till date, I have not decided. If you suggest the alternate I shall follow you.
Mathyal Ji- Come forward for unitization. You propose for unitization of Garhwali social organizations. Nobody is in favor of federal body of organizations. There is one Garhwali Natak Fatak Sanstha in Sarojani Nagar. Garhwali Natak Fatak Sanstha has funda of federal system of organizations. Tell them that they should pay attention on Drama Frama. What the hell! Do they know about social organizations and social issues?
Mrs. Deen Dayal- Well! Be sure that our organization is with you.
Mathyal Ji-It is great pleasure that you are supporting unitization and federal system. You send a written proposal for unification of all social organizations. Now, I shall make a move. People are coming there to attend meeting for unification.
Mrs. Deen Dayal- Definitely, I shall send written proposal in favor of unification. Bhaiji! We are organizing a collective Holi celebration. I have written four rupees as your contribution. This is receipt for four rupees.
Mathyal Ji-Sister! Don't you think four rupees is high?
Mrs. Deen Dayal- Our organization is new and we don't have sink fund.
Mathyal Ji-Ok! I shall make a move. I shall send four rupees very soon.
Mrs. Deen Dayal- Sorry Brother! We need subscription today only.
Mathyal Ji- I will find out whether I got four rupees or not? (Takes hand in his pocket)
Mrs. Deen Dayal- I am sure you will have four rupees in your pocket. I have already prepared receipt.
Mathyal Ji- Ok! Take four rupees. Now, I will make move.
Mrs. Deen Dayal-Well!
Mathyal Ji – Brother! Now I will take your leave.
Deen Dayal- When you were calling my wife as sister. Am I your brother?
Mathyal Ji-Well! I am social worker. Calling brother or sister is our norms.
(Mathyal Ji starts walking out)
Mrs. Deen Dayal- Come again for taking tea!
Mathyal Ji- Definitely (self- Four rupees per glass tea!) (He gets down from stage.
Deen Dayal- You never told that you created a woman organization?
Mrs. Deen Dayal- You mean I should have asked your first to create an organization?
Deen Dayal-No! I am just saying that you should have informed me good news. It is my pleasure that people appreciate your intellect.
Mrs. Deen Dayal- You paid three rupees and I took four rupees. I got back my three rupees and one rupee for the organization.
Deen Dayal-But! You gave receipt for four rupees.
Mrs. Deen Dayal- No, the receipt was for one but receipt is in such a manner that you may presume i either four or one rupee.
Deen Dayal- I have done injustice on you.
Mrs. Deen Dayal- What?
Deen Dayal- You were capable for being lawyer or minister but you are busy in cooking.
Mrs. Deen Dayal- I am fed up of your playing cards for whole Sunday.
Deen Dayal-My fellows neither are not interested in playing cards Kotpees and sweep etc but everybody is busy in unification of social organizations. I am visiting in Ekikaran Meeting.
Mrs. Deen Dayal- Visit but don't tell in evening that you had headache there. (she walks out from stage)
Deen Dayal (Self) – I have been in Delhi for twelve years but never knew about Garhwali social organizations and their workings. (walks down from stage) O Conductor! Please stop Bus...
Baguleshwar (On the stage and Deen Dayal enters on stage. Baguleshwar walks round and round with high speed)
Deen Dayal – I have come here. But where should I go? People told me that unification is happening near Birla temple. Yes! That person is running round would know where is happening unification. Wah! He is Baguleshwar Ji! Baguleshwar Ji! Namaskar! (Baguleshwar does not pay attention) (Deen Dayal puts his hand on his back) Sir! Baguleshwar Ji!
Baguleshwar- We shall build the Garhwal Bhawan. What do think of us that you could stop building Garhwal Bhawan? Nobody can stop us building Garhwal Bhawan.
Deen Dayal –Baguleshwar Ji! I never stop you building the Garhwal Bhawan. I just asked where is happening Unification?
Baguleshwar- Do yourself unification! Join our organization and it will be unification.
Deen Dayal –Sir! I am totally ignorant about unification of Garhwali social organizations in Delhi.
Baguleshwar- Don't you know about unification? We have 14789 members by this afternoon. We are not afraid of you. Even we don't want that you join us.
Deen Dayal –But! I never told anything ...
Baguleshwar- We have program, we have definite objective and objects. We have thousands of rupees in our bank account. What do you have?
Deen Dayal – I have only three rupees.
Baguleshwar- Give me two rupees. (Baguleshwar snatches two rupees from Deen Dayal). Now, you are also partner in this Garhwal Bhawan.
Deen Dayal Towards audience) –Thank god I still have one rupee for bus fare to go home.(Towards Baguleshwar)- Sir! What are the benefits of being member?
Baguleshwar- Are you asking Benefits? There are many benefits. We don't make member to bogus people. You are dam lucky I made you member. Are you lucky or not?
Deen Dayal –Yes! But tell me the path for Ekikaran or unification!
Baguleshwar- I have already shoed you the method of Ekikaran or unification. Now, collect subscription for our organization. It would unify us.
Deen Dayal –I am confused about this type of unification. (Sits restlessly)
(A Poet enters)
Poet- What has happened? Is somebody died?
Deen Dayal –O Poet Ji! Thank god I met you. I came here to watch unification. However, I'm unable to see where unification is. I asked him but could not understand what he is talking about.
Poet-You are hitting the wrong target.
Deen Dayal –What happened?
Poet-He is an ill person.
Deen Dayal –Is he ill? What is the problem?
Poet- he has indigestion problem
Deen Dayal –Oh! Very bad!
(Baguleshwar comes near to them)
Baguleshwar-What are you talking about so secretly? What do you understand of you. We are not afraid of anybody. We shall build Garhwal Bhawan.
Poet-Nobody can stop you. Build Bhawan or Fort. Might be , you might have completed the building.
Baguleshwar-We have 3635 members. We are not afraid of anybody.
Poet-Yes! You should not be afraid. Why should you be afraid? You have done a lot. Now, it is time for you to take rest.
Baguleshwar- Rest? I know your dirty mind. I shall take rest and you will jump there to lead people.
Poet-No!  No! I am no where equal to you. You are wrong to think so.
Baguleshwar-You are right and I am wrong? You don't have any say. Do you know that we have three hundred eleven members? Have you any idea of our strength?
Poet- Oh My god! I am caught unnecessarily. OK Good bye!
Deen Dayal- Don't leave me alone.
(Baguleshwar leaves stage)
Poet-Shit! He is pain on the neck.
Deen Dayal- Still, I could not understand about your infighting.
Poet-Slowly, you will understand. At present, the infighting is among big leaders, Very soon it will be in open and then you will understand what it is about.
Deen Dayal- But! People are talking about Unification and you are telling infighting. Tell me what is this unification?
Poet-There is mention of unification or Ekikaran in Ayurved. There are many names for Ekikaran, unification, unionization, merger, federalism, mixing, amalgamation and so on. A few doctors refer it mad men's voice.
Deen Dayal- Oh!
Poet-Yes! The process is that first, make powder of all social organizations. Then add Neem, Laung or clove, black peeper, jiggery, Alou Iladu etc. Then mix them with care. More the bitter ingredients more sweetness is the principle. Mix the mixture with water and boil it for longer.
Deen Dayal- Very well! What next?
Poet-Then boil it for longer.
Deen Dayal- What next?
Poet-Let it boils. We have been boiling it from ninety fifty.
Deen Dayal- Boiling from ninety fifty? But it will be Kwath?
Poet- We are still waiting that it becomes Kwath. Kwath means the real medicines. However, we are waiting that it becomes Kwath. That is why we meet every Saturday-Sunday.
Deen Dayal- How is this type of unification? You are coming out of meeting. Where is the meeting for unification?
Poet-Meeting is always held in Reading Kothi. There is ample place.
Deen Dayal- Well! What are the people talking today?
Poet-I don't know. I could not hear them. I don't have time.
Deen Dayal- What do you do?
Poet- I am poet. I published poetry collection. I went there to sell my poetry collection
Deen Dayal- Oh! Did you publish poetry collection?
Poet-Yes! You too take one book. (Hands over book) Its name is 'Chyan Chilangi'. Chyan Chilangi Aja, Bukhana Bukai Ja...
Deen Dayal (keeps booklet in his pocket)- I shall read in leisure time.
Poet-Its price is two rupees.
Deen Dayal- Take it back. I have only one rupee
Poet-fine, I shall collect balance one rupee next day.(Takes one rupee)
Deen Dayal- I require one rupee for bus.
Poet-Don't worry! I shall take you by my cycle.
Deen Dayal- Unification is very costly.
Poet-You go inside. I am just coming. I need a cigarette.
Deen Dayal- will it not any problem in entering?
Poet- No! Not at all, there is problem in entry for unification. Anybody can go there and can speak whatever way he wishes or she wishes. The bungalow owner offers tea and you have to arrange your own for cigarettes.
Deen Dayal- Well! I will go there (comes down from stage. The editors comes on stage)
Poet-Namaskar Editor Ji! Are you going for meeting?
Editor- Yes! Am I not too late?
Poet-No! No! Not late.
Editor-  I thought meeting might have started. What is happening there?
Poet-Come here! At this juncture, Jeeja –Sala Jokes are being busted there.
Editor- Ok! You write a report on unification for the newsletter. Due to unification movement there is good demand for our newsletter.
Poet-I will write the news. Do want report in prose or poetry? Do you have match box?
Editor- Yes1 (hand over match box)
Poet-Then you will have cigarette too?
Editor- No! I stopped smoking.
Poet-Why are you keeping match box?
Editor- Somebody offers me cigarette.
Poet- But, I have only one cigarette stick. (Lights cigarette)
Editor- Please, make report on this meeting.
Poet- Definitely, I shall submit my report. Tell me! Is your paper supporting unification or not?
Editor- In the last edition, we opposed the idea of unification. But, we shall support unification in the coming issue.
Poet-Why is this confusion?
Editor- There is no confusion at all. Our paper goes as per time, place and class. We support the idea of majority.
Poet-Should I write strongly in support of unification?
Editor- If there is differences for any matter, the writer should be diplomatic. The readers should not know which way is writer.
Poet-Everybody has own principle.
Editor- There is only principle that makes difference between a dog and a man.
Poet- What are you views on unification?
Editor- My views! Where the majority is there I am for the majority. Unification is also good, federalism is also nice and many gentlemen support merger.
Mathyal (enters)-Tell me who are those gentlemen? Majority is supporting unification. Now, you are raising the question of merger or federalism.
Editor- If there was unanimity for one thing there would be no infighting. You may tell from your part angle but you can't say from other people views.
Mathyal-Our organization represents whole Garhwal. That means that view of our organization is view of all.
Poet- How can you be representative of all other organizations?
Mathyal- The name of our organization is All India Garhwal Organization. That means we represent all organizations.
Editor-This is absurd logic.
Mathyal -Yes it is the only logic.
Poet- Gyatam Pitarpandityam Namdharanakaranat!
Mathyal- Don't mention my father's name at all. I will see you that you are not able to utter a single word (catches Poet and poet goes back).
Poet – I never means what you understood. It is not to be angry.
Editor- He never means what you understood. You are educated man and should not behave like that.
Mathyal- I have come across such useless poets in past. If I show my power, you will forget creating poetry.
(Baguleshwar comes among all)
Baguleshwar- Let I speak first. Let I speak first. What do you all think of you? (he goes out of stage)
(Deen Dayal enters. There is a plaster on his head and hand is seen broken)
Deen Dayal- I came to watch the unification. But there was football completion. 
(Mathyal enters)
Mathyal – What happened? You head and hand are broken?
Deen Dayal – There was no unification but my body became football for unification players.
Mathyal-Was there fighting?
Deen Dayal –No! There was no fighting but there was stamped due to everybody was raising his views. I became unification.
Mathyal-Is any other injured?
Deen Dayal –How could other be injured. All were wise leaders. I got injury; a common man gets injury for the differences for opinions among leaders.
Mathyal- Don't worry. It was your first chance. It is necessary to have small injury before becoming big leader.
Deen Dayal –Sorry! Mathyal Ji! I did not get any taste in you unification.
Mathyal- Was there any result about unification, merger or federalism?
Deen Dayal – I don't think there would come any result. Now, my wife is going to make me out of house.
Mathyal-But you have to go to your house.
Deen Dayal –You will have to go with me to unify me and my wife.
Mathyal-Ok! Let us go to your house.

Copyright@ Heirs of late Lalit Mohan Thapliyal, NOIDA, UP, 2014
And Garhwal Sangeet –Natak Samaj , New Delhi 
Script for hilarious, satirical, humorous, , entertaining, Inspiring drama, Stage Play about Social Organizations by Lalit Mohan Thapliyal; Script for hilarious, satirical, humorous, entertaining Inspiring drama, Stage Play about Social Organizations by Lalit Mohan Thapliyal born in Shrikot; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal born in Khatsyun; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal born in Pauri Garhwal; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal born in Uttarakhand; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal worked as journalist; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal who worked with Pioneer newspaper; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal worked in Geneva; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal New York; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal one of founders of Garhwali Sangit-Natak Samaj, Delhi ; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal who wrote famous five Garhwali stage plays; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal famous playwright of Khadu lapata stage play; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal the playwright of stage play- Gharjawain; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal playwright of stage play Anchheryun ka Tal ; Script for hilarious, satirical, humorous, Inspiring drama, entertaining Stage Play about Social Organizations by Lalit Mohan Thapliyal playwright of stage play Durjan ki Kachhedi;

[Bhishma Kukreti]

               Shobha Laksana or Brilliance Mark in Garhwali Folk Dramas

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -102
                गढ़वाली   लोक नाटकों में  शोभा लक्षण का उदाहरण

                     Bhishma Kukreti (लोक साहित्य शोधार्थी)

            Dr. Manmohan Ghosh translate the meaning of Brilliance or Shobha (described in Natyashastra of Bharat Muni) as follows –
  If a charming and novel meaning (arises) when a less known object is referred to by likening it to a well known and a wonderful sense is expressed through double entender  it is called beauty (Shobha literal meaning beauty).
गढ़वाली  लोक नाटकों में शोभा  लक्षण का उदाहरण

शोभा -  प्रसिद्द बात का वर्णन करके उसके साथ साथ अप्रसिद्ध वात कुशलता से वर्णित  जाती है तो उसे शोभा कहते हैं (भ ना. १६ -७ )
उदाहरण -गढ़वाली लोक नाटक में एक वार्ता
जनखी - भानु ! त्वै  से  संकोच क्या करण ? शराब पीणो याद बी नि आयि ?
भानु -बिलकुल भुलिक बि याद नि आयि।  अर याद बि कब आण ? अजकाल म्यार टैम  पास हूंद कि क्या बोलुँ !   एक तरफ भैजिक भाष भाषणु गरम उज्यळ अर वांक ऊपर हे जनखी ! त्यार ठंडो दगुड़ !

(संदर्भ: गढ़वाली लोक नाटकों का मुख्य तत्व व विश्लेषण में भीष्म कुकरेती द्वारा संकलित गढ़वाली  लोक नाटकों के वार्तालापों से , शैलवाणी, कोटद्वार  के 2014 के कई अंकों में )
Copyright@ Bhishma Kukreti 26 /2/2014

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
Shobha Laksana or Brilliance Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Shobha Laksana or Brilliance Mark  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Shobha Laksana or Brilliance Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia;  Shobha Laksana or Brilliance Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia;  Shobha Laksana or Brilliance Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Shobha Laksana or Brilliance Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;  Shobha Laksana or Brilliance Mark  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Shobha Laksana or Brilliance Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में शोभा  लक्षण ,  टिहरी गढ़वाल के गढवाली लोक नाटकों में शोभा  लक्षण ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में शोभा  लक्षण, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में शोभा  लक्षण  ;देहरादून गढ़वाल के गढवाली लोक नाटकों में शोभा  लक्षण;पौड़ी गढ़वाल के गढवाली लोक नाटकों में शोभा  लक्षण;चमोली गढ़वाल के गढवाली लोक नाटकों में शोभा  लक्षण; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में शोभा  लक्षण ;

[Bhishma Kukreti]

                   प्रवासी गढ़वाळि सामाजिक कार्यकर्ताऊँ  ख़ास पछ्याणक 

                                चुनगेर ,चबोड़्या -चखन्यौर्या -भीष्म कुकरेती       
(s =आधी अ  = अ , क , का , की ,  आदि )

जख जख गढ़वाली प्रवास करदन उख उख गढ़वाली पैदा ह्वावन या नि ह्वावन पण सामाजिक कार्यकर्ता पैदा ह्वे जांदन।  भारत मा यदि 600 लोगों मा एक NGO च त हरेक दुसर प्रवासी गढ़वाली सामाजिक कार्यकर्ता च अर हर दस प्रवासी का पैथर एक सामाजिक संस्था त होली ही।
सामाजिक कार्यकर्ता माने कैं संस्था कु चेयरमैन , मंत्री या अधिकारी।  बगैर संस्था बणयां सामजिक कार्यकर्ता ज़िंदा नि रौंद .
अधिसंख्य प्रवासी सामाजिक कार्यकर्ता कु मानण च कि सामाजिक कार्यकर्ता तैं सामाजिक कार्य करण उथगा जरूरी नी हूंद जथगा कि कैं संस्था कु प्रजिडेंट या जनरल सेक्रेटरि हूण आवश्यक च !
जैदिन बिटेन ब्रिटिश लोगुन गढ़वाळियुं तैं भैर नौकरी दे वैदिन से अर आज तक हरेक प्रवासीकु एकि रूण च कि गढ़वाळ की पैली परेशानी पलायन च अर हरेक प्रवासी प्रवास मा संस्था इलै बणान्दु कि गढवाळ से पलायन रुक जाव ।
रात प्रवासी गढ़वाळि मीटिंग मा ह्यळि गाडि गाडि रूंद कि गढ़वाळ से पलायन हूणु च अर दुसर दिन अपण भतीजो , भणजो या भौं कै तैं बि अफुम भटे दींद।
हरेक  प्रवासी सामाजिक कार्यकर्ता रुणु रौंद कि गढ़वाळ मा खेती खतम हूणि च मकान उजड़ना छन।  यदि सर्वे करे जाव त गढ़वाल मा जादातर मकान प्रवासी सामाजिक कार्यकर्ताओं का ही उजड्या होला।
हरेक प्रवासी सामाजिक कार्यकर्ता गढ़वाळ मा शराब व्यसन से दुखी रौंद अर ये दुःख मा खुद ही शराब गटकाणु रौंद अर जब गां जांद त पेटी भोरिक शराब गां लिजांद। 
शहर मा प्रवासी न्युतेरौ दिन शराब की पार्टी करद पण रुणु रौंद कि गांऊं मा ब्यौ -काज मा लोग सुबेर इ बिटेन शराब पींदन।
प्रवासी सामाजिक कार्यकर्ता गढ़वाल मा शिक्षा कि समस्याउं  से त्रस्त रौंद पण अपण शहर मा गढ़वाल्यूं की शिक्षा समस्याओं से अवगत नि रौंद।
प्रवासी गढ़वाळ मा उद्यम नि हूण से परेशान रौंद पण गढ़वाळ का कै बी उद्यम मा निवेश नि करद।
प्रवासी सामाजिक कार्यकर्ता गढ़वाल मा पर्यटन बढ़ाणो बात करद अर जब समय आंद त अपण नौनु तैं हनी मून का वास्ता शिमला या ऊटी भेजद।
प्रवासी सामाजिक कार्यकर्ता गढ़वाल मा गढ़वाळि भाषा खतम हूण से बहुत दुख जतान्द अर अपण बच्चों दगड़ गढ़वाली तो छोड़ो हिंदी मा बि नि बचऴयांद , केवल अंग्रेजी मा बचऴयांद।
हरेक   प्रवासी सोसल वर्कर चांद कि प्रवासी संस्थाओं मा एका ह्वावो अर जादा संस्थाओं तैं एक करणो बान हर साल मुम्बई मा महांसघ जन नई संस्था खड़ो करद।
गढ़वाल मा गढ़वाळियुं विकास का वास्ता प्रवासी सामाजिक कार्यकर्ताउं का पास सौ तरीका , निदान  छन पण प्रवास मा प्रवासी गढ़वाल्यूँ विकासौ बान  एक बि ब्यूँत नि हूंदन।  .
प्रवासी गढ़वाळि सामाजिक कार्यकर्ता क ख़ास पछ्याणक   और बि छन।  बकैउं बखान भोळ-परस्यूं होलु। 


Copyright@ Bhishma Kukreti  26 /2/2014
*कथा , स्थान व नाम काल्पनिक हैं।
[गढ़वाली हास्य -व्यंग्य, सौज सौज मा मजाक  से, हौंस,चबोड़,चखन्यौ, सौज सौज मा गंभीर चर्चा ,छ्वीं;- जसपुर निवासी  द्वारा  जाती असहिष्णुता सम्बंधी गढ़वाली हास्य व्यंग्य; ढांगू वाले द्वारा   पृथक वादी  मानसिकता सम्बन्धी गढ़वाली हास्य व्यंग्य;गंगासलाण  वाले द्वारा   भ्रष्टाचार, अनाचार, अत्याचार पर गढ़वाली हास्य व्यंग्य; लैंसडाउन तहसील वाले द्वारा   धर्म सम्बन्धी गढ़वाली हास्य व्यंग्य;पौड़ी गढ़वाल वाले द्वारा  वर्ग संघर्ष सम्बंधी गढ़वाली हास्य व्यंग्य; उत्तराखंडी  द्वारा  पर्यावरण संबंधी गढ़वाली हास्य व्यंग्य;मध्य हिमालयी लेखक द्वारा  विकास संबंधी गढ़वाली हास्य व्यंग्य;उत्तरभारतीय लेखक द्वारा  पलायन सम्बंधी गढ़वाली हास्य व्यंग्य; मुंबई प्रवासी लेखक द्वारा  सांस्कृतिक विषयों पर गढ़वाली हास्य व्यंग्य; महाराष्ट्रीय प्रवासी लेखक द्वारा  सरकारी प्रशासन संबंधी गढ़वाली हास्य व्यंग्य; भारतीय लेखक द्वारा  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 Mangal Singh Chauhan of Manglaur, Haridwar 

           History of Garhwal including Haridwar (1223- 1804 AD) –part -28
   
History of Uttarakhand (Garhwal, Kumaon and Haridwar) -273

                       By: Bhishma Kukreti (A History Student)
 
             Panwar Capturing Chandpur Garh
           
Bhanupal the strong ruler of Chandpur Gadhi had two daughters and he married one daughter to    Kumaon prince and other to Panwar brave man Kanakpal. Kanakpal ruled Chandpur Gadhi. According to folklore, Kanakpal entered in Garhwal around 882 CE (Raturi).    But this does not tally with historical aspects.

                    Damag rulers of Mandakini Valley

             There was one hand written note in Tehri Riyasat records that suggest that there was rule of Damag rulers in Mandakini valley before Panwar started ruling Garhwal However, no other record is available about Damag rulers of Mandakini valley.

                       Mangal Singh of Manglaur, Haridwar

               The hand written notes found in Tehri Riyasat record room states that Mangal Singh son of Bhanu Pratap Singh Chauhan established his capital at Kandar Garh (Kandarsyun, Garhwal) in 1218 AD. Another hand written note from the time of Bahadur Shah King of Garhwal (Bhakta Darshan, Garhwal ki Divangat Vibhutiyan) states that the rule of Mangal Singh was extended to Manglaur, Haridwar.  Journal of U.P. Historical Society (July 1943, page 80) supports that Mangal Singh (Chauhan clan) established a huge fort in Manglaur. There was cavalry regiment of Mangal Singh in Manglaur. The horses were breed   for army purpose in Manglaur.  Mangal Singh used to live in Manglaur in winter season and he used to live in Kandar Gadh in other seasons. It might be said that Manglaur was winter capital of Kandar Gadh ruler. Mangal Singh was very strong a brave ruler. His rule was extended to Nagina (south east of Garhwal Bhabhar). The Huge Gates at Nagina hills are said to be constructed by Mangal Singh of Kandar Garh.
Mangal Singh was prosperous ruler and is believed by people that he had Paras stone.
         Tehri record states that many generations of Mangal Singh ruled over Kandar Garh and Chandpur Garh.

                            The last Chauhan ruler of Kandar Garh Garhwal

             Folklore describes that the last ruler of Kandar Garh was Nar Veer Singh. Panwar king defeated Nar Veer Singh of Kandar Garh. Nar Veer Singh jumped into Alaknanda River and died.

Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com 25/2//2014
                                      References

1-Dr. Shiv Prasad Dabral, 1971, Uttarakhand ka Itihas Bhag-4, Veer Gatha Press, Dogadda, Pauri Garhwal, India 
2-Harikrishna Raturi, Garhwal ka Itihas
3-Dr. Patiram, Garhwal Ancient and Modern
4-Rahul Sankrityayan, Garhwal
5- Oakley and Gairola, Himalayan Folklore
6- Bhakt Darshan, Garhwal ki Divangit Vibhutiyan
7-Foster, Early Travels in India William Finch
8-Upadhyaya, Shri Shankaracharya
9-Shering, Western Tibet and British
10-H.G. Walton, Gazetteer of British Garhwal
11-B.P.Kamboj, Early Wall Paintings of Garhwal
12-H.g Walton, Gazetteer of Dehradun
13- Vimal Chandra, Prachin Bharat ka Itihas
14-Meera Seth, Wall Paintings of Western Himalayas 
15-Furar, Monumental Antiquities
16-Haudiwala, Studies in Indo-Muslim History
17- Rahul Khari 2007, Jats and Gujjar Origin, History and Culture
18- Upendra Singh, 2006, Delhi: Ancient History, Barghahan Books
19- B.S. Dahiya, 1980, Jats the Ancient Rulers (A Clan Study) , Sterling Publications
20- Maithani, Bharat –Gotrapravardeepika
21 Prem Hari Har Lal, 1993 , The Doon Valley Down the Ages
22-Dashrath Sharma, Early Chauhan Dynasties

(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
History of Garhwal from 1223-1804 to be continued in next chapter    
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -273   
Xx
History of Mangal Singh Chauhan of Manglaur, Haridwar; Chauhan ruler of Nagina Garh (Bijnor); , Haridwar History of Mangal Singh Chauhan ( Haridwar ) as winter capital; History of Manglaur Fort (Haridwar); History of Chauhan Rulers in Garhwal; History of Chauhan Rulers in Pauri Garhwal; History of Chauhan Rulers in Pindar valley Garhwal; History of Chauhan Rulers in Rudraprayag Garhwal; History of Chauhan Rulers in Chamoli Garhwal; History of Chauhan Rulers in Tehri Garhwal; History of Chauhan Rulers in Uttarkashi Garhwal; History of Chauhan Rulers in Dehradun Garhwal; History of Chauhan Rulers in Haridwar, Garhwal; History of Mangal Singh Chauhan extending rule to Nagina (Bijnor) and making Fort; History of Mangal Singh Chauhan of Kandarsyun; History of Mangal Singh Chauhan of Kandar Gadh ..

[Bhishma Kukreti]

Garhwali Folk Story about Yamkeshwar Mahadev Temple (Udaipur Patti, Pauri Garhwal)


Garhwali Folk Tales, Fables, Traditional Stories, Community Narratives -67

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

(Reference: Hema Uniyal, 2011, Kedarkhand, Taxshila Prakashan, New Delhi, India, page 92)

           The Garhwali folk story behind Yamkeshwar Temple is amazing
           Yamkeshwar is famous Shiva Temple of Gangasalan. Yamkeshwar is situated at the bank of Sateri or Satedi Gad (Satyabhama or Satyarudra Rivulet) and is surrounded by Shamsan or cremation field from three corners. The Yamkeshwar Shiva Temple comes under the area of Badoli village three kilometer away from Amoli village. On last Monday of Shravan, there is large fare in this temple. There is also fare on every Shiva Ratri. There are 97 villages those visit the temple regularly. Once, Yamkeshwar was famous centre for Tantrik Vidya.
             Yamkeshwar has also importance in Shilpkar Liberation Movement in Garhwal where in 1931, a conference was held by Shilpkar to eradicate untouchability from the society.
            The folk story behind Yamkeshwar Mahadev Temple is that Great sage Maharishi Mrikand got son by worshipping lord Shiva. Mrikand named his son as Markandeya. However, Narad, by the study of astrology suggested that Markandeya would die by eleventh year. Mrikand became sad. Markandeya asked the remedies for getting longer life. Sage Mrikand suggested the remedy.
        Markandeya went to Manikut hill Plato and started Tap of Maha Mrityunjaya Jap at the bank of Shatrudra or Sateri River. Markandeya made the image of Shiva by sand and started Jap under a fig (Peepal) tree. At the set day of death for Markandeya, Yamraj (the death God or God of Righteous acts) reached to take the life of Markandeya. Markandeya requested to Yamraj that since his Jap of Maha Mrityunjaya (a religious ritual for winning over death) is incomplete, Yamraj should wait. However, Yamraj threw Kalpash or death weapon on Markandeya. Markandeya caught the sand image of Lord Shiva by both hands. The sand image broke down and Maha Mrityunjaya Rudra emerged from the image. Watching appeared Lord Shiva, Yamraj ran towards Jamradi village (Today's Yamkeshwar). Yamraj started doing Tap for lord Shiva (form Rudra) at Jamradi (Today's Yamkeshwar).  Lord Rudra told to Yamraj that where there is Maha Mrityunjaya Jap (ritual) Yamraj should not enter there. Maha Mrityunjaya or Lord Shiva told to Yamraj that where he (Yamraj) was performing Tap a self born Ling image is there. Lord Shiva suggested Yamraj to perform Jap or prayer of that self born Ling. Lord Shiva told that this image would be famous by name of Yama.  Lord Shiva blessed that whoever performs the Yama Shiv Ling that person would get longer life.  Yamraj performed Jap of lord Shiva or Ishwar for a year there. Since, Yamraj performed Ishwar prayer or Jap there it is called Yamkeshwar
  . 



Copyright @ Bhishma Kukreti Shiva Ratri Day 27/ 2/2014 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
Garhwali Folk Story about Yamkeshwar Mahadev Temple near Badoli (Udaipur Patti, Pauri Garhwal); Garhwali Folk Story about Yamkeshwar Mahadev Temple near Amoli (Udaipur Patti, Pauri Garhwal); Garhwali Folk Story about Yamkeshwar Mahadev Temple near Kandi (Udaipur Patti, Pauri Garhwal); Garhwali Folk Story about Yamkeshwar Mahadev Temple near Kasyali (Udaipur Patti, Pauri Garhwal); Garhwali Folk Story about Yamkeshwar Mahadev Temple, 49 KM from Rishikesh near (Udaipur Patti, Pauri Garhwal);

[Bhishma Kukreti]

Udaharan Laksana or Parallelism Characteristic Mark in Garhwali Folk Dramas

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -103

                गढ़वाली   लोक नाटकों में  उदाहरण  लक्षण


                     Bhishma Kukreti (लोक साहित्य शोधार्थी)

According to Bharat' Natyashastra, when words by words expressing similar circumstances a submission is ingeniously made to accomplish an object is called Parallelism Characteristic Mark in a drama.
            गढ़वाली  लोक नाटकों में उदाहरण लक्षण

उदाहरण लक्षण परिभाषा - उद्देश्य को ध्यान में रख कर कई शब्दों  जो एक ही बात को इंगित करें तो यह लक्षण उदाहरण कहलाता है।  जैसे  -
रौमती  (भानुमती से )- अच्छा ! त त्यार कजे ! रत्यां घौर आंद , सुबेर उठिक बगैर नक्वळ (नास्ता ) कर्याँ चली जांद अर दुफरा बान रुटि बि नि लिजांद ? ओ त कुछ ना कुछ बिजोग पड्यूं च हां ! मै लगद वैन हैंक ब्यौ करी ...... आल ...   धौं !

(मित्रग्राम, मल्ला ढांगू , पौड़ी गढ़वाल में एक बादी लोक नाटक को लेखक द्वारा देखने के आधार पर, समय 1963-64 )

(संदर्भ:  ,: गढ़वाली लोक नाटकों का मुख्य तत्व व विश्लेषण में भीष्म कुकरेती द्वारा संकलित गढ़वाली  लोक नाटकों के वार्तालापों से , शैलवाणी, कोटद्वार  के 2014 के कई अंकों में )


Copyright@ Bhishma Kukreti 27 /2/2014

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
Udaharan Laksana or Parallelism Characteristic Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays;  Udaharan Laksana or Parallelism Characteristic Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Udaharan Laksana or Parallelism Characteristic Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia;   Udaharan Laksana or Parallelism Characteristic Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia;  Udaharan Laksana or Parallelism Characteristic Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Udaharan Laksana or Parallelism Characteristic Mark in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Udaharan Laksana or Parallelism Characteristic Mark   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में उदाहरण लक्षण ,  टिहरी गढ़वाल के गढवाली लोक नाटकों में उदाहरण लक्षण ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में उदाहरण लक्षण, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में उदाहरण लक्षण  ;देहरादून गढ़वाल के गढवाली लोक नाटकों में उदाहरण लक्षण ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में उदाहरण लक्षण;चमोली गढ़वाल के गढवाली लोक नाटकों में उदाहरण लक्षण; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में उदाहरण लक्षण  ;

[Bhishma Kukreti]

                                      अचकाल व्यंग्य लिखण सबसे कठण काम ह्वे गे

                                   चुनगेर ,चबोड़्या -चखन्यौर्या -भीष्म कुकरेती       
(s =आधी अ  = अ , क , का , की ,  आदि )

मीन जब व्यंग्य पढ़ण शुरू कौर छौ त इंदिरा गांधी मा बि कुछ हद तक ईमानदारी छे , शरम -ल्याज छे , वा कति बथों से झसकदी बि छे।  वै बगत बेइमान कम छा तो इमानदारी की   बड़ी पूछ छे तो हरी  शंकर परसाई , शरद जोशी , लतीफ घोंघी बढ़िया लिखदा छा।
जब मीन गढ़वळि मा व्यंग्य लिखण शुरू कार तो समाज अर राजनीति मा इमानदारी , निष्ठा , नीति की कीमत छे तो व्यंग्य लिखण भौत सरल छौ।  तब नेता बेशर्मी की हद बि शरम से तोड़दा छा तो वूंकी बेशरमी पर लिखण सरल छौ।
अचकाल व्यंग्य लिखण सबसे कठण काम ह्वे गे।  हास्य लिखण मा ऑसंद आंद।
मैरेडिथ का अनुसार व्यंग्यकार नैतिकता कु ठेकेदार च जु समाज मा फैलीं गंदगी कीच -काच , गंदगी साफ़ करद।  याने कि गंदगी कम हूंद तो साफ़ करण सरल हूंद , गंदगी या कीचड़ अलग से दिख्यांदि हो तो व्यंग्य लिखे सक्यांद पण जब   सरा चौक ही कीचड की नींव पर खड़ो हो तो कीचड़ या गंदगी साफ़ कनकै करण ? इन मा व्यंग्य कनकै लिखण ? 
सदर लैंड कु बुलण च कि व्यंग्य सामाजिक बुराइयों का असली रूप दिखांद ।  पर यदि समाजन बुराइयुं  ही तैं अपण जीवन यापन कु आधार बणै याल तो अब व्यंग्य क्यां पर लिखण ? जब सबि लोग बुराइ तैं भलो मानणा छन तो व्यंग्यकार का पास लिखणs  कुण कुछ बच्युं इ नी च।
चुनगेर लिखाड़ हरी शंकर परसाई  कु मानण छौ कि व्यंग्य जीवन की विसंगतियों , मिथ्याचारों अर पाखंडो की आलोचना करद।  पर जब समाज का आदर्श ही बिसंगति , मिथ्याचार , पाखंड ह्वे जावन तो व्यंग्यकार कब तलक मुंड फोड़ल ?
चखन्योरा लिख्वार  शरद जोशी व्यंग्य तैं अन्याय , अनाचार , अत्याचार का विरुद्ध हूंद पण जब समाजन अन्याय , अनाचार , अत्याचार तैं ही जीवन शैली बणै दे हो तो इन मा व्यंग्य कै पर लिखण अर कैकुण लिखण ?
चबोड्या कलमदार रवींद्र त्यागी न बोली छौ कि व्यंग्य कु काम कुरीतियुं क भंडाफोड़ करण च पर जब हमर समाजन कुरीतियों तैं ही जिंदगी को मकसद बणै याल तो भंडाफोड़ क्यांक करण अर किलै करण ?
व्यंग्य अमर कोश का कोशकार शंकर पुण तांबेकर बुल्दन बल जख अन्याय , शोषण , अत्याचार , ... ब्यूरोक्रेसी हो उख  व्यंग प्रभावशाली हूंद पर जब पूरो समाज ही अन्याय, शोषण , सिफ़ारसबाद , जातिबाद , भाई भतीजाबाद , दलबाद , तैं ठिकाणा दीणु ह्वावो वै समाज मा व्यंग्य की अहमियत ही ख़तम ह्वे जांद तो इनमा व्यंग्य लेखिक क्या फायदा ? पूरा का पूरा समाज अन्याय, शोषण , सिफ़ारसबाद , जातिबाद , भाई भतीजाबाद , दलबाद को समर्थक ह्वे जावो तो व्यंग्य की तो ऐसी तैसी होली कि ना ?
व्यंग्यकार समाज को ही अंग -प्रत्यंग हूंद।  जब समाज ही संवेदना शून्य ह्वे जावो तो अवश्य ही व्यंग्यकार भी संवेदनाहीन ह्वे जांद अर फिर इन मा मै  सरीखा व्यंग्यकार बि पलायनवादी साहित्य लिखण मा ही फैदा चितांद !

Copyright@ Bhishma Kukreti  28 /2/2014
*कथा , स्थान व नाम काल्पनिक हैं।
[गढ़वाली हास्य -व्यंग्य, सौज सौज मा मजाक  से, हौंस,चबोड़,चखन्यौ, सौज सौज मा गंभीर चर्चा ,छ्वीं;- जसपुर निवासी  द्वारा  जाती असहिष्णुता सम्बंधी गढ़वाली हास्य व्यंग्य; ढांगू वाले द्वारा   पृथक वादी  मानसिकता सम्बन्धी गढ़वाली हास्य व्यंग्य;गंगासलाण  वाले द्वारा   भ्रष्टाचार, अनाचार, अत्याचार पर गढ़वाली हास्य व्यंग्य; लैंसडाउन तहसील वाले द्वारा   धर्म सम्बन्धी गढ़वाली हास्य व्यंग्य;पौड़ी गढ़वाल वाले द्वारा  वर्ग संघर्ष सम्बंधी गढ़वाली हास्य व्यंग्य; उत्तराखंडी  द्वारा  पर्यावरण संबंधी गढ़वाली हास्य व्यंग्य;मध्य हिमालयी लेखक द्वारा  विकास संबंधी गढ़वाली हास्य व्यंग्य;उत्तरभारतीय लेखक द्वारा  पलायन सम्बंधी गढ़वाली हास्य व्यंग्य; मुंबई प्रवासी लेखक द्वारा  सांस्कृतिक विषयों पर गढ़वाली हास्य व्यंग्य; महाराष्ट्रीय प्रवासी लेखक द्वारा  सरकारी प्रशासन संबंधी गढ़वाली हास्य व्यंग्य; भारतीय लेखक द्वारा  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  ]