Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

[Bhishma Kukreti]

 Taal/ Music Beats of Hudki Playing used in Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays

Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -180     
Classical Rag Ragini, Tal, Music Beats, Music Notes or Music Scripts in Garhwali Folk Songs and Folk Music part -10 

    गढ़वाली लोक गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-10
                             
                     Bhishma Kukreti (Folk Literature Research Scholar

Hudki or a type of drum is used in Ghadela religious rituals and in folk songs specially love folk songs –dances in Garhwal and Kumaon. The Hudki is used with Thali in Ghadela and in other songs, Hudki is used solo.
There are many Taal or Music Beats/Bol of Hudki play. Following a few Taal/Music beats used in Hudki in Garhwal, Kumaon and Haridwar.
         गढ़वाली लोक वाद्य -संगीत  में हुड़की के ताल


हुड़की का उपयोग जागरों व श्रृंगारिक लोक गीतों में होता है।  जागरों में हुड़की के साथ कांसे की थाली भी बजाई जाती है।  श्रृंगारिक गीतों में हुड़की अकेली बजाई जाती है।
           Fundamentals of Taal /Bol of Hudki Playing

             हुड़की के मौलिक बोल
              दहुँ , द , क्  धौं
Dhun,d , k , dhaun
सामन्यतया हुडकी संगीत वादन में सभी ताल प्रस्तुत किये जाते हैं. कुछ विशेष ताल निम्न हैं –
                        'Khadi Chal' Taal /Bol of Hudki Playing
Dahuk dhaun । dahun dk dhaun

                      हुड़की वादन में 'खड़ी चाल' ताल

   दहुंक धौं  । दहुँ  दक्  धौं
                'Chalti Chal' in Taal /Bol of Hudki Playing

Dhaun- dk –।k – d hun । d dn hun d । hun k dhaun -
                हुड़की वादन में 'चलती  चाल' ताल
धौं -दक् -। क - द  हुँ । द दं हुँ द । हुँ क धौं –


                   'Langdi Chal 'Taal /Bol of Hudki Playing

Dahun – k । d hun । dhaun - ।

                  हुड़की वादन में 'लंगड़ी  चाल' ताल

दहुँ - क् । द हुँ । धौं -।

        Chauras   Taal /Bol of Hudki Playing

Dhaun - । d d hun ।

          हुड़की वादन में 'चौरास  चाल' ताल

  धौं -।  द  द हुँ ।
            Aadi Chal '  Taal /Bol of Hudki Playing
Dhaun dhaun dahun -। dhaun dhaun । d hun । kd hun -।
              हुड़की  वादन में 'आड़ी  चाल' ताल

धौं  धौं  दहुँ  -। धौं धौं । द हुँ । क्द हुँ -। 

** संदर्भ - डा शिवानंद नौटियाल, गढ़वाल के लोकनृत्य -गीत page 386-387

Copyright@ Bhishma Kukreti 25 /6/2014 for interpretation notes   
Contact ID -bckukreti@gmail.com
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
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
22- Glossary of Indian Classic Music
XX
Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Pauri Garhwal; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Chamoli Garhwal; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Rudraprayag Garhwal; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Tehri Garhwal; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Uttarkashi Garhwal; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Dehradun Garhwal; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Garhwal, Uttarakhand ; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Garhwal, Himalaya; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Garhwal, North India; Taal/ Music Beats of Hudki Playing used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Garhwal, South Asia ;

[Bhishma Kukreti]

 Gaon ki Yad: A Garhwali Free Verses Collection of varied subjects

Critical Review of Garhwali Literature- 2278
(Review of Modern Garhwali Literature series)
Gaon ki Yad: A Garhwali Poetry collection by Kailash Bahukhandi 'Jiwan'
Review by: Bhishma Kukreti (Regional Language Promoter)

            Gaon ki Yad is free verse collection of Kailash Bahukhandi writing poems for more than thirty five years. Kailash Bahukhandi had been publishing his poems in various periodicals.
      The present collection of   Kailash Bahukhandi has 60 poems in this present collection of varied subjects and nature.
           There are poems about memorizing hills of Garhwal those Kailash left for years. There are poems of varied subjects as preaching, social awareness about alcoholism etc, philosophy, love, poverty, struggle for economic stability, various seasons and changing struggle, images of seasons in hills. The poet also wrote satirical poems too and those pierce the wrongs.
             A Garhwali poet and Story writer Ansuya Prasad Dangwal writes that present poetry collection deals with all dimensions of life and about various types of people.
  The language is simple and easily digestible by common readers.
  Kailash uses Garhwali words those create desirable images in the readers mind.


Poetry collection in Garhwali - Gaon ki Yad
Poet- Kailash Bahukhandi Jiwan
Pages -94
Year of Publication – 2012
Publishers- Shailvani Prakashan , Devi road, Kotdwara, Uttarakhand, India 
Price- 100/-
Copyright@ Bhishma Kukreti 26 /6/2014
Bhishma Kukreti, 2013, Angwal, Garhwali Kavita Puran (History of Garhwali Poetry) Dehradun, India 
Critical Review of Garhwali Literature to be continued...
Critical Review of Garhwali Poetry Collection to be continued...
XX

[Bhishma Kukreti]

                     एक हैंक गढ़वाळ तैं तिरैल (उपेक्षा ) त सवादी साहित्य कखन आलु ?

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

चाहे व्याकरण -भाषा विद डा अचलानन्द जखमोला , स्वर सम्राट नरेंद्र सिंह नेगी , लोक साहित्यौ जणगरु चन्द्र सिंह राही , गढ़वाली साहित्य तैं नई सोच दीण वाळ प्रेम लाल भट्ट , या आज का नामी गिरामी साहित्यकार सब्युं एकी राय च बल आज गढ़वाली भाषा मा अधिक छपेणु च किंतु वो साहित्य नि मिलणु च जांकि उम्मीद छे , आस छे।  अधिकतर विश्लेषकुं बुलण च बल गढ़वाली साहित्य मा डिगचा ना तौल्युं -डेगुं  हिसाब से साहित्य रच्याणु च पर बेसवादी साहित्य दिखणो मिलणु च।  अधिकतर चिंतकुं चिंता च बल जादातर अचकालौ नवाड़ी साहित्यकार वुं ही विषयुं पर कलम घिसै करणा छन जौं विषयुं पर पुरण साहित्यकारों कलम घिसेक खुंडी ह्वे गे छे।  याने अधिकाँशतः  आजौ साहित्य शब्द,  भावनौं  , कवित्व , संवेदनशीलता , प्रभाव कु हिसाब से बिखळण्या साहित्य च। अधिकतर आजौ साहित्य मा बस्याण आदि। आजौ गढ़वाळि साहित्य मा तत्व -सार , उत्तेजना , ऊर्जा , उत्साह त सफाचट हर्ची गे।  गढ़वळि साहित्य मा ठहराव आयुं च।  रचनाकार जाम हुयां छन। 
साहित्य शब्दों खेल च , कविता शब्दों जादू च , कविता प्रतीकों प्रयोग च , कथा शब्दों की हेराफेरी च, शैली की विभिन्नता -विशेषता साहित्यौ  आधार च पर आज की कविता पढिल्या तो नया ढंग का प्रतीक मिलदा ही नि छन।  बस सैकड़ों साल से घिस्यां -पिट्यां -पितयां प्रतीकों से हम काम चलाणा छंवां।  आज  ब्याळो समाज अर आजौ समाज मा  180 डिग्री को अंतर ऐ गे किन्तु गढ़वाळी कवितौं या गद्य  मा इन लगद नया प्रतीकों को अकाळ पोड़ी गे हो धौं।
जख तक गद्य को सवाल च आज गढ़वाली मा सम्पादकीय , तथाकथित व्यंग्य , प्रशंसा युक्त आलोचना ही अधिक च अर कबि कब्यार कथा दिखेंदन , नाटकबाज बि कमि छन।  याने गढ़वाळी गद्य कु त कुहाल च अर यु गद्य बि सुमरिण लैक कमि हूंद। कविता ही गढ़वळि मा अधिक रच्याणी छन।
आखिर किलै इन बुल्याणु च कि गढ़वळि साहित्य मा पौण बिंडी छन पर वा रौनक नी च जांक हम उम्मीद मा बैठ्याँ छंवां। गळयुं मा लैम्प पोस्ट बिंडी लग्यां छन किंतु लैम्प पोस्टों पर अधिकतर बल्ब ज़ीरो वाट का बल्ब छन।
साहित्य मा  विबिधता विषय अर शब्द लांदन किन्तु हमर गढ़वळि साहित्य चार पांच विषयुं पर अटक्युं च -पलायन , उजड़दा कूड़ , विकास नि हूण , भ्रष्टाचार , गाउँ मा कृषि को खात्मा, गांव की याद ।
गढ़वळी साहित्य मा बिखळाण आणो  एक कारण च हमारा शहरी (प्रवासी ) अर ग्रामीण द्वी तरां का साहित्यकार केवल ग्रामीण गढ़वाळ तै ही गढ़वाळ  मानिक बैठ्याँ छन।  जब कि असलियत या च कि 60 -70 प्रतिशत गढ़वाल प्रवास्युं गढ़वाळ च।
आज का गढ़वळि साहित्यकार ये 60 -70 प्रतिशत गढ़वाल की सफाचट अवहेलना करणु च।  असली गढ़वाळ तै हम तिराणा छंवां।  गढ़वाळि साहित्यकार अधिसंख्यक गढ़वळयुं विषय नि उठाणु च।
एक समौ छौ जब कन्हयालाल डंडरियाल , जयानंद खुकसाल 'बौळया', ललित मोहन थपलियाल, अबोध बंधु बहुगुणा सरीखा साहित्यकारोंन प्रवासी गढ़वाळयुं विषय बड़ा संवेदनशीलता से उठाई अर गढ़वाली साहित्य मा ताजगी  लाइ।   किंतु अब जब प्रवासस्युं संख्या रहवास्युं से अधिक ह्वे   गे तो गढ़वाळि साहित्य मा बि प्रवास्युं विषय उथगा ही जोरों से आण चयेणु छौ।  प्रवास्युं रहन सहन , प्रवास्युं दिक्क्त ,प्रवास्युं  आनंद , प्रवास्युं सामजिक स्थिति , प्रवास्युं स्थानीय राजनीती मा  पैठ की सफलता  बिफलता , शादी -ब्यौ की बात , नौकरी को टेंसन , प्रवास्युं संस्था, भाषा समस्या , विदेश मा बसण से प्रवास्युं स्थिति मा बदलाव आदि हजारों विषय छन जो सामयिक त छैं इ छन वांक अलावा साहित्य तैं ताजगी बि दीण मा सफल छन।  प्रवास्युं विषय उठैक साहित्यकार गढ़वळी  साहित्य मा ताजगी तो लाला ही दगड़ मा नया नया प्रतीक अफिक आल।  चंडीगढ़ का प्रवास्युं विषय मुंबई का प्रवास्युं से अलग हूण से विषय भिन्नता अर विषय विशेषता तो अफिक ऐ जालि कि ना।
मि एक उदाहरण दीण चांदु।  पाराशर गौड़ जी कनाडा प्रवासी छन।  गौड़ जीका  भाई बंद का परिवार बि कनाडा मा छन अर ऊनि उत्तरी अमेरिका मा सैकड़ों उत्तराखंडी परिवार छन किन्तु मि तैं आज तक पराशर जीक एक बि कविता , लघु व्यंग्य -कथा उत्तरी अमेरिका प्रवासी विषयक बांचणो नि मील।  यदि पराशर जी उत्तरी अमेरिकी प्रवास्युं विषय अपण साहित्य मा लाणो कोशिश करदा तो अवश्य ही वो साहित्य ताजा विषयी हूंद , वे साहित्य मा कनाडा आदि को नया प्रतीक अफिक आंद तो अवश्य ही पाठकों की रूचि गढवळि साहित्य पढ़ण मा बढ़दी।  यदि जापान मा रौण वाळ प्रभात सेमवाल जापान मा प्रवास्युं स्थिति पर कलम चलांद तो एक अलग ही स्वाद आंद या जिठुड़ी मिडल ईस्ट का प्रवास्युं पर कविता गंठ्यांदा तो गढवळि तैं नया आभूषण मिलदा।
इनि दिल्ली का दिनेश ध्यानी , बालकृष्ण भट्ट, जगमोहन जयाड़ा कु च।  मीन आज तक युंक कै बि साहित्य मा दिल्ली का प्रवास्युं संबंधित साहित्य नि देखि।  हर समय तू होली बीरा उची निसि डाँड्यूं मा घसियार्युं भेष जन खदेड़ कविता से काम नि चल सकद।  दिल्ली का प्रवास्युं अलग परिवेश , अलग आकांक्षाएं बि त छन किलै दिल्ली का साहित्यकार दिल्ली  प्रवासी केंद्रित साहित्य रचना नि करणा छन ?
म्यार मानण च कि जब तक हम लिख्वार प्रवास्युं तैं केंद्रित विषय नि लौला गढवळि साहित्य मा एक तरां को ठहराव रालो।  आज गढ़वळि साहित्य तैं फ्रेशनेस की आवश्यकता च तो प्रवासी विषय अवश्य ही ताजगी द्यालो। 



Copyright@  Bhishma Kukreti  26 /6/2014 

[Bhishma Kukreti]

       History of 'Roti Shuchi' Custom in Garhwal
History of Initiation of 'Purity of Bread' Custom in Garhwal 

History of Garhwal including Haridwar (1223- 1804 AD) –part -129       
   
               History of Uttarakhand (Garhwal, Kumaon and Haridwar) -376 

                       By: Bhishma Kukreti (A History Research Student)

               At the time or before Attacking on Daba, Tibet by Garhwal King, the upper cast Brahmins and Rajput used to cook food and take food (eat) without sewed dresses as Dhoti and Langot. The upper body part of cook and eaters used to be naked or covered by only fine Dhoti. The custom was that food would be cooked in prescribed kitchen and had to be eaten in prescribed kitchen only. No food was eaten outside kitchen.
       When Garhwal army reached to Daba, Tibet, Himalaya the cook had to face adversity due to severe cold and snow..  It was just impossible for a normal human being to cook and eat food in semi naked condition. Mahipati Shah consulted his religious leaders and was decided that cooking bread, vegetables with dress by cooks and then eating bread and vegetables in complete dress would be pure. Of course, cooking rice and pulse/Dal had to be cooked in semi naked condition by cook. In Tibet campaign, it was decided that bread and vegetables (Roti-Sag) could be ate by army personnel outside of kitchen too and such eating would be called 'Pure or Shuchi Bhojan'.
            Later on the society also followed the new custom that Roti-Bhaji would be cooked in complete dress, could be cooked outside the prescribed kitchen and Roti-Bhaji was allowed for eating in beyond kitchen and Brahmins would also take Roti-Bhaji cooked by upper cast Rajput. Upper cast Brahmins were also allowed to eat Roti-Bhaji cooked by lower caste Brahmns and upper caste Rajput.
             As far as Rice- Dal cooking is concerned Rice -Dal has to be cooked by Saryul or Brahmin cook.
               Though, now, the Saryul system or Roti Shuchi custom is becoming outdated the custom exist in Feast (jeeman) in rural Garhwal.


Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com 27/6/2014
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -377
   
                                      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
23- Shailndra Nath Sen, Ancient History and Civilization
24-H.M Elliot, 1867, The History of India as told by its Own Historians
25- Jaswant Lal Mehta, 1979, Advance Study in Medieval India
26- Nau Nihal Singh, 2003, The Royal Gurjars: their contribution to India, Anmol Publications 
27- H. Blochmann, 1873,  Aine e- Akbari Translation
(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    
Notes on South Asian Medieval History of Garhwal;  SouthAsian Medieval History of Pauri Garhwal;  Medieval History of Chamoli Garhwal;  South Asian Medieval History of Rudraprayag Garhwal;  South Asian Medieval History of Tehri Garhwal;  Medieval History of Uttarkashi Garhwal;  South Asian Medieval History of Dehradun, Garhwal;  Medieval History of Haridwar ;  South Asian Medieval History of Manglaur, Haridwar;  South Asian Medieval History of Rurkee Haridwar ;  South Asian Medieval History of Bahadarpur Haridwar ; South Asian History of Haridwar district to be continued
XX
       Notes on History of 'Roti Shuchi' Custom in Garhwal; History of 'Roti Shuchi' Custom in Garhwal in context History of Haridwar, Himalaya, South Asia ; History of 'Roti Shuchi' Custom in Garhwal in context History of Bhabhar Garhwal Himalaya, South Asia; History of 'Roti Shuchi' Custom in Garhwal in context History of Dehradun Garhwal Himalaya, South Asia; History of 'Roti Shuchi' Custom in Garhwal in context History of Uttarkashi Garhwal Himalaya, South Asia; History of 'Roti Shuchi' Custom in Garhwal in context History of Tehri Garhwal Himalaya, South Asia; History of 'Roti Shuchi' Custom in Garhwal in context History of Rudraprayag Garhwal Himalaya, South Asia; History of 'Roti Shuchi' Custom in Garhwal in context History of Chamoli Garhwal Himalaya, South Asia; History of 'Roti Shuchi' Custom in Garhwal in context History of Pauri Garhwal Himalaya, South Asia; History of 'Roti Shuchi' Custom in Garhwal in context History of Daba, Tibet; History of 'Roti Shuchi' Custom in Garhwal in context Garhwal King attacking on Daba, Tibet   

[Bhishma Kukreti]

                                   पर्यटन व्यापार में सुयोग्यतम प्रतियोगी बनना ही मार्केटिंग है

                                         Being Competitive in Tourism Business (Marketing Strategy)

                            (Tourism and Hospitality Marketing Management for Garhwal, Kumaon and Hardwar series--89      ) 
                                                      उत्तराखंड में पर्यटन व आतिथ्य विपणन प्रबंधन -भाग 89   



                                                                 लेखक : भीष्म कुकरेती  (विपणन व विक्री प्रबंधन विशेषज्ञ )

पर्यटन या अन्य उद्यम में व्यापार के पहली शर्त है कि कम्पनी /व्यापारी को अपने विशेष क्षेत्र में सुयोग्यतम प्रतियोगी बनना।

आज पर्यटक के पास कई विकल्प खुल गए हैं  अतः पर्यटन उद्यमियों को सुयोग्य प्रतियोगी बनना आज की सामयिक मांग है।

प्रतियोगिता एक धर्म है न कि युद्ध जब कि मार्केटिंग के अधिकाँश नियम युद्ध नियमों पर आधारित हैं।

                 अपनी विलक्षणता सम्प्रेसित करना

मार्केटिंग का सही अर्थ है सूचना देना याने सम्प्रेषण ही मार्केटिंग है।

प्रतियोगिता का अर्थ है आपको अपने को विलक्षण बतलाना।  टूर ऑपरेटर द्वारा होटल बुकिंग , परिहवन बुकिंग , साइट सीइंग व्यवस्था , सासंकृतिक प्रोग्रामों में ग्राहकों का भाग लेना आदि मूर्त (tangible ) सेवायें हैं जिनकी तुलना ज्ञानेन्द्रियों द्वारा बहुत  सरल है और अधिकतर सभी ऑपरेटर एक ही तरह की सेवा व वस्तु /प्रोडक्ट देते हैं जिससे कमजोर ऑपरेटर प्रतियोगिता में खरा नही उतरता और  बिजिनेस खोता रहता है।  ऐसे में प्राइस से ऑपरेटर प्रतियोगी बनते है (कम या अधिक प्राइस )। .

प्रत्येक टूर ऑपरेटर /एजेंसी को अपने आस पास , अपने क्षेत्र के ग्राहकों  मनोविज्ञान पहचानना आवश्यक है कि वे क्या चाहते हैं और क्या विशेष सेवा की इच्छा रखते हैं।  इसी तरह इनबाउंड /ऑउटबाउंड ऑपरेटरों को ग्राहक अन्वेषण कर अपनी एक अलग पहचान बनाकर अपने को अन्य ऑपरेटरों के मुकाबले प्रतियोगिता में अब्बल बनना आवश्यक है।  अब्बलता पाना ही प्रतियोगिता है।

पर्यटन में अब्बलता  के निम्न मुख्य कारक हैं -

बुकिंग विधि

बुकिंग कैन्सिलेसन की नीति

ग्राहकों को भेंट

गाइड जो पर्यटक को उसकी भाषा में समझा सके

ट्रिप की लम्बाई

स्थानीय समाज का हित

टूरिज्म में प्रतियोगिता का एक गणितीय सूत्र है -

कीमत /वैल्यू                 सेवा /सुविधाएं                   ग्राहक का अनुभव /अनुभूति /भावनाएं

----------------   = =         --------------------   +        ---------------------------------------------------

प्रयत्न                           कीमत /लागत               प्रयत्नों में विकास या वृद्धि

   प्रतियोगिता का अर्थ है कि ग्राहक को अपने प्रतियोगी से अधिक देना , दूसरे से अब्बल देना, अपने स्थानीय समाज को दूसरे से अधिक देना।

प्रतियोगिता में प्रोडक्ट /सेवा  में मूर्त (जो दिखाई देती है ) और अमूर्त (अनुभूति ) दोनों   का समावेश आवश्यक है।

                   

अब्बलता प्रतियोगियों के अस्त्र शस्त्र को धराशायी  करती है और प्रतियोगिता अब्बलता पाने के लिए की  जाती है। अब्बलता केवल विलक्षणता से प्राप्त होती है।

Copyright @ Bhishma Kukreti  26  /6/2014


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

Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and  Hospitality Industry Development  in Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Haridwar Garhwal, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development in Pauri Garhwal, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Dehradun Garhwal, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Uttarkashi Garhwal, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Tehri Garhwal, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Rudraprayag Garhwal, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Chamoli Garhwal, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Udham Singh Nagar Kumaon, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Nainital Kumaon, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Almora Kumaon, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Champawat Kumaon, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development  in Bageshwar Kumaon, Uttarakhand; Being Competitive in Tourism Business (Marketing Strategy) and Marketing of Travel, Tourism and Hospitality Industry Development in Pithoragarh Kumaon, Uttarakhand;

[Bhishma Kukreti]

Dalund Huli Khilan, Tree Swinging: a Traditional Folk Games/Sports from Garhwal, Kumaon and Haridwar

Notes on Traditional Folk Games/Sports from Garhwal, Kumaon and Haridwar (Uttarakhand Folk Games) Part -24   

Outdoor Traditional/Folk Games of Garhwal, Kumaon and Haridwar part- 15

                          Narration: Bhishma Kukreti (Folk Literature Research Scholar)
              Dalund Huli Khilan or Jhulan means that the tree swinging. Usually, children in rural Uttarakhand swing on tree branch without aid of rope and rope-swing seat. Many times, just the ropes are used for tree swinging. Many times, the strong vine/tendril of Bakrya or Malu tree or rarely aerial roots of banyan tree are used for swinging. Tree Swinging seat is sued in plains more than hills.
          Most of the time, the tree swinging is non competitive game. 

Copyright@ Bhishma Kukreti 25 /6/2014
      References

Bhishma Kukreti, 2010, Folk Games of Uttarakhand, merapahad.com
XX
Dalam Jhulan/ Huli Khilan/ Tree Swinging: a Traditional Folk Games/Sports from Garhwal, Kumaon and Haridwar; Dalam Jhulan, Tree Swinging: a Traditional Folk Games/Sports from Haridwar, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Pithoragarh Kumaon, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan, Tree Swinging: a Traditional Folk Games/Sports from Champawat Kumaon, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan, Tree Swinging: a Traditional Folk Games/Sports from Bageshwar Kumaon, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan, Tree Swinging: a Traditional Folk Games/Sports from Almora Kumaon, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Nainital Kumaon, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan, Tree Swinging: a Traditional Folk Games/Sports from Udham Singh Nagar Kumaon, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Dehradun Garhwal, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Pauri Garhwal, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Chamoli Garhwal, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Rudraprayag Garhwal, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Tehri Garhwal, Uttarakhand, Himalaya, North India, South Asia; Dalund Jhulan/ Huli Khilan/, Tree Swinging: a Traditional Folk Games/Sports from Uttarkashi Garhwal, Uttarakhand, Himalaya, North India, South Asia;

[Bhishma Kukreti]

Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays

Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -181     
Classical Rag Ragini, Tal, Bol, Music Beats, Music Notations or Music Scripts in Garhwali Folk Songs and Folk Music part -11 

    गढ़वाली लोक गीत संगीत (गढ़वाली लोक नाटकों ) में ताल, राग रागिनी-11
                             
                     Bhishma Kukreti (Folk Literature Research Scholar

                   In Garhwal, Kumaon and Haridwar, Damaru /Damru/Daunru is played in religious events as Ghadela, Saheli etc. Jagri plays Damaru/Damru. Damru is played with bronze Thali.
.
  Damaru/Damru has three Fundamental Bol/Taal or rhythm- Dain, Dip, Di and rarely Ghurr.
  Following are a few Bol/Taal/Rhythm/beats of Damaru/Damru-

                     Char Matraon ki Chalti Chal Music Taal/Bol in Damaru/Damru Playing

Dain dain   didip di
Or Ghurr dain i  didip di


                         डमरू /डौंर के ताल /बोल में चार मात्राओं की चलती चाल 
डेंइ डेंइ डिडिप   ड़ि
अथवा
घुर्र डेंइ डिडिप   ड़ि

                Adyali Yukt Music Taal/Bol in Damaru/Damru Playing

Di-p dip di dip . di  s p dip di . deni  deni di dip di .
                       डमरू /डौंर के ताल /बोल में अड़यलि युक्त
डि - प डिप ड़ि डिप। डि s प डिप ड़ि । डैइ डैइ डि डिप ड़ि


                       Chauras ki Uthaun Music Taal/Bol in Damaru/Damru Playing
Dain dip di , dani dip di ..
                             डमरू /डौंर के ताल /बोल में चौरास की उठौंण 

डेंइ डिप डि डेंइ डिप ड़ि।
      Chauras ka Nirbandh Chhand  Music Taal/Bol in Damaru/Damru Playing
Dain dain dip dain dip , dain dain dain dain , dip dip  s s s
                        डमरू /डौंर के ताल /बोल में चौरास का निर्बंध छंद

डैञ डैञ डिप ,डैञ डैञ डिप , डैञ डैञ डैञ डैञ डिप डिप s s s s
                    Aadi Chal Music Taal/Bol in Damaru/Damru Playing
Ddain i – daini  dip di .
                      डमरू /डौंर के ताल /बोल में आड़ी चाल

डडैञ इ -डेंइ डिप ड़ि। 

                             Khadi Chal Music Taal/Bol in Damaru/Damru Playing
Dain s dain dip dn I .. di s s p dip dip dip . dain s dip dn in ..
                           डमरू /डौंर के ताल /बोल में खड़ी चाल

डैञs  डैञ डिप डं इं।। डि s s प डिप डिप। डैञs डैञ डिप डं इं।।   



** s = आधी अ  half a 
संदर्भ - डा शिवानंद नौटियाल , गढ़वाल के लोकनृत्य -गीत

Copyright@ Bhishma Kukreti 26 /6/2014 for interpretation notes   
Contact ID -bckukreti@gmail.com
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
13-Manorama Sharma, Tribal Melodies of Himachal Pradesh: Gaddi Folk Music
14- Anoop Chandola, 1977, Folk Drumming in Himalaya: A Linguistic Approach to Music 
15- Jugal Kishor Petshali, 2002, Uttaranchal ke Lok Vadya
16- Jason Busniewski, Bagpiping in the Indian Himalaya
17- Ian Woodfield, 2000, Music of the Raj
18-Stefen Fiol, 2008, Constructing Regionalism: Discourses of Spirituality and Cultural Poverty in Music of Uttarakhand, North India
19- Andrew Alter, Mountainous Sound Spaces-Listening to History and Music in the Uttarakhand Himalayas 
20 Keshav Anuragi
21 Dayashankar Bhatt 
22- Glossary of Indian Classic Music
XX
Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Kumaon, Haridwar , Garhwal; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Dehradun Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Juansar  Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Uttarkashi Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Tehri Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Rudraprayag Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Chamoli Garhwal, Himalaya; Taal/Bol/Music Beats/Rhythm of Damaru/Daunr used in Garhwali Folk Songs of Folk Drama, Folk Theater/Rituals and Traditional Plays from Pauri Garhwal, Himalaya;

[Bhishma Kukreti]

Baugalu Matu t: A Garhwali Poetry Collection about Span of Daily Life in Garhwal

Critical Review of Garhwali Literature- 2279
(Review of Modern Garhwali Literature series)
Baugalu Matu t: A Garhwali Poetry collection by Dr. Dinesh Chamola "Shailesh'

Review by: Bhishma Kukreti (Regional Language Promoter)

                  Till date, Dr. Dinesh Chamola (born in 1964) published more than 71 (Seventy one) books in Hindi and four books in Garhwali.
                     Garhwali language poetry collection Baugalu Matu' by Chamola illustrates many facets of life in rural Garhwal.
              The poems of present collection assures that  Dr Chamola is keen observer of rural Garhwal including images of nature (rivulets, hills etc), religion-rituals, food habits, changing society, women of Garhwal, animals, seasons, alcoholism in hills, environment, death and identity, aspirations from Uttarakhand and the reality after getting Uttarakhand  etc.  The poet has sense of humor too.
The 63 poems are of free verses and are created in normal short form.
                   The poet uses simple Garhwali symbols, phrases for creating images of Garhwal, life and philosophy. Dinesh uses figure of speeches for creating desirable flow in poems. The metaphors create energy.   Mostly, the poet does not surprise at the end of poem or stanza ending.
63 poems illustrate various facets of Garhwal life.
The collection is valuable in Garhwali language literature development.

Poetry Collection- Bauglu Matu t
Poet- Dr. Dinesh Chamola 'Shailesh'
Numbers of poems- 63
Pages 150
Publisher- Adish Prakashan, Abhivyakti, Garh Vihar, Mohkampur, Dehradun, Uttarakhand
Price-200/-



Copyright@ Bhishma Kukreti 27 /6/2014
Bhishma Kukreti, 2013, Angwal, Garhwali Kavita Puran (History of Garhwali Poetry) Dehradun, India 
Critical Review of Garhwali Literature to be continued...
Critical Review of Garhwali Poetry Collection to be continued...
XX
Baugalu Matu t: A Garhwali Poetry Collection about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in village Kaushalpur  about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in Rudraprayag about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in 1964 about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in Garhwal about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in Uttarakhand about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in Himalaya about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in North India about Span of Daily Life in Garhwal; Baugalu Matu t: A Garhwali Poetry Collection by poet born in South Asia about Span of Daily Life in Garhwal;   

[Bhishma Kukreti]

                अजकाल मोदी स्टाइल मा  प्रजेंटेसन  दिखणो कम्पीटीसन चलणु च


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


अचकाल , कखिम बि , कै बि टैम , कै तैं कुछ पूछो वु कड़क ह्वेक बुल्दु ," ठीक से प्रजेंटेसन दे !"। मोदी सरकार आण से इण्डिया मा अच्छा दिन आइ गेन  कि अबि आण बाकी छन ,  मंहगाई की कमर टूटी ह्वे या ना किंतु कै हैंक से प्रेजेंटेसन मांगणो फैशन बड़ो जोरों से चलण मिसे गे।
अबि मि परसि कोलकत्ता जयुं छौ त चाइना टाउन मा एक लेफ्टिस्ट बुद्धि जीवी एक कखड़ी बिचण वाळ से बचळयाणु छौ।
लेफ्टिस्ट इंटेलेक्चुअल - त्वी छे ना कखड़ी बेचणु ?
कखड़ी व्यापारी -हाँ , कै तैं कुछ कन्फ्यूजन च ?
लेफ्टिस्ट बुद्धिजीवी -ठीक च जरा प्रोफेसनल वे मा प्रेजेंटेसन देकि बतादी कि तेरी कखड़ी काबिल कखड़ी छन।
कखड़ी विक्रेता -बाममार्गी जी ! जु मि प्रेजेंटेसन दीण जि जाणदु त मि तैं भाजपा से  लोकसभा टिकेट नि मिल जांद।  मेरी जगा चन्दन मित्रा तैं टिकेट मील किलैकि वै तैं प्रजेंटेसन दीण आंद च।
इनि अचकाल केश कर्तानलयुं मा रोज कहा सुनी हूणि रौंद।  केश धारक केश कटण वाळ नाइ से कम्प्यूटर का जरिया बाळुं नया  नया फैसन का प्रजेंटेसन की मांग करणा रौंदन अर हर बार नाइ सफाई दींद ," जु मि तैं कम्प्यूटर चलाण जि आंद,  त मि कम्प्यूटर लर्निंग क्लास ना सै इंटरनेट कैफे नि खोलि दींदु ?"
केंद्रीय मंत्री कलराज मिश्रा तो नरेंद्र मोदी क प्रजेंटेसन स्टाइल से बड़ा परेशान छन।  कलराज मिश्रा जी तैं अब पता लग कि किलै लाल जी टंडन अर कैलाश जोशी सरीखा दिग्गज नेताओंन चुनाव लड़न से इनकार कार।  सब तैं पता छौ कि मंत्री बणनो बाद मोदीक समिण प्रजेंटेसन दीण पोड़ल अर दगड़ मा दिनांक का हिसाब से कु काम कै दिन पूरु ह्वे जाल बि बताण पोड़ल।  कलराज मिश्रा जीन प्रजेंटेसन दीण सिखणो बान चार पांच क्रैश कोर्स बि करि आलिन किन्तु सुणन मा अयि कि अबि बि कलराज मिश्रा पर प्रजेंटेसन नाम सुणिक ही कंपकंपी छूट जांद।
कॉंग्रेस जु नरेंद्र मोदीक गुजरात मॉडल अर अधिनायक वाद से खार खांदी , ज्वा पार्टी अबि बि बुलणि च कि नरेंद्र मोदी की क्वी लहर नि छे अपितु मनमोहन सरकार का विरुद्ध लहर छे वा पार्टी बि अब प्रजेंटेसन फॉर्मूला का जरिया सिद्ध करणी च कि लोकसभा चुनाव की हार कॉंग्रेस की हार च अर यीं हार मा राहुल गांधी कु नेतृत्व अपण पीक (उच्च चोटी ) पर पौंच।  नितरसि कॉंग्रेस का ऑफिस मा कॉंग्रेस कोर कमेटी की कछेड़ी मा चुनाव विश्लेषण पर एक कम्पनीन पावर प्वाइंट प्रजेंटेसन इन दे -
प्रोडक्ट - राहुल गांधी जी  कॉंग्रेस मा सर्वमान्य पसंदीदा परसन छन ।
प्राइस - मनमोहन सरकार की प्राइस राइज पॉलिसी से राहुल गांधी जी तैं बहुत नुकसान ह्वे। इलै सबि प्रदेशों अध्यक्षों तै बदलण जरुरी च।
पब्लिसिटी - पीपल (जनता ) जाहिल छन ।   राहुल गांधी का अंग्रेजी पोस्टर  की भाषा जनता अबि बि नी समझ सकणी च।  इलै कॉंग्रेस का सभी महासचिवों तै इस्तीफा दीण चयेंद।
प्लेसमेंट - मनमोहन सरकार की नाकामयाबी छे कि अपण पॉलिसी क्रियावन्नित नि कार साक इलै प्रदेशो का मुख्यमंत्री बदलेण चयेंदन।
पीपल - जनता थर्ड क्लास च। इलै कॉंग्रेस मा जिला स्तर पर बदलाव जरूरी च।
नरेंद्र मोदीक प्रजेंटेसन फैसन कु असर मुलायम सिंग पर बि ह्वे गे।  वैदिन एक मीटिंग मा बुलणा छा ," सभी यादवों और मुसलमान भाइयों को अब प्रजेंटेसन सीखना ही होगा और खतरे में आया हुआ सेक्युलरिज्म को बचाना होगा। "
लालू प्रसाद यादव का हिसाब से त प्रजेंटेसन शब्द ही नॉन सेक्युलर च तो ऊंक पार्टी मा प्रजेंटेसन पर रोक च।
म्यार ड्यारम बि प्रजेंटेसनौ रोग लग गे।
ड्यारम त मि सिगरेट पे सकुद किन्तु मि तैं दिन मा द्वी-चार  बीड़ी पीणो नि मील तो मि तैं लगदो इ नी च कि मीन सिग्रेटौ धुंवा उड़ाइ।  वाइफ कु बुलण च कि बीड़ी फेमिली इमेज का वास्ता हानिकारक च।  इनि हम आठ दस लोग छंवां जु फेमिली इमेज का चक्कर मा ड्यारम बीड़ी नि पे सकदा।  हम सब घाम अछल्याण पर अपण मुहल्ला से दूर एक बेंच मा बैठिक चर चर बीड्युं पर फ़काफ़क सुट्टा मरदवां अर फिर बगीचा मा घुमणो जांदवां।  वाइफ समजदी मि स्वास्थ्य लाभ हेतु स्याम दैं जॉगिंग करणो जांद पर मेरो असली मकसद त बीड्यूं पर सुट्टा मारण रौंद।
ब्याळि मि जनि घुमणो तयार हों कि वाइफन ब्वाल - कख जाणा छंवां ?
मि -सद्यानो तरां घुमणो !
वाइफ - पैल कम्प्यूटर से फॉर्मल प्रजेंटेसन द्यावो कि तुम तैं घुमण जरूरी च कि ना ? अब ये घर मा बगैर प्रजेंटेसन दियां चाय बि नि पिए जाली।
वाइफन कम्प्यूटर ऑन कार अर मीन पावर प्वाइंट मा प्रजेंटेसन दे।
परपज (उद्येस्य ) - स्वास्थ्य लाभ अर बोरियत भगाण
                           कार्य
१- प्रणायाम - हवा भीतर लीण अर भैर खैंचण ( मीन झूट नि ल्याख किलैकि बीड़ी पीण मा यि सब करणी पोड़द )
२- चक्षु ध्यान - चक्षु सेकन प्रक्रिया से आंखुं स्वास्थ्य बढ़ाण। (मि झूट तब बि नी छौ किलैकि आंद जांद जनान्युं पर ध्यान से हम बुड्या चक्षु सेकन कार्य बड़ी चतुराई से करणा रौंदा )
३- घुमण
४- कथगा लोग - छ -सात लोग
५- कब तक - छै बजि से साडे सात तक
६- कथगा खर्चा - कुछ ना ( बीड्युं खर्चा तो हम बच्चों कीसौंदन इनि चुरै लींदा )
जब मीन प्रजेंटेसन पूरु कार दे तबी जैक मि बीड़ी क्लब जै सौकुं।  ऊख पता चौल कि अजकाल सब्युं ड्यार प्रजेंटेसन कु भूत लग्युं च अर आज हरेक देर से आई किलैकि सब तैं अपण वाइफ तैं प्रजेंटेसन जि दीण छौ ।
घूम घामिक ड्यार औं तो मेरी वाइफ हमारी  नौकरी करदार बहु तैं पावर प्वाइंट का जरिया प्रेजेंटेसन दीणी छे -
विषय - सासुओं को K टाइप सीरियल देखना क्यों आवश्यक है ?




Copyright@  Bhishma Kukreti  27 /6/2014 
   
*लेख में  स्थान व नाम काल्पनिक हैं ।

Garhwali Humor in Garhwali Language about how to give killer  presentation, Himalayan Satire in Garhwali Language about how to give killer  presentation, Uttarakhandi Wit in Garhwali Language about how to give killer  presentation, North Indian Spoof in Garhwali Language about how to give killer  presentation, Regional Language Lampoon in Garhwali Language about how to give killer  presentation , Ridicule in Garhwali Language about how to give killer  presentation  , Mockery in Garhwali Language about how to give killer  presentation, Send-up in Garhwali Language about how to give killer  presentation, Disdain in Garhwali Language about how to give killer  presentation, Hilarity in Garhwali Language about how to give killer  presentation, Cheerfulness in Garhwali Language about how to give killer  presentation; Garhwali Humor in Garhwali Language from Pauri Garhwal about how to give killer  presentation; Himalayan Satire in Garhwali Language from Rudraprayag Garhwal about how to give killer  presentation; Uttarakhandi Wit in Garhwali Language from Chamoli Garhwal about how to give killer  presentation; North Indian Spoof in Garhwali Language from Tehri Garhwal about how to give killer  presentation; , Regional Language Lampoon in Garhwali Language from Uttarkashi Garhwal about how to give killer  presentation; Ridicule in Garhwali Language from Bhabhar Garhwal about how to give killer  presentation; Mockery  in Garhwali Language from Lansdowne Garhwal about how to give killer  presentation; Hilarity in Garhwali Language from Kotdwara Garhwal; Cheerfulness in Garhwali Language from Haridwar about how to give killer  presentation;

[Bhishma Kukreti]

History of increasing the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah

History of Garhwal including Haridwar (1223- 1804 AD) –part -130       
   
               History of Uttarakhand (Garhwal, Kumaon and Haridwar) -377 

                       By: Bhishma Kukreti (A History Research Student)


                        It said that at the period of King Ajaypal, there were twelve villages of twelve types (Jat) of Brahmin in Chandpur Garh those used to cook food for King and his administrators. These upper caste Brahmins were or still are called Sarola/Saryula/Saryul. Rajput and Brahmin of all classes take Rice-Dal cooked by those Saryul in feast or otherwise.  It is /was custom till recent past that upper caste Brahmins never took meal of Rice-Dal cooked by lower caste Brahmins or Rajput. The villages of these Sarola/Saryula were called 'Bara than or twelve places/villages'. The twelve castes of Sarola/Saryula Brahmin at the time of Ajaypal are as-
Village  -------------Caste
1-Nauti ----------------Nautiyal
2-Maitwana------------Maityal
3-Khandda --------------Khanduri
4-Ratda----------------Ratudi
5-Thapli-----------------Thapliyal
6-Chamola----------------Chamoli
7-Sem---------------------Semwal
8-Lakheda ------------------Lakheda
9-Semalta --------------------Semalti
10-Silguri -----------------Siloda
11-Koti----------------Kotiyal
12- Dimmar----------------Dimari
  At the time of Garhwal King Mahipati /Mahipat Shah Garhwal army had to march to snow bound territory of Tibet that is Daba. The court pr army cooks were from the above twelve Brahmin castes. However, all the Sarola/Saryul caste Brahmins died in the battle or by heavy snow fall. To fill the vacancy Garhwal King Mahipat Shah added six more castes of Saryul Brahmin.
In later stage, other Kings added other Brahmin castes up to thirty Six castes of Sarola/Saryul Brahmins.





Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com 27/6/2014
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -378
   
                                      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
23- Shailndra Nath Sen, Ancient History and Civilization
24-H.M Elliot, 1867, The History of India as told by its Own Historians
25- Jaswant Lal Mehta, 1979, Advance Study in Medieval India
26- Nau Nihal Singh, 2003, The Royal Gurjars: their contribution to India, Anmol Publications 
27- H. Blochmann, 1873,  Aine e- Akbari Translation
(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    
Notes on South Asian Medieval History of Garhwal;  SouthAsian Medieval History of Pauri Garhwal;  Medieval History of Chamoli Garhwal;  South Asian Medieval History of Rudraprayag Garhwal;  South Asian Medieval History of Tehri Garhwal;  Medieval History of Uttarkashi Garhwal;  South Asian Medieval History of Dehradun, Garhwal;  Medieval History of Haridwar ;  South Asian Medieval History of Manglaur, Haridwar;  South Asian Medieval History of Rurkee Haridwar ;  South Asian Medieval History of Bahadarpur Haridwar ; South Asian History of Haridwar district to be continued
XX
History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Garhwal-Haridwar, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Dehradun Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Bhabhar Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Kotdwara Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Pauri Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Chamoli Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Rudraprayag Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Tehri Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Uttarkashi Garhwal, Himalaya, North India, South Asia; History of Extending the numbers of Sarola/Saryula Brahmin Castes by King Mahipat Shah in context History of Daba, Tibet Garhwal, Himalaya, Asia;