Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti · March 14, 2012, 12:07:01 PM

*******पर्धानपति*******

डॉ नरेन्द्र गौनियाल

बीडीसी बैठक माँ
गौं कि महिला प्रधान
मीटिंग हौल माँ
भितेर चली गे
गौं का वास्त
एक योजना को प्रस्ताव
बनी गे
बीडी ओ न बोली -
भैन जी !
ये कागज माँ
मोहर लगे द्या
प्रधान जी न
अपनों पर्स टटोली
अर बोली -
भैजी!
कनि सुन्न पड़ी
आज त मोहर
ऊंमाँ ही रैगे........

*****वूंकी कूड़ी****

डॉ नरेन्द्र गौनियाल

नयो -नयो चार्ज लियूं
पंचैत मंत्री
गौं माँ यैगे
गौं का गल्या माँ
एक ग्वेर तै वैन पूछि-
प्रधान जी को घार को छ ?
ग्वैरन एक झालाक वैतई
मुंड बीटी खुटौ तक देखि
अर बोली -
इनु सम्झिणु
गौं माँ पैली बार अयान
उनु त गौं माँ
क्वीबी बताई द्यालू
फिरबी मी यै डिया दे दिंदु
पंचैत घर का नजीक
जैक पिछ्न्या बिजली कु खम्भा
यैथर पाणी को नल
लैट्रिन -बाथरूम कि छत माँ
डिश एंटीना
अर पिछ्न्या क्वलन पर
खाली अध्या-पव्वों कि
थुपडी लगीं होलि
समझी लियां वी च
वूंकी कुड़ी ...................

copyright@ डॉ नरेन्द्र गौनियाल

Bhishma Kukreti · March 14, 2012, 08:43:49 PM

*******पर्धानपति*******

कविता : डॉ नरेन्द्र गौनियाल

बीडीसी बैठक माँ
गौं कि महिला प्रधान
मीटिंग हौल माँ
भितेर चली गे
गौं का वास्त
एक योजना को प्रस्ताव
बनी गे
बीडी ओ न बोली -
भैन जी !
ये कागज माँ
मोहर लगे द्या
प्रधान जी न
अपनों पर्स टटोली
अर बोली -
भैजी!
कनि सुन्न पड़ी
आज त मोहर
ऊंमाँ ही रैगे........

Copyright@ Dr. Narendra Gauniyal , Jadaaun khand , Pauri Garhwal
narendragauniyal@gmail.com

Bhishma Kukreti · March 14, 2012, 09:07:42 PM

Bantwaro: A Garhwali Drama about Fracture in Joint Family Custom

(Review on a Garhwali Drama 'Bantwaro' written by Vaidraj Govind Ram Pokhariyal Shastri)
(Notes on Social Dramas, Indian Social Dramas, Himalayan Social Dramas, Uttarakhandi Social Dramas Garhwali Social Dramas, Hundred Years of Modern Garhwali Dramas)

Bhishm Kukreti

In Garhwali, there are no words for 'Naukar,, Chakar, or Majdoor. It means in old age there was no concept of 'work force' or Majdoor' in old rural Garhwal. The agriculture or farming requires work force. Family members used to finish all agro-based jobs. Therefore, joint family was the best alternate for agriculture or farming that workforce is always available. However, when the migration started 'Joint Family' the concept got many jolts. Vaidraj Pundit Govind Ram Pokhariyal had been a Garhwali poet who is more famous for his translating 'Shrimad Bhagwat Geeta' into Garhwali. Less people know about his contribution in development of modern Garhwali Drama.
Vaidraj Pokhariyal published a Garhwali social Drama 'Bantwaro' in eighties. There are twenty two scenes for two acts play. The drama deals about the problems of fracture in the joint family concept. In the social drama 'Bantwaro' when a family divides, initially there is happiness about individual freedom. However, later on many problems come on the surface and there are individual losses as death of a child, death of mother etc due to family division. The dramatist had been successful in showing the conflict among women about individual freedom and the positive points of joint family.
The playwright also used folk songs for providing speed to the drama and for creating a special effect too. The conflicts of women are real.
Dialogues develop the characters and are capable of providing speed to the story. The dialogues create satire, farce, and strength to the social drama 'Bantwaro'
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti

Notes on Social Dramas, Indian Social Dramas, Himalayan Social Dramas, Uttarakhandi Social Dramas Garhwali Social Dramas, Hundred Years of Modern Garhwali Dramas to be continued ....

Bhishma Kukreti · March 15, 2012, 04:48:23 AM

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-57

कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -57

सम्पादन : भीष्म कुकरेती

Edited by Bhishm कुकरेती

हिंदी, कुमाउंनी और गढ़वाली भाषाओँ में वाक्य भेद

७- हिंदी - हम लोग प्रार्थना कार रहे हैं

कुमाउंनी -हम पराथना करणयाँ

गढ़वाली- हम परार्थना करणा छंवां

८-हिंदी - तुम लोग क्या कर रहे हो?
कुमाउंनी -तुम के करणौ छा ?

गढ़वाली- तुम क्या करणा छंवां ?

९-हिंदी - कुछ व्यक्ति गाना गा रहे थे
कुमाउंनी -क्वे जणी गीत गाणई

गढ़वाली-कुछ लोक गीत गाणा छया / कुछ लोक गाणा गाणा छया

१०-हिंदी - मै जाता हूं . वह जाता है
कुमाउंनी -मै जां . ऊ जां

गढ़वाली- मि जाणु छौं . वु जाणु छ/ वु जाणु च / वु जाणु छौ (विछ्ला ढाञगु में - मि जाणु ह )

११-हिंदी - तुम जाते हो . वे जाते हैं .
कुमाउंनी -तुम जांछा. ऊ जानी

गढ़वाली- तुम जाणा छंवां (आदर सूचक) , तू जाणि छे (प्रेम सूचक ) . वु/वो जाणा छन

१२- हिंदी - वह जाती है
कुमाउंनी -ऊ जैञ

गढ़वाली- वा जाणि च /छ

१३-हिंदी - वे स्त्रियाँ जाती हैं
कुमाउंनी -ऊन श्यैणी जानी

गढ़वाली- वु /वो जनानी जाणा छन

१४-हिंदी - लड़की घर से आई है
कुमाउंनी - चेली घर बे ऐ

गढ़वाली- नौनि /लौडि ड्यार बिटेन ऐ

१५-हिंदी - लडकियाँ पढनी गयी हैं
कुमाउंनी -चेलीं पड़णहूँ गेईं

गढ़वाली-नौनि /लौडि पड़ना जयां छन

सन्दर्भ-

1- अबंधु बहुगुणा , १९६० , गढ़वाली व्याकरण की रूप रेखा, गढ़वाल साहित्य मंडल , दिल्ली ( Structure of Garhwali Grammar)

२- बाल कृष्ण बाल , स्ट्रक्चर ऑफ़ नेपाली ग्रैमर , मदन पुरूस्कार, पुस्तकालय , नेपाल (Structure of Nepali Grammar)

३- डा. भवानी दत्त उप्रेती , १९७६, कुमाउंनी भाषा अध्ययन, कुमाउंनी समिति, इलाहाबाद (Study of Kumauni Language Grammar)

४- रजनी कुकरेती, २०१०, गढ़वाली भाषा का व्याकरण, विनसर पब्लिशिंग कं. देहरादून ( Grammar of Garhwali Language)

५- कन्हयालाल डंड़रियाल , गढ़वाली शब्दकोश, २०११-२०१२ , शैलवाणी साप्ताहिक, कोटद्वार, में लम्बी लेखमाला (Garhwali- Hindi Dcitionary)

६- अरविन्द पुरोहित , बीना बेंजवाल , २००७, गढ़वाली -हिंदी शब्दकोश , विनसर प्रकाशन, देहरादून (Garhwali hindi Dictionary )

७- श्री एम्'एस. मेहता (मेरा पहाड़ ) से बातचीत

८- श्रीमती हीरा देवी नयाल (पालूड़ी, बेलधार , अल्मोड़ा) , मुंबई से कुमाउंनी शब्दों के बारे में बातचीत

९- श्रीमती शकुंतला देवी , अछ्ब, पन्द्र-बीस क्षेत्र, , नेपाल, नेपाली भाषा सम्बन्धित पूछताछ

१० - भूपति ढकाल , १९८७ , नेपाली व्याकरण को संक्षिप्त दिग्दर्शन , रत्न पुस्तक , भण्डार, नेपाल (Briefs on Nepali Grammar)

११- कृष्ण प्रसाद पराजुली , १९८४, राम्रो रचना , मीठो नेपाली, सहयोगी प्रेस, नेपाल (Nepali Grammar)

१२- चन्द्र मोहन रतूड़ी , गढ़वाली कवितावली ( सं. तारा दत्त गैरोला, प्र. विश्वम्बर दत्त चंदोला) , १९३४, १९८९

13- Notes of Dr Achla Nand Jakhmola on Grammar book by Dr Bhavani Datt Upreti

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages to be continued .....

Bhishma Kukreti · March 15, 2012, 09:54:02 AM

Prabhati: A folk Song sung in morning by Auji on the first day of Chait month in Garhwal
(Notes on Indian Folk Culture, Himalayan Folk Culture, Uttarakhandi Folk Culture, Kumauni Folk Culture Garhwali Folk Culture)

Bhishm Kukreti

Chait is a Cultural Month for rural Uttarakhand. Due to heavy migration the cultural activities may be less in numbers or might have changed as per need of time, place and class. However, broadly there were following main cultural activities in rural Garhwal around seventies.
1-Chaiti by Aujee's
2-Other activities by Aujee's
3- Putting flowers on corners of doorsills by unmarried girls from Fulsangrand to Baisakhi (first day of Chait to first day or Baisakh – 14th March to 14th April)
4- Dance and song programs in the night in village council courtyard. This is the reason that Uttarakhandi call Chait as Nachno or Gano maina.
5- Lang by Badis after twelve years in the village.

Cultural Activities by Aujees

Aujees mean who play Dhol-Damau in all auspicious occasions. The Aujees are very much family members or village members in all the occasions.
On the first day of Chait, Aujees play Dhol-Damau in morning, afternoon and evening. Aujees play different tone at each time.
Prabhati: A folk Song sung in morning by Auji on the first day of Chait month in Garhwal
In morning, Aujees play 39 matraon ki tal called Prabhati. The tal and song are initiated by prayers of Bhumpal Khsetrpal, Kuldevtaa, Panchnam deities (Dhunyel Tal).
With playing Dhol-Damau, Aujees also sing folk song as the following song is prayer of lord Ram-Seeta Ji -

प्रभाती

स्थाई चरण - रबी भानूं कांठी चढ़ी ऐ गेना , देवी सीता जी
सहायक चरण - ब्यूजी गैना पंचनाम देवा ये देवी सीता जी
सस्ना बन्द चकवे की दुरो मंद तारा सीता जी
गौं की गुलबंद खुची , पंथी पंथूं को चली सीता जी
पूरब उज्याळी पंछी बोल्दीं देवी सीता जी
गंगा जाल भरि ला दे गागरी देवी सीता जी
राम जी को नयेण की ये बेला देवी सीता जी
राम जी को लादे धोती पीताम्बरी देवी सीता जी
रबी भानूं कांठी चढ़ी ऐ गेना , देवी सीता जी

गीत मूल स्रोत्र - केशव अनुरागी , नाद नंदनी
सन्दर्भ - डा शिवा नन्द नौटियाल

Copyright@ Bhishm Kukreti

Notes on Indian Folk Culture, Himalayan Folk Culture, Uttarakhandi Folk Culture, Kumauni Folk Culture Garhwali Folk Culture to be continued .....

Bhishma Kukreti · March 15, 2012, 11:43:27 PM

Vidhwa Byoli: A Garhwali Drama about Sacrifice and brevity of a Garhwali widow.

(Review of Garhwali Drama 'Vidhwa Byoli' written by Shanti Swarup Uniyal (1980) )
(Notes on Modern Indian dramas, Modern Himalayan Dramas, Modern Uttarakhandi Dramas, Modern Garhwali Dramas, Hundred Years of Modern Garhwali Dramas)

Bhishm Kukreti

Shari Swarup Uniyal published a Garhwali drama 'Vidhwa Byoli' in 1980. Uniyal informs that the drama was already staged and male performers played the roles of female characters. There are 8 scenes in the drama.
The story is about struggle, sacrifice and brevity of a widow who did not experience the physical acquaintance with her husband. Sushila was engaged with Veeru. Veeru had to rush to army due to war between India and its enemy. Veeru advised his mother that in his absence she could proceed the marriage and sword would be his representative. In old age 'The Takon Byau' was commonly a custom of marriage where a sword used to be there to represent groom and all rituals were performed around sword as groom.
The marriage of Veeru takes place in his absence and Sushila comes to her mother in law house with the marriage procession. In the mean time, Veeru loses his life in the battle. Now, Sushila is widow who did not touch physically her husband. Veeru's mother dies in the grief. Sushila had to suffer and passes her life as a widow. From social angle she is widow. One day a business man Pathan comes to her house and wants to rest there. Pathan wants to take benefits of her being alone. Sushila kills Pathan by same sword which was representative as groom in her marriage.
The drama shows the struggle of a widow and her problems. The drama is of pathos rapture.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti
Notes on Modern Indian dramas, Modern Himalayan Dramas, Modern Uttarakhandi Dramas, Modern Garhwali Dramas, and Hundred Years of Modern Garhwali Dramas to be continue....

Bhishma Kukreti · March 16, 2012, 04:17:58 AM

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-58

कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -58

सम्पादन : भीष्म कुकरेती

Edited by Bhishm Kukreti

हिंदी, कुमाउंनी और गढ़वाली भाषाओँ में वाक्य भेद -३

१६- हिंदी- छात्रा गा रही थी

कुमाउंनी - चेली गाणै छि

गढ़वाली- नौनि /लौडि गाणि च /छ

१७-हिंदी- छात्राएं पढ़ रही थीं
कुमाउंनी - चेलीं पड़णौ छीं

गढ़वाली- नौनि पड़णा छन

१८-हिंदी- लडकी ने खाना खाया

कुमाउंनी - चेलिल खाणु खा

गढ़वाली- नौनि न खाणा खाइ/ खै //नौनि ल खाणा खै

१९-हिंदी- लडकियों ने पानी पीया
कुमाउंनी - चेलीनैल पाणि पी

गढ़वाली- नौन्युं /लौडियूँ न पाणि पे //नौन्युं /लौडियूँ ल पाणि पे

२०- हिंदी- वहां एक आदमी है
कुमाउंनी - वां एक मैश छु

गढ़वाली- उख एक मनिख च /छ

२१-हिंदी- घर पर दो व्यक्ति हैं
कुमाउंनी - घर द्वि मैश छन

गढ़वाली- घरम/ड्यारम द्वि ' झण /मनिख/आदिम ' छन

-----

सूचना - गढ़वाली में मैश पति को कहा जाता है .

सन्दर्भ-

1- अबंधु बहुगुणा , १९६० , गढ़वाली व्याकरण की रूप रेखा, गढ़वाल साहित्य मंडल , दिल्ली ( Structure of Garhwali Grammar)

२- बाल कृष्ण बाल , स्ट्रक्चर ऑफ़ नेपाली ग्रैमर , मदन पुरूस्कार, पुस्तकालय , नेपाल (Structure of Nepali Grammar)

३- डा. भवानी दत्त उप्रेती , १९७६, कुमाउंनी भाषा अध्ययन, कुमाउंनी समिति, इलाहाबाद (Study of Kumauni Language Grammar)

४- रजनी कुकरेती, २०१०, गढ़वाली भाषा का व्याकरण, विनसर पब्लिशिंग कं. देहरादून ( Grammar of Garhwali Language)

५- कन्हयालाल डंड़रियाल , गढ़वाली शब्दकोश, २०११-२०१२ , शैलवाणी साप्ताहिक, कोटद्वार, में लम्बी लेखमाला (Garhwali- Hindi Dcitionary)

६- अरविन्द पुरोहित , बीना बेंजवाल , २००७, गढ़वाली -हिंदी शब्दकोश , विनसर प्रकाशन, देहरादून (Garhwali hindi Dictionary )

७- श्री एम्'एस. मेहता (मेरा पहाड़ ) से बातचीत

८- श्रीमती हीरा देवी नयाल (पालूड़ी, बेलधार , अल्मोड़ा) , मुंबई से कुमाउंनी शब्दों के बारे में बातचीत

९- श्रीमती शकुंतला देवी , अछ्ब, पन्द्र-बीस क्षेत्र, , नेपाल, नेपाली भाषा सम्बन्धित पूछताछ

१० - भूपति ढकाल , १९८७ , नेपाली व्याकरण को संक्षिप्त दिग्दर्शन , रत्न पुस्तक , भण्डार, नेपाल (Briefs on Nepali Grammar)

११- कृष्ण प्रसाद पराजुली , १९८४, राम्रो रचना , मीठो नेपाली, सहयोगी प्रेस, नेपाल (Nepali Grammar)

१२- चन्द्र मोहन रतूड़ी , गढ़वाली कवितावली ( सं. तारा दत्त गैरोला, प्र. विश्वम्बर दत्त चंदोला) , १९३४, १९८९

13- Notes of Dr Achla Nand Jakhmola on Grammar book by Dr Bhavani Datt Upreti

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages to be continued .....

Bhishma Kukreti · March 16, 2012, 12:12:43 PM

Lang Dance-Song: Folk Song-Dance by Professional Class Badis

(Notes on Folk Dance-Songs by Professional Class in India, Folk Dance-Songs by Professional Class in Himalayan areas, Folk Dance-Songs by Professional Class in Uttarakhand, Folk Dance-Songs by Professional Class in Garhwal)

Bhishm Kukreti

Brief about Badi a Professional class for dancing and singing

Badi is a professional class of dance-song of rural Uttarakhand. It is said that Badis are born by dross of body of lord Shiva. Badis are also called 'Shivjee k phool' or 'flower of lord Shiva. Badis don't touch plough or they don't do farming. It is said that if they would plough there would be snakes all around. Badis have to depend on their skill of folk dancing, performing instant folk plays, creating folk song and singing folk song. In old age, each Badi family was attached to particular villages. Each village family used to offer 'dadwar' (portion of crop) for each harvesting to their Badi family as these villagers used to offer 'dadwar '(portion of crop). Badis used to dance and sing at the time marriage, fairs and festive days too. Part from getting 'dadwar' and award (inam) from their Thakurs (upper cast families attached to Badis) , Badis depend on hunting birds for their livelihood.
There is a very specific cultural custom in rural Uttarakhand where Badis used to perform their art. (Perhaps the tradition is diminishing due to various reasons). Badis perform a specific performance 'Lang' after every twelve years in every village in the month of Chait under them. 'lang' is performed as community ritual by villagers. There are two specific kinds of performance 'Lang':
1-Lang
2- Badi Radan
The Lang or badi radan performance runs for fifteen days in the month of Chait only.
1-Lang
Lang means a bamboo rod. The bamboo rod should have nine knots. On an auspicious day, the rod is fixed in the earth that the rod is straight. The bamboo stick has to be thick and very strong as Badi has to perform on top of bamboo stick by his navel. At the rod fixing place, there is the ritual of praying lord Shiva before the bamboo rod is fixed at one place of the courtyard of Padhan or village concil. There is a big cloth knot on top of thick bamboo stick as Badi has to lie on it. On each day, there is ritual of praying for Lord Siva and goddess Parvati for fifteen das. In evening, Badis do perform folk dramas and sing various types of folk songs.
On the fifteenth day, Badis take procession of lord Shiva-Parvati 'swang' in village and visit each family. On a particular auspicious time of the fifteenth day, the 'Lang' starts. Before Badi starts 'Lang' performance, there is ritual prayer of lord Shiva and goddess Parvati. When the ritual is completed, Badi climb on top of bamboo rod and lie on top by his navel on cloth knot (deelu). Then Badi revolves round on deelu with the help of his navel.
At bottom the village 'Padhan' offers donation. Then each family offers donation in the form of money, food grains, cloths etc. The donation is supposed to be offering to Lord Shiva-goddess Parvati.
The Badi shouts Shiva –Shiva. When he completes a round the other family members of Badi sing one line of following folk song.
लांग खेलते समय शिव-पार्वती पूजन

खंड बाजे हो खंड बाजे
शिव-पार्वती को खंड बाजे
पंचनाम देवतों को खंड बाजे
गौं कि भगवती को खंड बाजे
गौं को भूम्याळ को खंड बाजे
क्षेत्र का क्षेत्रपाल को खंड बाजे
नरसिंग नागर्जा को खंड बाजे
भैरों -निरंकार को खंड बाजे
गौं का पधान को खंड बाजे
सत धर्मी नारियों को खंड बाजे
दानि राजों को खंड बाजे
पंच हिस्सेदारों को खंड बाजे
खंड बाजे हो खंड बाजे
गीत-स्रोत्र डा. शिवानन्द नौटियाल , गढ़वाल के लोक-नृत्य-गीत
Khand baje means I am playing for .

There is shouting on the ground. The round is called 'khand khelna' . Many thakurs offer an exclusive Khand for themselves. Badi tells the name of Thakur and sing one lone 'faln Thakur ka khand baje'.
When 'Lang' is complete, Badi gets down. At this occasion, people come with the soil-lumps from their various fields. When Badi comes down, each family touches the soil-lump on the hair of Badi and takes hair of Badi too. People keep some portion of such soil-lump at home and balance they distribute on their farms. 'Lang' is performed for better harvesting and protection of crops from bad weather, wild animals and pests. Or it may be said that 'Lang' is performed for prosperity of village.
2- Badi Radan

If any village does not have temple, there is performance of 'Badi Radan'. In 'Badi Radan' performance by Badi, Badi has to slip through a big grass rope. All the rituals are performed as in lang. on the first day a grass rope or fiber rope is tied on a tree near the boundary of other village. The rope should be long enough to touch the boundary of other village. The tree should be on top. Badi slides on the rope either by sitting on wooden plate or with the help of his belly. The tree is always on hill top and last portion of rope is in a valley.
The song is same for both types of performances by Badi. However, 'Badi radan' or sliding through rope is more tedious and dangerous.

Copyright@ Bhishm Kukreti

Notes on traditional folk Dance-Songs by Professional Class in India, traditional Dance-Songs by Professional Class in Himalayan areas, traditional Dance-Songs by Professional Class in Uttarakhand, traditional Dance-Songs by Professional Class in Garhwal to be continued......

Bhishma Kukreti · March 17, 2012, 12:34:47 AM

'Chhilaa Chhaul : A Garhwali Lyrical-Prose Drama based on Folk Songs
(Review of 'Chhailaa Chhaul छैलाअ छौळ' a Garhwali Lyrical- Prose Drama by Abodh Bandhu Bahuguna)
(Notes on Indian Lyrical Drama, Himalayan Lyrical Drama, Uttarakhandi Lyrical Drama, Garhwali Lyrical Drama, Hundred Years of Modern Garhwali Dramas)

Bhishm Kukreti

Badi-Badan were the real source of creating folk drama and folk songs in Garhwal from medieval time. Badi -Badan used to create instant drama and used to play. That is why it is said, 'Badyun k Swang'. Their dramas used to be with lyrical folk songs with less prose (Kukreti, Chitthi-Patri). Their dramas used to be of contemporary subject and very agile that a dead man would rise from pyre.
Abodh Bandhu Bahuguna took cue from the centuries old custom of Bad-Badan's swang and published a Garhwali Drama 'Chhailaa Chhaul छैलाअ छौळ' in 'Uttarakhand saptahik, Muni ki reeti, 1959.
The style is hundred percent 'Badi-Badan Swang' of Garhwal. The dialogues are just Badi-Badan use them while singing and dancing. The following dialogue by Sutrdhar is enough to prove the style :
सूत्रधार -- सामन्या ठाकुरों ! सामन्या साब! हाथ पर जान्ठो काँध मा बाघ. घुण्ड -घुञडो
की दाळ, कमर कमर को भात - पंडिजी की फेंकड़ी फ्यान जजमान जी कि ध्येंगणि
ध्याँ (डमडम, डमडम डमडम .....)
पोरु का पिण्डाळू खाड, ऐन्सू का पिण्डाळू खाड - पिण्डाळू खाड का खाड -अर अब
पिण्डाळू को भेळपापड़ो , भेळपापड़ा को मीन अर मीन का खजेणा दीन ----(डमडम, डमडम डमडम .....)

The drama is based on the lyrical folk story of Sangramu Budya. The playwright has been successful in creating balance between love rapture and social norms. The dialogues are of theatrical style as found in 'Bhakt Prahlad'. The drama creates humor rapture due to story of old man Sangramu Budya and young Govindi. There is another character Banva in the drama who also loves Govindi.
The drama 'Chhailaa Chhaul छैलाअ छौळ' is enjoyable.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti , Mumbai, India

Notes on Indian Lyrical Drama, Himalayan Lyrical Drama, Uttarakhandi Lyrical Drama, Garhwali Lyrical Drama, Hundred Years of Modern Garhwali Dramas to be continued

Bhishma Kukreti · March 17, 2012, 10:48:55 AM

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages-Part-59

कुमाउंनी , गढ़वाली एवं नेपाली भाषा-व्याकरण का तुलनात्मक अध्ययन भाग -59

सम्पादन : भीष्म कुकरेती
Edited by Bhishm Kukreti

हिंदी, कुमाउंनी और गढ़वाली भाषाओँ में वाक्य भेद -4

२२-हिंदी- घर पर चार व्यक्ति हैं

कुमाउंनी -घर चार मैश छन

गढ़वाली - घरम चार मनिख /आदिम/झण छन

२३-हिंदी-घर पर तीन स्त्रियाँ हैं

कुमाउंनी -घर में तीन श्यैणी छन

गढ़वाली - घरम तीन जनानी छन

२४-हिंदी-स्कूल में एक अध्यापिका हैं

कुमाउंनी -इस्कूल में एक मास्टरनि छु

गढ़वाली - इस्कूलम एक मास्टनि च

२५-हिंदी- दूकान में केवल एक वस्तु है

कुमाउंनी -दुकान में एक्कै चीज छु

गढ़वाली - दुकानम एकी चीज च

२६-हिंदी-होटल में खाने की चीजें हैं

कुमाउंनी - होटल में खाणी चीज छन

गढ़वाली - होटलम खाणै चीज छन

२७-हिंदी-काम कि वस्तुएं कहाँ थीं?

कुमाउंनी -कामैं चीज काँ छीं ?

गढ़वाली - कामै चीज कख छ्या ?

२८-हिंदी-वह कलम अच्छी थी

कुमाउंनी - ऊ कलम भलि छि

गढ़वाली - वा कलम भलि छे

२९-हिंदी-स्याही अच्छी नही थी

कुमाउंनी - श्यैइ भलि नि छि

गढ़वाली - स्यै/स्याई ठीक नि छे

३०-हिंदी-उसका काम अच्छा है

कुमाउंनी - वीक काम भलु छु

गढ़वाली - वैक काम भलु च

३१-हिंदी-वे मनुष्य क्या करेंगे ?

कुमाउंनी -ऊ मैश के कराल ?

गढ़वाली - ऊ आदिम क्या कारल ?

३२-हिंदी-छात्र कब खेलेंगे ?

कुमाउंनी -च्याल कभत खेलाल ?

गढ़वाली- पढंदेर/पढ़नेर कब ख्यालल

अथवा

नौन्याळ /लौड़ कब ख्यालल ?

३३- हिंदी-तुम पढने जाओगे

कुमाउंनी -तुम पड़ण हूँ जाला

गढ़वाली - तुम पड़णो जैल्या / तू पड़णो जैल

सन्दर्भ-

1- अबंधु बहुगुणा , १९६० , गढ़वाली व्याकरण की रूप रेखा, गढ़वाल साहित्य मंडल , दिल्ली ( Structure of Garhwali Grammar)

२- बाल कृष्ण बाल , स्ट्रक्चर ऑफ़ नेपाली ग्रैमर , मदन पुरूस्कार, पुस्तकालय , नेपाल (Structure of Nepali Grammar)

३- डा. भवानी दत्त उप्रेती , १९७६, कुमाउंनी भाषा अध्ययन, कुमाउंनी समिति, इलाहाबाद (Study of Kumauni Language Grammar)

४- रजनी कुकरेती, २०१०, गढ़वाली भाषा का व्याकरण, विनसर पब्लिशिंग कं. देहरादून ( Grammar of Garhwali Language)

५- कन्हयालाल डंड़रियाल , गढ़वाली शब्दकोश, २०११-२०१२ , शैलवाणी साप्ताहिक, कोटद्वार, में लम्बी लेखमाला (Garhwali- Hindi Dcitionary)

६- अरविन्द पुरोहित , बीना बेंजवाल , २००७, गढ़वाली -हिंदी शब्दकोश , विनसर प्रकाशन, देहरादून (Garhwali hindi Dictionary )

७- श्री एम्'एस. मेहता (मेरा पहाड़ ) से बातचीत

८- श्रीमती हीरा देवी नयाल (पालूड़ी, बेलधार , अल्मोड़ा) , मुंबई से कुमाउंनी शब्दों के बारे में बातचीत

९- श्रीमती शकुंतला देवी , अछ्ब, पन्द्र-बीस क्षेत्र, , नेपाल, नेपाली भाषा सम्बन्धित पूछताछ

१० - भूपति ढकाल , १९८७ , नेपाली व्याकरण को संक्षिप्त दिग्दर्शन , रत्न पुस्तक , भण्डार, नेपाल (Briefs on Nepali Grammar)

११- कृष्ण प्रसाद पराजुली , १९८४, राम्रो रचना , मीठो नेपाली, सहयोगी प्रेस, नेपाल (Nepali Grammar)

१२- चन्द्र मोहन रतूड़ी , गढ़वाली कवितावली ( सं. तारा दत्त गैरोला, प्र. विश्वम्बर दत्त चंदोला) , १९३४, १९८९

13- Notes of Dr Achla Nand Jakhmola on Grammar book by Dr Bhavani Datt Upreti

Kumaoni Grammar,Garhwali Grammar,Uttarakhandi Grammar,Nepali Grammar ,Grammar of Himalayan Languages to be continued .....