Author Topic: Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा  (Read 18112 times)

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Envy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में  इर्ष्या या असूया    भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -24

                                        Bhishma Kukreti
                   Envy sentiment is generated by jealousy by watching, experiencing other‘s progress, honor, knowledge, wise etc. To show low others or insulting somebody in social gathering is also part of envy .
          Envy is natural human emotion.
               According to Bharat’s Natyashastra, envy emotion or sentiment should be conveyed by accusation, ignoring virtuous of others, jealousy, looking down, twisting eye brows, avoiding and ignoring others or not accepting other’s glory.
             I remember a prose folk drama played by Badis (the professional caste class dedicated to folk dance, song and drama). I would like to name this dram ‘Dwi Kajyanu kajai’ or ‘husband of two wives’.
                   The dram was played by Badis and showed the jealousy of two wives. When the husband used to go near to his first wife the second wife used to throw the metal utensils.  When husband used to go near to his second wife the first wife used to run after him with burning wood. In the second scene the first or older wife said with full acting of jealousy,” You would definitely ignore older wife when you got beautiful younger wife.”
   There are Garhwali folklores where envy sentimental acts of various characters are described in length.
           Example of Envy Sentiment in Garhwali Folklores

कद्रू और बिनता की लोकगाथा का एक अंश

मूल -डा गोविन्द चातक   
 कद्रू का नाग ह्वेन, बिनता का गरुड़
कद्रू बनिता द्वी ह्वेली सौत
सूती डाह छै  तौमा
कद्रू बोल्दि तब -
हे भूली बिनता तेरो बेटा भानपंखी
रंद सूर्या का लोक मा
सूर्य भगवान को रथ चलौंद
बोल दौं हे भुलि
सूर्य को रथ कै रंग को होलो?
तब बिनता बोलदे
सूर्य को स्वेत  रथ होलो
तब नागु की माता कना बैन बोदे -
आज भुलि तेरा मेरा बीच
कौल होई जाला
मै सणि तू भुलि धरम दियाल
सूर्य को सुफेद रथ होलो
तब मै तेरी दासी होई जौलो
अर  काळो   रथ होलो तब तू
मेरी दासी बणी जाली।
तब कॉल करार करिगे नागु की माता , रौंदड़ा लगौंदी तब छुयेड़ा चारदे
मन मारिक अपणा काल्गिरी नाग .......
                     Story of Kadru and Binta Folklore of Garhwal-Kumaon
        Kadru and Binta were co-wives or Sautiya sisters.  Kadru was mother of Nag (snakes) and Binta was mother of Garud (eagles). They had Sautiya Dah (strong jealousy) between them. Once, Kadru asked Binta the color of Surya’s  Rath  (Sun’s chariot) as Binta’s son Bhanupankhi was chariot driver of Sun. Binta informed that the color of Sun Chariot is white but Kadru denied and said that the color of Sun Chariot is black. Both ended in betting for the colour of Sun Chariot. The bet was that whoever would lose would become the slave of winner of bet.
  Kadru the mother of Nag (snakes) was worried as she was afraid of losing bet because the color of Sun Chariot was white. She called her son Kalgiri Nag and told her the incident of betting between her and Binta.  Kadru ordered Kalgiri to make Sun chariot as black. Kalgiri went to Sun galaxy along with his brothers and they all surrounded Sun. By the surrounding of snakes the Sun Chariot seemed as blackish chariot. 
  Happily Kadru called Binta and showed the black colored Sun Chariot. Binta lost the bet and told that from tomorrow she would be slave of Kadru.   
             Binta was sad as her step son Bhanupankhi (son of Kadru) informed in past that the color of Sun Chariot was white.   
      Mishri Garud (eagle) became restless in heaven (with lord Vishnu). He tells his boss lord Vishnu that there is something wrong with her mother and she is in some dire situation. Mishri Garud reached to his mother Binti but his mother did not show love for him. After perusal Binta told that his step brother Bhanpankhi deceived her and covered sun Chariot for showing black color and now she is slave of Kadru.  Mishri Garud. Misri Garud took the vow to free his mother from slavery of his step mother Kadru.
 Mishri Garud reached to his step brother Kalgiri Nag and said,’” kalgiri! Why did you make my mother slave of your mother by deceit methods?’”
Kalgiri answered, If you bring Amrit kalash from heaven and give it us, we shall free your mother from slavery.”
 Mishri Garud brought Amrit Kalash (Nectar Pot) to Kalgiri Nag. Kalgiri Nag became happy and decided to take Amrit after bathing. Kalgiri Nag went for bathing. In the mean time lord Vishnu came and advised to Garud that he should also deceive Kalgiri. As per advice, Mishri Garud took Nectar Pot to heaven and came back to Naglok.
   When kalgiri came back after bathing he did not find the Nectar pot and he became angry on Mishri Garud. Kalgiri started attacking garud for battle. There was stif battle between Mishri Garud and snakes. Mishri Garud killed all snakes.
 Kalgiri snake hid near Mishridah pond. A fish came near Mishridah pond. Mishri Garud killed that fish and its blood and flesh fell on a sage. The sage cursed Mishri Garud that if his shadow fells on the pond the Garud would die.
 Lord Vishnu brough back Kalgiri Nag and told,” Nag and Garud! You all are brothers. You should live together with discipline. Garud should only kill a snake in a month. “


Copyright @ Bhishma Kukreti, bckukreti@gmail.com  26/10/2013
              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…

                    References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife 
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
Notes on Envy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, South Asia; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, South Asia; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, South Asia; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, South Asia; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, South Asia; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, South Asia; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, South Asia; Envy or jealousy Sentiment/emotion/attitude/outlook in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, North India, South Asia;

गढवाली लोक नाटकों में  इर्ष्या या असूया भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में   इर्ष्या या असूया भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  इर्ष्या या असूया   भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में इर्ष्या या असूया   भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  इर्ष्या या असूया   भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में इर्ष्या या असूया   भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में इर्ष्या या असूया   भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   इर्ष्या या असूया भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में  मद / नशा   भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -25

                                        Bhishma Kukreti

         According to Bharat’s Natyashastra, intoxication sentiment should be displayed in drama by show of drunkenness, rolling eyes, and arms drooping or restlessly thrown about and irregular with an unsteady gait.
               The professional caste Badi class Garhwali folk drama performers used to show many dramatically scenes about a person consuming hemp or liquor. I remember a folk drama played by Badis in Mitragram, Malla Dhangu, Pauri Garhwal in between Ramleela scene.  In folk drama, Badis showed that a person consumed hemp roasted seeds in large quantity and went for plough. The hot hemp seeds started showing results and the person became intoxicated. Now, the person does many silly activities as pushing bull back by his head, sitting on how in opposition direction, laughs loudly; dancing-singing as a mad person. The short drama was a perfect drama showing the intoxicated position of a person who consumes roasted hemp in large quantity. 
      I also remember the performance of drunken soldiers of Ravan in Ramleela of Mitragram. In the same Ramleela a Performer Jay Ram Jakhmola copied the acting of Hindi film actor Moti Lal of Hindi film Jagte Raho. The song was ‘ Jindgi khwab hai kaun  ..’ and Jaya Ram Jakhmola acted with marvelous performance to show walking of  a drunken person in between scenes of folk drama of Ramleela.
 
Copyright @ Bhishma Kukreti, bckukreti@gmail.com  26/10/2013
              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…

                    References
1-Bharat Natyam
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
Notes on Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun, Garhwal, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, Himalaya, South Asia; Intoxication Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, North India South Asia;
Xx
गढवाली लोक नाटकों में   मद / नशा    भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  मद / नशा     भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में   मद / नशा     भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  मद / नशा      भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  मद / नशा      भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में   मद / नशा     भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में   मद / नशा     भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   मद / नशा     भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Fatigue Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में  श्रम भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -25

                                        Bhishma Kukreti

             According to Bharat’s Natyashastra the fatigue sentiment should be shown by pressing and massaging the body, deep breathing, and yawning, slow walk, distorted eyes, making tired face and making faint indistinct sounds.
   Around 1964, this author and his village fellows played a drama based on a folk story ‘नि सौक सकुद , नि सौक सकुद !’ (ni sauk sakud or I can’t complete) in Ganikya forest while taking cattle for grazing.
 There is abrid in our region that quakes in morning and evening as ‘ni sauk sakud , ni sauk sakud”. The story is that a man was carrying load of a ton of Udad from his farm on his head. The man was not so strong. Due to over load and fatigue the man died saying that ‘ni Sauk Sakud’. In his next birth, the man became that bird that speaks ,ni sauk sakud , ni sauk sakud  ( I can’t complete).
Eleven years old Sohan Lal Kukreti played the role of tired man. I remember that Sohan Lal Kukreti showed weakness by trembling legs, slow walk while having heavy load of Udad. Sohan lal was also breathing as if he can’t carry heavy load. Sohan Lal Kukreti cried on very low voice ‘ni sauk Sakud, ni sauk sakud’.
 When Sohan Lal as man died Shatrughna Jakhmola copied the tone of that bird that quakes,”ni Sauk Sakud, Ni sauk Sakud” नि सौक सकुद , नि सौक सकुद !’ marvelously

                    Fatigue Sentiment by Ravan in Ramlila

                After Tulsidas’s  Ramcharit Manas, playing the drama based on life of lord Rama became popular in India specially north India. 
           In Garhwal, Ram Lila became popular around last years of nineteenth century. I sa w Ram Lila in various parts of Garhwal, Dehradun and Haridwar. At the sequel of Sita Syayambar, in every Ram Lila drama showed the fatigued of Ravan when he wanted to pick Shiv Dhanush at Sita Syambar. I remember Ram Lila of Gweel, Malla Dhangu, Pauri Garhwal where the character of Ravan showed his fatigue by wiping his sweats, regularly sitting on the ground, trembling legs, breathing heavily as if he was running  on ascending hill slopes  etc.
 
Copyright @ Bhishma Kukreti, bckukreti@gmail.com  27/10/2013
              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Notes on Fatigue/ exhaustion/ weariness/ weakness  Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Fatigue Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Fatigue Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Fatigue Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; exhaustion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; tiredness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; weakness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Fatigue Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia
Xx
गढवाली लोक नाटकों में  श्रम भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  श्रम भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  श्रम  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में   श्रम भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में   श्रम भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में   श्रम भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में   श्रम भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   श्रम भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
 Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में  आलस्य  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -27

                                        Bhishma Kukreti

                   According to Bharat’s Natyashastra, indolence should be demonstrated by avoiding activity, lying down, sitting listlessly, drowsiness, sleeping and dreaming.
                     I remember a folk drama played by Badis (the professional caste class of Garhwal) in Village Jaspur, Pauri Garhwal, wherein two men sitting and gossiping. In between their gossip, the village council chief (Gram Pradhan) comes from far and one of gossipers introduces village council chief as   
पहला - ले प्रधान  काका बि  ऐगे। जख प्रधान  तै  दौड़ भाग करण चयेंद अर हमर प्रधानो  ज्यू बुल्यांद कि यूंक बांठा टट्टी पिसाब बि वैक पंच चली जावन  !
दूसरा - हाँ कुछ कामौ बान जावो त प्रधान बाडाक आँख बुज्याँ रौंदन अर जमै लीणु रौंद ……
 First person – see there! Village chief is coming. His work is to run for work but he desires that somebody goes even for urinating  on his behalf.
Second person – Yes, whenever we go for some work to him he is always sitting listlessly and always yawning…
The above dialogues describe the lazy nature of village council chief. 
Copyright @ Bhishma Kukreti, bckukreti@gmail.com  29/10/2013
              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Indolence Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में आलस्य  भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में आलस्य  भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  आलस्य  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में    भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  आलस्य  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में   आलस्य भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में  आलस्य  भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में आलस्य   भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में  दैन्य भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -28

                                        Bhishma Kukreti
             Depression arises due to misfortune, poverty, and mental agony and like that.
        According to Bharat’s Natyashastra, depression sentiment in drama is demonstrated by lack of self control, headache, dullness of body, absent mindedness, uncleanness etc.
               There are tens of examples of depression sentiment in Garhwali folk drama as prose drama by people, professional class or from folklores   
         There are many dramatic folk dance-songs performed by community or by professional class dramatists display depression sentiment. There are many proverbs those show depression sentiment.
 The following folksong –dance is an example -
गढ़वाली लोक  नाट्य गीतों में  दैन्य भाव
रामू बल कपास की पूणी
रामू बल खरसूनि गाँव रामू बल नौरता की सूणी
रामू बल परात की घाली
रामू बल नौरता की सूणी रामू बल दीउ दीने बाली
रामू बल कुखड़ा की बाती
रामू बल दीउ देणु  बाली रामू बल गेंहू  बिना हाथी
रामू बल रणाईनी भेई
रामू बल गेंहू  बिना हाथी  रामू बल मोल  ल्याण लाई
टीकाराम सांदण की खिल
टीकाराम बल मोल  ल्याण लाई टीकाराम मोल भीना मील
टीकाराम गिलौरी का गारा
टीकाराम मोल भी ना मिल , ऊँद जाई मानंद का द्वार
महानंद घटलाइ पोला महानंद
थोड़ा दिया गेंहू महानंद भरी देयां चौंल
 The above Ravai folksong 9played as dance form too) describes that Navratra is near and discussion is on in village Kharsun.
 Ramu and Tikaram are discussing about Navaratra celebration.
 There is no wheat with Ramu . Tikaram suggests to borrow from Mahananad . They both request more rice than wheat from Mahanand.
 The above song shows poverty and depression sentiment very well.
When Badis sing this song and Badan (female Badi) dances on this folk song she shows depression emotion.
No doubt, the Badis or common people never studied Bharat’s Natyashastra but the folk dramatists knew human psychology very well.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  30/10/2013


              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Notes on Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Depression Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में  दैन्य भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  दैन्य भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  दैन्य  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  दैन्य  भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में    भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  दैन्य  भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में  दैन्य  भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  दैन्य  भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में  चिंता  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -29

                                        Bhishma Kukreti

           According to Bharat’s Natyashastra, anxiety in drama is demonstrated on the stage by deep breathing or sighing, lamentation, deep thinking, keeping the face down, disturbed thinking and weakness of body.
           I remember a Ramleela scene in Mitragram, Malla Dhangu, Pauri Garhwal (Uttarakhand) aound October 1963-64.  When Father of Rama listened dialogue of Kaikeyi that Dashrath has to send Rama for Jungle for fourteen years and Bharat should be made King of Ayodhya. Dashrath character performer fell on the ground; he breathed deeply and showed anxiety very well. 
   
    There are various religious ritual folklores those are sung in Jagar or Pando dance and song where many events are there where anxiety is described and performers (pashwa who acts as the character of deity etc)  display anxiety.
 The following folklore is about Abhimanyu Jagar where anxiety of Yudhister is described.

               गढ़वाली लोक नाट्य गीतों में चिंता भाव

अभिमन्यु बाजा नाट्य - नृत्य-गीत
 
तुम रौंदा होला राजा जयंती दिगपाल   
तुम होला राजा छत्रसाल भौर
कपटी कौरवों न राजा कुचालू रचेली
जौन रचे राजा सात द्वारों की लड़ाई
जयंती राज भंज राजा सणि पत्री देंदा
जती रंदा पांडो तुम जीती राज मान
तुम आवा पंडो अब सात द्वारों की लड़ाई
जयंती मा ह्व़े ग्याई झोंळी झंकार
सीली त ओबरी राजा झिली ह्वेगे खाट
राजा अर्जुन जायुं च दक्खन का देस
साथ छ वैका किरसण सारथी
 
स्रोत्र डा. पुरुषोतम डोभाल
सन्दर्भ डा. शिवा नन्द नौटियाल
 Translation of above religious  folk drama-song –dance (Jagar)  -
Kauravas invite Yudhister at Jainto bar.
Kaurvas keep the condition of winning Chakravyuha
According to war rule, Yudhister had to follow the rule and had to accept the challenge
Beside Arjun, nobody was expert of breaking Chakravyuha strategy
Arjun had gone for another war far away from Jaintobar.
Yudhister became sad, worried, and anxious
 There is following another example of showing anxiety is sentiment n folk drama.
    The Shrinagar Garhwal folk drama team led by Dr. R. Bhatt directed ‘Chakravyuha’ a folk drama of North Garhwal. Yudhister was worried because Kauravas invited Yudhister for battle and Kauravas led by Dronacharya trapped Pandavas for Chakravyuha (a strategy). Only Arjun was able to break the strategy. Arjun had gone for another battle far away from Chakravyuha field. Here in folk drama directed by Dr. Bhatt, the performer of Yudhister showed anxiety very well. 
Copyright @ Bhishma Kukreti, bckukreti@gmail.com  31/10/2013


              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Anxiety Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में  चिंता भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में   चिंता  भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में चिंता    भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में चिंता    भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  चिंता   भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  चिंता   भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में चिंता    भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  चिंता   भाव;


Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में  मोह या मूर्छा भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -30

                                        Bhishma Kukreti

           According to Bharat’s Natyashastra, delusion sentiment in drama is displayed by staggering, falling, reeling, no seeing properly and so on.
  I remember Ramlila of Mitragram, Malla Dhangu , Pauri Garhwal wherein Jay Ram Jakhmola played the role of Dashrath.  In Ramlila, when Dashrath heard the order of his second wife Kaikeyi due to promise of Dashrath that Rama had to spend fourteen years in forest, Dashrath became fainted. Jay Ram displayed the sentiment of delusion perfectly.
  I watched a folk drama played by Badis where a Badi performed the role of a hunter. The hunter was hunting a tiger in night with two other mates.  One of mates told the chief hunter that there is a Bhut and chief hunter was gone fainted or gone delusion by just knowing that a Bhut (dead soul) is before him instead of tiger.   The r Badi performed the role of afraid hunter who was staggering, falling as if Bhut caught him.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  1/11/2013


              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Delusion Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में मोह या मूर्छा  भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  मोह या मूर्छा   भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  मोह या मूर्छा    भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  मोह या मूर्छा    भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में    मोह या मूर्छा   भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में   मोह या मूर्छा   भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में   मोह या मूर्छा   भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  मोह या मूर्छा    भाव;


Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में   स्मृति  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -31

                                        Bhishma Kukreti

 According to, Bharat Natyashastra, recollection in drama should be demonstrated in acting by shaking the head, looking down and raising eye brows etc
I remember a folk drama played by Badis in Lang year in Chait month in village Jaspur, Malla Dhangu, Pauri Garhwal. In between there was a scene wherein a young boy comes in village and met an old woman. She did not recognize the boy and wanted to remember the boy.
नौनु - सिमनैन ददि
 बुडड़ि (अपन मुंड जोर से कन्यान्द कन्यान्द )- इ कु छे ? काऴया नाती टी नि छे ? 
नौनु - ना
बुडड़ि (अपण बाळ झमडांद )- त बालीक नौनु होली तू ? 
नौनु - ना

Boy- Grandmother! Greeting!
Old woman (scratch her hair and head)- Who are you/ Are you son of Kalya?
Boy-No
Old woman (She pulls her hair) - Are you son of Bali?
Boy-No
 It was marvelous acting by Badan actress to memorize for recognizing the boy.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  2/11/2013


              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Recollection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में  स्मृति भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  स्मृति भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में स्मृति   भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में    भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  स्मृति  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  स्मृति  भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में   स्मृति भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  स्मृति  भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Contentment Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में   धृति  /Dhriti  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -32

                                        Bhishma Kukreti

                    According to Bharat’s Natyashastra, contentment sentiment is demonstrated in drama by enjoying the attainments, forgetting past losses and not worrying about things gained or lost etc.
         Contentment sentiment is one of the major sentiments of Love Rapture (Shringar Rasa). Many poetic scholars added another ninth rapture (Rasa) called Shant Rasa. Shant rasa is nothing but contentment sentiment. This sentiment is related to eternal satisfaction.
 Various folk songs sung by Dalya community about Gopichand story are examples of continent sentiment.  Dalya sings the story of Gopichand, dances usually closed eyes and at the same time plays Ektara a sting musical instrument too.  The devotion of Dalya in singing, smooth dancing and playing Ektara  bring peace and satisfaction in the mind of listeners. 
 Garhwali folk literature scholar Dr Shiva Nand Nautiyal states that following folk dance—drama-song is an example of Shant Rasa (peaceful) and that means the following folk song of folk drama (Hantya Jagar) is an example of continent sentiment.


गढ़वाली लोक नाट्य गीतों में धृति  भाव @
दुन्या न मरी जाण , धरती अमर I
***** ***** *****
धरणी रीटे सांपिंण , अगास रीटे शीणी I
मणछ भगार लगौंदो, विपदा भगवान् दीणी II
मौत सबुकु औंद , आग स्ब्बुकू जळऔंद I
तिन कायर नि होण , सागर कु पाणि सागर मा समौंद

@Collected and edited by Dr Shiva Nand Nautiyal

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  3/11/2013


              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Continent Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Continent Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Continen Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Continent Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Continent Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Continent Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Continent Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Continent Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में  धृति भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  धृति भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  धृति  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  धृति  भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  धृति  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  धृति  भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में  धृति  भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   धृति भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,097
  • Karma: +22/-1
Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में   व्रीड़ा  Vreeda  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -33

                                        Bhishma Kukreti

           According to Bharat’s Natyashastra (7.57), bashfulness sentiment is performed by covering the face, thinking bowing down the head, dullness of eyes, writing on the ground, touching the clothes and ring and biting nails and like that.
          I remember we children played folk drama in Nau Dhar jungle (village Jaspur, Malla Dhangu, Pauri Garhwal) while taking caws for grazing. We played that folk drama under an oak tree.
            We copied a folk ritual of ‘Tumdi Ritan’ for catching a thief who theft ornaments from a house. ‘Tumdi Ritan’ means through black magic and ritual chanting the Tumdi (dry and empty bottle gourd) walks exactly to the door of thief.
            One of us Shibu Jakhmola became ritual priest and he chanted rituals (Mantra). The Tumdi reached to Prem Kukreti -one of us. The thief performer Prem Kukreti showed blushing performance by hiding his face and scratching ground by foot nail and biting nails too. Prem Kukreti said,” na na min t .. naa .. naa …”. It was marvelous performances of bashfulness by Prem Kukreti.


Copyright @ Bhishma Kukreti, bckukreti@gmail.com  4/11/2013


              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References
1-Bharat Natyam
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
Notes on Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Bashfulness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


गढवाली लोक नाटकों में व्रीड़ा  भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में व्रीड़ा  भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में व्रीड़ा   भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  व्रीड़ा  भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  व्रीड़ा  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  व्रीड़ा  भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में  व्रीड़ा  भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  व्रीड़ा  भाव;

 

Sitemap 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22