Author Topic: Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा  (Read 18113 times)

Bhishma Kukreti

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Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में     चपलता Chaplata   भाव

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

                                        Bhishma Kukreti

                According to Bharat’s Natyashastra, agility sentiment should be represented in performance by use of harsh words, reproach, rebuke, hitting, killing, capturing and irritating.
          In Natyashastra, चपलता sentiment is not the one that is used today in Hindi. Agility is when a performer uses harsh words or acts as sited above suddenly , without giving thought due to hassle some situation, envy or illusion.
       In Ramlila of Garhwal, after Hanuman burning Lanka by his tail , the actions and treatment of  Rawan, Meghanada, his ministers and soldiers of Ravan  is an example of agility sentiment in folk dramas played in Garhwal.
          I remember a scene of Rawan court after hanuman burning Lanka in a Ramlila played in Gweel village, Malla Dhangu, Pauri Garhwal in 1962. Maya Ram Kukreti played the role of Rawan. Maya Ram Kukreti showed the agility sentiment by his walk, his anger, harsh voice, and couple of hard words in Garhwali. I remember the acting of Maya Ram Kukreti at excellence.



Copyright @ Bhishma Kukreti, bckukreti@gmail.com  6/11/2013


              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
Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

Bhishma Kukreti

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                   गढवाली लोक नाटकों में    हर्ष     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -35

                                        Bhishma Kukreti

              According to Bharat’s Natyashastra, Joy sentiment should be represented by a happy face and eyes, sweet words, embracing, horipilation, tears, perspiration and  like that. 
         There are many examples of showing Joy sentiment in Garhwali folk dramas. When there is religious ritual Ghadela or Pando Nritya and the Jagari sing Jagar of Krishna birth, there is description of joy in Jagar and the audience feels joy by listening Krishna birth event. Even Jagri also shows the joy sentiment on his face.
            Those who watched Badi –Badan dance –song would vouch this author about dramatic showing of joy by Badis after getting reward from audience. The Badis sing in praise-
समनैन ठकुर ! तुमरी देळि भरीं रैन
तुमर ड्यार रुप्यों छळाबळि हूंद रैन   

       The Badi and Badan show signs of joy sentiment on their faces by getting award and by hearing the praise from Badi and Badan song for   awarder, the audience also gets joy and start providing award to Badi-Badan. 
Joy Sentiment in Kumaoni Folk Drama, Folk Rituals, Community Theaters and Traditional Plays
 British rule had a policy that whenever their administrative officers used to visit villages for official works the villagers had to do free labor in transporting necessary items of officers. Besides free labor, the officers used to insult local people. 
  There was a mass movement against compulsory unpaid labor policy by British in Kumaon region led by Kumaon Kesari Badri Datt Pandey, Har Govind Pant, Victor Mohan and other freedom fighters. The movement was successful and British administration had to abolish Kuli-Begar policy.   The following folk song illustrates and remembers the Kuli Begar movement of Kumaon.
 
 

             कुल्ली बेगारा


(सन्दर्भ :डा त्रिलोचन पांडे :कुमाउनी  भाषा और  साहित्य )

(इंटरनेट प्रस्तुती व व्याख्या - भीष्म कुकरेती )


ओ झकूरी यों ह्रदय का तारा , याद ऊँ छ जब कुल्ली बेगारा ।  .
खै गया ख्वै गया बड़ी बेर सिरा , निमस्यारी डाली गया चौरासी फेरा ।
सुण रे पधाना यो सब पुजी गो , धान ल्या चौथाई घ्यू को ।
ह्यूंन चौमास , जेठ असाढ़ा नंग भुखै बाट लागा अलमोड़ी हाट।
बोजिया बाटा लागा यो छिन कानै धारा , पाछी पड़ी रै यो कोड़ो की मार ।
यो दीन दशा देखी दया को कुर्माचल केसरी बदरीदत्त नाम ।
यो विक्टर मोहना ,  हरगोविन्द नामा , ये पूजा तीन वीर।
सन इक्कीस उतरैणी मेला यो , ये पूजा तीन वीरा गंगा ज्यू का तीरा ।
सरजू बगड़ा बजायी लो डंका , अब नौ रौली यो कुल्ली बेगारा ।
क्रुक सन सैप यो चाये रैगो , कुमैया वीर को जब विजय है गो ।
सरयू गोमती जय बागनाथ , सांति लै सकीगे कुल्ली प्रथा ।
 
 
Whenever we remember Kuli –Begar, we shiver by pain.
The unpaid labor without clothing had to go for compulsory labor as bonded labor; people had to take heavy weight on their solders.
 On top of it the officers used to beat by whip or whipping was common from officers.
The Kurmachal Kesary Badridatt Pandey felt the pain. Badridatt came ahead for movement
Victor Mohan and Hargovind also reached at Almora bazaar.
There was fair on Uttarayani (14th January) nineteen twenty one.
These three brave persons reached at poise river bank
The declared that people would refuse to take compulsory unpaid labor of British.
The British officer Crook could not anything or he declared freedom from compulsory unpaid labor policy.
By blessing of Sary-Gomati and Bagnath Kuli-Begar policy was stopped peacefully
             When there is community song-dance program and the above dance-song is performed, the audience shows sign of joy sentiment when the song is sung about abolishing Kuli Begar by British administration.
 


Copyright @ Bhishma Kukreti, bckukreti@gmail.com  7/11/2013


              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
Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Joy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

Bhishma Kukreti

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Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों में   आवेग     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -36

                                        Bhishma Kukreti

               According to Bharat’s Natyashastra, agitation sentiment is shown in drama by performing by loosing limbs of body, disturbed mind, and change of color of face, sadness and surprise.
   The meaning of agitation sentiment in Bharat’s Natyashastra is when a mind becomes ill by sadness or fear and then person comes in agitation.
           This author remembers a folk drama played by Badi performer. The act was that a tiger is attacking on a man and his wife. First tiger tries to attack on man and woman. However, suddenly the performer in tiger act jumps on the audience. There was agitation sentiment on the face of a couple of audiences.
                There are many folk songs in Jagar where a character is irritated and the folk song describes character is agitating due to irritation or sadness.
  In the following Garhwali folk song (Pando Jagar) there is an example of agitation sentiment –
             पंडो नृत्य में अर्जुन वासुदत्ता प्रेमगाथा में आवेग     भाव
 
(स्रोत्र: डा गोविन्द चातक,सन्दर्भ : डा शिवा नन्द नौटियाल)
 
 
द्रोपती अर्जुन सेयाँ छया
रातुड़ी होयें थोडं स्वीणा ऐन भौत
सुपिना मा देखद अर्जुन
बाळी वासुदात्ता नागुं कि घियाण ,
मन ह्वेगे मोहित , चित्त ह्वेगे चंचल
वींकी ज्वानी मा कं उलार छौ
वींकी आंख्युं मा माया को रैबार छौ
समळीक मुखड़ी वींकी अर्जुन घड्याण बिसे गे
कसु कैकु जौलू मै तै नागलोक मा
तैं नागलोक मा होला नाग डसीला
मुखड़ी का हँसीला होला, पेट का गसीला
मद पेंदा हठी होला, सिंगू वाल़ा खाडू
मरखोड्या भैसा होला मै मारणु आला
लोहा कि साबळी होली लाल बणाइ
चमकादी तलवार होली उंकी पैळयाँयीं
नागूं की चौकी बाड़ होलो पैरा
कसु कैकु जौलू मैं तै नागलोक मा
कमर कसदो अर्जुन तब उसकारो भरदो ,
अर्जुन तब सुसकारो भरदो
मैन मरण बचण नागलोक जाण
रात को बगत छयो , दुरपदा सेइं छयी
वैन कुछ ना बोले चाल्यो , चल दिने नागलोक
मद्पेंदा हाती वैन चौखाळी चीरेन
लुवा की साबळी नंगून तोड़ीन
तब गै अर्जुन वासुदत्ता का पास
घाम से घाम, पूनो जसो चाम
नौणीवालो नाम , जीरी वल़ो पिंड
सुवर्ण तरूणी छे , चंदन की लता
पाई पतन्याळी, आंखी रतन्याळी
हीरा की सी जोत , ज़ोन सी उदोत
तब गै अर्जुन सोना रूप बणी
वासुदत्ता वो उठैकी बैठाए अर्जुन
वींको मन मोहित ह्व़े ग्याई
तब वीन जाण नी दिने घर वो
तू होलो मेरो जीवन संगाती
तू होलो भौंर मै होलू गुलाबो फूल
तू होलो पाणी मै होलू माछी
तू मेरो पराण छई, त्वे मि जाण न देऊँ
तब तखी रै गे अर्जुन कै दिन तै
जैन्तिवार मा दुरपदा की निंद खुले ,
अर्जुन की सेज देखे वीन कख गये होला नाथ
जांदी दुरपदा कोंती मात का पास
हे सासू रौल तुमन अपण बेटा बि देखे
तब कोंती माता कनो सवाल दीन्दी
काली रूप धरे तीन भक्ष्याले
अब मैमू सची होणु आई गए
तब कड़ा बचन सुणीक दुर्पति
दणमण रोण लगी गे
तब जांदी दुरपदी बाणो कोठडी
बाण मुट्ठी बाण तुमन अर्जुन बि देखी
तब बाण बोदन , हम त सेयान छया
हमुन नी देखे , हमुन नी देखे
औंदा मनिखी पुछदी दुरपता
जांदा पंछियों तुमन अर्जुन बि देखे
रुंदी च बरडान्दी तब दुरपदी राणी
जिकुड़ी पर जना चीरा धरी ह्वान
तीन दिन ह्वेन वीन खाणो नी खायो
ल़ाणो नी लायो
तब आंदो अर्जुन का सगुनी कागा
तेरो स्वामी दुरपति, ज्यूँदो छ जागदो
नागलोक जायुं वासुदत्ता का पास
तब दुरपता को साँस एगी
पण वासुदत्ता क नौ सुणीक वा
फूल सी मुरझैगी डाळी सी अलसेगी
तिबारी रमकदों झामकदों
अर्जुन घर ऐगे

  The following lines show the agitation sentiment in the above folk song
पण वासुदत्ता क नौ सुणीक वा
फूल सी मुरझैगी डाळी सी अलसेगी

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  10/11/2013


              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
Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Agitation Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

Bhishma Kukreti

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Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में   जड़ता  भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -37

                                        Bhishma Kukreti
    According to Bharat’s Natyashastra, stupor is demonstrated in drama by keeping silent, uttering inaudible words, remaining absolutely quiet, unblinking eyes, and needing support from other.
In this situation, the performer/actor/actress shows as if she /he do not want to do anything. 
  The following example is stupor sentiment in Garhwali prose dram played by Badi and Badan in village Jaspur, Malla Dhangu, Pauri Garhwal around March 1963-64AD
  Before the following dialogues the mother in law and daughter in law quarrel on other subject and suddenly the mother in law brings the subject of childlessness of her daughter in law. The mother in law curses the parents of daughter in law and hearing those harsh, cursing words from her mother in law, the daughter in law becomes stunned.
गढ़वाली लोक नाट्य, लोक  गीतों में जड़ता भाव
बादी-बादण द्वारा खेले गए   एक गढ़वाली लोक नाटक में वार्तालाप के कुछ अंश
सासु - हूँ ! त्यार मैती मेरा जन्मूँ बैरी छन …… जौन अपण बांज नौनी म्यार नौनु पर चिपकाए
ब्वारि - ह्यां पण इखमा म्यार मैत्युं क्या द्वाष ?
सासु - जा ! म्यार भी नागराजा सै होलु त त्यार मैती बि निपूत ह्वे जैन !
(इना सासु भैर जांदी उना बुडड़ि को बेटा भीतर आंद)
बुड़ड़िs बेटा - हैं ! ये कुमळि ! क्यो छे तु  अड़गटिं , अर किलै छन त्यार आँख कताड्यां ? किलै तु  चुप छे ? अर त्यार गिच बंद किलै च?

                                Bhut and Stupor sentiment
 When a person becomes victim of evil soul, usually the victim becomes stunned and then tantric sings folk songs.
              Divta ku An
Many times, when a deity soul enters into body of human being in any Ghdyal (folk ritual) the person becomes stunned.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  12/11/2013


              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
Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Stupor Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

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Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में   गर्व     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -38

                                        Bhishma Kukreti


            According to Bharat’s Natyashastra, arrogance sentiment in drama is displayed by intolerance, contempt, insult, refusal, looking over shoulder, mockery, harsh words, disregarding elders, rebuking like that.
 The following two examples are sufficient to show arrogance sentiment in Garhwal folk dram.

            गढ़वाली लोक नाटक, लोक  गीतों में गर्व    भाव
 एक बादी -बादण लोक नाट्य
बुबा (अपण नौनु से ) - म्यार भाग च जु तू बीए पास ह्वे गे।  सूण जरा गां वाळु तैं जळाये जावो।
नौनु - त तुम घ्वाड़ा बणो मि तुमर पीठ मा चौढ़ी सरा गां मां घुमद
(बाबु  घ्वाड़ा बणद , नौनु अपण बुबा पीठ मा चौढि , अपण बुबा तैं सोटिन चुटद -चुटद  गां मा घुमद )
नौनु -द्याखो मी बीए पास ह्वे ग्यों अर अपण बुबा से बि भौत बड़ो ह्वे ग्यों।  छ क्वी ए गां में जन ग्यानी ?
 In this folk drama by Badi-Badan, a boy passed B.A degree and his father says that he wanted to envy villager fellows.
As per advice of son, father becomes as horse and son got on back of his father. His father
Takes his son his back and roams around the village. The son tells to all that he is very learned person in the village

रामलीला लोक नाटक में मेघनाद का गर्व
मेघनाद हनुमान से –
हे निर्भागी  बांदर  ! तू म्यार समिण  कुछ बी नि छे . मी ह्वे लंका कु राजकुमार अर तू भेळुन्दो बांदर ! 
 जिस जमीं पैर रखूंगा भूचाल वहाँ आयेगा
जमीं तो जमीं आसमान भी हिल जाएगा
 Ramlila is a olk drama in Garhwal too. In the above scene, the son of Ravan –Meghnad introduces himself to hanuman with arrogant words and acts. 

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  13/11/2013


              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
Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Arrogance Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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


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 Dejection Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  विषाद       भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -39

                                        Bhishma Kukreti

                          As per Bharat’s Natyashastra, dejection sentiment is demonstrated in drama performance by searching for help, worrying about means, weakness, senselessness, deep breathing and so on.
  Ghadela is one of the most important cultural and religious rituals in Garhwal. In this folk ritual, soul of deities, brave, famous persons or deceased persons are called by Jagari (priest) and he sings various folk songs. In Hantya jagar the soul
The following Jagar are Hantya Jagars and in each Jagar there is sentiment of dejection in the story and in song too.
The audience also feels dejection awhile hearing  the Hantya Jagar.
आन्छरी या मातरी हंत्या जागर

मातरी तोको आमू साड़ी देऊ।
आमू देऊ तोको बोली लोकु देऊ।
नो रंगूला तोको बोली लोकु देऊ।
सात रंगूला तोकू दुशाला देऊ।
सात नाज लो देऊ तोको देजो।
तो को रंग -रंगीलो सजीलो डोला देऊ।
काजरारी आंख्युं क काजल देऊ।
पूजिक तोकू घर पठाऊ।
सासर जनों भेजऊँतोउ।
हामू दिउ तो तोके द्वफरी देऊ।

   रवाईं में हंत्या  जागर -भाग -१

मामी तेरी छुटी पड़ी चाखोल्युं की टोल।
तेरो होलो केसों मामी इजा को पराण।
तेरो होलो केसों मामी इजा को पराण।
त्वेको आयो पड़ी मामी काल सी ओ बाण।
काल सी छिपदो मामी रीट दो सी ओ बाण।
सोची होलो मामी तै हरस देखऊं।
यख मं बैठी रो तेरो बांको माणिस।
के कालन डालि मामी जोड़ी मां बिछाऊँ।
भैर  भीतर मामी देखी ज तू अ क्वैक।
देखी भाळी जाई मामी आपड़ो बागीचा।
रवाईं में हंत्या  जागर -भाग -2

भैया कलकी रौ तेरी हौंसिया उमर।
कैसू रयो भैया तू सौबकू प्यारो।
दुखी रौ दी मेरा भया बैठ्या छन तेरा सारा।
देख तेरी  इजा रौया निपूती इजा।
तेरी जोड़ी रौयो कनी सौजोड़ी।
तेरो कनू रौयो मयऴदू स्वभाव।
मरदी बगत त्वेन पाणि भी न पाये।
कनि गई होली बंठ्या तू बांकी स्वैण छोड़ी।
अकेली इजा को यकूलो लडीक।
बांकुरासे पराण तेरो डाऴयूं-डाऴयूं रै गे।
टोली छोड़ी गयी भैया सारा बाल बच्चा।
कनू गई प्यारो भैया इजा कू तू जायो।   
Copyright @ Bhishma Kukreti, bckukreti@gmail.com  14/11/2013


              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
Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia;  Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Dejection Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

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Eagerness Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में   औत्सुक्य     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -40

                                        Bhishma Kukreti
                  According to Bharat Natyashastra, eagerness sentiment is demonstrated in drama by deep sighs, worrying, down caste looks and face, sleep, drowsiness, and desire for lying down. 
               There are many examples of eagerness in folk drama from Garhwal.
                 When ‘Chakrabyuha’ folk drama is dramatized the Pandava group shows eagerness about fate of Abhinmanyu when he entered Chakrabyuha (war strategy created by Dronacharya). Pandava show curiousness, seriousness for knowing the fate of Abhimanyu.   
  In Ramlila folk drama played in Garhwal too, in Shri Lanka Lakshman gets hit by Shakti from Meghnad and becomes unconscious.  As per advice of Sushian Vaid, Hanuman goes to Himalaya for a herbal medicines. Till Hanuman come back the soldiers and supporters of Rama are shown very eager to know the health of Lakshman and they are also eager whether Hanuman reaches back from Himalaya before morning or not? The supporters of Rama show very noticeable acting of eagerness.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  15/11/2013


              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
Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

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Slumber Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में   निद्रा     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -41

                                    Bhishma Kukreti

             According to Bharat’s Natyashastra, slumber sentiment is demonstrated in drama on the stage by a heavy face, stretching of limbs, rolling of eyes, yawning laziness, deep breathing, relaxing body and closing the eyes.
          Sleep is a natural aspect of human and animals. Sleep may also come after doing tiresome job, heavy alcohol drinking or taking tasty food than the desired ones.
                      I remember a folk drama played by us children in a forest while taking cattle for grazing around 1964-65 in Pureth Danda of Jaspur, Malla Dhangu, Pauri Garhwal. We played a drama when a son in law visits his in law house. The mother in law provides Ghee heavily with meal to her son in law. Due to abnormal Ghee consumption with meal the son in law feels slumber. We did drama that when the villagers visit to meet son in law, the son in law’s eyes were closing before the guests came to see him, was yawning.  The son in law was pinching his body parts to be awakened.  Many times, the son in law used to sleep and suddenly would awake.


Copyright @ Bhishma Kukreti, bckukreti@gmail.com  15/11/2013


              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
Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Slumber Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

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Epilepsy Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  अपस्मार      भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -42

                                    Bhishma Kukreti

             According to Bharat’s Natyashastra, the sentiment of epilepsy should be demonstrated by palpitation of heart, shiver, deep breathing, trembling, running, perspiration, stillness, foaming, licking and so on.
              Epilepsy sentiment is generated due to affect of Brahmrakshas, Bhut, Pishach (evil souls, dead souls, dissatisfied souls). The terror is also felt when a person knows about his bad luck or unfavorable star.
  The Garhwali religious folk songs related to Ancheri stories, Ranbhut are sung in Jagar –Ghadela when there are bad effects of evil souls on the family.
 When a person is affected by Bhut (Chhalyan) the person shows the signs of epilepsy too and Jarkhandi (ritual priest) sings Rakhwali Mantra.
         Many times we children or my teen aged fellows played folk dramas of evil affected person in grazing filed of village Jaspur, Malla Dhangu, Pauri Garhwal, North India.   
  I remember one of the best dramas of ‘Bhut Lagyun Manikh’ played by Sohan Lal Kukreti as affected by Bhut (Chhalyun naunu). Sohan Lal (one of our fellow) played the role of affected by evil soul. He was trembling, some time, his body was stiff, some time, he was wavering, foaming and some time he was grumbling “I will not leave xx fellow, I will take his soul with me  ...  I am thirsty..I am waiting here for hundred years… “. The performance of teen aged Sohan Lal Kukreti was so realistic that we all felt that he was really affected by Bhut or evil soul. 
       Sundar Lal Arya another our fellow boy read the following Mantra as Mantrik
         रौष्वाळी/ रख्वाळी
 ओम नमो बभूत  , माता बभूत  , पिता बभूत 
बभूत तीन लोक तारणि
 ओम नमो बभूत  , माता बभूत  , पिता बभूत 
सब दोष की निवारणी 
इश्वरंन   औणी गौजलि छाणी
अनंत सिद्धों ने मस्तक चढ़ावणी 
चढ़े बभूत नि पड़े हाउ
रक्छा करे आतम विश्वासी गुरु गोर्क राउ
जरे जरे धरेतरी फले, धरेतरी मात गायत्री चरे ,
सुषे सुषे अगनि मुख जले
सया बभूत नौनाथ प्रपूत चढ़े
सया बभूत हंसदा कमल को चढ़े
तिर्तिया बभूत तीन लोक कूं चढ़े
चतुर्थी बभूत चार वेदूं कूं चढ़े
चढ़े पंचमे बभूत पंचदेव कूं चढ़े
हँसान दिखे तुमारु नाऊँ   
आप गुरु दाता तारो, ज्ञान खड्ग ल़े काल मारो
औंदी डैनकणी    द्यालों पातळ
दूष नाचे , सुष बैठे बस कुंवार किकरे माया   
इस पिंड की अमर कया
अमर पिरथवी बजूर की काया 
घर घर गोरख वै कर सिद्धि काया निर्मल निधि
सोल कला स पिंड वाला घट पिंडक गोरक रखवाला
अमर दूदी पीवे   घोर घटे पिंड रखले गोरखवीर
Meaning of This Rakhwali
Oum , I bow to vibhuti  (reverend Ash) mother vibhuti, father vibhuti, protector of all three universe.
Oum , I bow to vibhuti  (reverend Ash) mother vibhuti, father vibhuti, the eradicator of all illnesses and weaknesses
God created you, the accomplished sages put you on their forehead after sieving/purring the ash
Putting this auspicious ash, you don’t feel any kind of fear, the confidence Guru Gurakhnath protects them
By its uses, always, the green earth prosperous, caws graze the grass, the remains of fire is put on the forehead of accomplished saints.
The same auspicious ash is offered on the feet of saints, the auspicious ash is offered to three worlds, auspicious ash is offered to four Vedas, The auspicious ash is offered to five deities. This auspicious ash makes human being as good as immortal. This auspicious ash makes a man strong as Bajra. This auspicious ash kills and sent the dakini to Patal
This auspicious ash is full of sixteen arts and blessing of Grouchier (Guru Gorakhnath)

             When Sundar Lal Arya was reading Rakhwali, he was performing as Mantrik and Sohan Lal Kukreti was acting as affected person by Bhut.

                 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
Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Epilepsy Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

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Dream Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में    सुप्त /सुप्ति    भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -43

                                    Bhishma Kukreti
             A per Yogic philosophy, the Dream is the state of subconscious mind.  Dream is the state between awaken and sleeping.   
 According to Bharat’s Natyashastra, dream should be performed in drama d by deep breaths, dullness, closed eyes, senselessness and talking in sleep.
            There are many religious ritual folk songs in Garhwali wherein dream plays great role to the main story.  There are descriptions and affects of dream sentiments in Garhwali Jagar folklores as Surji Kaunl (edited by Dr S.P. Dabral and published in Khabar Sar newsletter), Jeetu Bagdwal, many rituals songs of Anchheri Jagar, various Mahabharata epic oriented folklores/Jagar.
         The following folk song or Jagar is related to Mahabharata story. In the following song Arjun (one of Pandavas) sees dream and tells his dream to his queen -
गढवाली लोक नाटकों में सुप्ति /सुप्त   भाव
 Dream by Arjun
अर्जुन का सपना


क्या सुपिनो होये मेरो राजा , राति का बिखैमा मेरो राजा।
सुपिनो मा देखे मेरी राणी वसुधरी कोठा मेरी राणी
जैं  राणी को होलो ठै ठै को रंग
कोठायों झुलाया मेरी राणी
स्युंदोळो दिखेन्ड मेरी राणी
धौळी जैसी फाट मेरी राणी
My King! What was the dream?
Arjun replied that I saw in dream
I saw Vasudeva’s fort in dream
I saw her beautiful color in dream
Her Mang  (line left by parting head hair) was plain as Ganga river …
)
  Dream Sentiment shown by Badi and Badan in Garhwali Plays
                   Badi Badan is professional special class-caste of Garhwal and Kumaon. I remember a folk play played by Badi –Badan in Mitrgram , Malla Dhangu, Pauri Garhwal India. I would like to name the dram Nindad Buddi (sleeping old lady). In this drama in one sequence the old lady (played by Badan) talks in dream,” Tain Bwari Khajyat Ayin ch ..meri jithan tain sya bwari bhali amndi ..” . In dream the old lady was criticizing he daughter in law and Jithan (sister in law of her husband).  Badan performed the dream sequence with marvelous effects on audience. Many audience members cried,” ye bwe ini hund supin ma –Oh yes! This happens in dream”     


@ (Folk Song curtseys by Dr. Nand Kishor Hatwal’s Chanchri)

Copyright@ Bhishma Kukreti 19/11/2013

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 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
Dream Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Dream Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Dream Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Dream Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Dream Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Dream Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Dream Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


गढवाली लोक नाटकों में  सुप्त /सुप्ति     भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  सुप्त /सुप्ति     भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  सुप्त /सुप्ति      भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में   सुप्त /सुप्ति    भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में   सुप्त /सुप्ति    भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में   सुप्त /सुप्ति    भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में  सुप्त /सुप्ति      भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  सुप्त /सुप्ति      भाव;

 

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