Author Topic: Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा  (Read 18101 times)

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
Awakening Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में   विबोध    भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -44

                                    Bhishma Kukreti

                 Awakening means downing the alcohol or addiction effect, coming to reality and remembering the event. Many times, a person is deeply focused on a thought and comes to point of awareness by disturbance. In the position of awakening, person does many acts.
          According to Bharat’s Natyashastra (7/76), awakening sentiment in drama is demonstrated by yawning, rubbing the eyes, leaving the bed etc.
                    There are many examples of awakening sentiment in Garhwali folk drama or community ritual dramas.
 There are two scenes of awakening sentiment in the following folk song or Jagar a religious ritual song of Arjun Vasudatta love story. In the following poetic folk drama, first the dream or subconscious mind or sleep sentiment is shown and then awakening sentiment is shown.
          पंडो नृत्य - अर्जुन वासुदत्ता प्रेमगाथा  में   विबोध    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

 In the above folk song समळीक मुखड़ी वींकी अर्जुन घड्याण बिसे गे and
जैन्तिवार मा दुरपदा की निंद खुले , अर्जुन की सेज देखे वीन कख गये होला नाथ ,जांदी दुरपदा कोंती मात का पास
are the example of awakening sentiment examples.


 
 Awakening Sentiment in Poetic Prose Folk Drama performed By Badis

                 I remember a folk drama played by Badis in village Jaspur, Malla Dhangu, Pauri Garhwal, India around 1964-65. In this drama) would call it E Bwe daru pilai de) a boy was sleeping and when he awoke he was yawning and rubbing eyes etc. he called his mother and asks through song
माँ - हूं टुंड ह्वेक इनी गंदा झूलों मा से गए छे.  अर अब क्या छे दुफरा मा आँख उफारणि ?
नौनु (बिजद बिजद ) - ये ब्वे तु मै दारु पिलै दे,  दारु पिलै दे
तैन बि पे वैन बि पे तु मै दारु पिलै दे
Copyright@ Bhishma Kukreti 20/11/2013

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


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

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
Indignation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में   अमर्ष     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -45

                                    Bhishma Kukreti

                        Indignation means righteous anger.  When a more intelligent, more prosperous person or powerful in nay character insults another person the second person feels indignation or righteous anger.
         According to Bharat’s Natyashastra (7/77), indignation sentiment is performed by shaking head, perspiration, thinking, reflecting, with dejected face, showing determination while working , looking, for a way out , for help and so on.

             Indignation Sentiment in Garhwali Prose Folk Drama
           I remember a folk drama played by us children in a Grazing field Mithal hill of Jaspur, Malla Dhangu, Pauri Garhwal around summer of 1968-69.             
एक गढवाली नाटक में  अमर्ष    भाव
जवान ग्राम प्रधान -क्या भै काऴया ! क्या चयाणु च ?
अड़बुडेड़ काऴया- प्रधान बेटा ! एक सटिफिकेट  चयाणु च
ग्राम प्रधान - सूण ! काका बाड़ा ड्यारम हूंद . क्यांक सटिफिकेट ?
काऴया - म्यार नौनु किलास  मा फस्ट आयि।  गरीबी सटिफिकेट चयाणु च।
ग्राम प्रधान बेइजती करणो भाव मा - हूँ ! अबे त्यार नौनु कथगा बि नंबर लै जालु।  करण त वैन मजदूरी ही च।  अबि जा भोळ ली जै सटिफिकेट ....
काऴया (भैर जांद जांद , गुस्सा मा  स्वत:  ) - मी  बि अपण बुबाक  काऴया नी छौं जु मि अपण नौनु तैं बीए पास नि करौं !



                        Indignation sentiment in Garhwali Ritual Folk Song

              गढवाली जागर (लोक नाटकों / लोक  गीतों)  में   अमर्ष     भाव
 There are many Jagar in Garhwali and Kumaoni where in between the sentiment of indignation is shown. At the time of singing folk song and performing Ghadela ritual, the Jagari also acts as if he is feeling indignation sentiment.   
When the story of   sequence “  Binta was sad as her step son Bhanupankhi (son of Kadru) informed in past that the color of Sun Chariot was white” come the sentiment of indignation is clear.
 कद्रू और बिनता की लोकगाथा में अमर्ष भाव   

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 21/11/2013

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


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

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में    अवहित्थ     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -45

                                    Bhishma Kukreti

                According to Bharat’s Natyashastra (7/79); dissimulation sentiment is demonstrated in drama by irrelevant talk, looking down, broken speech and pretended patience
        Dissimulation sentiment in drama is to show the deceptive quality of a character. To show dissimulation characters the performer changes the subject of talk immediately, speaks differently or irrelevant talks.
          I remember a mini Garhwali folk drama played by Badi-Badan in Jaspur, Malla Dhangu, Pauri Garhwal, North India in the month of Chait (15th March-14th April) in 1964-65. 
                     एक गढवाली लोक नाटक में अवहित्थ     भाव
 पंडी जी (व्यासपीठ से ) - सुणो ! चोरी करण माहापाप च। चोरी करण से नरक मिल्द ।
एक शिल्पकार (दर्शक दीर्घा से भैर  )- पण पंडी जी परसि त तुम गलादार  जीक मूळा चुराणा छया। 
पंडी जी ( इना उना दिखद )- ऊँ ऊँ  …मूळा … की चोरी चोरी नि बुले जांद। चलो अब कृष्ण सद्भामा विवाह की कथा सुणो
   In this mini drama a Pundit is preaching about the sins of theft. Suddenly a Shilpkar reminds the Pundit that day before Pundit Ji was stealing radish from village council chief.
Pundit replies that stealing radish is not theft. The role of Pundit was played by a Badi was marvelous in showing the sentiment of dissimulation. Performer (Badi) was able to show concealing the intensions. 
  Badis (a professional class –caste) were great dramatists to show the negativity in the society.


Copyright@ Bhishma Kukreti 22/11/2013

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




Notes on Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, Uttarakhand; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, Himalaya; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, North India; Dissimulation Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Garhwal South Asia
गढवाली लोक नाटकों में अवहित्थ   भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  अवहित्थ भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  अवहित्थ  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में अवहित्थ   भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  अवहित्थ  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  अवहित्थ  भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में    अवहित्थ भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   अवहित्थ भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
Violence Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  उग्रता      भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -47

                                    Bhishma Kukreti
                  According to Bharat’ Natyashastra (7/80), violence sentiment is shown in acting killing, arresting, beating and rebuking.
  Usually, violence sentiment is generated in drama when somebody deceives, does crime, tells lie that is harmful, and the person wishes to correct the person or wants to rebuke.                 
               There many religious ritual folk songs (Jagar) where in the sentiment of violence is shown effectively. The violence sentiment is found in Jagar of Ranraut, Kaintura, Hari Hindwan , Abhimanyu Baja, Bhim Baja etc .
  The drama ‘Kamalvyuha or Jayadrath Vadh’ based on folk drama created by Dr. D.R. Purohit; R. Bhatt team has violence sentiment in a couple of scene. One scene is best example of violence, when Arjun comes to know that Kaurava killed his son Abhimanyu and Jaydratha pushed dead body of Abhimanyu by foot, Arjun took a vow to kill Jayadratha before sun set.
In the following religious folk song (Jagar) there is sentiment of violence too –
  पंडो भीम रिन्गौण को लोकगीत : या भीम बाजा नाच -गान में उग्रता के भाव
बाला दैणी होई जैन तेरी
दैणी होई जैन त्यरी वा सौ मण कि गदा
परतिज्ञा को दानि बाला
सौ मन कि गदा वाला तेरी होली नौ मन कि ढाल
बाला जंगलूं जंगलूं बाला
भाबरु भाबरु तुमकू रै गेन भारत पियारा
डाल़ा को गोळ हिलैकी बाला
डाल़ा मा बैठयाँ कौरौ कि पटापट पतगे लगाई दिने
चांदी छैला चौक मा बाला
नौ खारी रीठों को मेरा जोधा पिसम्यल्लो बैण याल़े
सौ मन का गोला भीम रे जोधा
सर्ग चूलेने असी असमान अपतां फेंकने हाथी
पर मेरा बाला. भीमसेण जोधा
 
 In this song the singer (Aujee) narrates the big strength of Bhima as he has a club of hundred tons, the shield weighing nine tons, as soon as Bhima comes in the battle Bhima kills Kauravas as radish, when by fear Kauravas climb on trees, Bhima shakes the trees and Kauravas fall down. Bhima throws elephants into the sky and nobody knows where elephants have gone. 

Copyright@ Bhishma Kukreti 24/11/2013

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
Notes on Violence Sentiment in (South Asian region) Garhwali  Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays; Violence Sentiment in (South Asian region) Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal; Violence Sentiment in (South Asian region) Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal; Violence Sentiment in (South Asian region) Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal; Violence Sentiment in (South Asian region) Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal; Violence Sentiment in (South Asian region) Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal(South Asian region); Violence Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal(South Asian region); Violence Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal(South Asian region); Violence Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, Himalaya(South Asian region); Violence Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays from Garhwal North India(South Asian region);
गढवाली लोक नाटकों में  उग्रता भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में   उग्रता भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में    उग्रता भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में    उग्रता भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में   उग्रता  भाव;पौड़ी गढ़वाल के गढवाली लोक नाटकों में    भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में   उग्रता भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में    उग्रता भाव;

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
Resolution Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  मति      भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -48

                                    Bhishma Kukreti
            Mati in Bharat Natyashastra means to take appropriate decision after thorough analysis of concept or matter from the bases of old knowledge and experiences.
        According to Bharat’s Natyashastra, resolution should be demonstrated in stage plays by preaching, sacred speech, explaining and clearing doubts etc.
  There are many instances of resolution in Garhwali folk drama especially religious stories etc.
 There is very important ritual among Uttarakhandi called ‘Saptah’ or Shrimad Bhagvat Puran ‘. The Vyas or Preaching priest tells various preaching stories from Shriamd Bhagvat a Sanskrit epic.
                    The following folk song is sung by Dalya Guru (a Caste in Garhwali related to Nath sect) while roaming village to village. Dalya Guru sings the poetic story of Guru Gorakhnath, Bhartihari, Gopichand etc and playing Ektara. The following folk song is from one of folk songs sung by  Dalya Guru  dramatically is one examples of resolution in Garhwali folk drama.

गढवाली लोक नाटक में मति    भाव  (Dalya Lokgeet  )

ऋद्धि  को सुमिरों सिद्धि को सुमिरों सुमिरों सारदा माई।
अर  सुमिरों गुरु अविनाशी को , सुमिरों कृष्न कनाई।
सदा अमर नि रैंदी धरती माता , बजर पड़े टूट जाई।
अमर नि रैंदा चंद , सुरजि छुचा , मेघ घिरे छिप जाई।।१।।   
माता रोये जनम कूं , बहिन रोये, बहिन रोये छै मासा।
तिरिया रोये डेढ़ घड़ी कूँ , आन करे घर बासा।।२।।
कागज़ पतरी सब कुई बांचे करम नि बांचे कुई।
राज घरों को राजकुंवर , बुबा करणी जोग लिखाई।। ३ ।।
सुन रै बेटा गोपीचंद जी बात सुनो चित लाई।
कंचन कया , कंचन कामिनी मति कैसे भरमाई।।  ४।। 
अलख निरंजन अलख निरंजन, सुन रे बेटा गोपीचंद जी बात सुनो चित लाई।
अलख निरंजन , अलख निरंजन जपो रे भाई , हो भव सागर पार

 Remember Riddhi and Siddhi, Remember Sharda goddess
Remember Guru Avinasi , remember Krishna Kanhahi
The earth is not immortal, breaks on cloud bursting
Sun and Moon are not immortal, Clods cover them
Mother weeps for ever for her dead child, sister shows grief for six months
Wife grief for one and half hours.
Anybody can read written on paper but nobody can read luck or future
The prince had to become sage
O Gopichand! Take the words by heart and be Sanyasi
Why the external world is deceiving you ?
Alakh Niranjan, Alakh Niranjan …..



 

Copyright@ Bhishma Kukreti 25/11/2013

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

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


Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
Disorder Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  व्याधि   भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -48

                                    Bhishma Kukreti

                    According to Bharat’s Natyashastra (7/82), the disorder sentiment in drama is demonstrated by distorting the face, body dullness, heavy breathing, crying, trembling etc
           There many Garhwali folk songs about rituals those are performed by communities discuss about disorder.
 The following Garhwali Mantra discuss about disorder –
  घुणद (दांत का दर्द )  मिटाने का मंत्र तन्त्र Mantra for reliving from Toothache

श्री गणेशाय नम : अथ घुणदा कीड़ा गाडण को मंत्र , ॐ नमो गुरु जी को आदेस , माता पिता गुरु देवता को आदेस. चल धरती को उपर आकास को आदेस चन्द्र सूर्य पौन प्राणी कु आदेस मादेव पारबती को आदेस . गुरु तो गोरखनाथ मछिन्द्र्नाथ को आदेस. झड़ कीड़ा , झड़ कीड़ा दांत का द्न्तेला विष कीड़ा झड़ नी तो महादेव पारबती का सत की दुबै . फोर्मन्त्र इश्व्रोवाच २१ बगत उड़द चौंळ मंत्री क खन्क्वाळ मारणी धडेक मा थुकाइ देणी   , शुभ मंत लाग जंत्र

Sankaracharj Vidhi Mantravali and Opposing Devilish Mantriks by Nathpanthi Mantriks

                        लोचडा लोचड़ी  को रोकने  हेतु सन्कराचार्ज विधि मंत्र


 Sankaracharj vidhi is a Nathpanthi mantra .  Sankaracharj vidhi  is about telling that at the time of before Nathpanthi time there were Brajyani Tantrik who with their mantras create various types of diseases such as Lochada (an epidemic as cholera or Small pox . In Lochada,  bleeding happens and the whole area population is effected by disease that after Lochda no humanity is alive in the area) fever, leprosy , Charansi Cheda, and hundreds of diseases (Vithya)
     In Sankaracharj vidhi Mantra , there are mentions of methods of herbal medicines production and methodology to cure Lochada epidemic disease .The herbal plants are kali tulsi, kala vish, hartal, yekula veer root, rataguli etc with water of seven sources and many plants .
   the Mantra also tells the historical aspects of Mantrik who used to spread Lochada disease by their devilish Mantras as
         धोगी मसाण की राणी जिमला भई . जिमला राणी की पांच कन्या जन्मी . पैल की जेटी बैण खड्ग चंडाली भई. दोंसरी बैण अगणि भई . तीसरी बैण कालंका भई . चौथी बैण सीतला भई . पांचो बैण  पितला भई . छठी बैण राम चंडाली भई. खड्ग चंडाली को पुत्र लोचडा भयो. अग्नि की सस्त्र ज्वाला भई . कालंका को चौरासी चेड़ो भयो . सीतला को चौरासी रोग भयो . पितला को सात कोष्ठ भयो . राम चंडाली को सस्त्र विथा भयो
    In this mantra the creator provided the names of diseases and indicates the reason of diseases too (mother)


 गढवाली लोक नाटक में व्याधि भाव
   A Prose –poetic Garhwali Folk Drama showing Disorder Sentiment

 यह नाटक हम बच्चों /युवाओं ने जसपुर, मल्ला ढांगू , पौडी गढ़वाल के भटिंडा डांडा में  1968-69 खेला था।
रोगी (पीड़ा से बिलखते हुए ) - ए ब्वे मोरि ग्यों।  शूल पीड़ा हूणी च। ब्वे असह्य पीड़ा ! मोरि ग्यों
रोगीक ब्वे -फिकर नि कौर।  हम कुछ ना कुछ करला।
रोगी (रुंद ) -अबि कुछ कौर
ब्वे -त्यार  काका तैं पुछेरम भेज्युं च
काका - मि पुछेर बिटेन पुछि ऐ ग्यों।  बकीन बोल बल नागराजा द्वाष च।  नागराजा को घड्यळ धरण पोड़ल।
ब्वे- ठीक च आजि रात नागराजा को घड्यळ धौरि दींदा।  जा जागरी जी तैं सुचना दे दे।
रोगी  (किरांद -किरांद ) - अरे वैद जी तैं बी बुलावो
अंत में हमने नागराजा का जागर गाया था और नाचे थे।

   In the year 1968-69, we children played a folk drama in Bhatinda forest of village Jaspur, Malla Dhangu, Pauri Garhwal showing sentiment of disorder.
 First we showed patient
Patient (acting as if the person is facing severe stomach pain) – O mother! The stomach pain is unbearable, Oh mother! Now, ache is just to kill me. Oh God! Relive from this pain.   
Mother – Don’t worry we shall do something
Patient (crying) – Do just now,
Mother – I have sent your uncle to ask the future teller.
Uncle- Bau Ji- I just came from future teller. The future teller said that we have to perform Nagraja Ghadela
Mother – Well, call Jagri Ji and today in night, we shall perform Nagraja Ghadela
Patient (crying and changing sides) - Call doctor too.
At the end of this scene we performed Nagraja Ghadela folk ritual, sang the Nagraja Jagar and danced.

Copyright@ Bhishma Kukreti 26/11/2013

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


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

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
 Insanity Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  उन्माद   भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -50

                                    Bhishma Kukreti

                 According to Bharat’s Natyashastra (7/83), insanity sentiment is demonstrated by laughing, weeping, crying, irrelevant talk, lying down, sitting and engaging in such other abnormal activities.
            I remember a folk drama played by us at our teen age around 1968-69 in Nau forest hill, Village Jaspur, Malla Dhangu, Pauri Garhwal (UK) while grazing the cattle.
           One of a boys Shatrughna Prasad Jakhmola played the role of a person who was affected very badly (Bhut Lagana) by evil soul. As soon as Shatrughna was affected by Bhut (evil soul) he started jumping and sitting, lying down. He was crying, was suddenly became silence and talking irrelevantly.
             I also remember a folk drama played by Badis in Mitragram village, Malla Dhangu, Pauri Garhwal. There was scene of theft of jewelry from a poor farmer. The Badi who was performing the role of poor fellow was acting as if the man becomes mad. He was crying, laughing and running here and there.

Copyright@ Bhishma Kukreti 27/11/2013

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


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

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
 Death Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  मरण   भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -51

                                    Bhishma Kukreti

               According to Bharat’s Natyashastra (7/8), death sentiment is performed in drama by loose body, motionlessness, closed eyes, hiccups, unnatural breathing, vacant looks towards relations and indistinct speech.
          Two types of deaths are shown in Garhwali folk dramas. First death is shown by disease, While second type of death is shown by taking poison, snake bites, , killing by wild animals, accidents  or by weapons.
          I remember a folk drama played by us in our teen age in Layed ka Dand in Jaspur village, Malla Dhangu, Pauri Garhwal in 1969-1970 while we took cattle for grazing there. 
               The folk drama was about taking the dead body to cremation Ghat (bank of Ganga).Before the procession of dead body to Ghat a person dies by disease. The boy who died in the drama by disease showed many acts of dying by disease as closing eyes, trying to tell his eldest son to look after his mother and infant brother, hiccups and deep last breath etc.
          Mostly, Badis show entertaining dramas.
         There many folk dramas of folklores wherein death sentiment is shown. For example, all Ran Bhut, all folk songs related to religious Jagar of Hantya show death sentiment.
       The folk drama Chakravyuha created by Dr. D.r.Purohit or by Dr. Rakesh Bhatt from Shrinagar Garhwal is one of the best examples of showing death by weapons. In this folk dram Abhimanyu’s death is shown by weapon killing.


Copyright@ Bhishma Kukreti 29/11/2013

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

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok swangun ma rasa ar Bhav , Chithipatri
Xx
Death Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Death Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Death Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, Death South Asia; Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Death Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Death Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Death Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Death Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
Terror Sentiment in Garhwali Folk Dramas, Folk Rituals, Community Theaters and Traditional Plays

                   गढवाली लोक नाटकों / लोक  गीतों में  त्रास    भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -52

                                    Bhishma Kukreti

              According to Bharat’s Natyashastra (7/90), terror sentiment is performed in drama by contraction of limbs, paralysis, horripilation, chocking of voice, and irrelevant speech.
 The terror is generated by falling of sound of cloud bursting, stars, electric glow in the sky.
                     The women in Garhwal play folk drama in the Geetun maina or Chait month (Song-Month 15th March- 14th April) in the night. This author had experience of Garhwali women showing terror sentiment in their own created dramas.
         I remember one drama created and played by village women of Jaspur, Malla Dhangu, Pauri Garhwal India. In the next scene there was a death of a woman at the time of childbirth. Before that death scene, in the drama scene was the women were talking about falling of starts and comet, there were crying of foxes. The scene of drama played by women was terror some.

गढवाली लोक नाटक में त्रास    भाव
( पैल  एक जनानी स्वील हूणो नाटक चलद  )
 भैर एक स्त्री - ये भुलि मि तैं अण भरवस लगणु च।  मीन उ एक गैणा टुटद द्याख
दुसरि - सि सूणि लेदी ! स्याळ बि फ्योड जन बासणा छन।


  There are many instances of terror sentiment in Garhwali religious folk songs (Jagar) as in Ranbhut, Krishna birth, Anchheri, Abhimanyu vadh,  Jagar etc. hearing the description of terror situations in the folk songs many soft hearted people start weeping in Jagar of Ghadela

Copyright@ Bhishma Kukreti 30/11/2013

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

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok swangun ma rasa ar Bhav , Chithipatri
Xx
Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Terror Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 17,093
  • Karma: +22/-1
                          Emotional Sentiments in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  गीतों में  सात्विक    भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -54

                                    Bhishma Kukreti
 According to Bharat’s Natyashastra, (7/94); the eight emotional sentiments are – stunning, Sweat, Choking of Voice, Thrill, Trembling, Change of facial complexions, Tears and Fainting.
 Bharat’s Natyashastra (7/93) explains that the mind is known as ‘Satwa’ in the histrionics. The emotional sentiment can’t be performed without empathy between mind and the performer.
                  In Garhwali folk dramas, there are emotional sentiments in each drama. In the future chapter,  the author will explain with example for each emotional sentiment in Garhwali folk drama.


Copyright@ Bhishma Kukreti 3/12/2013

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

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok swangun ma rasa ar Bhav , Chithipatri
Xx
Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Emotional Sentiments in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;


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

 

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