Author Topic: Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा  (Read 24956 times)

Bhishma Kukreti

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Stunning Emotional Sentiments in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  गीतों में  स्तम्भ    भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -55
                                   Bhishma Kukreti

                According to Bharat’s Natyashastra (7/101), the stunning emotional sentiment is demonstrated in a drama by performing by being still, motionless,, without sense, and by stiffening the body.
  There are instances of demonstration of stunning emotional sentiment in various Garhwali folk dramas as in Ramayana play or in many Jagar folk Songs.
   In Ramlila, Dashrath becomes stunned after fulfilling his promise to order his elder son Rama for exile for fourteen years.
            In Bhanu Bhopalu, a Ranbhut Jagar (folk drama)  or religious ritual folk song , there is an event of stunning emotional sentiment.
भानु भोपालो रणभूत   जागर में स्तम्भ भाव

Stunning Emotional Sentiments in Bhanu Bhopalo Ranbhut Jagar a Garhwali Folk Dramas

भानु भोपालो स्वर्गवास होये
xxx
 मलासदी सेयीं मुखड़ी वीं की माता -
हे  बेटा , मेरा कसूर नी


Copyright@ Bhishma Kukreti 4/12/2013

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


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

Bhishma Kukreti

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                      Rapture of Love by Union in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  गीतों में    श्रृंगार रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -56

                                    Bhishma Kukreti
 According to Bharat’s Natyashastra (6/45), the rasa or Rapture of love is pure with pious soul, bright and delight of character. The rapture of Love is pure with noble and magnificent demonstrated by means of affection between male and female of active age. The Rapture of Love has two forms
1-Union or Sambhoga Shringar Rasa or Rapture of Love by Union 
2-Vipralambha Shringar Rasa or Rapture of Love by Separation
 The Love Rapture by Union is generated by determents as the soothing effect of season, the enjoyment of garlands, ointments, company of dearly loved  person and objects, by worthy use of chambers, walking in garden, enjoying and seeing the beloved, hearing sweet words, playing and allying with companion .
The following folk –dance –song (Jagar) provide best example of Rapture of love
  गढ़वाली लोक नाटकों में संयोग श्रृंगार रस

 सुपीना माँ देखे वैन स्या ध्यानमाला
देखे वैन बर्फानी कांठो ,
बरफानी काँठा देखे , ध्यानमाला को डेरो
चांदी की सेज देखे , सोना का फूल
आग जसी आँख देखी , दिवा जसी जोत
वाण सी अरेंडी देखि , दई सी तरेंडी
नौण सी गळखी देखी फूलूं सी कुटखी
हिया सूरज देखे पीठी मा चंद्रमा
मुखडी को हास देखे मणियों कू परकाश
कुमाळी  सी ठाण देखे सोबन की लटा
(कालू भंडारी रण  भूत मृत्य गीत  संदर्भ -डा शिवा नंद नौटियाल )



Copyright@ Bhishma Kukreti 7/12/2013

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
Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में संयोग श्रृंगार  रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में   संयोग श्रृंगार  रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;चमोली गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार   रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   संयोग श्रृंगार  रस;

Bhishma Kukreti

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  Rapture of Love by Union in Garhwali Folk Dramas

 

                   गढवाली लोक नाटकों / लोक  गीतों में    श्रृंगार रस

 

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -56

 

                                    Bhishma Kukreti

 According to Bharat’s Natyashastra (6/45), the rasa or Rapture of love is pure with pious soul, bright and delight of character. The rapture of Love is pure with noble and magnificent demonstrated by means of affection between male and female of active age. The Rapture of Love has two forms

1-Union or Sambhoga Shringar Rasa or Rapture of Love by Union 

2-Vipralambha Shringar Rasa or Rapture of Love by Separation

 The Love Rapture by Union is generated by determents as the soothing effect of season, the enjoyment of garlands, ointments, company of dearly loved  person and objects, by worthy use of chambers, walking in garden, enjoying and seeing the beloved, hearing sweet words, playing and allying with companion .

The following folk –dance –song (Jagar) provide best example of Rapture of love by union

  गढ़वाली लोक नाटकों में संयोग श्रृंगार रस

 सुपीना माँ देखे वैन स्या ध्यानमाला

देखे वैन बर्फानी कांठो ,

बरफानी काँठा देखे , ध्यानमाला को डेरो

चांदी की सेज देखे , सोना का फूल

आग जसी आँख देखी , दिवा जसी जोत

वाण सी अरेंडी देखि , दई सी तरेंडी

नौण सी गळखी देखी फूलूं सी कुटखी

हिया सूरज देखे पीठी मा चंद्रमा

मुखडी को हास देखे मणियों कू परकाश

कुमाळी  सी ठाण देखे सोबन की लटा

(कालू भंडारी रण  भूत मृत्य गीत  संदर्भ -डा शिवा नंद नौटियाल )

 

 

 

Copyright@ Bhishma Kukreti 7/12/2013

 

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

Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Rapture of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Rapture  of Love by Union in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में संयोग श्रृंगार  रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में   संयोग श्रृंगार  रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार  रस;चमोली गढ़वाल के गढवाली लोक नाटकों में  संयोग श्रृंगार   रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   संयोग श्रृंगार  रस;

Bhishma Kukreti

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Rapture of Love by Separation in Garhwali, South Asian Folk Dramas 

                   गढवाली लोक नाटकों / लोक  गीतों में  विप्रलम्भ   रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -57

                                    Bhishma Kukreti

              According to Bharat’s Natyashastra (6/45), there should be performances of anxiety, sigh, lassitude, weariness, in showing rapture of love by separation.
             There are many folk songs (religious ritual folk songs) and social or community folk songs and drama showing the rapture of love by separation.

 Examples of Rapture of Love by Separation in Garhwali, South Asian Folk Dramas 

             फूली जाली कांस: गढ़वाली खुदेड गीत
                 Fuli gen Kansa:   A Garhwali Sad Folk Song, Drama
 
      फूली जाली कांस ब्व़े , फूली जाली कांस
      मेल्वडी बासली ब्व़े , फूली गे बुरांस
      मौळी गेन डाळी ब्व़े , हैरी ह्व़े गेन डांडी
     गौं कि दीदी भूलि मीतु आई गेना
        निमैतुड़ी  ब्व़े तरसणी होला
(सन्दर्भ डा शिवा नन्द नौटियाल , गढवाली जन मानस पृष्ठ ४६ )
  Kans will get blossoms, kans will get blossom
Melwadi bird will sing,
 Rhododendron got blossom
Trees got new leaves , hills became green
 Elder Sisters, younger sisters might have come to parents home
Those who don't have parents will feel sadness (due to homesickness)

 उल्यारी मैनो की.. Ulyari Manina Ki (The Spring Month)
By Bhajan Singh ‘Singh’
(भजन सिंह सिंह  की 'खुदेड बेटी' से साभार )
 Poush month (December January) is the month that married girls used to visit their Mayaka (parent’s home/village) . The spring season also brings the memory of their Mayaka for married women when their husbands are away. In this circumstance, , married women remember their parent’s village
 The following pathetic song is all about remembering the Mayaka and also husband by a married woman.
 
उलरी मैनों कि ब्व़े , ऋतू बौडि गे
हैरी ह्व़ेने डांडि , फूल फूली गैने
घुघती घुरलि  ब्व़े , डाळयूँ डाळयूँ  मांजअ
मैतुडा बुलालि ब्व़े , ब्वेई होली जोंकी
मेरी जिकुड़ी म ब्व़े , कुयड़ी   सी लौंकी
      लाल बअणि होली ब्व़े , काफूळ कि डाळी 
      लोग खांदा होला ब्व़े , ल़ूण राळी राळी
     गौं कि दीदी-भूलि ब्व़े, जंगळउं मा जाली
     कंडी कंडी भोरि भोरि ब्व़े , हिसर बिराली
     बाडुळी लागलि ब्व़े , आग भभराली
     बोई बोडि होली ब्व़े, मैत आली-आली
    याद औंद मीतैं ब्व़े , अपड़ा भूलौं की
    मेरी जिकुड़ी म ब्व़े कुयड़ी सि लौंकी
 ल्हाली कुरो गाडिब्वे , गौं कि बेटी ब्वारी
 हैरी भरीं होली ब्व़े , गेउं  जौ कि सारी
यूँ बार मैनों कि ब्व़े, बार ऋतू आली
जौंकि बोई होली ब्व़े , मैतुड़ा बुलाली
मैतु ऐई गे होली ब्व़े , दीदी-भूलि गौंकी
मेरी जिकुड़ी म ब्व़े कुयड़ी सि लौंकी
    स्वामी जी हमेशा परदेश रैने
    साथ का दगड्या ब्व़े , घर आई गैने
    ऊंको प्यारो ह्व़े गे ब्व़े, बिदेसो कु वासअ
   बाठा देखी देखी ब्व़े, गेनी दिन मॉसअ
   बाडुळी लागलि ब्व़े , आग भभराली
 या त घअर आला ब्व़े , या त चिठ्ठी आली
The enthusiastic month (spring) has come back, O mother!
Hills became green, flowers are blossomed, O mother!
Ghughti bird started warbling on the tress, O mother!
Those who have mothers, they would be  invited by mothers, O mother!
The cloud sparked  on my heart, O mother!
The kaful tree would have become red
The people would be taking Kaful fruits with salt, O mother!
The elder and younger sisters would be going forest, O mother!
They will bring full of baskets by Hisar fruits from forest, O mother!
There will be hiccups, fire will make noise, O mother!  (These are symbols of some body remembering
I remember brothers very badly, O mother!
The cloud sparked on my heart, O mother!
The daughters and daughter in laws would throw prickles, O mother!
The wheat and barley fields would be green, O mother!
The twelve seasons will come for twelve months, O mother!
Those who have mothers, they would be invited by mothers, O mother
The married sisters would have come to their maitu (parent’s village)
The cloud sparked on my heart, O mother!
The husband, has always, been away to foreign place, O mother!
The mates of husband have come back to their homes, O mother!
My husband loves foreign place, O mother!
I have been waiting for him for days, for months, O mother!
There will be hiccups, fire will make noise, O mother! 
Husband either will come home or his letter will come, O mother! 
 



Copyright@ Bhishma Kukreti 13/12/2013

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
Notes on Rapture of Love by Separation in Garhwali, South Asian Folk Dramas; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Malla Dhangu Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Gangasalan Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Lansdowne Tehsil Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Uttarkashi Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Dehradun ,Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Chamoli Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Rudraprayag Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Pauri Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Tehri Garhwal; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Haridwar; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Garhwal, Himalaya; Rapture of Love by Separation in Garhwali, South Asian Folk Dramas from Garhwal, North India;   

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            Rapture of Humor in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  गीतों में  हास्य -व्यंग्य   रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -58

                                    Bhishma Kukreti

           According to Bharat’s Natyashastra, the humor rapture creates laughter by wearing unusual ornaments, ill-mannered or uncouth behavior, words, dresses and strange movements of body. The deity of Humor rapture is Pratham dev.
          The Badis used to perform various humorous prose drama, prose and poetic dramas or poetic dramas in villages.
                   The villagers use to play dramas by playing humorous folk songs too as follows –

              रवाँल्टी के हास्य -व्यंग्य लोक गीत
 




पाणी भरी बाल्टी
द्वी सैण्यूं कू रसिया आफुइ बणा खाणू


That man who has two wives
The man has to clean his vessels his own
The man has to cook his food his own
xx      xxx

पारी धरौंदु क्वा टट्याणु
मुई तकी बुए बट्याणु     
O Mom! I thought it is crow but he was father who was calling


Copyright@ Bhishma Kukreti 14/12/2013

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
 (सन्दर्भ: महावीर रंवाल्टा, 2011, उत्तराखंड में रंवाइ क्षेत्र के लोक साहित्य की मौखिक परंपरा, उदगाता, पृष्ठ 48- 56 ) 
Xx
Rapture of Humor in Garhwali folk Dramas; Rapture of Humor in Garhwali folk Dramas from Malla Dhangu Garhwal; Rapture of Humor in Garhwali folk Dramas from Gangasalan Garhwal; Rapture of Humor in Garhwali folk Dramas from Lansdowne Tehasil Garhwal; Rapture of Humor in Garhwali folk Dramas from Ravain Garhwal; Rapture of Humor in Garhwali folk Dramas from Jaunpur Garhwal; Rapture of Humor in Garhwali folk Dramas from Jaunsar Garhwal; Rapture of Humor in Garhwali folk Dramas from Dehradun Garhwal; Rapture of Humor in Garhwali folk Dramas from Haridwar; Rapture of Humor in Garhwali folk Dramas from Chamoli Garhwal; Rapture of Humor in Garhwali folk Dramas from Uttarkashi Garhwal; Rapture of Humor in Garhwali folk Dramas from Rudraprayag Garhwal; Rapture of Humor in Garhwali folk Dramas from Tehri Garhwal; Rapture of Humor in Garhwali folk Dramas from Pauri Garhwal; Rapture of Humor in Garhwali folk Dramas from Garhwal, Himalaya; Rapture of Humor in Garhwali folk Dramas from Garhwal, North India; Rapture of Humor in Garhwali folk Dramas from Garhwal, Asia;


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          Rapture of Chivalry in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  गीतों में वीर  रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -59

                                    Bhishma Kukreti

       According to Bharat’s Natyashastra, the rapture of chivalry is produced by means of energy, perseverance, absence of surprise, presence of mind, and such similar conditions of the mind.
         There are tens of poetic folk dramas or ritual folk songs (Jagar) in Garhwali language and Kumaoni languages.

           तीलू रौतेली रण भूत जागर

The folk song /Folk drama  (Jagar) related to great woman warrior Teelu Rauteli of Garhwal if very famous. There is confusion among cultural historians about the period of Teelu Rauteli. A few cultural historians suggest her time around 1380AD. A few cultural historians advocate her time around eighteenth century. 

(लोक गाथा वीर-वीरंगनाएं  गाथा : भडौ , कटकू, भड़वळि  या पांवड़ा, जागर )
         डा शिवानन्द नौटियाल के अनुसार , "   वीरांगना  तीलू रौतेली गढवाल कि झांसी कि राणी कहलायी जाती है . तीलू कि याद में रण भूत नचाया जाता है . जब तीलू रौतेली नचाई जाती है तो अन्य बीरों  के रण भूत /पश्वा जैसे शिब्बू पोखरियाल, घिमंडू हुडक्या, बेलु -पत्तू सखियाँ , नेगी सरदार आदि के पश्वाओं को भी नचाया जाता है . सबके सब पश्वा मंडांण   में युद्ध नृत्य के साथ नाचते हैं"
                   ओ कांडा का कौथिग उर्यो
                   ओ तिलु कौथिग बोला
                   धका धे धे   तिलु रौतेली  धका धै धै 
                  द्वी बीर मेरा रणशूर ह्वेन
                   भगतु पत्ता को बदला लेक कौतिक खेलला
                 धका धे धे तिलु रौतेली धका धै धै
                 अहो रणशूर बाजा बजी गेन रौतेली धका धै धै
                बोइयों का दूध तुम रणखेतु बतावा  धका धै धै
                तीलु रौतेली ब्वादा रणसाज सजावा धका धै धै
                इजा मैणा यूं बीरूं टीका लगावा , साज सजावा ,धका धै धै
                 मै तीलु  बोदू जौंका भाई होला , जोंकी बैणि होली
                                                 ओ रणखेत जाला धका धै धै
                 बल्लू प्रहरी टु मुलक जाइक धाई लगै दे धका धै धै
                                           बीरों के भृकुटी तण गे धका धै धै
                                           तीलु रौतेली धका धै धै
                ओ अब बूड़ी सलाण नाचण लागे धका धै धै
                 अब नई जवानी आइगे धका धै धै
                 बेलू देबकी द्वी सखी संग चली गे धका धै धै
                 ओ खैरा गढ़ मा जुद्ध लगी गे धका धै धै
                  खड़कु रौत तखी मोरी गे  धका धै धै
                                       तीलु रौतेली धका धै धै
                   ओ काण्ड को कौतिक उर्यो गे धका धै धै
                   तीलु रौतेली तुम पुराणा हथ्यार पुजावा धका धै धै
                   अपणि ढाल कटार तलवार सजावा धका धै धै
                   घिमंडू की हुडकी बाजण लगे धका धै धै
                  ओ रणशूर साज सजीक ऐगे तीलु रौतेली धका धै धै
                   दीवा को अष्टांग करी याल धका धै धै
                    रण जीति घर आइक गाडुल़ो छतर रे धका धै धै
                    धका धे धे तीलु रौतेली  धका धै धै
                   पौंची गे तीलु रौतेली टकोली भौन धका धै धै
                    यख बिद्वा कैंत्युरो मारियाले धका धै धै
                   तब तीलु पौंची गे सल्ड मादेव धका धै धै
                     ओ सिंगनी शार्दूला  धका धै धै
                   धका धे धे तीलु रौतेली धका धै धै
                   येख वख मारी कैकी बौडी गे चौखाटिया देघाट धका धे धे
                     बिजय मीले पण तीलु घिरेगे धका धै धै
                    बेल्लू देबकी रणखेतुं मा इखी काम ऐन
                   इथगा मा शिब्बू पोखरियाल मदद लेक आइगे धका धै धै
                   अब शार्दूला लड़द पौंची कालिंकाखाळ
                सराइंखेत आइगे घमासान जुद्ध ह्व़े धका धै धै
                शार्दूला की मार से कैंत्युरा रण छोडि भाजी गेन धका धै धै
                रण भूत पितरां कल तर्पण दिंऊला  धका धै धै
                यख शिब्बू पोखरियाल तर्पण देण लग्ये  धका धै धै
                सराईखेत  नाम तभी से पड़े धका धै धै
                यख  कौतिक तलवारियों को होलो  धका धै धै
                ये तें खेलला मरदाना मस्ताना रणवांकुर जवान धका धै धै
                सरदार चला तुम रणखेत चला तुम धका धै धै
                धका धै धै  तीलु रौतेली धका धै धै
                ओ रणसिंग्या रणभेरी नगाड़ा बजीगे  धका धै धै
                ओ शिब्बू ब्वाडा तर्पण करण खैरागढ़ धका धै धै
                अब शार्दूला पौंची गे खैरागढ़ धका धै धै 
                यख जीतू कैंत्युरा मारी , राजुला जै रौतेली अगने बढी गे धका धै धै
                 रण जीति सिंगनी दुबाटा मा नाण लगे धका धै धै
                  राजुलात रणचंडी छयी अपणो काम करी नाम धरे गे धका धै धै
                  कौतिका जाइक खेलणो छयो खेली याला
                   याद तौंकी जुग जुग रहली धका धै धै
                   तू साक्षी रैली खाटली के देवी धका धै धै
                   तू साक्षी रैली स्ल्ड का मादेव धका धै धै
                   ओ तू साक्षी रैली पंच पाल देव
                    कालिका की देवी लंगडिया भैरों
                    ताडासर देव , अमर तीलु, सिंगनी शार्दूला  धका धै धै
                    जब तक भूमि , सूरज आसमान
                     तीलु रौतेली की तब तक याद रैली
                     धका धे धे तीलु रौतेली धका धै धै
 
           Tilu Rauteli was daughter of Thokdar Bhup Singh Goral of Chaundkot. Tilu Rautela had two twin brothers Bhagtu and Patwa. Her father engaged Teelu Rauteli at early age. However, the enemies killed her would be husband before marriage.
        At that time, the Katyuri king Dham Shahi attacked on Khairagarh king Manshahi. Manshahi fought bravely but had to escape from the battle. Manshahi took assylam in Chaundkot Garhi.   Bhup singh and his two sons fought with the army of Dhamshahi. The attackers killed Bhup Singh and his sons in the battle.
  There was Kanda fair after winter. Teelu Rauteli showed to her mother for her interest for visiting fair. When tilu Rauteli was ready to start her mother remembered her husband and her two sons. She said to daughter Teelu,” had there been my sons alive they would have taken revenge with Dham Shahi. They would have offered blood for Tarpan of deceased sons and my husband”
  Teelu rauteli took the vow to take revenge of death of her brave father and two twin valiant brothers.
     Teelu Rauteli informed the area people that they would not celebrate fair but would destroy Katyuri. All fighters of the area became ready.
  Teelu put on the warrior dress with sword. She rode on her black horse. Her bold female friends Bellu and Rakki also went with her. The family Hudkya (A type of drum player) Ghemdu was with her with sword. She went to family and village temples for blessing.
  The Army of Teelu Rauteli started their campaign from Khairagarh. Teelu Rauteli and her army freed Khairagarh from Katyuri army.
       At later stage, she freed Bhaun (Idiyakot), Salt Mahadev, Bhilan, Bhaun, Jadalyun, Chaukhatiya, Saraikeht and Kalikakhal from enemies.
Tilu took rest for days at Bironkhal.
        Teelu Rauteli was on her camping in Kandagarh region. The army was taking rest. Teelu was taking bath into Nayar River. An enemy soldier Rajwar killed her by deceptive method. Teelu rautlei was twenty two years old when she became martyr. Teelu Rauteli fought with enemy army for seven years. 




Copyright@ Bhishma Kukreti 14/12/2013

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
Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dhangu Garhwal; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Chivalry Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  वीर रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में वीर रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में   वीर रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  वीर रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  वीर रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  वीर रस;चमोली गढ़वाल के गढवाली लोक नाटकों में  वीर  रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  वीर  रस;

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         Pathos Rapture in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  गीतों में   करूण रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -60

                                    Bhishma Kukreti

               According to Bharat’s Natyashastra, the pathos rapture is produced by means of noticing the death of a beloved one or hearing unpleasing words and so on
         All the Hantya Jagar (Ritual folk Songs Jagar) are examples of pathos rapture in Garhwali folk Dramas.
        Abhimnayu Death is another example of Pathos in Garhwali folk dramas.

    Example of   कळकल़ो रस ( करूण रस ) Pathos Rapture in Garhwali folk dramas




मारी दिने वैन कालू भंडारी धोखा मा I
रोये बराये तब राणी ध्यानमाला ,
झटके उनी जनी उखड़े सी माछी I
मै क तैं पायूँ सोहाग हरचे,
मैं क तै मागी भीक हरचे खतेगे,
कनो मै क तैं देव रूठे ?
रख वींन जानगो मा कालो को सर,
बैं जंग पर धरे वो रूपु गंगसारी I
रोंदी बरान्दी चढ़े चिता ऐंच ,
सती होई गये तब ध्यानमाला i   
(कालू भंडारी रणभूत   लोक गीत )

He killed Kalu Bhandari by deceptive means
Dhyanmala wept loudly
She was jumping as fish on waterless land
She said that I lost my beloved
I lost the materials got by begging (from god)
The god is unhappy with me
She kept the head of dead Kalu Bhandari
She sat on the pyre with Kalu Bhandari
Dhyanmala became sati (burnt alive).



Copyright@ Bhishma Kukreti 17/12/2013

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
Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Pathos Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में करूण  रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में करूण रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  करूण  रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में करूण रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  करूण रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  करूण रस;चमोली गढ़वाल के गढवाली लोक नाटकों में  करूण  रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में करूण   रस;

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             Rapture of Wrath in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  गीतों में  रौद्र  रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -61

                                    Bhishma Kukreti

             According to Bharat’s Natyashastra (6/64), the rapture of Wrath is produced by fight, striking, cutting, mutilation, and piercing in encounter, tumult of battle and like.

           Example of Wrath rapture in Garhwali folk drama
तौंकि छत्री को हंकार चढ़ी गे मर्दो
तौंकि आंख्यों मा खून सरीगे मर्दो
तौन नंगी शमशीर चमकैन मर्दो
तौंका जोखों  का बाल बबरैन मर्दो
 The above folk song or drama is sung by Hudkya to praise their donors etc.


Copyright@ Bhishma Kukreti 23/12/2013

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
Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Wrath Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में रौद्र  रस  टिहरी गढ़वाल के गढवाली लोक नाटकों में  रौद्र रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में   रौद्र रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में रौद्र रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में रौद्र रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  रौद्र रस;चमोली गढ़वाल के गढवाली लोक नाटकों में  रौद्र  रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में रौद्र   रस;

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 Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Garhwali Folk Dramas

                   गढवाली लोक नाटकों / लोक  गीतों में  शांत रस रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -62

                                    Bhishma Kukreti
             Bharat detailed only eight raptures in Poetry and drama. However, with the time scholars added new formats of raptures if drama.
            Dr Shiva Nand also divided Garhwali Folk song and dance as per raptures of Shant (Soulful), Bhakti (devotional), Prakriti (geographical nature), Vatsalya and Prati vatsalya
             Soulful rapture is very near to Content emotion. In this rapture, the dramatist or performer shows the non affiliation to this materialistic world.
 Example of Soulful rapture in Garhwali folk song-dance (Jagar) is as follows -
                   शांत रस
दुन्या न मरी जाण , धरती अमर I
*****     ***** *****
धरणी रीटे सांपिंण , अगास रीटे शीणी  I
मणछ भगार लगौंदो, विपदा  भगवान् दीणी II
Xx           xx
मौत सबुकु औंद , आग स्ब्बुकू जळऔंद I
तिन कायर नि होण , सागर कु पाणि सागर मा समौंद   II
Collected and edited by Dr Shiva Nand Nautiyal 


Copyright@ Bhishma Kukreti 23/12/2013

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
Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Garhwali, Himalayan Folk Dramas from Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Gangasalan Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Uttarkashi Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Dehradun Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Haridwar Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Chamoli Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Rudraprayag Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Tehri Garhwal; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Garhwal, North India; Rapture of Soulful, Peaceful or Calmness (Shant Ras) in Himalayan Garhwali Folk Dramas from Garhwal, South Asia;

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                Devotion Rapture in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  गीतों में  भक्ति रस

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -64

                                    Bhishma Kukreti
             Devotion rapture is part of love rapture in Bharat’s Natyashastra.
          All devotional folk songs, dances and ritualistic performances are examples of rapture of devotions.
 Example of Devotion rapture in Garhwali folk drama

रवांइ गढ़वाल क्षेत्र का प्रचलित  लोक नाटकों / लोक  गीतों में  भक्ति रस

लोक जागर व धार्मिक अनुष्ठान के लोक नाटक में  भक्ति रस   


  जागर में आह्वान गीत
जाग जाग देव जाग
धरती आगास जाग
मासु देवता जाग
पंवाली काठी जाग
शाटी -पासी -क्षेतर  जाग
जाग जाग  देव जाग

Awake! O Respectful deity! Or I call you deity
Awake! O Earth deity! Or I call you earth deity
Awake! O Sky deity!  Or I call you sky deity
Awake! O Masu deity!  Or I call you Masu deity
Awake! O Panvali Kathi deity! Or I call you Panvali Kathi deity
Awake! O the border protecting deities Shati, Pasi- Khetrapal! Or I call  the border protecting deities Shati, Pasi- Khetrapal!
Awake! O Respectful deity! Or I call you deity


Copyright@ Bhishma Kukreti 23/12/2013

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
The present folksong (मूल -डा जगदीश 'जग्गू' नौडियाल , इंटरनेट प्रस्तुती एवं परिवर्तन - भीष्म कुकरेती )

 Xx
Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Devotion Rapture  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में   भक्ति रस  टिहरी गढ़वाल के गढवाली लोक नाटकों भक्ति में  रस;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  भक्ति  रस, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  भक्ति रस;देहरादून गढ़वाल के गढवाली लोक नाटकों में  भक्ति रस;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  भक्ति रस;चमोली गढ़वाल के गढवाली लोक नाटकों में   भक्ति रस; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में    भक्ति रस;

 

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