Uttarakhand > Utttarakhand Language & Literature - उत्तराखण्ड की भाषायें एवं साहित्य
Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा
एम.एस. मेहता /M S Mehta 9910532720:
Dosto,
In this topic the readers will find various factors and features of
Garhwali Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays played in Pauri Garhwal, Tehri Garhwal, Chamoli Garhwal, Rudraprayag Garhwal, Dehradun Garhwal and Haridwar Garhwal
Bhishma Kukreti would take the subject of
Specific Characteristics and features of Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Places for Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Dialogues in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Stage structure for playing Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Raptures and Sentiments in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Acting or performances in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Jewel and Jewellery in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Dress and Make Up in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Animals in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Dance in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Analysis of Poetry in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Figure of speeches in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
Symbols and Images in Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays
M S Mehta
Bhishma Kukreti:
Defining Folk Dramas/plays in Context Garhwali, Himalayan Folk Dramas
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -1
Bhishma Kukreti
Garhwal is the region comprising Dehradun, Uttarkashi, Tehri Garhwal, Rudraprayag, Chamoli Garhwal and Pauri Garhwal, Haridwar districts of Uttarakhand state of North India. The Garhwalis speak Garhwali language. The Garhwalis are scattered all over the world. Garhwal had very long and old history. Therefore there is long history of folk literature in Garhwali language.
Each region has its own folk dramas and has specific characteristics of folk dramas too. Garhwali language or Garhwali people have tradition of playing folk dramas from the time human societies came in Garhwal.
Let us examine folk drama definitions.
Bharat Muni the creator of Bharat Natya Shastram defines dram as visual poetry. He did not define folk drama separately. From Bharat Muni angle folk drama is visual poetry performed in folk actions.
According to ancient Sanskrit drama specialist Acharya Abhinavgupt Pad Natya or drama is derived from Nat where the performers leave their own characteristics and acquire the characteristics of dram characters thus making it different ‘Rup or Form’.
Bharat Muni insisted on creation of rapture in drama performance. Bharat definitely talked about urban drams and not folk dramas/plays.
The Greek definition of drama is that a drama is a literary form involving parts written for actors to perform.
It is true that there is no definite definition of folk drama as such. Frederic Litto (1968) wrote that there does not exist a definite definition for folk drama/play.
The radical thinker Steve Tillis defines folk drama as “Folk drama is theatrical performance within a framework of ‘make-believe’ action shared by performers and audience, that is not fixed by authority but based on living tradition and displays lesser of greater variations in its repetition of this tradition; its performance enacted over time and space with the practice of design, movement, speech and /or music , engenders and /or enhances of communal identity among those who participate in its delivery and reception.”
Since folk dramas/plays have tens of variants it is difficult to define folk drama/play.
From this author's angle, the Garhwali folk dramas/traditional plays are from rural Garhwal, and when the common men or women leave their own characters and play performances for any act based on either by their own created story or follow the traditional rules (especially in rituals and folk dances); and played in Garhwali language.
In this write up the author will discuss various variants of folk plays/traditional drams of the Garhwali language.
This author will analyze the Garhwali folk dramas /traditional plays from the angle of Bharat’s Natya Shastra.
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 26/9/2013
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
Xx
Notes on Characteristics and definition of Garhwali folk plays/ traditional dramas; Characteristics and definition of Garhwali folk plays/ traditional dramas from Pauri Garhwal; Characteristics and definition Garhwali folk plays/ traditional dramas from Chamoli Garhwal; Characteristics and definition of Garhwali folk plays/ traditional dramas from Rudraprayag Garhwal; Characteristics and definition of Garhwali folk plays/ traditional dramas from Tehri Garhwal; Characteristics and definition of Garhwali folk plays/ traditional dramas from Tehri Garhwal; Characteristics and definition of Garhwali folk plays/ traditional dramas from Uttarkashi Garhwal; Garhwali folk plays/ traditional dramas from Dehradun Garhwal; Characteristics and definition of Garhwali folk plays/ traditional dramas from Haridwar Garhwal; Characteristics and definition of Garhwali folk plays/ traditional dramas from Garhwal, Uttarakhand ; Characteristics and definition of Garhwali folk plays/ traditional dramas from Himalayan region; Characteristics and definition of Garhwali folk plays/ traditional dramas from North Indian region; Characteristics and definition of Garhwali folk plays/ traditional dramas from SAARC countries region; Characteristics and definition of Garhwali folk plays/ traditional dramas from South Asian region; Characteristics and definition of Garhwali folk plays/ traditional dramas from Oriental region;
Bhishma Kukreti:
Role, Relevancy, significance of Garhwali Folk Drama/Traditional Play
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -2
Bhishma Kukreti
The social culture in Garhwal region has old history even before the Stone Age and before Mahabharata. Therefore it is no need for explaining that there is old legacy for folk play or traditional drama.
Though, most of the time, the importance of Garhwali folk drama/traditional play has same importance that is relevant to all other regions too.
The traditional plays, community performances, folk dramas are a type of folk medium too.
The Garhwali folk play /traditional drams fulfill the following objectives-
1Folk Plays /Traditional Dramas Conveyer or carriers of Culture
The folk dance or folk rituals and many other community drama performed by professional caste as Badi, Hudkya, Auji etc are the conveyer, transmitter, conductor of community culture. The folk dramas or community plays are one of the medium of preserving community culture.
Folk Plays /Traditional Dramas as Folk Medium
The traditional plays, community performances, folk dramas work as effective folk medium too. The traditional plays, community performances, folk dramas supply to stake holders ‘pictures of the world’.
Folk Plays /Traditional Dramas as Medium of Teaching
Many traditional plays, community performances, folk dramas are sources of teaching to next generation or ignorant ones.
Folk Plays /Traditional Dramas for Self Learning Medium
Traditional plays, community performances, and folk dramas are also foundations for self-learning too.
Folk Plays /Traditional Dramas as Source of freeing from Tiredness
The traditional plays, community performances, and folk dramas play the role of healers, as the medium of liberating tiredness. Traditional drams also reduce the restlessness of a person or group.
Folk Plays /Traditional Dramas as Entertaining Medium
Traditional plays, community performances, and folk dramas are the source of entertainment. The dramas/plays are medium of passing pleasure sometimes.
Folk Plays /Traditional Dramas for Bliss
The creator of Natya Shashtra Bharat says that the drama should create rapture. In many traditional plays, community performances, and folk dramas the performers and audience try to get bliss.
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 26/9/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…3
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
Xx
Notes on Role, Relevancy, Importance of Garhwali Folk Drama/Folk Play; Role, Relevancy, Importance of Garhwali Folk Drama/Folk Play of Garhwal; Role, Relevancy, Importance of Garhwali Folk Drama/Folk Play of Uttarakhand; Role, Relevancy, Importance of Garhwali Folk Drama/Folk Play of Central Himalaya; Role, Relevancy, Importance of Garhwali Folk Drama/Folk Play of North India; Role, Relevancy, Importance of Garhwali Folk Drama/Folk Play of SAARC Countries ; Role, Relevancy, Importance of Garhwali Folk Drama/Folk Play of South Asia
Bhishma Kukreti:
Classification or types of Garhwali Folk plays/Traditional Dramas
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -3
Bhishma Kukreti
Due to tens of folk plays, it is difficult to reach a classification of folk plays/traditional dramas that satisfies every folk literature experts.
There are many bases for classifying the types of Garhwali folk plays/traditional dramas.
Garhwali folk plays/traditional dramas could be divided though poetic structure
1-Poetic Garhwali folk plays/traditional dramas
2-Non Poetic Garhwali folk plays/traditional dramas
3- Prose-Poetic Garhwali folk plays/traditional dramas
Learned folk literature scholar Dr. Data Ram Purohit classified the types of Garhwali folk plays/traditional dramas as follows –
1-Pandav Lila Garhwali folk plays/traditional dramas
2-Bagdwali Garhwali folk plays/traditional dramas
3-Jat yatrayen or pilgrim tour Garhwali folk plays/traditional dramas
4-Mask Garhwali folk plays/traditional dramas at specific occasions
5-Swang and games
6-Chivlary Garhwali folk plays/traditional dramas by professional class
7-Radhakhandi Ras Garhwali folk plays/traditional dramas
8-Rituals Garhwali folk plays/traditional dramas
However, the above classification is incomplete
Garhwali folk plays/traditional dramas could also be divided as folk songs –dances divided by Rajasthan folk literature expert Devi Lal Samar
1-For self pleasure Garhwali folk plays/traditional dramas
2-Ritualistic or religious Garhwali folk plays/traditional dramas
3-Work oriented Garhwali folk plays/traditional dramas
4-Social Garhwali folk plays/traditional dramas
5-Entertaining Garhwali folk plays/traditional dramas
Classification /types of Garhwali folk plays/traditional dramas by Bhishma Kukreti
In the opinion of this author, Garhwali folk plays/traditional dramas could be divided through following ways-
1-Religious Rituals, folk drams in festivals and special occasions including folk song-dance oriented Garhwali folk plays/traditional dramas
2-Non religious Folk Songs –dances oriented Garhwali folk plays/traditional dramas
3- Non religious and non folk song-dance Garhwali folk plays/traditional dramas performed by professional performers as Badi/Hudkya
4-Non religious, non folk dance-song oriented Garhwali folk plays/traditional dramas performed by society members alone or in groups.
5-Specific Garhwali Folk Game oriented folk plays/traditional dramas
6-Misclenious Garhwali folk plays/traditional dramas those do not come under above divisions
In the following chapters this author will discuss various types of Garhwali folk plays/traditional dramas.
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 29/9/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…4
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
Xx
Notes on Classification or types of Garhwali Folk plays/Traditional Dramas; Classification or types of Garhwali folk plays/traditional dramas from Chamoli Garhwal; Classification or types of Garhwali folk plays/traditional dramas from Rudraprayag Garhwal; Classification or types of Garhwali folk plays/traditional dramas from Pauri Garhwal ; Classification or types of Garhwali folk plays/traditional dramas from Tehri Garhwal; Classification or types of Garhwali folk plays/traditional dramas from Uttarkashi Garhwal; Classification or types of Garhwali folk plays/traditional dramas from Dehradun Garhwal; Classification or types of Garhwali folk plays/traditional dramas from Haridwar Garhwal;
Bhishma Kukreti:
Brief History of Garhwali Folk Plays/Traditional Dramas
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -4
Bhishma Kukreti
Prehistoric Music and Folk Drama in Himalaya
Human beings reached to Himalaya when man did not learn speaking. However, the human being started creating Drama in that preliminary age too. Those Dramas might be clapping, music by leave pipes or through many other means.
Watching other person pain or happiness would have also created Dramas among human beings.
The signs or symbols for attracting opposite * might have created many Dramas in human societies. To calm down the children would have taught many Dramas to human beings.
The first music of human beings was human being’s own voice. This voice might have created many Dramatic situation, today, beyond our imagination. Who knows that till date we are continuing creating those Dramas?
First Music of Human being as Drama medium
The first Dramatic music of human beings was array sounds, coughing, whistling, yawning, humming etc. The cry for pain and pleasure would have also been the Drama creating medium for early human beings.
Clapping. Clapping stones were initial musical instruments for human beings or medium of Dramas for human beings.
A 35000 years old flute made by vulture bone or bear bone flute etc found in archeological sites suggest that human beings developed Dramas in each stage of his development.
Dance is inherent in human beings and dance would be first stage of Drama in the human life.
Stone Age and Human Dramas
At Stone Age, the human being might have learnt and started teaching new generation to carry many cultural Dramas too.
The human beings invented stone flutes in Stone for creating Dramas.
Bow and arrow are other musical instruments of Stone Age that suggest development of Dramas in human civilization.
Animal horns were used for creating music by human beings in Stone Age.
Human beings also invented simplest version of deafner in Stone Age.
The curved animal bones were used for making music in Stone Age.
The human beings might have learnt various music creations from stone and wood instruments. The human beings might have played many unimaginable Dramas for domesticating the animals. The fire would have been medium of playing Dramas for human beings not only at initial stage of using fire by human but still today fire is used in many folk Dramas all over world.
Creating drawing on walls from Stone Age or before this Age was also base of initial Dramas. The wall drawings at Tal in Uttarakhand are proof that Dramas was there in Uttarakhand at Stone Age.
Stone Age is also Age of hunting development and when there would be hunting development it is certain that Dramas would have developed or new types of Dramas would have merged among human societies.
Dramas/Plays in Mesolithic Age
The human beings started to believe on new world after death in Mesolithic Age. The people started keeping flint stones, meat, red or Geru color materials with dead bodies in burials in caves (Gufa me Samadh( . Imagination of Pitra or dead soul might have created many folk Dramas among human beings including human beings in Uttarakhand.
The appliances in ruins forms of Mesolithic Age at Bahdarabad near Haridwar, Uttarakhand suggest that human beings started playing religious Dramas or ritualistic Dramas.
Agriculture Development in Uttarakhand in Neolithic Age
When zootechy started there would have been always chances of new Dramas in the human history.
There are hundred percent chances that at the beginning of agriculture, human beings used to play indigenous old or new Dramas.
In Neolithic Age, human beings started believing on deities etc and new types of Dramas would have certainly developed.
Ornamentation brought new types of Dramas in the life of human beings in Neolithic Age including humans in Uttarakhand.
The organized ways of war or battle and emerging of rich and poor classes definitely would have brought changes in old pattern of Dramas and new Dramas would have merged in human life.
The emergence of fertility cult and phallic cult is another example for emerging of new types of Dramas in the life of human beings.
## Dramas in prehistoric time to be continued in part --5
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 30/9/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…5
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk Drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
7=Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
Xx
Notes on History of Folk Dramas/Traditional Plays in Prehistoric Age in Uttarakhand; History of Folk Dramas/Traditional Plays in Stone Age in Uttarakhand; History of Folk Dramas/Traditional Plays in Mesolithic Age in Uttarakhand; History of Folk Dramas/Traditional Plays in Neolithic Age in Uttarakhand;
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