Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख  (Read 561218 times)

Bhishma Kukreti

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Export from Uttrakhand-8

                          Knowledge Economy Frameworks
                                              Bhishma Kukreti
               The geographical and socio-cultural conditions of Uttranchal compel that the state should opt the non-traditional services for economic growth. The knowledge-based economy is one of the emerging tools for economic growth for states like Uttranchal in India. A Knowledge Economy (KE) is one that utilizes knowledge as the key engine of economic growth. The Uttranchal should acquire the knowledge for export, create, disseminate and use it effectively to enhance the state’s economic development.
          There are four basic frame works for knowledge economy for an area. The first pillar is called the economic the economic incentive and institutional establishment that provides conducive policies for efficient creation, dissemination and use of existing knowledge. The educated and skill work force should continuously advance and adapt their skills to efficiently create and use knowledge. The third requirement of knowledge economy is the effective inventive and pioneering systems of universities, institutions and other organizations of the state that can keep up with knowledge revolution and faucet into the growing accumulation of global knowledge and adjust it to the local requirements. The forth pillar in knowledge economy is to create modern and adequate infrastructure that can make easy the effective communication, dissemination and uses at the right and required places.
         The Uttranchal government, society and business communities should come forward to grow the knowledge economy. The knowledge economy may grow in the state by long-term investments in conventional and non-conventional educational institutions. The political leaders, administrators and society should understand that the future economical growth would come for the area from the knowledge work force. Hence the Uttranchal’s establishment should come forward to lure the national and international investors for creating new infrastructures in the field of education, technology and concepts.
      The international investors will take risks in creating infrastructure for knowledge industries in the state provided the Uttranchal government creates infrastructures for hardware, software, network, media for collection, storage, processing, transmission and presentation of information in the form of voice, data, text and images. The state government should come forward to lay down the policies for the information and communication technologies (ICT) infrastructure before the public so that the interested investors can invest in knowledge industry.
      The society and the pillars of establishment of Uttranchal should visualize the advantages and the need of knowledgeable Uttranchalis in the field of non-conventional education. In the nearest future, the education of an area should not only provide the degree holders but should provide the professionals of applied knowledge too. In near future the state, which is capable of creating a breed of applied knowledge professionals, would win the race of economic growth in India. This need of applied knowledge Uttranchali professionals suggests that Uttranchal government should set up an autonomous board for knowledge economy as it established a body for tourism development.
      The new education board should act like a business house and should come with new feasible policies for the state, which can reform the present education system and establish futuristic knowledge economy based education in Uttranchal. The Uttranchal cannot depend upon the conventional industries for its economic and social welfare but should find the non-conventional industries such as export of applied knowledge. The export and indigenous uses of applied knowledge depend upon understanding and acting upon the above-cited four pillars of knowledge economy.
Copyright@Bhishma Kukreti, Mumbai/India/29/3/2009
       



Bhishma Kukreti

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Export from Uttranchal-7
                                  Requirement of District Branding
                                                               Bhishma Kukreti
                         
.
           Today, each states of India are rushing for private investments in the state. We may feel the competition among Indian states for indigenous and foreign investments. Most of the state governments are using mass media and public relation methodology to lure the local, NRIs and foreign investors to invest in their states.
            The state authorities are using the local print media to attract Indian investors for industrial investment in the state and this action is appreciable for creating awareness of productive investment among the public. However, from the branding point of view there are many flaws in such advertisements. Most of the states have been advertising the many places of the state for many industries to lure the investors. This type of advertisement of making the state as a model for industrialization is totally against gaining the required results because of the states going opposite of natural principles of branding.
          Each state whether, small or big has many conducive and non- conducive perceptions among the prospective investors. When, there are many conducive or non- conducive perceptions for the state in the mind of prospective investors there is going to be either wrong logic or endless logic for the state in the mind of prospective investors. The endless or wrong logic for any objective is against enthusiasm, quick decision and clarity. The enthusiasm, quick decision and clarity accelerate the risk taking initiations in the mind of prospective investors. If there are many perceptions for a region, the investors will not take immediate decision. The single image for a region is the best aspect of branding a region for luring the investors because a single image and the least perceptions for a region create enthusiasm in the mind of investors. 
        If a state is interested in indigenous and foreign investments, it should choose a single district to brand for a specific industry. By choosing a single district for a specific industry as tool of branding, the state gets minimum chances of confusion, indecisiveness or endless logic in the mind of investors. The specific image of a state for specific purpose is an essential aspect for the investors to invest in a specific region. Take the example of publicity campaign of Uttranchal tourism, which advertises together the religious tourist places and adventurous places. This type of branding may save money in advertising but such advertisement does not create specific image of a state in the mind of investors. Same way, many areas, many issues or many opportunities in the same advertisement for luring many types of investors for a state will not create a specific image of the state in the mind of specific investors.
       Around first year of nineties Columbia a country of Latin America required the growth in coffee export to America. The Columbian authorities heavily advertised coffee of Columbia in USA and got 40% of market share in coffee segment. By strong branding of coffee by Columbia also became the tool of attracting the attention of American tourists and investors for Columbia. Each state requires indigenous and foreign investment and for such investment, the state requires immediate decision from the side of prospective investors. The speedy decision from the side of prospective investors is possible when the state focuses on single district and only an industry at a time for its branding. Focusing on single district and a specific industry for branding the state creates a strong image in the mind of customers and investors as well.
       . In branding Uttranchal, as tourist destination, the authorities should not take too many diversified bases at a time for branding the state. Same way, for branding the state as a paradise for investors the state authorities should tackle one issue at a time. As far as luring the investors is concerned ‘ek sadhe, sab sadhen’ is the mantra for branding a state. 
Copyright@ Bhishma Kukreti, Mumbai, 2009             
                       



Bhishma Kukreti

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Export from Uttranchal-7
                                  Requirement of District Branding
                                                               Bhishma Kukreti
                          
.
           Today, each states of India are rushing for private investments in the state. We may feel the competition among Indian states for indigenous and foreign investments. Most of the state governments are using mass media and public relation methodology to lure the local, NRIs and foreign investors to invest in their states.
            The state authorities are using the local print media to attract Indian investors for industrial investment in the state and this action is appreciable for creating awareness of productive investment among the public. However, from the branding point of view there are many flaws in such advertisements. Most of the states have been advertising the many places of the state for many industries to lure the investors. This type of advertisement of making the state as a model for industrialization is totally against gaining the required results because of the states going opposite of natural principles of branding.
          Each state whether, small or big has many conducive and non- conducive perceptions among the prospective investors. When, there are many conducive or non- conducive perceptions for the state in the mind of prospective investors there is going to be either wrong logic or endless logic for the state in the mind of prospective investors. The endless or wrong logic for any objective is against enthusiasm, quick decision and clarity. The enthusiasm, quick decision and clarity accelerate the risk taking initiations in the mind of prospective investors. If there are many perceptions for a region, the investors will not take immediate decision. The single image for a region is the best aspect of branding a region for luring the investors because a single image and the least perceptions for a region create enthusiasm in the mind of investors.  
        If a state is interested in indigenous and foreign investments, it should choose a single district to brand for a specific industry. By choosing a single district for a specific industry as tool of branding, the state gets minimum chances of confusion, indecisiveness or endless logic in the mind of investors. The specific image of a state for specific purpose is an essential aspect for the investors to invest in a specific region. Take the example of publicity campaign of Uttranchal tourism, which advertises together the religious tourist places and adventurous places. This type of branding may save money in advertising but such advertisement does not create specific image of a state in the mind of investors. Same way, many areas, many issues or many opportunities in the same advertisement for luring many types of investors for a state will not create a specific image of the state in the mind of specific investors.
       Around first year of nineties Columbia a country of Latin America required the growth in coffee export to America. The Columbian authorities heavily advertised coffee of Columbia in USA and got 40% of market share in coffee segment. By strong branding of coffee by Columbia also became the tool of attracting the attention of American tourists and investors for Columbia. Each state requires indigenous and foreign investment and for such investment, the state requires immediate decision from the side of prospective investors. The speedy decision from the side of prospective investors is possible when the state focuses on single district and only an industry at a time for its branding. Focusing on single district and a specific industry for branding the state creates a strong image in the mind of customers and investors as well.
       . In branding Uttranchal, as tourist destination, the authorities should not take too many diversified bases at a time for branding the state. Same way, for branding the state as a paradise for investors the state authorities should tackle one issue at a time. As far as luring the investors is concerned ‘ek sadhe, sab sadhen’ is the mantra for branding a state.  
Copyright@ Bhishma Kukreti, Mumbai, 2009            
                        



Bhishma Kukreti

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   Garhwali Literature-31
              Garhwali language creative are ignorant about Garhwali  working couples
                                                                                      Bhishma Kukreti
                     A few days back, I was eager to know from my sons, nephews and nieces in their thirties, about their disinterest or  indifferent towards Garhwali social organizations in Mumbai and the Garhwali literature.
                      My elder son expressed his displeasure over the myopic behaviors or short slightness of most of the executive committee members of Garhwali social organizations . My  nephew supported my son that the present migrated social workers of so called social organizations still live in the past of pre-independence Garhwal  and never seems to accept the changes and are fail to asses the future.
                  For their unresponsiveness towards Garhwali literature, after listening a couple of poems of  Harish Juyal ‘kutz’ and Girish Sundariyal from my wife and my bhula-ki-bwari ( younger brother’s wife) my niece replied that Garhwali  poets are also seem to be ignorant about what is happening in reality at individual family level or what is happening in nuclear family. All voiced in one term that Garhwali poets of contemporary age also beat the old path and do not watch our social changes from all angles.  To proof their angle, they all said in one voice that they did not find any poems from Sundariyal and Kutz collection about the subject of Garhwali working couples.
               Since, most of our migrated Garhwalis criticize our so called social workers of Mumbai on the same line, I did not think much about the comments of my sons, nephews and nieces.  However, their comments for Garhwali literature vibrated me and forced me to think seriously.
       The comments of new generation about contemporariness in Garhwali literature powered  me to consider about today’s Garhwali poetry and a new social happenings in Garhwal and in the migrated lands for Garhwalis . There have been emergence of  a new class among Garhwalis of Garhwal and migrated Garhwalis for more than two decades. This class , universally, called ‘working couples’. the social structure is somehow different of working couple than single working person of a married couple. Working couples bear many disadvantages than economical advantages in each society. However, the working couples in rural Garhwal area has to face an abnormally different adversity than working couples of migrated land. In rural Garhwal, mostly it is observed   that the husband and wife work far from each other and do not live together daily as happened in plains. This problems of working couples in rural Garhwal creating another many new problems or pains  for Garhwalis. These couples has to face many new social obligations, which were unheard till eighties or just before that time.
      If the literature is the mirror of our society or mirror of social change, our comrade writers should have penned down on this issues of Garhwali working couples in cities and rural Garhwal . In fact, the famous Garhwali poet like Harish Juyal ‘kutz’ is experiencing the pain or joys of working couples in rural Garhwal. Harish Juyal is a teacher, his wife is also a teacher and both work in different areas far away from each other and their children live in Dehradun with their grandparents for better studies  than Garhwal. The noted Garhwali poets Neeta Kukreti, Veena Benjwal , Puran Pant ’Pathik’, Shakuntala Ishtwal  are also working couples . The famous Garhwali poet and social activist Veena Pani Joshi’s bahus (daughter in-laws) are working women but I have not seen any poetry or prose written by these creative (poets or prose makers) about Garhwali working couples. Recently, Puran Pant published his editorials of eleven years from his news paper Garhwali Dhai but I am sorry to say that he never wrote any write up or editorial on Garhwali working couples.
        Like Harish Juyal,  there are hundred of Garhwali couples in rural Garhwal and definitely, our Garhwali poets or Garhwali prose makers living in rural Garhwal will be well versed about this new community or social class. Same way, the Garhwali creative will be knowing the emergence of new class in our society. However, none of the Garhwali language poets and prose makers penned down on the joys, happiness, economic pleasures, family pressures, social obligation, frustration, women exploitation in working places, the fissuring problems between the couples, the imbalances in retention of old customary relations of the society and creation of required new relation outside the society and many more aspects regarding lifestyles of working couples.
      We have been also witnessing a new alignment in our society , especially, in cities and that is inter caste marriages. I have not read any sensible literature on this subject in Garhwali language .
     One school of thought suggests that since our Garhwali society, as a whole, in groups, as individual, in forum, in formal ways or informal ways does not discuss the enhancement of joys or happiness of individuals and society because of new class of working couples in our society , the creative in Garhwali language (part of society) did not consider talking about the mechanism , the new ethos, joys, pains, new type of struggle and many new happenings emerged in our society in their Garhwali language literature.
     While another school of thought suggests that since, intellectual or aware class and working couples themselves are shy for discussing openly about the various aspects , the society and creative class are also ignoring the real new issue of our society. There are many issues and considerations before us about Garhwali working couples in various Indian cities and rural Garhwal , which require serious attention, which require resolution and discussion simultaneously at individual level, at family form, at social forums and at creative levels.
          Ignoring to write about working couples and inter-caste marriages in contemporary Garhwali literature  provide us many cues, clues, admonition, propositions, indication, suggestions, warnings and hints  for  telling us the unpopularity of Garhwali literature among new generation of migrated Garhwalis or rural Garhwalis too.
     When the contemporary writers become myopic about the present happenings in the society, the literature becomes static and moves towards degeneration. The subject of burning issues in the contemporary literature not only vibrates the society but attract the readers too and such literature of contemporary issues also become the vital instrument or byunt for inspiring the readers for protecting, preserving and popularizing the language.
     The biggest problems of modern  Garhwali literature has been that it usually, failed to attract younger generation in terms of quality and quantity too. After analyzing the ignoring the subject of working couples in contemporary Garhwali literature, I may say that at all time, Garhwali literature ignored present and futuristic burning issues except Uttrakhand movement. This bigoted attitude of our creative is one of the reasons for low popularity of Garhwali literature among migrated Garhwalis  and Garhwalis of Garhwal .
       Time has come that contemporary writers become super sensitive about the recent happenings, changes, present effects of newer changes and coming consequences in the  because of new changes  . The requirement of super-sensitivity among contemporary Garhwali language creative for changes is an essential aspect for the growth of Garhwali literature .
Copyright @Bhishma Kukreti, Mumbai, India, 2009



     





Bhishma Kukreti

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Garhwali Literature Poetry-32
                        Ignoring Migrated Garhwali in  Garhwali Poetries
                    A critical views on modern Garhwali poetries
                                                                         Bhishma Kukreti
                         There have been a steady culture of criticism the Garhwali poetries in the Garhwali literature from the initiation of publication of Garhwali poetries. The history of modern Garhwali poetry started around 1850 Ad.  The following mediums are for criticizing Garhwali poetry:
A friendly criticism about poetry in the collection of poetry book  by a Garhwali poet. This is a common and foremost way of criticism in Garhwali literature that a friend cum critic writes about glimpses of poet’s poetry.  Many times, many friendly poets or writers send ‘good luck’ messages to the poet before publishing the poetry book.  These messages are also printed in the collection book and offer some knowledge about either the character of poet or some important aspects of poetries of the poet. After 1975 onwards, Bhagwati Prasad Nautiyal is supposed to be the master of writing criticism for poetries of collection of Garhwali poetry book or booklet.
The critic writer’s criticism about poetry of poet after publication of collection of poetry book for local newspapers or magazines. Most of the time, this criticism of news papers or magazines is also a criticism by friendly critics . There have been less controversies on the criticism of Garhwali poetries except controversy over the criticism of Bhagwati Prasad Nautiyal  on the poetries of ‘Harvi Harvi’ a collection of Garhwali Ghazals by Madhu Sudan Thapaliyal . This author was also involved in the controversy but for other reason.
History of Garhwali poetry: Whenever a writer writes about brief history of Garhwali poetries, he also provides some analytical aspects of Garhwali poetries. Till date, only one book is published detailing the history and analysis of each Garhwali poet. Abodh Bandhu Bahugna (1975) is credited to offer full coverage of history and critical analysis of Garhwali poetries in his edited book ‘Shal Vani’ . This is a mile stone in the history of Garhwali literature.
Messages of bloggers: these days, Garhwali poets also started to publish their poetries in the Uttranchali web sites or in their own blogs. The blog visitors leaves their comments about such poetries published on the web site. Jag Mohan Singh Jagadi from Tihri Garhwal, Vipin Panwar, V Patwal are  famous for publishing their poetries on the web site and getting comments too. Pareshwar Gaud is supposed be first Garhwali language creative  for using Internet medium effectively. The comments of blog visitors are nothing but criticism of poetries.
             After 1975,  Abodh Bandhu Bahuguna, Bhagwati Prasad Nautiyal , Devendra Joshi  and  Lokesh Navani are supposed to be main critics of poetry in Garhwali language. Nand Kishor Dhoundiyal ‘Arun’ also writes reviews of Garhwali poets or poetries but mostly, he writes critics in Hindi.
       The author studied and appraised the following books of poetry collection, wherein a critic provided critical points of poet’s poetries in the collection. This  author also evaluated ‘apni bat’; my own explanations about my poetries) explained by poets in the collection books.
        The famous Garhwali drama writer (Ardha Garameshwar ), social activist (rehabilitation of effected Garhwalis because of dam construction) and a thinker, Rajendra Dhashmana (1988) writes about initial Garhwali poetry that there have been total influence of Hindi and Sanskrit on Garhwali poetry in terms of form, styles, words, prosody,  figurative use and uses of metaphors . The sad story is that the critics of Garhwali poetries in Garhwali language also followed the  path of Hindi criticism  in terms of style, formats, specific words, symbols, the lenses reviewing the poetry. The author is not afraid in commenting that Garhwali language critics of Garhwali poetries were really not interested in creating an exclusive style, format, symbols, for criticizing Garhwali poems. Most of the time, the Garhwali criticism for poetry is either bad copy of Hindi criticism or an average criticism. Usually,  Garhwali language critics used the words of Hindi in their poetry- critic because  these critics of Garhwali language never cared that there are tens of words of criticizing others in Garhwali language. These critics forgot that when Garhwalis of Garhwal  have been using only Garhwali language for communication till 1900, there must be an exclusive system, format, figurative in Garhwali language for criticizing things, creativity and human beings. Garhwali is a rich language in communicating subject of each matter and concept. The Garhwali language is full of words, figure of speeches , proverbs (ana-pakahana )and symbols for criticism in our daily life. But the scholar of Garhwali literature failed to use those words or proverbs in criticizing the Garhwali poetries. Instead of Hindi symbolic words, by using Garhwali words or symbols, the criticism would have brought vibrancy, energy, kinsman-ship and exclusivity in Garhwali criticism segment. Take the example of word ‘dikhu aankh kya dikhan ar tapyun gham kya tapan ( already experienced)’ of Garhwali language, which has a huge potentiality in Garhwali literature of criticism but so called Garhwali scholarly critics uses  ‘bhogun anumbav’  for describing the poems of a Garhwali poet for his journey of experiences in her/his poems. Is it not silly and even unethical to ignoring Garhwali words and copying Hindi words  for creating criticism literature in Garhwali language ?  The Garhwali language has a word ‘gaun -gaulh’  for society and the Garhwali scholars, the sluggish in creating exclusive Garhwali literature and  the born slave of Hindi literature mentality, use ‘samaj’ or ‘samajik’ words for assessment of Garhwali verses.  The author can provide many examples, where Garhwali critics ignored Garhwali words, proverbs and used Hindi words for assessing the Garhwali poems.  Till, Garhwal and Garhwalis were not influenced by Hindi , Garhwalis in Garhwal used exclusive symbols and symbolic style for criticizing others, creativity, human characters, psych and things of beyond their reach. Garhwali language has very interesting words for describing the form of songs (poetry) but the author was unable to find those describing words of Garhwali in criticism or the self -expression of poets themselves in their preface of their collections of poems. The author wishes to show those words to scholarly Garhwali reviewers of Garhwali language for reviewing songs, rhyme s, verses or poems:
Geet sunik chhap chhapi podi gey
Selhi podi ge
Katakanau jew bulyanu cha
Ye meri bwai ! Khud lagni bise gain
 Ausand an bise ge
Bharman bise geyun
Chhaundi ko nichhaundi hwai gyaun
Upri geet chhan
Kachhedi man gayan geet (read in goshthi)
Bhugtyun tain kya bhoogan
    The author takes the readers on the journey of criticism of Garhwali poetries from the angle of Garhwali way of criticizing (kat karan) and the approaches of  Garhwali scholars for criticizing Garhwali poetries:
                             Criticism in Chitthi Patri   
        Chitthi Patri (now Hamari Chitthi) has been serving Garhwali literature more than fifteen years , though an irregular magazine. The author has a few copies of this well respected magazine for Garhwali creative from the year 2002 onwards.
   Sanjay Sundariyal wrote a commentary on the ‘Awaj’ a poetry collection of Garhwali and Hindi poets (CP-July2002). This author would like to say that the format and style is no where nearer to exclusive Garhwali mode of criticism. He tried for using Garhwali words  but the majority of Hindi words used in Hindi criticism subdued the affectivity and flow of Garhwali words. E.G. , ‘
 Sangrah man B Mohan Negi ku rethinking kavita ka var dhwar cha. Kul mila kai ya kavya pothi ek achhu prayash cha
   Conclsively, it is true that Garhwali poets created the khud of migrated Garhwali but barring Kanhaya lal Dandariyal and Baulya , others could not bring the real pains of migrated Garhwalis. They  totally failed showing the panorama of migrated garhwalis in their poetries .
Reference:
Bahuguna, Abodh, Bandhu, 1975, Shail Vani, Garhwali Shitya Mandal, Delhi
Dhashmana, Rajendra Prasad, 1988,  Dhanga se Sakhsatkar (a poetry collection of Netra Singh Aswal), Gadh Bharti, Delhi, pp 5 to 9
Copyright @Bhishma Kukreti, Mumbai, 2009

Bhishma Kukreti

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Hindi Poetry by Gadhmaunis -1
    Safedi Men Chhupa Kala: A poetry collection about common man
                                                                 Commentary by Nida Fazali
                                                           Translation by Bhishma Kukreti
( Whenever Hari Mridul Pandey meets me I find him agile  and energetic but at the same time, a seriousness covers his swiftness and inside power . I was not knowing how come a shyness and outgoing personality  can  live together. When I started reading his Hindi poetry collection ‘ Safedi men Kala’ (blackness in whiteness) created by Hari Mridul Pandey , I understood very well that his sensitivity towards common man tends him to be serious and leaving agility behind. The name of collection is itself that he is keeping agility and soberness together.  Bhartiya Patrakar Vikash Parishad awarded him by Himanshu Rai Purushkar for his film journalism. Maharashtra Hindi Sahitya Academy honored him by Sant Namdev Purushkar for his poetry collection‘ Safedi men Kala. He is also awarded for his this collection as Hemant Smriti Purushkar by a socio-literature organization. I am not a commentator on poetry . He still has a rural Kumauni innocence inside him and  you will experience that rural virtuousness in his each verse of poetry too. I do commentary on Garhwali language poetry in Internet medium just to achieve one single goal and  that is  for making awareness for Garhwali literature  and making my doodhboli (mother-tongue) a language as famous or acceptable  as Hindi or English among my next generation scattered in various corners of India and abroad. Hari Mridul sent me his book for commentary but I feel that I shall do injustice not to Hari Pandey but to his poems, which are gems of Hindi literature. Therefore, I am offering you the commentary of Nadi Fazali an expert of poetry, Hari belongs to village Bagoti , Champaran district of Uttarakhand and is born in 1969. When Pandey was twenty three year old, he sent his poetries to Nagarjun- commonly called Nagarjun Baba and a famous name in Hindi critics. Nagarjun  wrote for Hari‘s poetry
Dear Hari  Mridul ! Your poems are fresh as morning buds and I am sure you will go far and farer ahead of your contemporaries ---Bhishma Kukreti).

                 Hari Mridul is a complete human being . Hari lives in metro (Mumbai) but still, he  is innocent villager in Mumbai and not a metro lover. Mumbai is such a metro, which brings emptiness in its inhabitants , Mumbai forces the person to be uprooted from its native and nativity. However, Mumbai is helpless in snatching the love of Hari for  his village Bagoti, his late grand ma and pa; hilly season , ghughati a type of pigeon of Kumaun, Kumauni folk songs and tales and his innocent but very effective way of communication. They all are  his intimated ones and dwell every moment in his unpolluted soul. The famous English poet of early years of last century Auden ,once, said, “ There is a village within in all poet.” As Auden could see the disorder of a common man in London, Hari could experience the pain of common man in metro city . There are many similarities in experiencing the metro between Auden and Mridul. The following classic poems of Hari Mridul remind me the experiences of Auden for common men of  London:
Ablation ki bhid
Na jane kahan se samne aa gayi
Aur dekhte hi dekhte main 
(Shavashan)
Use heroine ka dukh dekhkar glycerin ki badi shishi
Yad ayee
Hero ki abrader dekhkar nakli bandook
(Spotboy)
    His poems are witness that Hari has been experiencing  countless anguish, disorder, of Mumbai metro as common man. That is why Pandey could express so well, with so simplicity the pain of young generation.  In his poems, instead of modern intellectual complexity and motionlessness, we find  an  energetic and dynamic flow as in the flow of river. There is inquisitiveness, snooping, nosiness, prying or curiosity  in Heri’s eyes as found in a child’s eyes. There is straightforwardness, effortlessness, ease, simplicity  in his all poems as we may experience the ease in the fly of birds. You will experience the merging, , combination, blending,  muddling up of words and thought in his modern styled poems as we experience in the construction,  edifying, beatification, garnishing , frilling, , flow , gushing, streaming in folk-songs. We do not find this blend in other contemporary poets of Hari Mridul.
  There is modern beautification Pandey’s  poems but without any compromise with morality, his social responsibility. Pandey is expert of  exclusive experimentations in  his ghazals. In his many ghazals, he kept blank for the second part that readers has to fill the blank space line. This experimentation is marvelous piece for Hindi poetry. This space filling facility for readers compel the  readers for expanding the poetry by them and not by the poet. Providing the space for expanding the imagination of readers is definitely, the specialty or expertise  of Hari Mridul.
  When there is space between the two verses , both the verses create the effect of  friction between the two flint stones and the poem provide the energy to the readers as friction of two flint stones generate sparks .
     Ched gine the parson chah
     Aj mile chattis
     Hatprabh hoon
     Ek hi din kaise ho gaye tees
Now here is the space and a new verse starts , which has to meet the upper poetry and create the sparks in the mind of readers:
   To pahni hai yah baniyan
    Ris raha yahin se yah jeewan
After, ris raha jeewan , Hari left the gap to be filled by readers and readers has to expand the imagination .
    His symbols, pictoriogram, icons, signs, hint, allusions  are simple but very effective as we find Kabeer ‘s poetry.
     The poet is from Kumauni the beautiful part of mid Himalaya. Kumaun is famous for its vibrancy, energy,  natural beauty, human beauty, rivers, rivulets, wild animals,  birds, and  the simplicity of human being. Hari Mridul could never forget his village Bagot and he narrates his village Bagot  in his many poems directly or indirectly. The shadow of Bagot is visible in his most of the poems. Mridul takes you on the roads of Mumbai but at the same time he will be taking the banner with him displaying his village Bagot, experiences of love given by his grand mother and grand father, the story tellers off Kumaun, ghughati of Gadhmaun,. This the expertise of Hari Mridul
     This friction of his being in metro Mumbai and not forgetting his village, Kumaun, Himalayas and its flora and fauna makes a special blend and that makes Hari Mridul’s poems different than his contemporary poets. Pandey shows the pain of metro and struggle of common man  through many symbols of hills of Kumaun.
Copyright@ Bhishma Kukreti, Mumbai, 2009
           
                       

 


             


Bhishma Kukreti

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Great Garhwali Personalities of Uttarakhand -1
Jeet Singh Negi: First Garhwali singer of gramophone and Akashvani
Adaptation -Bhishma Kukreti
Too wheli Beera uchi nisi dandyun man ghasiyaryun ka bhesh man stirred so much the insight of Uttrakhand written by Jeet Singh Negi that not only common men but even the knowledgeable Uttarakhandis perceive that this famous song is folk song .
A couple of few people knew that Jeet Singh Negi created this song on the road, Agara road, Bhandup , Mumbai at around 11PM. This author is fortunate that he listened the autos-story of Jeet Singh Negi about creation of this song by Jeet Singh himself at the residence of Mrs Pushpa Dobhal and her husband Professor Radha Ballabh Dobhal, Garhwal Darshan, Mumbai. Professor Dobhal have the recorded tape told the story of creation of too wheli beera by Negi .
He was the initiator of creating Garhwali song, singing, performing cultural shows in various parts of India
I tried for searching on the net about complete biography of Jeet Singh Negi. However, my surprise that nothing much is written about this great personality of India in web-world.
This write up is to provide full honor to a legendary creative ever born in Uttarakhand.
It is Negis popularity that census department (jangana vibhag) of government of India (1961) in its Vol.XV, Uttar Pradesh, Part V, Gramya Survekhsan, page48, describes the popularity of song too wheli beera
Great Uttarkhandi personality Govindh Ballabh Pant was fond of the talent of Negi and he used to call jeet Singh Negi for performing of welcoming cultural show before foreign delegates as cultural show by Negis troop before Chines delegate, when Pant was home minister of India.
Father-----Sultan Singh Negi
Date of Birth: ----27February, 1927
Place of birth or village: Village-Ayal, Paidalsyun,Pauri Garhwal
Present address----108/12,Dharmapur, Dehradun
Education---
Primary education---Myanmar (Burma)
High school in Pauri and d A V College Dehradun
Garhwali literature or creativity
Published :
Geet Ganga (Song collection)
Jaul Mangari (Song Collection)
Chham Ghungru Bajala (Song Collection)
Maleth ki Kool (Historical musical drama (geet natika )
Bhair Bhool (social musical drama)
Manuscript ready for publication:
Jeetu Bugdwal (historical musical play)
Raju Postman (Drama)
Rami baurani (Musical play)
Unpublished Hindi work
Pativrata Rami (Drama form)
Raju Postman (Drama)
Dramas staged by Negi and his troop
1- Bhari Bhool: Staged in, 1952, damodar hall, Mumbai in the program of Garhwal Bhratri Mandal . The play was instant hit and the drama stirred not only the mind set of migrated Garhwali Mumbakrs but across the India, migrated Garhwali became aware about the importance of drama in their cultural programs. The dialogues are in hindi and Garhwali and that was the unique experiencing point (UEP) , Jeet Singh Negi was conceptulizer, writer, director and stage manger of Bhair Bhool. Bhari Bhool is a mile stone in the history of Garhwali stage and cultural programs. Himalaya Kala Sangam, Delhi staged this drama in 1954-55. Later on this drama was stage many places and many times. Sudharani a research scholar of Garhwali drama writes, Is natak ko dekhne sabhi jagah darshak toot pade and this was the reason that Lalit Mohan thapliyal entered in Garhwal drama taking leave from Hindi drama.
2-Maletha Ki Kool: This is historical drama and based on famous Maletha canal built by Chief of army staff of Garhwali a sovereign kingdom, the winning warrior of Tibet and father of brave bhud Gajendra Singh Madho singh Bhandari . The dram is staged 18 (eighteen ) times in Dehradun, Mumbai, Delhi, Chandigarh, Mussorie, Tihri and many places. Jeet singh Negi wrote and directed this drama.
3-Jeetu Bagdwal: Jitu Bagdwal is famous folk lore of Garhwal. Jeetu Bagdwal was a brilliant flute player. Singh wrote the musical drama on this folk lore and more than eith times this melodious drama is staged at various places under his direction, stage administration.
4-Pativrata Rami: Parvatiya Munch Delhi staged the Hindi drama Rami Baurani conceived and created by Jeet Singh Negi in 1956 and staged many times.
5-Rami : At the occasion of Tagore centurion year , Rami a Garhwali musical drama (geet natika ) was staged first in Narendra Nagar in 1961 . Later on more than hundred of stage shows have been all across India.
6-Raju Postman: This is a Dhabadi Garhwali drams and dialogues are mixed Hindi and Garhwali. Raju Poastman Garhwal sabha Chandigarh staged this dhabadi drama first and more than ten times this drama is staged
7-Relays from Akashvani : His first Garhwali song was relayed from Akashvani in 1954. His dramas and songs are relayed more than six hundred times and it is great achievement for any regional language artist. Jeetu Bagdwal and Maletha ki Koo the radio-geet-natika are also relayed more than fifty times from Akashvani
8-Relay from Doordarshan: The Hindi version of Rami was relayed by Delhi Doordarshan
Achievements fo Jeet Singh Negi

1-He is called swar samrat. He collected many lost Garhwali folk music methodologies notes and preserved the for our future . . He also showed many Garhwali music instruments to our generation and showed that our conventional instruments are important to create Garhwali music . Jeet Singh Negi is great admirer of late kasha Anuragi the expert of dhol Sagar .
2-Jeet Singh Negi is first Garhwali folk singer whose six songs were recored by His master Voice (HMV) in 1949
Cultural Activities
1942- Started cultural programs, staging dramas, and singing programs in Pauri city
1954: Worked as assistant director in Khalifa and Chaudaheen Rat (Hindustani Movies) in Mumbai
1954: He worked as Deputy Music Director in National Gramophone Company , Mumbai
1955 : First Garhwali Song Batch Singer in Akashvani Delhi
1955 ; Directed cultural program in Raghumal Arya Girls School, Delhi
1955: Lead the cultural show before Chinese Foreign delegates in Kanpur
1955-56: was connected with cultural programs of Sarswati Maha Vidyalaya Delhi
1955: Sung Garhwal land reform related progressive songs at Garhwali progressive front conference in Delhi
1956, Lead the Garhwali Cultural Team for participating in Parvteeya Lok Geet program , Delhi, inaugurated by Indian Home minister Govind Ballabh Pant
1956: Participated and sung in Buddha Jayanti program in Lansdown
1956; All India tour for organizing Garhwali musical and cultural programs in many cities
1956: Uttarapradesh lok Sahitya Sameeti Lucknow recorded those songs which were created sung and provided music by him only
HMV Mumbai recorded his song (music by him) in 1956 and 1964
1957: Participated and lead the singers and Garhwali cultural team in the program of Uttar Pradesh Suchana Vibhag and Lok Sahitya samitee, Lucknow
1957: Participated in first Greesma kalin festival, Lainsdown
1960-He represented and led the Garhwali cultural team in participating in historical Viraat Sanskrit Sammelan Dehradun and later, Negi Ji on became secretary of this organization
1962-He organized and participated with zeal in Parvatiya Sanskritik Sammelan
Trained the child artists for participating as Garhwali performers for collecting money for Rashtriya Surakhsa Kosh through Harijan Sevak Sangh Dehradun
1964-Organized a famous Garhwali cultural show for arijan Sevak Sangh in Shrinagar Garhwal
1966- Led the Garhwali cultural team for participating in cultural program of Garhwal Bhratri Mandal Mumbai
1970- Member of organizing body of Sharad Utsav Mussurie
1972-Led the cultural team of Dehradun for Garhwal Sabha Moradabad
1976- Trained the local Mumbai performing team for the cultural show of Garhwal Bhratri Mandal Mumbai. In Garhwali society, this is historic moment that local performers Mumbaikars came out on the stage
1979- Led the cultural team at occasion of inauguration of Door Darshan TV tower in Mussorie
1979-Particpated by staging cultural program in Central Defence Account Sahtabdi celebration , Dehradun
1979-lded the Garhwali cultural team for Sharadotsava in Mussorie
1980-Staged a Garhwali cultural show in Chandigarh for Garhwal sabha
Organized piratical Kala manch Dehradun and staged four Garhwali cultural shows in that year
1982-Staged a cultural show in Chandigarh
Selected secretary of piratical kala manch
1986 Presided Garhwali Kavi Sammelan Kanpur
1987 led the Garhwali cultural team for participating in Uttar Madhya Sanskrit sammelan of Government of India in Allahabad
One of the organizer of cultural program in Rashtriya Drishtibadharth sans than Dehradun
Garhwali Movies
He wrote dialogues and song for Meri Pyari Bwai
Total creation of Cithara (Video cassette ) of Rami and maletha Ki Kool
Wrote song for Samaun (till now, un-exhibited )
Awards /Appreciations

1955-Raghumal Arya Kanya Pathshala
1956-Garhwal sabha , Dehradun
1956 District Magistrate Dehradun for program in Prantiya Raksha dal
1956-Parvitiya jan vikash delhi
1956 Sarswati mahavidyalaya Delhi
1957 Prashastrti patra by Bhagta Darshan (MP) and Naredndra Dev Sgashtri (MLA)
1958, Parvatiya Sanskritik sammelan Dehradun
1962 Lok Vidyalaya Chamoli awarded hi by Lokaralaward
1970, himalaya kala sngh awarded him for Maletha ki Kool
1979, Central Defense Account Department Dehradun awarded him for his contribution in promoting cultural program
1980-Akshvani Naziabad awarded as Lok Sangeet Swar
1984, Doon memoranda club
Vishishtha samman
1990, Gadhratna, by garhwal Bhratri Mandal Mumbai
1995 Academy award by uttar Pradesh sangeet Academy of Uttar Pradesh government
1995, Doon Ratna by Nagrik Parishad SanshthanDehradun
1999, Meeel ka Pathar award by Uttarakhand Mahotsava Dehrdun
2000, First mohan Upreti lok Sanskriti Puruskar by Almora sangh
2003, Eighteen social organizations of Dehradun facilitated him by samuhik Nagrik Abhnandan
Uttaranchal government
2007, New Tihri club facilitated him on 25/5/2007
His relation with social and cultural organization
Manonranjan Club Pauri
Shail Suman Mumbai
Himalaya kala sangam Delhi
Parvtiya jan kalyan samitee Delhi
Garhwal Bhratri Mandal Mumbai
Himalaya Kala sangam Dehradun
Parvatiya Sanskrit sammelan
Sarswati mahvidyalaya Delhi
Garhwal Sabha dehradun
Garhwal ramleela parishad Dehradun
Garhwali Sahitya mandal Delhi
Uttar Pradesh Harijan Samaj Dehradun
Bharat Sevak Samaj
(Curtsey by Hilliwood News , Mussorie, Vars-1, edition-4th,March, 2009, pages 8-12 )






Bhishma Kukreti

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ARSA ONE OF THE MOST PRESTIGIOUS
SWEET OF UTTARAKHAND
By
Khushal Singh Rawat Mumbai

Arsa is normally prepared and served as a sweet dish during the wedding occasions and also a basketful (Kandi) of Arsa is presented to brides in- laws house (Sasural) along with Jheenti ( a long and twisted bagful of grains, apprx 16 Nali) after she returns to her in - laws house (Sasural) from her mother house (Maika/Mait). Arsas are normally prepared at night by the villagers in which many people are involved. Ladies normally grind the rice in Mortar of thick stone (Okhali) and one or two specialists are engaged doing the rest of the job.
This sweet is distributed to all villagers as gift from girls mothers house (maika/Mait) and also to VVIP relatives of the bride coming from far villages to attend the marriage of the girl.
I personally tried following method of making Arsa with the help of my wife at my home, three - four times and finely succeeded to get best result. Also I distributed this amazing sweet in Kauthig at Thana and in Garhwal Darshan to few people and also presented a small Kandi to Chief Minister Shri Bhuwan chand Khanduri at Mumabi on his visit.

METHOD OF MAKING ARSA


INGREDIENTS QUANTITY

RICE RAW OR BOILED.1.1 KG

JAGGERY (GUD). 1 KG

REFINED OIL 1 LTR ( PREFERABLY MUSTARD OIL)

CASHEWNUT/ SULTANA/RAISIN (OPTIONAL) - 200 GMS

METHOD:- Soak rice in sufficient water for about 6 hours. Drain and allow soaked rice to dry completely. Rice can be spread on flat surfaced utensil (Parat). Grind soaked rice in a mixture grinder (like sumeet mixie) little by little, till it becomes fine but slightly course in texture. Break lumps with your finger tips if any. Sieve this mixture with fine sieve to separate whole grains of rice if any. Keep a side to dry.

2. Melt Jaggery ( Gud) in a thick bottom oval shaped pan ( Karai ) in medium fire, continuously steering with a wooden spoon till jaggery starts boiling and changes its colour to golden brown. Take a utensil ( Katori) with half full of tape water. Pour a little heated jaggery syrup in to the water . If jaggery syrup spreads in the water , it is understood that mixture is not ready. If jaggery syrup is easily taken out by your finger tips from water then it is to be treated as ready ( It is also known as PAAK in local language ).

3. Add ground rice little by little to the melted and boiled jaggery and keep on steering till it becomes soft dough (same like atta dough ).

4. Add finely chopped nuts/fruits and mix well. Keep a side for about 30 minutes.

5. Heat oil in a oval shaped thick bottom pan (another Karai ) on slow flames.

6. Make medium size balls of rice dough with the help of oil and flatten on your palm.

7. Deep fry till golden brown colour and properly cooked. Take out with the help of flat strainer spoon and press other side with a heavy flat spoon to squeeze out excess oil and
place on already spread- out news paper. Make sure that one Arsa should not overlap other hot Arsa to prevent from sticking.

8. Serve with Pure ghee when cold and also send a kandiful to your relatives.

Please send your comments and forward to your relatives/friends.


Bhishma Kukreti

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Export from Uttranchal-11
                                  Evolution in Tourism Culture 
                                                       Bhishma Kukreti
            The tourism is nothing but exporting the local services to the tourists. For development of an international destination, the local communities have to develop an exclusive tourism culture. No doubt for centuries, Uttranchal have been a famous tourist destination for Indians and up to certain extent Uttranchalis have an exclusive culture for treating tourists, however, in the global economical era the Uttranchalis have to bring fast evolution in developing the new needed tourism culture. One of the aspects of evolution of tourism culture among Uttranchalis is the need of evolution in the pattern of community involvement in developing responsible and globally competitive tourism in Uttranchal.
            There are many facets of involving each communities of Uttranchal for promoting the accountable and sustainable tourism in Uttranchal. One of the important factors of involving the community into tourism is the investment of retired Uttranchalis for the tourism business. There is a regular flow of retired Uttranchalis settling down in the cities of Uttranchal. Usually, the retired Uttranchalis invest their lifetime savings in passive infrastructure like building the bungalows in cities like Dehradoon, Rishikesh, Jwalapur, Haridwar, Roorkee or Kotdwara. There is a requirement of total transformation of changing the patterns of investment in Uttranchal by retired Uttranchalis. The need of the hour for developing Uttranchal as global destination is to develop a culture of investment of retired Uttranchalis in active and new formats of Uttranchal tourism.
         Building bungalow by a retired Uttranchali in a city of Uttranchal is nothing but a passive investment because the bungalow has less productivity as far as investment in tourism is concerned. No doubt, renting some part of house for the tenants is a complimentary to tourism but the renting to tenants is not called the active investment for tourism development. The investment in active tourism is which satisfies the needs of tourists of a particular destination.
       The government and social elites should inspire the retiring Uttranchalis to invest their savings in active tourism business. There are tens of avenues in tourism business, which are suitable for investment by retiring Uttranchalis. For example, the retiring Uttranchalis can invest in supply chains of hotel business, telecommunications, floriculture, transport, crafts and other tourism related business.   
       The state government prepared appreciable plans for tourism development in Uttranchal. One of the new formats for developing a new tourist destination in Uttranchal is surrounding areas of Tihri Dam. There are tens of opportunities for retiring Uttranchalis to invest in developing Tihri dam area as excellent tourism destination. Same way, there are other opportunities in tourism for the veteran Uttranchalis for investment and at the same time securing their investment for better return than investing in passive acts such as just building bungalows for living. Opening the gust houses by retiring Uttranchalis for tourism purpose near the coming hydroelectric projects is another opportunity for securing the future by the retiring Uttranchalis.
       The biggest hurdle for non-involvement of retiring Uttranchalis in investing in tourism business of Uttranchal is risk factor in the business. The Uttranchal state and social organizations should act upon to create confidence among veteran Uttranchalis that they invest in active tourism infrastructure. Forming cooperative societies or associations (as are the ex-army associations) for the retiring Uttranchalis is one of the ways to call the investment for Uttranchal tourism. The state establishment should inspire the retiring Uttranchalis for investing in the organizations as Garhwal Motor Union (GMU) or Kumayun Motor Union (KMU) so that such organizations bring the latest and modern formats of transportation in Uttranchal. The associations related to the tourism business of Uttranchal should come forward in encouraging retiring Uttranchalis to invest in their respective business. Encouragement by various trade bodies of tourism will create confidence among retiring Uttranchalis to invest in tourism infrastructure of the state.
Copyright @Bhishma Kukreti, Mumbai, 2009
     


Bhishma Kukreti

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      Export from Uttranchal-9             
                              Campaigning for “Made in Uttranchal”
                                                             Bhishma Kukreti
                 The last Saturday of May o6, was a different day for Bihar and television news viewers of India. Usually, the news coverage of Bihar tends to be towards bad news for the state. However, on this Saturday, most of the Hindi news channel broadcasted the news of gifts of leechi to the Indian president, prime minister and other celebrities by the Bihar chief minister Shri Nitish Kumar. Though in India, Bihar is the largest producer of leechi, the perception among the common Indian is that Dehradoon is the main producer of quality leechi. In my opinion, the morning television news of the said day about gifting of leechi by Bihar chief ministers became one of the strongest branding campaigns for a food commodity. As a branding professional, I shall give cent percent marks to Shri Nitish Kumar for his brilliancy in branding a state related food-commodity by public relation methodology. The branding or popularization of country of origin (COO) of a commodity, product, concept or service is one of the strongest aspects of positive branding a region like Bihar, Jharkhand or Uttranchal.
           In the era of stiff competition among various regions for tourism development and private investments, each region or state requires strong branding campaigns. The region or state has to spend huge money on branding the region through various available media and by creating new media .The smallness of Uttranchal and its limited resources do not permit to Uttranchal for spending huge amount of money for branding the state in India and abroad. Therefore, the public relation activities and branding for exclusive produces, concepts and services of Uttranchal are the two strong means to brand Uttranchal as an advantageous state for the investors and Uttranchal as the right destination for the tourists.
     The fame of regional produces among tourists or prospective is one of the successful and tested methods for centuries to brand a region. Agra and Mathura are famous in the southern regions because of petha and peda trading respectively apart from Taj Mahal and Krishna birthplace.  There are many food and forest commodities in Uttranchal, which require aggressive branding outside the state. For instance, the sukhsa (dehydrated raddish) and jakhya in food commodity and damphoo in forest commodities require aggressive branding out side the state. The branding of damphoo or rasbhari is easier than other two commodities because the non-Uttranchalis are aware about the taste of damphoo too. The branding of the said commodities will not only bring revenues for Uttranchal but branding will create value addition for the above commodities and farmers of raddish and collectors of damphoo or jakhya will get extra incentives. Value addition in marketing of such food and forest commodities is created either through processing food articles or through strong branding.  Like wise, there are tens of farm and forest products in plains and hills of Uttranchal, which require professional branding for initiating export of such articles.
     The branding or popularization of an article (country of origin) is an old concept in India or elsewhere. When there were least media, our ancestors used to popularize their products through different public relation means. Public relation never looses its importance in marketing or branding a commodity and the Uttranchal establishment should come out to use various types of public relation oriented methods to exploit the known or unknown produces of Uttranchal. The Uttranchalis should understand that the fame of “Made in Uttranchal” would bring new riches and new fame for them. Every sects of the society should be conscious to brand the exclusive produces of Uttranchal. We all know that   pandas of Hridwar and char dham visit their yajmans all over India in every winter season. The marketing federations of farm and forest produces of Uttranchal should take help of these ambassadors (panda) to brand many Uttranchali products out side the Uttranchal. These pandas can become the medium of mouth-to-mouth publicity for popularizing many products and concepts of Uttranchal. Mouth-to mouth publicity is the strongest media for branding the produces of state like Uttranchal. The governing workforce of the state and society of Uttranchal should inspire and encourage the community as pandas to popularize the produces of Uttranchal. The government should also inspire the millions of migrated Uttranchalis to popularize exclusive produces of Uttranchal among non-Uttranchalis. Like wise there are many useful, public-relation means to popularize the concept of “Made in Uttranchal” and the concerned authorities and social bodies should come out to use such medium for popularizing Uttranchal by the help of a product or concept. 
Copyright@ Bhishma Kukreti, Mumbai, 2009

 

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