Author Topic: Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख  (Read 561215 times)

Bhishma Kukreti

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Gadhwali Poet-3
                               Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry
                                                                 Bhishma Kukreti
(Read L as the L of chhalu, syalu, byali etc , D  as in kadu, mod, and DH in paudh, gadhu etc.)
     There tens of migrated Garhwali poets who crafted beautiful Garhwali verses about Garhwal and the pain, emptiness  of Garhwal because of migration but there are only a couple of Garhwali poets who could create poetry showing the pain, hurting, insults, aloofness, paying struggle, worthless struggle, the burden of two places (in migrated place and in village of Garhwal), the new social community formation where his/her pride is pierced before him/her by the situation or displacement of a common Garhwali migrated to metro or cities of India from lovely Garhwal.
      The common and helpless migrated Garhwali has to struggle with many dimensional situations just not for his own survival but for the present family in Garhwal and for building a new golden future for his next generation. At one side, the newly migrated Garhwali has to face the situation of fast adaptation  for materialistic growth in the city and other side , he has to keep the burden of rural culture alive and be ready psychologically and physically at all the time for balancing both the burdens. Though most of the modern Garhwali poems were created by migrated Garhwali but very few Garhwali creative could pay attention on the burdens of migrated Garhwalis.  Kanhaya Lal DandariyaL Lalam Ji and Jaya  Nand Khuksal ‘ BauLya’  are remembered in Garhwali poetry field for their poems showing , describing , displaying the sting , the balances and imbalances in accommodating  the newer situation occurring every time in migrated land, the soaring agonizing in keeping others happy of migrated Garhwalis  . No doubt , Jeet Sing Negi was the first Garhwali verse creator to show the pain of migrated Garhwalis (tu wheli beera uchi nisi danyun man gashiyaryun ka bhesh man, khud man teri run lagun chhaun des pardes man). However, Jeet Singh Negi is more famous for his creating melodious songs (geet) than the modern poems.
         Born on 17th October in a farmer family of NooNyun of Aswalsyun, Pauri Garhwal in the year 1925 , Jaya Nand Khuksal served twelve years in the army till 1954. After retiring from army Late Jaya Nand Khuksal  shifted to New Delhi he worked Ganesh Flour Mills from 1955 to 1986.
         He created around hundred of poems in Garhwali but we could find only twenty one poems in his only  book ‘Ilmatu Da’published in the year1988.
      Kanhaya Lal Dandariyal wrote about his unpublished poems, “Garhwali writers are unlucky in publishing their created literature and most of the literature of each writer is dumped in the corner of cupboards. Hundreds of poems created by Jaya Nand Khuksal are tied in  funchis (bundles.)”
     Most of the  poems of Jaya Nand Khuksal come under utter realism. Many his unpublished poems were read by him in kavisamellan or before his literary friends like Dandariyal, Vinod Uniyal, Prem lal Bhatt, Netra Singh Aswal . One of his poem lover Shri Nand Uniyal said to me , once, about his poems, ‘His some poems are purely real experiences of a migrated Garhwali who is not well educated and struggling a lot in Delhi.”. Shri Nand Uniyal further explained about those poems, which seems to be the subject of Garhwal are in fact, displays the pain of a migrated Garhwali . Uniyal further said, “The beauty of narration of late ‘BauLya’ is that even the happenings of  Garhwal in his poems show, display, reflect the feeling of migrated Garhwali. This is his exclusivity among Garhwali poets.” Chhabis January poem is the best example , which show a real pain of a migrated Garhwali and the real pain of migration.
   His formats of Garhwali poetries are unique and became the directional force and inspirational force for newer poets of the language. His style and simplicity in composing the verses made him famous poet of kavisamellan of his time.
His famous poems are :
Ilmatu dada
Ghar basaula
Janm bhoomi
In marilya
Jog maya
GhutDu ki bwai
Chhabis January
Chal bichari Ghara
Chitthi
Control
Sun lya mera praN
Ghughati
Dhandai pukar
Jaya Nand BauLya was always a stern supporter of separate state for Uttrakhand and he criticized the discriminative acts and policies of Uttrapradesh government, administrative officials and red tapism.
The famous Garhwali verse critic Bhagwati Prasad Nautiyal comments on the  wordings, composition and format of Jaya Nand’ BauLya’s poems that late Jaya Nand  used unique symbols and similitude, which his other contemporary or older poets never used.
    It is the tragedy for Garhwali literature that the creative has to arrange himself for publishing the literature and arrange free distribution too. Late Jaya Nand BauLya was not rich man and could publish only one collection of poems.
Jaya Nand BauLya was one of the  poets who initiated realism in Garhwali poetry.
Copyright@Bhishma Kukreti,Mumbai,2009


           


Bhishma Kukreti

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Garhwali Poet-4
                                  Gokula Nand Kimothi : the bridge between older and newer Garhwali poetries
                                   By: Bhishma Kukreti
       After independence, there have been two types of Garhwali poets. The first type of poets did not leave the legacy of old precedent established by poets around 1850 AD. Late Aditya Ram Doodhphudi was one such poet who even in nineties followed the set pattern of Garhwali poetry in terms of physical format, style, conversation path with readers or audience, subject, writing verses more for moral teaching or we may say that the versifiers of this class were purely idealistic in form and subjects in Garhwali literature. Another class of Garhwali poets emerged after independent, which initiated to doing experiments in many dimension and direction of poetries . These experiment lovers broke all the borders of past pattern of Garhwali poems in terms of form, style, structure, composing scale , symbol, attitude, experiencing symbols of a common man, direct communication representation with the audience,  and  subject. The know critic of Garhwali poetry Bhagwati Prasad Nautiyal intimates that Abodh Bandhu Augean , Sarvesh Juyal, Kanhaya Lal Dandariyal, Jaya Nand Khuksal ‘BauLya‘, LalamJi’ Giridhari Lal Thapaliyal ‘kankal’, Sher Singh ‘Garhdeshi’ and Jagdish Bahuguna  ‘kiran’ will be remembered in Garhwali poetry world for initiating new terms, new formats, variation in subject and characterization, subject of realism and new communication conduit of poetry. Most of the poets of eighties , nineties and this millennium have not only followed the path, which Nautiyal described above but newer generation of poets are more aggressive and do more experiments in all terms of poetry.
   Born in 1920 in Kimotha, Pokhari, Chamoli Garhwal  Gokala Nand Kimotha is the bridge between the two classes of Garhwali poets. Gokula Nand Kimotha meets both the ends. Being in army for twenty eight years, Gokula Nand Kimotha ‘s poetries are full of patriotism, idealistic in nature and are with moral building messages, which our poets of pre-independence stressed upon. However,  at the same time Kimothi used  new symbols, newer subjects emerged because of post-independence in Garhwal. From form , style and aim of teaching point of views, verses of Kimothi seems to be old Garhwali poems of pre-independence but subject, symbols, using fresh emblematic words for direct conversation or communicating with readers attach him to the new generation of Garhwali poets.
    Gokula Nnand Kimothi published two books on collection of his Garhwali poetries ‘Garhwali -Gatha’ and Pitaroon Raibar’
      As name suggests , Garhwali Gatha has poems of praise worthy characters of Garhwal and Garhwalis . The rhymes of Garhwali Gatha are in the form of folk Garhwali songs and subject.
       There are seventeen poems in Pitarun ko Raibar and most of the verses are aimed towards idealistic way of life .
 In Binti poem, Kimothi prays to Laxmi the goddess of wealth for enhancing the prosperity  and modern facilities in Garhwal that no Garhwali inhabitant requires migration and faces the pain of insult before others :
PaNi, motor bijali di de
Panchun ki di de raj.
Bhair ni jan poD jo ham sani
dekhaN bada bada saab
Fazal poem describes the scene of morning happenings in a Garhwali village and while reading the poem, the reader experiences as if it is the time of morning in his/her village
If Boya ki Jikudi describes the sacrifice of a mother of Garhwali village, Sajj poem takes us showing the reality of breaking relationship , intolerance, fissures in the old customs, Garhwali leaving their own language due to migration from Garhwal and the struggles in the migrated land.
 Though , Gokula Nand Kimothi  spent twenty seven years in army out of Garhwal he could not adjust himself in so called foreign land (padesh) and there he remembers Garhwal and Garhwal. The poems Pyaro Garhwal and  Teri Yad Man tell us how a migrated Garhwali feels frustrated in migrated land and how he remembers his motherland on and on. pyaro garhwal  is also the extension of Garhwali folk song myaro gadhwaL kano bhagyan, kyaLa kulain ka chhan jakh bagwan and teri yad man poetry is annexing poetry  tu wheli beera ghasiyaryun ka bhesh man created by Jeet Singh Negi
       BaskyaL is the narration of rainy season in Garhwal and the beauty of Garhwal in rainy season. Same way, myaro gaun, byakhun dain poems are also the description of geographical beauty of Garhwal.
  The ni hondu naunoo, pitrun raibar, palisi dida, swaanai-khan and uthau bhula haLsingo poems come under idealistic poems and teaches the importance of  morals and morality. These poems pay attention on values, humanity, Garhwalism, village-ism and disciplined life.
The poem San 62 ki pukar of Kimothi is a call for all Garhwalis to serve the country and the description of tension generated around Neeti-Mana the Indo-China border villages of India  .
 Though, Kimothi wrote or published  more poems in Hindi than Garhwali poems but Gokula Nand Kimothi got recognition in literary field because of Garhwali verses. Gokula Nand Kimothi will be remembered in Garhwali poetry field for his immense love for beauty of Garhwal, expression of pain of migration, destruction of Garhwali customs due to migration , extending the subject of folk songs and poetic subject of Jeet Singh Negi, creating patriotic poems as of Ram Dhari Singh Dinkar the famous Hindi poet and pathos rapture in remembering Garhwal through his Garhwali poems .
Copyright@Bhishma Kukreti,Mumbai, 2009



     

     

                 

Bhishma Kukreti

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Garhwali-Poet -5
                                     Shambhoo Prasad Dhashmana :  less is more
                                                   By: Bhishma Kukreti   
        Late Shambhoo Prasad Dhashman lived only for thirty six years (1930-1966) in this earth but he left his prints so powerful and deep that Bhakta Darshan Jee  called him as one of the great Garhwali personalities in his famous and well researched book, “Garhwal ki Divangat Vibhtiyan”.
    No doubt, the flute player, the drawing creator, a dramatist and music lover Shambhoo Prasad Dhashmana  is famous in literary field for his Hindi poems but he also versed many Garhwali poems. We have only six Garhwali verses in print form and tens of his Garhwali poems are lost due to many reasons.
      Shambhoo Prasad  Dhashmana belonged to an elite   family of Garhwal. Prayag Datt Dhashman “ Lakhpati Ji “ of ToLi village (Badalpur, Pauri Garhwal ) was his father and famous yogi Swami Ram was his uncle. He passed his graduation from Prayag Vishwavidyalaya with honour and did B.Ed. later on. He started his career as teacher and later on took commission in army and became Lieutenant in territorial army in 1962. His inclination was there for poetry and music from his childhood.  He belonged to the same class of Hindi poetry creator , which Chandra Kumwar Bartwal belonged .
 As said earlier he created many Garhwali poems but for record sake, we have only seven Garhwali poems .
     Shambhoo Prasad Dhashmana’s  poem Shri Badri Nath ki Jai Bola  displays  the prime importance for Garhwalis of  Shri Badri Nath as Ganesh Ji is important for Hindus. He called Shri Badrinath jee the crown of Himalaya .
    He used many newer and surprising symbols in his  ‘Geet’  poetry. Geet poetry is about the responsibilities, actions , applications of our society for the growth and development . In this verse he also advocated about the care for below poverty people. The symbols in this poetry are boats, crossing the river, speed of boat, river water, storm and many more. In the same poem, he also presents the characterization of Garhwal and Garhwali community. I shall suggest the younger poets to read this poem and they . Definitely, will say that this poem is the example of , gagar men sagar’.  The specialty and forte of this poem ‘Geet’ is that we don’t feel that the poet is teaching (aDaNu) us .
     Other four poems , ‘mait chhuti ge’ ‘ghaur bauDi awa, ‘teru naunyaLu pardesh jandoo bwai’  and ‘yad oonki aand’ are the poems of pathos, memoir,  love of separation, depending on luck and circumstances beyond human power. Here, also the versifier used many newer symbols of his time. The poet seems be very creative in finding the words of daily uses or what we come in contact on daily basis . He used words like  kuyedi, simwaLu, hiLwans,   dharDi for symbolization . These poems of pathos may be called as classic poems of Garhwali language.
   No doubt we have only seven verses of  Shambhoo Prasad Dhashman but those seven are also gems of Garhwali literature. These seven poems are published with his Hindi poems in a book form, ‘Itni See Batiyan’ by his able son Ashok Dhashmana , Baroda in the year 2000.
    We could have more Garhwali poems from Shambhoo Prasad Dhashmana but he died in a motor accident near Kanshkhet (Manyarsyun) on twenty second march, 1966, at the age of thirty six.
Copyright @Bhishma Kukreti, Mumbai, 2/3/2009, India


     
         


 

Bhishma Kukreti

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Garhwali -Poet-6
                                  Shushil Chandra : humorous poet
                                   By : Bhishma Kukreti
             Many Garhwali language poet does not get recognition because of living either in far area of Garhwal or living in cities far away from Delhi and Dehradun. Mostly, Garhwali poets get fame and recognition by reading their poetries in kavisammelan . Sushil Chandra is a Garhwali poet of immense potentiality for presenting us witty, humorous  poems but he did not get chance for publishing many of his poems. He was born in 1970, in Kathgun, Maidadsyun, Pauri Garhwal.
A graduate and principle in a junior college Panchur, Sushil Chandra is writes amusing and uncomplicated poetry on the subject of our daily life and peoples’s suffering.
He is on his height on describing the corruption in government administration and in political world of Garhwal. We may find his way of narrating the corruption spread in many areas of Garhwal. One such poem is as :
Ek aadim karjauki bhainsi leenu blokam jand
File bananda-bananda , adda bhainsi wakhi khai jand
                           Sirri fatti bi: bank man bante jand
                            Bema karan koo vai ma kandood I rai jand
    His way of narrating poetry is very simple and criticizing the ridicules happening in Garhwal as in the poem “mi jo mantri baun jaunlu to”, he shows us the way political workers act
Mi jo mantri baunu jaunloo
Kuchh kai-kai ko dikhauloo
Mafia ko sargana raiki
Des tain mafiamukt karauloo
     Many people started saying that, now, Garhwali humorous poetry is nothing but elongated pun s and being written for kavisammelan. However, this not the case of poems created by Sushil Chandra. His poems are serious but with lot of wit and satire and by reading his poems we may also smile.
   Sushil has created tens of poems published in local papers of Garhwal. He is also famous dramatist of Ekeshwar and Dhoundiyalsyun region.
Copyright@ Bhishma Kukreti, 5/3/2009, Mumbai, India




Bhishma Kukreti

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        Visionary Leadership  in  Uttrakhand is a major concern area
                                                                    Bhishma Kukreti
      Most of the Uttarakhandi are frustrated that even after a decade of formation of separate state , the citizens of Uttarakhand could not see their dream fulfilled. The growth of Uttarakhand is now really based on heavy growth in urbanization rather than the rural growth of hilly areas. Town are shaping cities and cities are becoming metros but the rural Uttarakhand is not witnessing any substantial benefits from the formation of new state. Barring subsidized benefits, the  rural and specially the inhabitants of hilly areas are not observing any  futuristic developmental path .
Yes, this issue of no innovative and advantageous  conventional futuristic strategy, tactics and applicable planning for hilly area is a concern area of deep thinking for the learned persons of Uttrakhand.
   The basic reason for low or no development of rural or hilly Uttarakhand is that the leaders of Uttarakhand are not leader in real sense. The political leaders in Uttarakhand lack the  qualities of leadership which satisfies the need of the hilly areas .
      The  integrity, dedication, deep understanding of the area concern, consistency, decisiveness, assertiveness, are major qualities of a leader and on top of it is that the leader should be visionary about the state or her/ his own constituency.
However, no political or social leader of Uttarakhand has shown that she or he is true visionary in context of juristic development of hilly Uttarakhand.  The visionary leader ia always capable of inspiring not only followers but opponents too. Since, uttarakhand is lacking a true visionary leader, there is always internal fight within the political parties I.e. within Congress and BJP . This is one reason that congress had to call Narayan Dutt Tiwari a spent force for Uttarakhand as chif minister for the state and BJP had to change  chief ministers as late Indira Gandhi used to change her chief minister.
              A real visionary leader can create coherency among various sections and groups. However, lack of sensible visionary leader in Uttarakhand, each myopic leader is creating more factionalism and fractures within her/his political party than creating coherence.
  Rural Uttarakhandi lacks prophet leaders and that is the major reason   that there are no realistic and futuristic changes in rural Uttarakhand which may be the  sign, symbol, mark, of  true development .
  A visionary leadership means the dramatization of the vision, which always attract the people and create strong follower ship. But, no leader in Uttrakhand could gain a total follower ship in whole of Uttarakhand . This is one area of concerns that there is no single leader in Uttrakhand who can command the all people of each area of Uttrakhand . It clearly shows that most of the leaders of Uttarakhand are  myopic and not visionary .
  A true leadership vision provides the direction for changes and this aspect of direction for changes attract the people or mass but the leaders of Uttarakhand  are conceptual less in terms of knowing the required changes and required tactics for those changes. This is one reasons that after formation of Uttarakhand , Uttarakhand could not provide a single leader who may be taller than his life and could  dominate the people of Uttarakhand and his high command in Delhi.
 Visionary leadership inspire the mass for going for radical changes but the acts of various leaders in Uttarakhand show that most of the leaders are not knowing what is required for rural Uttarakhand 
 Not taking innovative measures for rural Uttarakhand is the symbol of myopic leadership in Uttarakhand . Beating the old path is again the reflection of myopic leadership in Uttarakhand. Not understanding the micromanagement by the leadership in hilly areas of Uttarakhand is an example of presence of no-visionary leadership in the state. Thw situation is now, complex in each field of life. The true visionary leadership is always capable of segregating a couple of beneficiary aspects from complex situation for taking those aspects as practical means of development and make the complex most situation very simple. Uttarakhandis don’t see any leader in Uttarakhand who can segregate the beneficial aspects from complex aspects.
    Until the leaders of Uttarakhand evolve themselves for being visionary they can not serve the state as it requires. For becoming visionary the leaders should shelve their short termed self interest and should keep the interest of people at first step.
Copyright@ Bhishma Kukreti, Mumbai, 2009
   


Bhishma Kukreti

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Issues in Uttarakhand  -2                     
                      Working Couples in Hilly  Uttarakhand
                                                       Bhishma kukreti
   Working couples means that wife and husbands both holding paid jobs . Rural Uttarakhand have been  witnessing this new community for last one and half decades. This new phenomena should be  subject of many discussions but rarely the median provides much attention on this vital issue of future community.
  Working couples, in hilly Uttarakhand are subjects to many hampers, confines,  constrains and along with conflicting situations for dealing new challenges they are facing. Some constrains and conflicts are transitory but some are to be dealt on daily basis for ever by working couples I hilly Uttarakhand .
   Now a days, boys of hilly Uttarakhand also very much inclined that they get working marriage partners . This emerging new phenomenon in hilly Uttarakhand is creating various new situations which were never been there for centuries and the community is experiencing to deal such fresh circumstances.
  The first constrain for the couples, those who are married but where  one partner is without job,   is to find job and that job should match with the job’s of one partner that both don’t entangle in much adverseness.
   The parents of grooms of such working couples are not experienced dealing with working bahu or daughter in laws and the this compulsive new phenomenon is creating a different types of conflicts among family members. The experiencing and new adjust-mental culture of and by the working couples  within family is the only solution for dealing such new situations within the family and society.
  Handling many hidden or open unconventional asymmetries by the  couples, family members, relatives, community within the same society and communities of couples in working places is the main problem , difficulty , trouble, crisis, dilemma, quandary or predicament . Again , new experiences by all , is the only teaching solutions for such problems.
  It is observed that mostly , the partners are not getting jobs in the same village or small township of hilly Uttarakhand .This phenomenon of working in separate places creating many stumbling blocks for working couples of hilly Uttarakhand .
  When the couples do not get jobs in the same place, there are three establishments within family- parent’s establishment, two separate establishments of couple. The fourth establishment also become necessary when the children are sent to a city or metro for higher education. Too many establishments are always a painstaking occurrence for any average human beings.
     By having more than one  establishment, there are chances of hassles on the partners and may create many adverse events.
Parenting by working couples in rural Uttarakhand is the biggest hassle,  aggravation, exasperation  for working couples and to all who are related to working couples.
        Choosing child care is again part of parenting problem. Kids become the most sufferer in the home where parents are working .the kid’s suffering become more aggravated when the parents are working at different places and one parent cant meet the kids on daily basis. The situation worsens more when the kids dot have neither caring of both parents and grand parents too.
     Schooling and higher education for the children of working couples of hilly areas of Uttarakhand is becoming the problem of society as whole and each members of community is struggling for the finer solutions for tackling the nrew emerging trends in Garhwal and Kumaon.
  The old and contemporary norms are also  breaking because of new pattern of working couples in hilly Uttarakhand  and the society which is not habitual of experiencing such new changes put different pressure on working couples . If the adjustment period for dealing such newer and newer situation lingers the working couples and their family members  may face many dilemmas .
 The conflicting situations arisen by the ambitions for own professional progress is same as found in cities and metros too. When careers collide , there are conflicts between the couple and same phenomenon are being observed in hilly Uttarakhand  as being experienced in cities or metros, It is still a common saying in hilly Uttarakhand too, “ A successful wife is all very nice in theory, as long as she's still constantly available at home.”
   There are news that the divorce case among rural Uttarakhandis are also in increase. This situation is also because of increase in working couples in hilly Uttarakhand. Most of the problems of divorce occurrences are same of cities but there are some hidden problems in hilly Uttarakhand which are still to come on the surface.  The society has to gear to digest this appalling, dire and unpleasant  situation and  the Uttarakhandi society should first has to be ready to face the new trend and then find solutions for the emerging trends of divorces and new ways of remarrying should be accepted as part and partial of our life.
      The society, individuals, family members should be more sensitive and tolerable in finding the solutions if the working couples face the problems. The media of Uttarakhand should be more responsive in publishing articles or write ups related to working couples in hilly Uttarakhand
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 Negi’s  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 Negi’s 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“ Lokaral’award
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  )
Copyright@ Bhishma Kukreti, Mumbai, 2009

Bhishma Kukreti

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Great Garhwali Personality-3

 Mahachand Padma : The First Garhwali Shilpkar  I A S

                                           Adaptation: Bhishma Kukreti
           Garhwalis will always remember  Late Mahachand Padma for his industriousness and his oath to provide a pride to Shilpkar  of Garhwal. By being first Garhwali shilpkar as I A S .
      Mahachand was born on 8th July , 1937, in village Oad Gaon (Arya Nagar) , patti-Piglapakha, British Garhwal  (Pauri Garhwal). His father’s name was Veer Singh and mother’s name was Raduli Devi. The family profession of Veer Singh was constructing the building (Oad).
   After passing fourth standard (on that time fourth standard was called primary) from Mahadev Sain,  Maha Chand Padma was sent to Jahri Khal (near Lainsdown) for further study and he was brilliant who passed middle standard (7th standard) by first class. Though the economical condition of veer Singh was not so strong but looking the brilliancy of bright boy Mahanchand, his parents sent him to Dehradun for further study and he took admission in Mission School Dehradun . The  economical adverse conditions did not become obstacle for Mahachand . He passed twelfth  (Intermediate) from Mission School Dehradun
  Young Mahachand was ambitious, industrious and futuristic too . He wanted to study further from D. A. V. College Dehradun but the family economic condition did not allow him to take admission in B A in D. A .V. College Dehradun
.   Mahachand  got job in Public Works Department as Upper division Clerk (UDC).
When D. A. V . College started morning classes for B A students, Mahachand took admission in B. A. in D .A.V.College and passed the degree.
  In 1960, he married to Sushila (daughter of Butha Singh), who was also High School pass Shilpkar girl. In 1960, a girl from Shilpkar family was rarest most incident.. His wife Sushila became inspirational force for him and he passed LLB after marriage.
     In 1964, he passed I. A. S . exam and became first Shilpkar I .A.S. officer of Garhwal.
He was selected for Himachal Cadre (H.A S). Mahachand worked as S.D.M, Upper Secretary, A.D.C and lastly as Director in Indian the government services.
  He expired on 2nd July 1979 as blood cancer patient at the mere age of forty-one only.
H e was simple and courtesies person and his colleagues and subordinates liked him very much
 We Garhwwalis salute him for enhancing our pride and the self-esteem of Shilpkar worls of Garhwal
 Courtesy : Arya, Vinod, 2009,Uttarakhand ka Upekhshit Samaj aur Uska Sahitya, New Krishna printers, Lucknow, pp-10-13
@ Copyright: Bhishma Kukreti, Mumbai, May 2009
 

एम.एस. मेहता /M S Mehta 9910532720

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Sir,

i am sure merapahad community must be enjoying and updating themselves with these excluvies articles being provided by you on "Uttarakhndi Personalities".

Hat off to u. Looking forward many more such artilces in your coming posts.

regards,

M S Mehta

Great Garhwali Personality-3

 Mahachand Padma : The First Garhwali Shilpkar  I A S

                                           Adaptation: Bhishma Kukreti
           Garhwalis will always remember  Late Mahachand Padma for his industriousness and his oath to provide a pride to Shilpkar  of Garhwal. By being first Garhwali shilpkar as I A S .
      Mahachand was born on 8th July , 1937, in village Oad Gaon (Arya Nagar) , patti-Piglapakha, British Garhwal  (Pauri Garhwal). His father’s name was Veer Singh and mother’s name was Raduli Devi. The family profession of Veer Singh was constructing the building (Oad).
   After passing fourth standard (on that time fourth standard was called primary) from Mahadev Sain,  Maha Chand Padma was sent to Jahri Khal (near Lainsdown) for further study and he was brilliant who passed middle standard (7th standard) by first class. Though the economical condition of veer Singh was not so strong but looking the brilliancy of bright boy Mahanchand, his parents sent him to Dehradun for further study and he took admission in Mission School Dehradun . The  economical adverse conditions did not become obstacle for Mahachand . He passed twelfth  (Intermediate) from Mission School Dehradun
  Young Mahachand was ambitious, industrious and futuristic too . He wanted to study further from D. A. V. College Dehradun but the family economic condition did not allow him to take admission in B A in D. A .V. College Dehradun
.   Mahachand  got job in Public Works Department as Upper division Clerk (UDC).
When D. A. V . College started morning classes for B A students, Mahachand took admission in B. A. in D .A.V.College and passed the degree.
  In 1960, he married to Sushila (daughter of Butha Singh), who was also High School pass Shilpkar girl. In 1960, a girl from Shilpkar family was rarest most incident.. His wife Sushila became inspirational force for him and he passed LLB after marriage.
     In 1964, he passed I. A. S . exam and became first Shilpkar I .A.S. officer of Garhwal.
He was selected for Himachal Cadre (H.A S). Mahachand worked as S.D.M, Upper Secretary, A.D.C and lastly as Director in Indian the government services.
  He expired on 2nd July 1979 as blood cancer patient at the mere age of forty-one only.
H e was simple and courtesies person and his colleagues and subordinates liked him very much
 We Garhwwalis salute him for enhancing our pride and the self-esteem of Shilpkar worls of Garhwal
 Courtesy : Arya, Vinod, 2009,Uttarakhand ka Upekhshit Samaj aur Uska Sahitya, New Krishna printers, Lucknow, pp-10-13
@ Copyright: Bhishma Kukreti, Mumbai, May 2009
 


Bhishma Kukreti

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Garhwali Fok Drama-2
Dr Rajeshwar Uniyal lacks trustworthiness  in Analysis of Garhwali Folk Dramas
( A critical notes on the article “ Garhwali Lok Natya ki Samikhsha by Dr Uniyal)
                                                                                     Bhishma kukreti
  It is author’s observation that many Garhwali writer take Garhwali literature very lightly and write as if they are obliging Garhwali language by writing anything. It seems that learned writer, editor, social activist Dr Rajeshwar Uniyal thinks that Garhwali readers and intellectuals will digest, will admire, will adore  what ever Dr Uniyal writes and whatever way he writes. The author wants to caution the analysts as Dr Rajeshwar Uniyal that they should be serious and trustworthy in analyzing Garhwali literature and Garhwali folk literature.
  The author was reading the analysis of an article published in hamari Chitthi (January-March, 2009, pages 25-27) named ‘Garhwali Lok Natya ki Samiksha” by Dr Uniyal and was shocked that the learned Garhwali critics are so much ignorant about the way criticism is written .
 Rajeshwar uniyal divide Garhwali folk drama into three segments
Lokik Natak (old and contemporary)
Dharmik Natak
Uniyal also briefed the readers for “kalpanik lok natak’  and  ‘lok sahitya par adharit natak’
      The biggest flaw ,imperfection  , blemish, failing, error of the article is that it is an article of generalized writing on Garhwali folk drama. You just omit Garhwali word and replace Garhwali word by Bhutani, Wels , El Salvador or Spanish, there will not be any effect on the writing because Dr Uniyal did not write about Garhwali folk drama but about the general folk drama in generalized way and methodology. The readers will never find any specific characteristics of Garhwali folk dramas in this write up  by a so much learned writer and editor. This is painful for thee growth of Garhwali literature that even the learned person as Dr Uniyal take Garhwali criticism in so careless manner and just for passing the time . Or in Garhwali , the work of Dr Uniyal will be compared , “ Tain bwarim kwee kam nee cha at kalod ka kandh malasani cha”
    The demand of any type of criticism , analysis, study is that the criticism should be backed by examples. It sad part on Rajeshwar Uniyal that he failed to provide any such examples that could prove the true characteristics, specific nature, unambiguous area of expertise in Garhwali folk dramas. Without focusing on the explicated attributes the analysis of folk dramas can not be complete and Dr Uniyal just wrote generalized view. In Garhwali it is called, , “ hal katan “ or “ bus mund mudenon ban mundena chhan”
  The readers and intellectual society of Garhwali literature are not fool that they take every useless matter and without examples,  whatever way dr Uniyal wants to offer them. Dr Uniyal should understand that now, the readers are also educated and they require the write up in proper manner and proper proof.
   Dr Uniyal totally failed in offering  no proofs, examples, saying, references for proving his   division or criticism of Garhwali folk drama. He paid more attention on generalized subject and did not touch the main characteristics of Garhwali dramas. Even a ignorant person will tell that the main dramatists of Garhwali folk dramas are/were Badis  (A specific class of Garhwali society) and women folks but the so called expert of Uttarakhand folk literature forgets to tell us about the badi’s dramas or women playing dramas in the month of fulon- ka manhina. He focused on ramayan or other dramas which are not main folk dramas of Garhwal.
It is great concern about the wordings of Dr Uniyal,: Jakh tak Garhwali lok sahitya ku sawal cha waiku stah Garhwali lok sahitya geet sahitya man an ka barabar cha. Jab ki Maharashtra ka tamasha godyal, gan gayan natak kala ka ang hondan:  It clearly seems that neither he wacthed  lavani of Maharashtra nor he watched the fold drama of Badis and women in the moth of Geetun ka maina. He should know or should get knowledge that most of the Garhwali folk dramas created by women  are mixed with folk song or contemporary songs and same way, Badis used to mix folk or contemporary songs with prose drama or many times the drams were in poetical and lyric form only.
  It is shocking statement from Rajeshwar Uniyal , “ Garhwali lok sahitya man bhi lok geet, gatha va katha ku varnan t bhaut cha par lok natkun ku kakhi ullekh nee cha..” he , clearly means that if some body did not write about folk drama in Garhwal that means there was no culture of folk drama in Garhwali . It is utter ignorance on part of Rajesh war Uniyal to write so. There have been a deep culture of folk drama in Garhwal. It means that dr Uniyal did not watch the folk dramas played at the time of Lang of Badis in the  month of Chait. These Garhwali folk dramas created by Badis were  in pure prose form and mixed ones too
 This author feels that our historian and analysts as Dr Rajesh war Uniyal should take pain in doing research before writing such types of article. Uniyal and other writers shoul understand that by wrong interpretation , the characteristics of folk literature is reflected wrongly for the future generation
Copyright@ Bhishma Kukreti, Mumbai, 2009

 

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