Uttarakhand > Culture of Uttarakhand - उत्तराखण्ड की संस्कृति
Children Lori in Uttarahkandi Language - बच्चो की लोरिया पहाड़ी में ?
एम.एस. मेहता /M S Mehta 9910532720:
Analysis of Garhwali Counting –Out Folk Songs and Counting –Out Children songs of other languages
Bhishma Kukreti
Counting teaching by society has been taking place from centuries ago. The following major aspects are important to discuss the uniqueness of children counting song of any language or region.
1- People learn through observations
Psychologists as Albert Bandura observed through their researches that child or people learn many aspects through observations. Bandura identified following three models of learning through observations
1A-The live model acts as influencing learning
1B- A verbal instruction model (explanations and description)
1C- a symboli model as icon, characters in books, films etc
2- Mental factors are important too as pride, satisfaction and sense of achievement
3- It is not necessary that learning changes behaviour
4a- Not all observed are affectively learned
4b--Learning requires attention
4c-Learning requires retention
5-Learning also requires motivation
Learning Counting through Songs and Aspects of ‘Numerical Mechanism and children Concept of Counting’
Scientists, psychologists, sociologists and educationists discovered many findings about counting in relation to children. These findings are very important in judging the importance of songs related to teaching counting to children. Some relevant observations about numerical mechanism and children concept of counting are as:
1-Mramasse et all state that as like animals, children are quite accurate about small numbers and can compute approximately the large numbers
2- Starkley et all (1983) found that the infants of 4 to 7 .5 months old child can discriminate two items from three items but not 4 items from 6 items.
3-Strauss and Curtis (1981) found that 10-12 months old infants can discriminate 3 from 4 items and sometimes 4 from 5 items. However, it is not clear tha infants know 2 is higher than 1
4- In Garhwali, Kumauni (Indian), Chinese languages, the teaching of numbers were grouped in either ten or twenty. For example, in ancient Garhwal and Kumaun (India (before 1947 or when education was sin scarcity) , the numbers were spoken in terms of twenty as 58 =two twenty and eighteen (dwee beesi ar sattara)
5 Counting principles: Gelman and Galistel (1978) briefed about five counting principle of learning
5a- One-to-One theory: The theory stresses the significance of assigning only one counting tag to each counted arrangement
5b-The Stable order theory: Counting occupies more than the ability to allot arbitrary tags to iems in array.
5c-The cardinal theory: The theory reproduces the child’s understanding that the last number word of an arrangement of counted items has a particular meaning: it signifies the set as a whole and the numerosity of this set of articles.
5d-The abstraction theory: The realization is reflected what is counted. it is found that the 2-3 years old infants can count mixed sets of objects
5e-The order-irrelevance theory: the child has to learn that the order of enumeration is irrelevant
6 -Early Arithmetical Skills
Starkey (1992) showed that very young children could represent numerical quantities without the use of language.
7-Arithmatical development: The child learns the culture’s numbers words and associates these words with sets of objects as - five for all fingers
Garhwali Counting-Out Children Folk Songs
अंक अर अंक गणित सम्बन्धी बाल गीत
(गढ़वाली बालगीत , उत्तराखंडी बालगीत , हिमालयी बालगीत, भारतीय बालगीत )
एक -म्यरा खुट सेक , ek myara khut sek
द्वी - से पाणी पी dwee- se pani pee
तीन - गोर हरची गीन teen – gor harchi geen
चार -बुखा गार char – bukha gar
पांच - अब पे ब्यटा छांच panch – ab pe byata chhanch
छै - ल़े बुबा दै chhai – le buba dai
सात - पकड़ म्यार हात sat – pakad myaar hat
आठ - चल बटी बाट aath- chal bati baat
नौ - पकड़ म्यारो पौ nau- pakad myar pau
दस -अब कैर बस das – ab kair bas
(From book Garhwali Balgeet by Dr Nand Kishor Dhoundiyal and Dr m Dhoundiyal)
Counting-Out Children Song in German language
1 2 Polizei
1, 2 Polizei ,
3, 4 Offizier
5, 6 alte hex
7 , 8 gute nacht
9, 10 kapitan
11, 12 einige , wolf
Drinn steckt eine maus
Die muss ‘naus
(Poem by Henry Carrington Bolton (1888) )
Counting-Out Children Songs of United Kingdom
There are tens of children songs helping children to learn counting in United Kingdom. One example is as:
“One, two, buckle my shoe,
three, four, open the door,
five, six, pick-up sticks,
seven, eight, lay them straight
nine, ten, the big fat hen,
eleven, twelve, dig and delve,
thirteen, fourteen, maids a-courting,
fifteen, sixteen, maids in the kitchen,
seventeen, eighteen, ladies waiting,
nineteen, twenty, my plate's empty.”
French Counting-Out Children Song
Pimpanicaille
Pimpanicille , el roi des papillions
Se faisant la barbe s’est coupe le menton
Un deux trios de bois
Quatre cinq six de bois
Sept huit neuf de boef
Dix onze douze de bouse
Va- t-en a tooulouse
The children counting songs of America, Italy, China and in other countries are in the above pattern
1- After studying the psychological points cited the above, it may be said that though the song creators were not psychologists but they took care about the nature of human beings ability to learn counting
2- In all songs including Garhwali (Indian) folk song, the objectives are fit with the song that children associate the known objective with the numbers
3-Tthe song creators were aware about importance of attention of child and then retention by the child aspects in learning counting
4- The words in children counting-out songs are simple and kept to create poetic rapture that children repeat the songs within groups or individually.
The above analysis and psychological aspects described in this write up confirms that the Garhwali Children Counting-Out Folk Songs are perfetc songs for learning numbers by children.
Copyright@ Bhishma Kukreti bckukreti@gmail.com
एम.एस. मेहता /M S Mehta 9910532720:
Bhukki Rai Gyaun Bwali : A Representative Garhwali Children’s Folk Poetic Drama
Bhishma Kukreti
(Garhwali Children’s Folk Songs, Uttarakhandi Children’s Folk Rhymes, Himalayan Children’s Folk Poetry)
While classifying Garhwali children’s folk songs, Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal placed children’s folk poetic dramas under the division of amusing and Entertaining Garhwali Children’s Folk song. However, this write is witness that children of Garhwal play folk poetic drama very frequently in ‘Gor ma ‘(while grazing the animals in grassland), in ‘Goth Jagwalan ‘ (while watching the animals at Goth), Geetun Maina (at the month of songs and dances) or at any free time. The author can say that the critics of Garhwali folk literature for children should place ‘Children’s folk poetic drama’ place with separate heading.
There are many types of folk poetic dramas played by children in Garhwal.
1- Mixed : Where the children choose various songs and sing as part of drama. In this genre , the children first decide who will sing which song. Usually the old aged children are expert to adjust the songs that a story is built in the dram. For example, one child will play the role of teacher and other children will play the roles of students, then the teacher will ask questions as alphabets, counting etc in poetic language (created by them) and other children will sing the related poetries. In between the teacher will act teacher and may show mistakes or may insult the singers. Or the children would play drama of a family and then they sing various songs related to family.
2- Exclusive subject: the children sing exclusive poetic drama song and play drama accordingly.
The following Garhwali (Indian) -children’ folk poetic drama is one act and least time consuming drama. The dram could be played among two children or many children
भुक्की रै ग्यों ब्याळी :जहां गढ़वाली बालनाट्य गीत चलता है , नाचता है... ..
(गढ़वाली लोक बालगीत , उत्तराखंडी बालगीत , हिलालाई लोक बालगीत, भारतीय लोक बालगीत )
भुक्की रै ग्यों ब्याळी I was hungry, yesterday
पधनुं करों की स्याळी Sister in law of Padhan (village head)
स्वाल़ा लायी ब्याळी Brought Swala yesterday
नौ मण कंडाळी खै ग्यों Ate nine tons Kandali
सौ मण बसींगो Ate hundred tons Basingo
नौ मण का अरसा खैने Ate nine tons arsa
सौ मण की स्वाळी Ate hundred tons swali
भुक्की रै ग्यों ब्याळी I was hungry yesterday
पधनुं करों की स्याळी Sister in law of Padhan
स्वाल़ा लाई ब्याळी brought swala, yesterday
बमणु को बाड़ी खेंडो For Brahmin, it was Badi
जजमनुं को झ्वळी For Rajput, it was Jholi
हौरी खुणि चटणि For others, it was chatani
खांदु गल़ा गळी Gulped and gulped
भुकी से ग्यों ब्वाळी I was hungry yesterday
भुक्की रै ग्यों ब्याळी I was hungry yesterday
पधनुं करों की स्याळी Sister in law of Padhan brought, yesterday
नौ मण तिमला खै ग्यों Ate nine tons Timla (fig)
सौ मण का बेडु Ate Hundred tons Bedu( another type of fig)
नौ मण काफळ खैने Ate nine mon Kafal (a fruit)
सौ मण फळीन्ड़ा Ate hundred mon Falinda ( third type of figs)
फिर भी करदो आळी जाळी Even then unsatisfied and ran here and there
भुक्की रै ग्यों ब्याळी Still I was Hungary yesterday
पधनुं करों की स्याळी Sister in law of Padhan brought swala yesterday
नौ मण झंग्वर खै ग्यों Ate nine tons Jhangora (millets)
सौ मण खिचड़ो खैने Ate hundred tons Khichdi
ल़ूण राळी राळी Mixed all with salt
फिर भी भुक्की रै ग्यों ब्याळी Even then I was hundry yesterday
पधनुं करों की स्याळी Sister in law of Padhan braught swala
( Reference : Dr Nand Kishor Dhoundiyal Dr Manorama Dhoundiyal Garhwali lok Balgeet)
The above folk poetic is a humorous drama. There is high degree of exaggeration in the drama that even after eating tons of food, the person was hungry. The phrases create smile in the face of players or audience. The players enjoy the song by singing, dancing as per their pre arrangement. The players do performance as per their choices or pre arrangement. The act may be free for all to act or the children may decide how to act and who will do the acting to show the main character’s characteristics. The song explains various types of food, various types of igs available in Garhwal too. The phrases are used known phrases which do not need to explain story in details but the audience would understand the story. As ‘ Pahanu ki bwari layee’ is understood that she came from her mother’s house and would brought ‘arsa, swala’ etc. An dpadhan distributed the same among villagers
This author is witness such types of exaggerated poetic drama where paradox is main theme to create laughter rapture. In many songs, sharp satire is also found.
This author is witness of a parody drama played in ‘Gor ma’. The play was based on Ramayana and the dialogues of main characters were changed, Ram said the dialogues of Ravan, Rawan said the dialogues of Rama and Sita said the dialogues of Mandodary . The changeover of dialogues by well known characters of Ramayana created laughter and awkwardness too
The above drama is the proof that the folk literature creators were experts of understanding the dramatic situation and importance of basics of poetry. It may be said that ‘Bhukki rai gyaun bwali ‘ drama sings, walks, dances and simultaneously, definitely amuses the players and audience together.
Copyright@ Bhishma Kukreti bckukreti@gmail.com
एम.एस. मेहता /M S Mehta 9910532720:
Teasing and Taunting Garhwali Children’s Folk Songs
Bhishma Kukreti
The free online dictionary defines the act of teasing as ‘annoying, pestering, vexing’, ‘making fun of other’ or ‘mocking playfully’,
The free online dictionary defines ‘taunt’ as ‘to reproach in a mocking, insulting, contemptuous manner’.
Teasing is verbal or bullying form of taunting.
From children song point of view, the teasing has two main forms
1- Hurtful teasing children’s folk songs: In Garhwali language, the hurtful songs are related to individuals and social groups. Mostly, individual hurtful folk songs are created by individuals spontaneously and not heard by society and social hurtful songs created for teasing a classes or casts, villages, regions etc. As in past before British regime, there were songs for teasing Kumauni community at the time of Bhailu festival. No doubt that these types of songs were created for adults and children used to sing to as amusing songs too. There were songs to tease a family or caste and children used to sing those songs. There were proverbs which were sung against regions as Pauri Garhwalis used to sing hurtful songs against Tihri Garhwalis and vice versa. Now a days, the custom is diminishing for creating hurtful folk songs aimed at caste, regions etc
It is seen that hurtful folk songs do not survive for long as the songs are not sung openly and when songs are not sung openly the songs are not carried generation to generation.
2-Playful Teasing children’s songs
The purpose of playful teasing song is to get amusement. Many times, there is no difference between teasing playful children songs and playful adult songs as the teasing wedding songs are also sung by children while playing wedding drama in their free time. There are folk songs for teasing other village or territories sung by adults and children too without any difficulties.
For example, a song of village Jaspur (Malla Dhangu, Pauri Garhwal) which make mockery of other villagers of the region as Gweel, ( Dhangu, PG) Amaldu and Jalth( Dabralsyun, Pauri garhwal) used to be sung by adults and children in the Geetun Maina (month of songs and dance). The song is about showing characteristics of individual villagers as
Gweel kaunki dhoti lambi ( the dhotis of villagers of Gweel is long )
Jalth kauniki dhoti badi ( the dhotis of Jalth villagers is big)
Amaldu kaunka raudya bad ( White spot on forehead of Amaldu is big. In fact the Pundits of amauldu used to paste chandan on their forehead)
The playful teasing children folk songs could be classified as per following situations
A- Intention of the teasers
B-Mocking bad habits or unusual customs
C-Making funs of name
D- Making funs of other villages or regions
E- Just to sing playful songs sung by villagers or social groups together
F- Making fun of birds and animals.
The following song is a song of mocking a lazy person and became poor due to his inactivity. Dr Dhoundiyal states that usually , this song is used to teas other child by putting child’s father name instead of Sundaru.
सुंदरु क हालात
सुंदरु तेरा नौना क्य छन ?
बारा बीसी नौ
सुंदरु तू खांदी क्य छै ?
मांगि मांगि क जौ
सुंदरु तेरो लैन्दो क्य च ?
एक डूंडी गौ
सुंदरु तेरा भांडा क्य छन ?
एक टुट्यु तवा
सुंदरु त्यारा लारा क्य छन ?
अंग्वछा को छौं
सुंदरु तू रौंदू कख छै
झुपडा तौळ
सुंदरु कुछ काज कौर
धार जांदी मौ
The children create songs by using Bajuband technique – first stanza without meaning and second stanza with real meaning as in the following song the children of other villages tease the villagers of Raneth who are by class ‘Dallya’ and they blow ash into sky while doing Tantrik pefromances.
बड़थ्वालुं क गौं बड़ेथ ( Barthwals live in Bareth )
उबफुक्वों क गौं रणेथ (Magicians or Tantrik (Dallya ) live in Raneth
There is another classical example of showing characteristics of three villages together but may be said as teasing folk song too
पाली का उन्द्फुक्वा
ठंठोली का अदबिचका
रणेथ का उबफुक्वा
Paali ka undfukwaa
Thantholi ka adhbichhak
Raneth ka ubfukwa
There are three villages in malla Dhangu – Pali where goldsmith live, Raneth where Dally live and in between two villages, Thantholi village is situated. Since gold smith acts require to blow pipe towards earth the inhabitants of Pali are called Undfukwa (who blow pipe towards earth) and the inhabitants of Ranesth are called Ubfukwa (to blow towards sky or above )
There is another teasing or amusing song in Garhwali which the author also sung many times. The song is amusing but if analyzed, the song is for teasing the teacher as
मास्टर जी कि टंगडि टुट्टी The teacher’s leg got fractured
दणमण बाजि घंटी The bell rang
द ल़े ह्व़े गे छुट्टी We got leave
There are many proverbs transformed by children and sung as rhymes too to use teasing songs.
Usually, teasing Garhwali children’ songs are satirical and humorous.
There such many local, regional and universal Garhwali children’s folk songs which are teasing and amusing.
Copyright@ Bhishma Kukreti
bckukreti@gmail.com
एम.एस. मेहता /M S Mehta 9910532720:
Logic Learning in Garhwali Children Folk Songs
Bhishma Kukreti
The mode of reasoning is ‘Logic’. The Indian folk literature has been very rich in teaching logic to the next generation by old generation. This is the reason that philosopher Gautam created ‘ Nyay Darshan’ more than two thousand years back.
In Garhwal, there is tradition of teaching reasoning to children from early age. Garhwalis have been creating riddle poems for their children from the time the humanity settled in Garhwal. The following two children folk poems are proof that Garhwalis were conscious about teaching logic to their children from early age
The songs are having four lines in a poem and the language is simple that children could understand easily
पहेली बुझाने के गढवाली बालगीत
(गढ़वाली बालगीत, उत्तराखंडी बालगीत , हिमालयी बालगीत , भारतीय बालगीत )
----1---
मुंड मा म्यारो छारु च , Ash is on my head
इन च बुल्यां जोगी च As if I am ascetic
पेट मेरो गगडाँदू च The stomach sounds in disorder
इन च बुल्यां रोगी च As if I am sick
उत्तर : हुक्का Answer: Hukka
-------- 2-----
बुतत , बातत जामत जु
काटत फाटत फाटत फू
कूटत कूटत फूँकत फू
थड़कत भड़कत भकडम भू
मार सड़ाबड़ सपडम सू
उत्तर पळयो , छ्न्छिंडा Answer palyo or Buttermilk curry
(सन्दर्भ : डा नंदकिशोर ढौंडियाल व डा मनोरमा ढौंडियाल कि पुस्तिका )
There are other puzzle songs for children in Garhwali. There is remarkable tendency to teach children logically in Garhwali children folk songs
Copyright@ Bhishma Kukreti
एम.एस. मेहता /M S Mehta 9910532720:
Naidaali Panyaan Jami : A Garhwali Thadya Folk Dance-Song
Bhishma Kukreti
‘ Thadya’ I means on the ‘Thau’ or specific place or specific open place . The dance-song is performed at the time of festivals or fair. However , the villagers perform Thadya dance song a in the Geetun maina (The month of Songs- from Vasant panchami to Baishakhi/Bikhot) too in night as Manipuris perform dance-song in moonlight.
The ‘ Thadya’ dance-song is circle dance and the dancers sing the song as per the rhythm or subject. The dance has similarities with Hora of Slavic , Romania, Klezmere, Bulgaria which means round dance, speak ; Serbian ‘Koro’; ‘Hora’ of Turkish, ‘Valle’ of Albania; ‘Oro’ in Macedonia, Montenegro, Gypsy communities; Mayim Mayim of Israel ‘ Kantu’ of Bolivian highlands; Anyako Atsia of Africa; Ghuozhuo ‘ of China; ‘Dati of E-Ethnic group of china; Guoxi of Tibet, rauf dance of Kashmir,
Thadya dance-song has many variants. ‘ Thadya’ dance is performed by feals or males alone, or both genders dance together in circle depending upon the song. The dancers stand in circle and put their hands on the shoulders of oteach other and start dancing and singing. From this point, the variation of each Thadya dance start . Depending upon the song and subject the dancers change the instances.
Usually, when the community songs start the women sing an auspicious song and perform dance . The ‘ Naidali panyan’ is asocial and religious dance danced together by women in circle. The song is dedicated to Panyan tree and Khetrpal deity. The dance is rhythmic but with slow speed as the song is worshiping songs for Panyan an auspicious tree and deity Khetrapal’. All the dancers sing the song and the outsiders also sing the song. There is no need of musical instruments in this dance-song.
नैडाळी पैंयाँ जामी : गढवाली थड्या लोक नृत्यगीत
(गढवाली सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत , उत्तराखंडी सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत )
(Garhwali Folk Dance-song, Uttarakhandi Folk Dance-Song, Himalayan Folk Dance Song)
सेरा कि मींडोल्यूं नैडाळी पैंयाँ जामी At the Paddy filed mound, Panyan tree grew
दिब्तौं कि डाळी नैडाळी पैंयाँ जामी The dietary tree , Panyan tree grew
कूली की बेड़वाळ नैडाळी पैंयाँ जामी At the canal bank, Panyan tree grew
सेरों की ढीस्वाळी नैडाळी पैंयाँ जामी At the upper side of paddy filed, Panyan tree grew
चालों दीदा भुलाओं नैडाळी पैंयाँ जामी Let brothers-sisters go, Panyan tree grew
क्वी दूध चारयौन्ला नैडाळी पैंयाँ जामी A few irrigate by milk, Panyan tree grew
एक पत्ती ह्व़े ग्याय नैडाळी पैंयाँ जामी It is now one leaf plant, Panyan tree grew
दुपत्ती ह्व़े ग्याई नैडाळी पैंयाँ जामी Its now double leaves, Panyan tree grew
फूटी गेन फांकों नैडाळी पैंयाँ जामी The branches came up, Panyan tree grew
द्यू करा धूपाणा नैडाळी पैंयाँ जामी Let us do Dhoopano, Panyan tree grew
कै देव शोभली नैडाळी पैंयाँ जामी Which deity will come? Panyan tree grew
खेतरपाल शोभली नैडाळी पैंयाँ जामी Khetrapal will cme, Panyan tree grew
दिबतौं क सत न नैडाळी पैंयाँ जामी Due to deity’s blessing, Panyan tree grew
क्वी घांडा चढ़ावा नैडाळी पैंयाँ जामी Somebody will offer bell, Panyan tree grew
क्वी निशाण लगावा नैडाळी पैंयाँ जामी Somebody will offer flag, Panyan tree grew
* Panyan (Prunus ceresoidus ) kedarja, padm, is a Himalayan cherry or like deciduous African cherry
Sorce_ Shri Pitambar Datt Devrani’s personal collection and published in ‘ Garhwal ke Lok nritygeet by Dr Shiva Nand Nautiyal. D Late Pitambar Datt devrani started his career from Silogi High School and later on became principal of Matiyali Intermediate College, Pauri Garhwal, Uttarakhand.
Copyright@ Bhishma Kukreti bckukreti@gmail.com
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