MeraPahad Community Of Uttarakhand Lovers

 बाजूबंद काव्य में चुम्बन
       Kissing in Folk Songs, Folk Poems  of Garhwal, Uttarakhand, Himalayas
        Kissing in Garhwali Folk Poems
Collection: Malchand Ramola
Presented by Bhishma Kukreti
१- साबुन को फेण--गुदबुदया गिची गुद लेकी पेण
२- खैन्दी  च कढाई ---ओंठों पर ओंठो मिलै दान्त्युं ना  करी लडाई
३- लोहा गढ़ी छेणी-- रुब्सी ! गिची कै पेण नि दिनी
४- कागजू का तौ - पिंगली galwaadi दान्तूं का घौ

बाजूबंद काव्य में सन्देश (रैबार )
Messages in Folk Songs, Folk Poems of Garhwal, Uttarakhand , हिमालायास
Collection: Malchand Ramola
Presented by Bhishma Kukreti
१- चांदी का बटण --रैबार लीजा खुदन ह्वै गयौं काठी बरण
२- आंखी को रतन --रैबार ल्ही जा की ज्यू रखी जतन
३-घट पिस्या मैन्दी --बाटा को बटोही लहै दी सुआ की सैदी
४- दाथ्डी की धार--कु भग्यान ल्ही जालो मेरो रैबार

Garhwali, Himalayan Folk Literature
Characteristics of Folk Poetry: Similarities between English and Garhwali Folk Poetries
                  Bhishma Kukreti
  Human emotions are universally same and that is why there are many similarities of form and emotions among folk songs created in different areas of the world.
  The author is providing two similarities between the English Folk Poetries songs of Garhwal, Uttarakhand, Himalayas Folk Poetries   .
Meaningless Interjection : in both cases, that is Folk poetries of Britain before mid -age and Garhwali, Himalayan  folk poetries, the first stanza is meaningless for the poetry subject but very important for construction of song and for singing by chorus too. Or it may be said that the first meaningless stanza has the importance for choral adequacy as we see in the following folk poems  of English and Garhwali languages
Hey , Hey, hey
I will haue the whetston and I may; (Ref-1 )
Po, po, po, po,
Loue brane & so do mo. (Ref-2)
And now Garhwali folk poetr--
Bakhari binvar--sakal dunya ghumi kwee ni mili teri anvar (ref-3)
 Amoebaean Style : The critic analyzes in Transition English Song Collections (Ref-4),that questions and answers are another common form in English folk songs of old age  . The readers may enjoy this  beautifully illustration of  a song of the early fourteenth century.  The analyzer further says that the song is disposed in recitative, but, relieved of these repetitions:
Maiden in the moor lay
Seven nights full and a day.
“Well, what was her meet?”
“The primrose and the violet.”
“Well, what was her dryng?”
“The chill water of (the) well spring.”
“Well, what was her bower?”
“The rede rose and the lilly flour.”
Now the readers may find the similarities in Garhwali folk songs that Bajuband poetry (refr-5), where questions and answers are common and the meaningless interjection is used for chorus adequacy only :
Fooli jai jai ,
Banj katdari kai gaon ki chhai ?
Babla ki kuchi ,
Kai bi gaon ki holi tu kya kardi puchhi ?
Ganjela ki gaanj ,
Sarkari jangal keku katdee banj ?
Thakula ki thari
Raja kaunku bhare jaun band jangle karee
Dhamkalu ghan tu ini jande chhai t keku ayee baun?
……

These two examples show that the primitive Garhwalis and Englishmen used to create songs in somehow in same form and there was similarities in the subjects that invitation is for dance is already there in hidden form or explicit form as well

Reference:
1-. MS, Balliol ff. 226 b, 248 b—Anglia, XXVI, 270.
2-  Bodleian MS., Eng. Poet. E. I. f. 29 b—Percy Society, LXXIII, 42.
3-Ramola, Malchand, Bajuband Kavya, Malchand Bhawan, Tihri, India, 1989,pp138
4- Characteristics of Folk-poetry,, XVI. Transition English Song Collections.
The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
5-Nautiyal, Dr. Sivanand , 1981, Garhwali Nrityageet, Hindi , Sahitya Sammelan, Allahabad, pp279-282
Copyright @ Bhishma Kukreti, Mumbai, India, 2009

   Difference between khasankikayen and Bajuband Kavya
                            Bhishma kukreti

When, I posted the letter of ' Challenge to Hindi Lover' I got call from literature friends and literature creator as MS Lokesh Navani, Madan Duklan, Puran Pant Pathik, Keshar Singh Bisht.
You also saw the letters of MS Vipin Panwar, Sunil Uniyal, Girish Dhoundiyal and Parashar Gaud.
in conversation, one matter came on the surface that " Khsanilayen" of Hindi poetry form are also smaller in size and numbers of words. However, the main differences between
Kshanikayen and Bajuband poems are
1- Bajuband poems are in lyrical nature or Bajuband poems are sung as song , बाजूबंद कवितायेँ गेय होती हैं
2- The first part of bajuband is meaningless but is necessary for making Bajuband as lyrical
उदहारण:
पोरु
वीन
सुपिनों माँ
कैकी
नारंगी तोडीं
ऐंसू
जैका लिम्बो तोडे
(ललत केशवन कृत गढ़वाली में क्षनिका )
बाजूबंद के उदहारण :
१- धनिया को बीज--क्या तरसेन त्वै फर तू बिराणी चीज 
२- लोहा गढ़ी छेणी -- कनु बिसर्युं तेरी भुक्की पेनी
गेयता का बड़ा अंतर क्षनिक  और बाजूबंद में है   और यही करण है की बाजूबंद काव्य अभिनव, अनोखा, सर्व श्रेष्ठ  काव्य कहलाया जाता है 
Copyright @ Bhishma Kukreti, Mumbai, India, 2009
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Garhwali, Kumaoni, Himalayan Literature

Haiku Poetries in Garhwali Language

Bhishma Kukreti

Haiku is a folk poetry for of Japan . Today, Haiku is popular in most of the country and due to its unique features there are haiku creation in most of those languages, which are spoken by large population .

Garhwali poets also created Haiku in Garhwali language for advancing the Garhwali language literature.

As far as history of Haiku creation in Garhwali language is concerned, Ganesh Khuksal ‘Gani’ is first Garhwali poet who started creating Haiku in Garhwali. Ganesh ‘Gani’ broadcasted Garhwali Haiku from Keshvan (All India Radio) in 1992. ‘Gani’ broadcasted five haiku from Akashvani. However, Ganesh Kguksal could not publish his Haiku in regional papers.

Taking inspiration from Ganesh Gani, Veerendra Panwar a senior Garhwali language poet created Haiku poetries in Garhwali. Panwar published eight haiku in his poetry collection ‘In ma kankaik aan vasant’ (PP-33-34)

ओजोने खोल
 यख बटी वख तैं
लीक जरासी
Dr Rajeshwar Uniyal created a few Haiku in Garhwali language . He started publishing Haiku in Garhwali for last three years. Dr Rajeshwar Nautiyal says that his guru for Haiku is profound expert of Haiku Raghunath Bhatt of Rashtraveena of Ahmadabad.

　बगदू  पाणी
अर लखदु   माटू
 सुख्याँ पहाड़
Garhwali language literature will develop when the creative create all types of forms and subject in Garhwali language and the creativity of Ganesh ‘Gani ’, Veerendra Panwar and Dr Rajeshwar Uniyal is commendable. Garhwali literature will always be grateful to Gani, Panwar and Uniyal for their contribution in creating Haiku poetries in Garhwali language.

It is expected that Garhwali creative adapt many other forms in Garhwali literature too.

Copyright @ Bhishma Kukreti, Mumbai, India, 2009