MeraPahad Community Of Uttarakhand Lovers

                                  Jeetu Bagdwal: A Folklore Base Garhwali Drama   

     


                                      Bhishma Kukreti

           Jeetu Bagdwal is famous folklore of the Garhwal region. The story of Jeetu Bagdwal is that Jeetu is a love seeker and brave Youngman. Once, Jeetu had to visit his sister for inviting her for initiating the ‘Plough season’ ritual.  While passing through a beautiful jangle Jeetu blows his flute and his flute tone attracts Ancheris (fairies) of the jungle. Anchheries/fairies wanted to take Jeetu Bagdwal with them. Jeetu promised them that they can take him after he finishes the ‘plow ceremony’.  Jeetu and his family celebrate with rituals the ‘plow ceremony’ in the paddy field. When Jeetu finishes the ceremony, Anchheri comes and takes Jeetu with them. 
                      The story provides opportunities for writers to create all eight regular raptures and more than a hundred regular emotions in the drama. There is the love of a mother for her son, son’s respect for mother, brother’s love for sister, fairies lust love for Jeetu, Jeetu’s love for his lover, Jeetu’s promise and his sacrifice for his keeping words for abiding his promise, death of Jeetu, pathos, the importance of agriculture etc in the folklore story of Jeetu Bagdwal. That is the reason Abodh Bandhu Bahuguna wrote a drama on the famous folklore ‘Jeetu Bagdwal’. Famous folk artist and dramatist Jeet Singh Negi wrote a drama on the famous folklore ‘Jeetu Bagdwal’.  Parvteey Kala Manch, Dehradun staged lyrical-prose folklore base drama ‘Jeetu Bagdwal’ in 1985. Parvteey Kala Manch, Dehradun staged folklore base drama ‘Jeetu Bagdwal’ in other places too. Famous drama activist and musician of Garhwal Bhagwati Prasad Pokhariyal provided the music to this folklore base drama ‘Jeetu Bagdwal’ written by Jeet Singh Negi.
                   Famous Asian dramatist Brajendra Lal Shah wrote a new version of the folklore base drama on ‘Jeetu Bagdwal’ and staged the folklore base drama ‘Jeetu Bagdwal’ thrice in 1986 in Delhi. World-famous folk musician Mohan Upreti provided music for the folklore based drama ‘Jeetu Bagdwal’
          Brajendra Lal Shah changed the folklore base drama ‘Jeetu Bagdwal’ into a platform for making awareness about nationalism and the importance of democracy.
References:
A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)
8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava
Copyright@ Bhishma Kukreti
Nots on Folklore Base Dramas; Folklore Base Asian Dramas; Folklore Base South Asian Dramas; Folklore Base SAARC Countries Dramas;  Folklore Base Indian subcontinent Dramas;  Folklore Base Indian Dramas; Folklore Base North Indian  Dramas; Folklore Base Himalayan Dramas; Folklore Base Mid-Himalayan Dramas; Folklore Base Uttarakhandi Dramas; Folklore Base Kumauni Dramas; Folklore Base Garhwali Dramas to be continued…..   
     लोकगाथा आधारित आधुनिक नाटक, लोकगाथा  आधारित आधुनिक एशियाई नाटक, लोकगाथा आधारित आधुनिक दक्षिण एशियाई नाटक, लोकगाथा आधारित आधुनिक सार्क देशीय नाटक, लोकगाथा आधारित आधुनिक भारतीय नाटक, लोकगाथा  आधारित आधुनिक उत्तर भारतीय नाटक,  लोकगाथा आधारित आधुनिक हिमालयी नाटक, लोकगाथा आधारित आधुनिक मध्य हिमालयी नाटक, लोकगाथा आधारित आधुनिक उत्तराखंडी नाटक, लोकगाथा आधारित आधुनिक कुमाउनी नाटक, लोकगाथा आधारित आधुनिक गढ़वाली नाटक लेखमाला     
             

Dholi ka Ansu:  A Folk Love tale/ Folk Love Story base Garhwali Drama 

 (Review of Love Folk Tale/Love Folk Story base Garhwali Drama written by D.D.Sundriyal)

             Notes on  Folk love Tale/ Folk love Story base Dramas; Folk Love Tale/ Folk Love Story base Asian Dramas;  Folk Love Tale/ Folk Love Story base South Asian Dramas;  Folk Love Tale/ Folk Love Story base SAARC Countries Dramas;  Folk Love Tale/ Folk Love Story base Indian subcontinent Dramas;  Folk Love Tale/ Folk Love Story base Indian Dramas;  Folk Love Tale/ Folk Love Story base North Indian Dramas;  Folk Love Tale/ Folk Love Story base Himalayan Dramas;  Folk Love Tale/ Folk Love Story base Mid-Himalayan Dramas; Folk Love Tale/ Folk Love Story base Uttarakhandi Dramas;  Folk Love Tale/ Folk Love Story base Kumauni Dramas;  Folk Love Tale/ Folk Love Story base Garhwali  Dramas
लोक प्रेम कथा आधारित आधुनिक नाटक; लोक प्रेम कथा आधारित आधुनिक एशियाई नाटक; लोक प्रेम कथा आधारित आधुनिक दक्षिण एशियाई नाटक; लोक प्रेम कथा आधारित आधुनिक सार्क देशीय नाटक; लोक प्रेम कथा आधारित आधुनिक भारतीय नाटक; लोक प्रेम कथा आधारित आधुनिक उत्तर भारतीय नाटक; लोक प्रेम कथा आधारित आधुनिक हिमालयी नाटक; लोक प्रेम कथा आधारित आधुनिक मध्य हिमालयी नाटक; लोक प्रेम कथा आधारित आधुनिक उत्तराखंडी नाटक; लोक प्रेम कथा आधारित आधुनिक कुमाउनी नाटक; लोक प्रेम कथा आधारित आधुनिक गढ़वाली नाटक लेखमाला
                                                 Bhishma Kukreti
                          There is no area where the folk love tale does not exist. In China, the folk love stories of Liang Shanbo and Zhu Yingatai; Meng Jiangqnv; Niulang and Zhinv are famous folk love tales; the love between prince Suthan and Kinnari Manohra is famous folk love story of Thailand; Mirza Sahiban, Sohani Mahival, Heer-Rranjha, Nakshi Kanta is famous tragedy folk love story of Bengal, the folk love story of Kovalanad and Kannaki of  Tamilnadu are a couple of examples of folk love stories of Indian sub continent.
            Mak Thiong  and Guy sen and Mom are famous folk love stories of Cambodia; love story of prince and princes Kinnara is famous folk love tale of Malaysia ; love between Chunhayan and Yi is well known folk love story of Korea; the story of Kato Sayemon is well known folk love story of Japan; stories of Layla and Majnon represents Arabic folk love tale.
    It is a fact that these folk love stories attract the dramatists for writing dramas for modern audience. It may be said that in most of languages, dramatists adapted their folk love tale into modern dramas.
  Garhwali dramatists are not exception in adapting folk love tale into modern drama.


                                Dholi ka Ansu:  A Love folk tale/Love Folk Story base Garhwali Drama 
 

                D.d sundariyal adapted the famous Garhwali folk love story into the drama ‘ Dholi ka Ansu’.  As per folk tale of Garhwal,   Tiloga Taidwali and Amardev Sajwan . Tiloga belonged to Taidi village of Banelsyun Patti above Vyaschatti (meeting place of Ganges and Nayar rivers) Pauri Garhwal and Thokdar Amardev  Sajwan was Thokdar of Bharpur village Tihri Garhwal. Amardev Sajwan was the bravest among the bravest Amaedev Sajwan fell in love with beautiful Tiloga but in between their villages, the deep Ganga River was the hurdle in their meeting . However, no hurdle is a hurdle in true love. Amardev used to come daily to meet his beloved Tiloga by crossing Ganges in the night and he used to return back before down
              One day the villagers of Taidi saw both in love-making scenes. All villagers of Taidi became angry and they killed Amardev by compelling him to run here and there. Tiloga became sad and she cut both the mammary glands, threw cut glands into two wells of the village, and died by Sati Dharma
The following song is sung in their love memory in Garhwal in Ghadela to satisfy the unsatisfied souls of Tiloga and Amardev Sajwan
बांकी तड़याली  तिलोगा बांकी
सेर कि भिडाल्यूं  बांकी
सडक तिरवाली बांकी
राति जुनख्याळी सिरवाणी कि कूल
कु होली घसेर बांकी
छोटी च मिंडाळी , ठुल्ली च घसेर
छुणक्याळी चुड़ीयूँ की क्वा होली घसेर बांकी
तू बेटी छे कि  ब्वारी
तू बेटूलि होली कैकी,  मांगणा कै जौलो 
तू ब्वारी होली  कैकी , छुड़ेणो कै जौलो








  When this author published about famous folk love story of Garhwal ‘Tiloga Tadiyali’, D.D.Sundriyal a Garhwali  drama activist wrote letter to the author as :
 






Bhisham Bhai,
Thanks for Tiloga Tadiyali feedback. In fact, in Chandigarh we have many shows of a lyrical drama based on this love story. The title was "Dholi-ka Aansu" ( written by D.D Sundriyal and directed by Chandi Bhatt Bharti ) though  the name of main  characters and places changed viz Ganga for Tiloga and Bhagirath for Amar Dev Sajwan, as a few local  Banelsyun samiti members tried to stall  the show. It was in 1984, perhaps, its first show was staged at famous Tagore Theatre of Chandigarh. Many shows followed till Garh Kala Sangam became defunct in 1996. The script, a very good blend of reality and imagination,( in Garhwali)  is available  with me. We thought to picturise the love story but for finance problems the idea was abandoned. It is an absorbing tragedy and can make a very successful film.
March edition of Uttarakhand Live takes note of dramatic ventures of Garh Kala Sangam in Chandigarh and nearby cities. Ironically, all columnists and feature writers on Garhwali Rangmanch have made mention of such activities taking place in Dehra Dun, Delhi and Mumbai. For all of them other cities are non entity. Fact is that last 20-25 years of nineteenth century witnessed all sorts of Garhwali dramas/dance-drama and other forms of cultural activiteis in Chandigarh.. Garh Kala Sangam and Garhwal Sabha heading the march.
Dhanyabad
D.D.Sundriyal
Dy Advt Manager (Tribune, Chandigarh)
9815801909
References:
A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)
8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava
Copyright@ Bhishma Kukreti

            Notes on  Folk love Tale/ Folk love Story base Dramas; Folk Love Tale/ Folk Love Story base Asian Dramas;  Folk Love Tale/ Folk Love Story base South Asian Dramas;  Folk Love Tale/ Folk Love Story base SAARC Countries Dramas;  Folk Love Tale/ Folk Love Story base Indian subcontinent Dramas;  Folk Love Tale/ Folk Love Story base Indian Dramas;  Folk Love Tale/ Folk Love Story base North Indian Dramas;  Folk Love Tale/ Folk Love Story base Himalayan Dramas;  Folk Love Tale/ Folk Love Story base Mid-Himalayan Dramas; Folk Love Tale/ Folk Love Story base Uttarakhandi Dramas;  Folk Love Tale/ Folk Love Story base Kumauni Dramas;  Folk Love Tale/ Folk Love Story base Garhwali  Dramas to be continued….
लोक प्रेम कथा आधारित आधुनिक नाटक; लोक प्रेम कथा आधारित आधुनिक एशियाई नाटक; लोक प्रेम कथा आधारित आधुनिक दक्षिण एशियाई नाटक; लोक प्रेम कथा आधारित आधुनिक सार्क देशीय नाटक; लोक प्रेम कथा आधारित आधुनिक भारतीय नाटक; लोक प्रेम कथा आधारित आधुनिक उत्तर भारतीय नाटक; लोक प्रेम कथा आधारित आधुनिक हिमालयी नाटक; लोक प्रेम कथा आधारित आधुनिक मध्य हिमालयी नाटक; लोक प्रेम कथा आधारित आधुनिक उत्तराखंडी नाटक; लोक प्रेम कथा आधारित आधुनिक कुमाउनी नाटक; लोक प्रेम कथा आधारित आधुनिक गढ़वाली नाटक लेखमाला जारी ...

Khabesh Lagyun Cha Khabesh:  A Garhwali Drama about Loss by Caste Conflicts /Class Conflicts


(Review of a Caste Conflicts, Class Conflicts base Garhwali Drama ‘Khabesh Lagyun Cha Khabesh ‘(1985)
written by Prem Lal Bhatt)
     

                                         Bhishma Kukreti

                   Class conflicts and caste conflicts are permanent features of every old, new or future society. Therefore, dramas are there depicting caste conflicts or class conflicts all over the world. For example, today there are no caste conflicts in European countries or Latin American countries due to the principles of Christianity. However, there were caste conflicts in Spain. Kenneth W.Janes details about caste conflicts and class conflicts in the book ‘Americo Castro and the meaning of Spanish civilization’ with reference to ‘comedia’ drama.
           Though Christianity does not believe in the caste system but in colonial rule European created a new caste Rulers and Slave castes. The slave castes were treated as untouchables under colonial rules all over the world.
    Gabrielle H.Cody provides many examples of dramas about class and caste conflicts in his book ‘The Columbia Encyclopedia of Modern dramas –volume-2’. G.H Cody provides an example of a caste conflict in the base Marathi drama ‘Wata Palwata, 1986’ written by Marathi Playwright Datta Bhagat.
                Stanley Hochman (Mc-Grew Hill Encyclopedia of World drama), Gassner and Quinn (Reader’s Encyclopedia of World Drama), Cody and Sprenchorn (The Columbia encyclopedia of modern drama), B.Narayan (honor, violence, and conflicting narratives, 2003) provide many examples of dramas all over the world about the subject of class conflicts and caste conflicts in the dramas.
                     Bhishma Kukreti already explained in reviewing the ‘Farak’ drama that socially there was the least difference between rich and poor in the villages of Garhwal. Therefore less folk literature is found about the class conflicts in Garhwal and Kumaun regions. However, caste conflicts between Rajput (Khashya) and Brahmin (Bhatda or Batman) have been there in Garhwal and Kumaun for centuries. Many historical changes took place due to caste conflicts between Rajput (Khashya) and Brahmins (Bhatda or baman) in Garhwal. Famous Braj poet Maularam wrote hundred of lines about losses to Garhwal due to caste conflicts between Rajput and Brahmins in Garhwal.
              Famous Garhwali and Hindi fiction writer, epic creator, poet, and drama playwright Prem Lal Bhatt effectively brought the negative points of caste conflicts between Rajput and Brahmins in his stage play ‘Khabesh Lagyun Cha Khabesh’. ‘Kha’ represents Khashya (Rajput) and ‘B ‘represents Bhatda (brahmins0 of word ‘Khabesh’. Khabesh means a devil spirit that harms human beings.  The drama starts by socially aware people talking about no progress in the village in village Chaunthara. Slowly,  the drama opens with many secrets that whenever there is an act of progress in the village the caste conflicts between ‘Kh’ and ‘B’ or  Rajput-Brahmin conflicts stop all social progressive works and even individual progress.  The fact is that competition between two castes or classes does not inspire people to acquire competency for progress but people acquire competency to make losses of other communities.  The socially aware people take the task into their hands and struggle for the eradication of caste conflicts. The audience becomes anxious about whether these socially aware people would be successful in defusing caste conflicts or not?.
             The caste conflict base drama ‘Khabesh Lagyun Cha Khabesh ‘has humor and satire too. The dialogues of the caste conflict base drama ‘Khabesh Lagyun Cha Khabesh’ are from the day to day life and are very sharp when criticizing the caste conflicts.
                   The caste conflict base drama ‘Khabesh Lagyun Cha Khabesh’ is successful in making awareness about losses due to caste conflicts in the society.
                A drama organization of Gopeshwar, Chamoli Garhwal staged twice in 1985 the caste or class conflict base drama caste conflict base drama ‘Khabesh Lagyun Cha Khabesh

References:
A-Curtsey to Parashar gaur for supplying manuscripts of Garhwali stage plays
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)
8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava
10- Dr. D.R. Purohit of HNB University for various inputs on modern dramas
11- Prem Lal Bhatt, Delhi for providing details about his dramas and other dramas

Notes on Loss by Caste Conflicts, Class Conflicts base Dramas, Loss by Caste Conflicts, Class Conflicts base Asian Dramas, Loss by Caste Conflicts, Class Conflicts base South Asian Dramas, Loss by Caste Conflicts, Class Conflicts base SAARC Countries Dramas, Loss by Caste Conflicts, Class Conflicts base Indian subcontinent Dramas, Loss by Caste Conflicts, Class Conflicts base Indian Dramas, Loss by Caste Conflicts, Class Conflicts base North Indian Dramas, Loss by Caste Conflicts, Class Conflicts base Himalayan Dramas, Loss by Caste Conflicts, Class Conflicts base Mid-Himalayan Dramas, Loss by Caste Conflicts, Class Conflicts base Uttarakhandi Dramas, Loss by Caste Conflicts, Class Conflicts base Kumauni Dramas, Loss by Caste Conflicts, Class Conflicts base Garhwali Dramas to be continued….

Nathuli: A Garhwali drama about Struggle of Poor Family for Returning Loan and exploitation by Riches



                                                          Bhishma Kukreti
              A loan or debt on an individual, organization, or on country is always painful. For example, when there is debt on a country you find a press release title as ‘Austerity fights poverty in Greek drama ‘. The struggle of poor families trapped in debts or loans is always agonizing as richer people exploit by all means the poor situation of a poor family. There are folktales in each language and modern stories in all languages about the struggle of poor families trapped in debt or loans and exploitation by richer people. There are dramas and films on the subject of the struggle of poor families for making ends meet. For example, a recent film ‘Meanwhile in Mamelodi’ (2012) directed by Benjamin Kahlmeyer depicts a South African family struggling to make ends meet. Prem Chand wrote many stories about the poor trapped in debt, poor families' struggles for returning the loan, and exploitation by richer. ‘Godan ‘ a Hindi story by Prem Chand and drama or Hindi film ‘Godan’ is the best example of such struggle by the poor for return the loan and exploitation by riches. ‘Walk Together Children’ (1936) drama describes struggle of poor African people and exploitation by white riches. A Gujarati stage play ‘Kadko toye Karodpati’ depicts the struggle of a middle-class man to fulfill the needs of his joint family. Ostrovskiy was a well-known Russian playwright who wrote dramas about the struggle of poor families and exploitation by the rich.
           Garhwalis feel proud of Garhwali epic creator and poet, Hindi fiction writer Prem Lal Bhatt who wrote the drama ‘Nathuli’ (1990) about poor people struggling to return backs the loan and exploitation by riches. A woman struggles to repay the loan taken by her family. She has a five tola nose gold ring (Nathuli) which may be a tool of returning the loan. Two rich men are greedy about her gold nose ring (Nathuli) people. They try hard that she sells that gold ‘Nathuli ‘. However, ‘‘Nathuli’ is the sign of a husband alive for a woman and a significant sign of family pride too. Her elder son comes to solve the problem but riches can’t bear the solution suggested by the son. The drama creates suspense about whether the son would be successful in returning the loan or not.
  The drama is successful in showing the poverty, struggle of poor families, and exploitation by the rich in such a state of poverty.  Famous Delhi Drama activist H.S.Rawat directed the drama ‘Nathuli’ (1990). The drama definitely provides a jerk to the audience for the struggle of poor families and the problems of poverty and selfish exploitation by rich communities.
References:
A-Curtsey to Parashar Gaur for supplying manuscripts of Garhwali stage plays
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)
8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava
10- Dr. D.R. Purohit of HNB University for various inputs on modern dramas
11- Prem Lal Bhatt, Delhi for providing details about his dramas and other dramas
Copyright@ Bhishma Kukreti 10/5/2012



Short  Note  on Dramas about Loan, Struggle of Poor and exploitation by rich; Asian Dramas about Loan, Struggle of Poor and exploitation by rich; South Asian Dramas about Loan, Struggle of Poor and exploitation by rich; SAARC Countries Dramas about Loan, Struggle of Poor and exploitation by rich; Indian sub continent Dramas about Loan, Struggle of Poor and exploitation by rich; Indian Dramas about Loan, Struggle of Poor and exploitation by rich; North Indian Dramas about Loan, Struggle of Poor and exploitation by rich; Himalayan Dramas about Loan, Struggle of Poor and exploitation by rich; Mid-Himalayan Dramas about Loan, Struggle of Poor and exploitation by rich; Uttarakhandi Dramas about Loan, Struggle of Poor and exploitation by rich; Kumauni Dramas about Loan, Struggle of Poor and exploitation by rich; Garhwali Dramas about Loan, Struggle of Poor and exploitation by rich to be continued….

Aunsi ki Rat: A Garhwali Drama about Fighting for Human Rights by Untouchables
     

                                     Bhishma Kukreti
                       Parashar gaur claims that ‘Aunsi ki Rat’ is the first Garhwali full stage drama and this is the first Garhwali drama wherein female artists performed for the female characters too. Before, ‘Aunsi ki Rat’, male artists used to perform female characters in Garhwali dramas.
                        Initially this Garhwali drama ‘Aunsi ki Rat’ takes the subject of human rights of the untouchables. However, in a later stage, the drama turns taking the subject of individual fights between uncle and nephew for the small land and an untouchable woman fighting for her honor as the society spreads rumors about her relationship with her brother-in-law. There are selfish acts by Bith or upper-caste class that the untouchables fight among themselves and can’t think about their human rights.
   The subject of untouchables was revolutionary in the seventies and the drama definitely, was the ‘need of the hour’.
       The biggest flaw in the drama is that the writer tries to take three vital subjects of society into a single drama. This desire of writer Gaur makes the drama inconclusive for the audience.
  Devu and untouchable have to fight for his rights on three fronts and dramatists could show effectively his problems by fighting on three vital fronts.
    The dialogues are from the day-to-day life of average Garhwali inhabitants of rural Garhwal. Gaur used man absurd sentences (rojmara ki Gali wale vakya /sentence ) usually used in a daily talk in Garhwal.
References:
A-Curtsey to Parashar gaur for supplying manuscripts Garhwali stage plays
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)
8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site

Copyright@ Bhishma Kukreti
    Notes on Dramas about Fighting for Human Rights by Untouchables; Asian Dramas about Fighting for Human Rights by Untouchables; South Asian Dramas about Fighting for Human Rights by Untouchables; SAARC Countries Dramas about Fighting for Human Rights by Untouchables; Indian subcontinent Dramas about Fighting for Human Rights by Untouchables; Indian Dramas about Fighting for Human Rights by Untouchables; North Indian Dramas about Fighting for Human Rights by Untouchables; Himalayan Dramas about Fighting for Human Rights by Untouchables;  Mid Himalayan Dramas about Fighting for Human Rights by Untouchables; Uttarakhandi Dramas about Fighting for Human Rights by Untouchables; Kumauni   Dramas about Fighting for Human Rights by Untouchables; Garhwali Dramas about Fighting for Human Rights by Untouchables   to be continued…