30 March, 2012

Been (बीं) Review

Been (बीं): A Mile Stone in the History of Garhwali Literature and Garhwali Literary Criticism
(Review of ‘Been’ (बीं) a collection of Literary Criticism Notes on Garhwali literature by Virendra Panwar)
Notes on Asian languages Literary Criticism, Indian Literary Criticism, North Indian Languages Literary Criticism, Himalayan languages Literary Criticism, Uttarakhandi languages Literary Criticism, Garhwali Literary Criticism

Review By- Bhishma Kukreti

Been a collection of reviews of forty books by Virendra Panwar is a historical and a celebration book for Garhwali language literature.  Till right now, the criticism in Garhwali literature was thought as a secondary aspect of literature. However, ‘Been’ will make criticism a very serious aspect of creativity and research in Garhwali literature.
Virendra Panwar has been reviewing poetry and prose books since 2000. In an interview with this author, Abodh Bandhu Bahuguna named a brilliant gem among nine gems of Garhwali criticism.  Literature creative are aware that criticism is to facilitate readers to understand and realize the writings whose effects might otherwise have been unduly limited.  There is also no doubt that critics can’t reduce the original text.  Virendra Panwar is knowledgeable, insightful and fair minded and fulfils the basic requirement for a reputed critic. .

  The criticism of forty books in ‘Been’ criticism collection by Virendra certainly establishes that Virendra Panwar has been successful to mediate the reviewed literature with readers   and readers definitely find new range of interest, enjoyment and making relationship with the author while reading the actual text.  
Due to various reasons, the criticism in Garhwali language started only after 1976 and more after 1989. Before, 1976, the writers used to write criticism in Hindi. Thus, the criticism branch of Garhwali literature is very new.  Since, mostly, the learning medium for Garhwalis in schools and colleges is Hindi; there is had been hundred percent shadow of Hindi criticism on Garhwali language criticism style. Garhwali critics have borrowed the vocabulary of Hindi criticism and all literature creative accepted this fact too.   However, there has been an endeavor from a couple of Garhwali critics who are in search of words of Garhwali to fit in criticism and which could be applied by other creative too. The readers will be happy to note that Virendra Panwar is one of the rare critics who are trying infusing Garhwali phrases for Garhwali criticism literature. The readers will find this development in the critical essays of 2002 (Awaj) , 2008 (Ghanghtol) and 2011 (Jyundal) of  Virendra Panwar that he is attempting to create an exclusivity in the Garhwali criticism literature.
The Garhwali literature is oriented towards religious, social and political values. Hence, it is obvious that   Virendra Panwar   measures the literature from the point of view of philosophy, social values and political values.  Virendra Panwar uses all three types of criticism -aesthetic, descriptive and normative criticism as and where it is needed. Criticisms of poetry, prose or any literary conference as ‘Kavi sammelan’ by Virendra Panwar reveal that Virendra has the in-depth capacity of examining or analyzing the subject and literature. The forty articles in this volume are witness that Panwar takes care about digging the geographical, historical and social settings with their effects in the poems or prose. Virendra Panwar has sharp eyes to find the main characters; secondary characters; their inter-relation with each other, the struggle, and the conflicts of a particular poem/poem collection or prose book.
Reading between the lines is major job for a critic and Virendra shows his capability in doing so from the beginning.
Virendra’s reviews reveal the style, grammar, wordings, subject in the literature. At the same time, Virendra Panwar has also been evolving his own style of criticism with the time and need of the readers. This his own thrust on evolving his own style makes him relevant all the time in Garhwali criticism.
As a critic, this author knows that the biggest problem a Garhwali critic faces for telling the black as black and white as white. However, Virendra took the job of a critic as critic and not only praising the literature creation. Virendra has shown many negative points in his various critical essays. He had to get unfriendliness from the writers when Virendra showed negative points in the particular collection. However, it is reality and this is where a critic has to live in a paradox.
The last essay about characteristics of Garhwali literature from Dhanga se sakshatkat (1980) till date definitely puts new light on Garhwali literature and is certainly a new example in Garhwali criticism.
 The contribution of Virendra Panwar in criticism will always be remembered as the world literature creative remember the work s of Marcel Arland, Geoffrey Benington, Daiches David, Denish Holier,  Millod Hmida,  Venteseslav Konstantinov, August Ahlqvist, Toni Jerrman, Jovan Skerlic, Hugo Achugar, Jorge Medina, Hanan Ashrawi , Ihab Hassan, Pablo Antonio Cuadra, Oscar Coello, Manthia Diawara, Alfonso Chase,   Niyi Osundare, Chinua Achebe, Jose  Simoes Dias, Rexhep Qosja, Wai-Lim yap, Karoly Molter, Otto Maria Carpeaux, Istavan Blazsetin, Arne Novak, O.S. Urdaneta, Murat Belge, Abdul Nabi Isstaif, I.F. Ismail , Ivan Drach. 
There was a gap for Garhwali critical literature for a comprehensive book on exclusive subject of criticism in Garhwali language and ‘Been’ is successful not only filling the gap but ‘ Been’ is a milestone in the history of Garhwali literature.
Been’ (बीं)
Bu Virendra Panwar
(Garhwali Bhasha ka Pahla Sameeksha Sangrah) , 2012
Dhad Prakashan, Dehradun
Virendra Panwar 09897840537


Tilpatar: a Garhwali Drama

(Review of ‘Tilpatar’ a Garhwali drama by playwright Abodh Bandhu Bahuguna)
Notes on Hurting by Old Tradition and Agonizing from Changes in Asian Dramas, Hurting by Old Tradition and Agonizing from Changes in Indian Dramas, Hurting by Old Tradition and Agonizing from Changes in North Indian Dramas, Hurting by Old Tradition and Agonizing from Changes in Himalayan Dramas, Hurting by Old Tradition and Agonizing from Changes in Uttarakhandi Dramas, Hurting by Old Tradition and Agonizing from Changes in Garhwali Dramas

A Garhwali drama ‘Tilpatar’ written for radio medium by playwright Abodh Bandhu Bahuguna opens many psychological fields and also talks about hurting by old custom to common man. ‘Tilpatar’ drama has main characters Bahuguna, Uniyal, Dangwal and Dobhal; assisting characters Mrs. Bahuguna and Mrs. Dobhal all reside in Nagpur. Once, Bahuguna, Uniyal, Dangwal and Dobhal were four topmost Brahmin casts called ‘Chauthu Baman’ (group of four Brahmin castes). Initially, Uniyal, Dangwal and Dobhal characters talk about old glory of these four topmost Brahmin castes in Garhwal. In fact the talk is the real expression of Abodh Bandhu Bahuguna himself about changes took place suddenly in Garhwal and other parts of India that Bahuguna, Uniyal, Dangwal and Dobhal are no more respected by other Garhwali casts as these four casts were recognized in old time.  This type of pain is still found among upper Brahmin castes, Rajput Thokdar for their old glories of recognition and surprisingly such pain is found among high profile Shilpkars too who were recognized much in past for their craftsmanship.
The focus of drama is on the hurting by old custom of Garhwal. Bahuguna keeps his wife locked when he goes out. Uniyal, Dangwal and Dobhal criticize Bahuguna for his inhumanly behavior to lock his beautiful wife. However, when Bahuguna and his wife reveal the real cause behind this behavior of Bahuguna, all feel sorry for old custom of Chauth Brahmins.
Abodh Bandhu Bahuguna successfully could deal the mental agonies of Chauth Brahmins for losing the old glory of recognition in the society and at the same time he could come to the main point of drama.
The dialogues are full of old and new proverbs those make the drama interesting. The playwright also shows the binding among migrated Garhwalis of sixties and their behavioral pattern in Nagpur or Delhi, Mumbai.

1-Dr Anil Dabral, Garhwali Gady Parampara (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary  Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary 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 (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali dramatists or theatres playwrights till 1985
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Contemporary  Garhwali Drama collection for finding Hurting by Old Tradition and Agonizing from Changes in , B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti, Mumbai, India

Farak: A Garhwali Drama

Notes on Class Conflict about Caste Inequalities in Modern Indian Dramas, Class Conflict about Caste Inequalities in Modern Himalayan  Dramas, Class Conflict about Caste Inequalities in Modern Uttarakhandi  Dramas, Class Conflict about Caste Inequalities in Modern Garhwali  Dramas

There had been very thin inequalities between richer and poorer in rural Kumaun and Garhwal before British took over the rule. However, caste inequalities were very much there in rural Garhwal and rural Kumaun. Though in both the areas, due to geographical conditions and need for Shilpkars by upper caste for each work fewer cruelties were recorded from upper class towards Shilpkar or Untouchables.  There is no historical record before British Raj about awareness among Shilpkar for getting their right of equality. However, freedom movement and Arya samaj movement brought awareness for social equalities among Shilpkar in rural Kumaun and rural Garhwal. There had been a long movement called ‘Dola Palki’ movement a symbol of getting social equalities for Shilpkar in rural Garhwal and rural Kumaun. Perhaps ‘Janeu dharan ‘by Shilpkar, ‘Dola Palki’ and entry into temple by Shilpkar initiated the class conflict first time in Garhwal and Kumaun.
The’ Farak ‘drama written by playwright Abodh Bandhu Bahuguna is about class conflict and desire for social class equalities from Shilpkar community. The drama is very straight and less tension is shown in the drama ‘Farak’ which is about Class Conflict about Caste Inequalities. The drama is one sided and tell about how Shilpkar feel /express about the inequalities from upper caste. The drama is expression of Shilpkar’s sentiment about class inequalities.  The role of upper caste is at the end when a upper caste boy comes takes tea powder and sugar from richer Shilpkar family; Khimanand Brahman comes takes Pithai, and takes alcohol with Shilpkar with the water brought by Shilpkar family. The dramatist shows that upper caste designs all rule of caste equalities or inequalities as per their own need.
  The dram is fine one to show the pain of Caste Inequalities but is totally failure in showing conflicts between two classes. Without having tension of class conflict the drama becomes totally idealistic. However, Abodh Bandhu Bahuguna should be complimented to bring the subject of Caste Inequalities in Modern Garhwali Dramas.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Class Conflict about Caste Inequalities in Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Conflict about Caste Inequalities in Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Class Conflict about Caste Inequalities Contemporary  Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Class conflicts and Caste inequalities in Contemporary 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 (Cast conflicts and caste inequalities in Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Contemporary Garhwali dramatists or theatres playwrights who showed class Conflict about Caste Inequalities in their dramas)
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Contemporary  Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058 (Class Conflict about Caste Inequalities in Modern Garhwali  Dramas)
Copyright@ Bhishm Kukreti

28 March, 2012

A Rawain- Garhwali Folk


(Notes on Rawai Folk Songs about Oppressed People, Garhwali Folk Songs about Oppressed People, Uttarakhandi Folk Songs about Oppressed People, Himalayan Folk Songs about Oppressed People, Indian Folk Songs about Oppressed People, Asian Folk Songs about Oppressed People)

Rawain is the area in the valley of Tons (Tamsa) and Yamuna Rivers of Uttarkashi district of Garhwal region. The area has a distinct culture and civilization from the Mahabharata era. The area Rawain was under Tihri King from 1815-1949. Dr. Shiv Prasad Dabral provided many oppressive methods of Tihri kings to get taxes from their subject. There had been many protests from Rawai region too especially by those inhabitants who had to settle in winter at southern Tihri Garhwal and in summer at Yamunotri area. There had been aggression from the King’s side for increasing Government forest area by diminishing the forest area of individual village. There had been tens of protests against the Tihri king in Rawain area.
The Tihri Riyasat police used to harass the people. The following folk song of Rawain area is the proof of oppression by Tihri Kings to their subject.  Dr. Naudiyal states that still people of Rawain feel scared remembering the Tihri king.

टिहरी राजा खिलाप रवाईं को लोकगीत

हड़दी हड़ी काँवणी खिलादीना तीर रे
सुरेतू का डेरे दा बिजली से जोर रे
घरे दा लाणा गाडिया कटियों दा चूना रे
डेरे दा फूका सुरेतू गाँव का पड़ा सुना रे
फूली जाला फुलेटू डाटटी ना दाई रे
सुरेतू का डेरा पुलिस रे आई रे
तुमारे भीतर सुनेरी ना चाकी रे
थाणे दी आई पुलिस ओबेर दी राखी रे



(संकलन - डा. जगदीश नौडियाल )

References: Dr. Shiv Prasad Dabral, Uttarakhand ka Itihas
Dr. Jagdish Naudiyal, Uttarakhand ki Sanskritik Dharohar pg24
Copyright@Bhishma Kukreti

Kulangar: A drama

(Review of ‘Kulangar’ drama by Abodh Bandhu Bahuguna)

Kulangar’ is one of the sixteen dramas of ‘Chakrchal’ a drama collection by Abodh Bandhu Bahuguna. Abodh Bandhu Bahuguna wrote the drama for radio medium.  
The subject and aim of the drama are very confusing. The playwright wanted to tell many mottos and in making so the dramatist failed to convey the desired message.  There are characters as Chitra Singh his son Sher sing, mother of Chitra Singh, a Dalit his beautiful daughter, two Mitra Nand Bahuguna of Jhala village, Patwari .
Since, the drama is ineffective much is not possible to write about this drama.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary 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 (Modern, Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary 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 Moder, Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058
Copyright@ Bhishm Kukreti

23 March, 2012

Kathai Birali : A Garhwali Drama

(Review of a contemporary Garhwali Drama Kathai Birali (काठऐ बिराळि) by Abodh Bandhu Bahuguna)
(Notes on contemporary Indian dramas, contemporary Himalayan dramas, contemporary Uttarakhandi dramas, contemporary Garhwali dramas, hundred years of contemporary Garhwali dramas)   

Kathai Birali (काठऐ बिराळिis one of the sixteen contemporary Garhwali dramas of ‘Chakrchal’(1986) a contemporary Garhwali drama collection book  by Abodh Bandhu Bahuguna . The drama deals with the emotional attachment of migrated Garhwalis of Delhi, their desire to do something for their beloved motherland Garhwal. However, due to  necessary struggle for better life in cities of Delhi, Mumbai etc they are unable to contribute physically there in Garhwal. 
The contemporary Garhwali drama Kathai Birali (काठऐ बिराळि)   is about social workers  as Martand (a businessman), Tarang  (a poet and intellectual), Aruna (a student leader), Bedhadak (a journalist), Raghu (poen at  Garhwal Sabha Delhi, Ajad (a politician) , Bhola (just came to delhi for his wife ‘s treatment) taking part in conference.  
There is no thrill in this contemporary drama but it opens many problems of Garhwal and pertaining to migrated Garhwalis. There is evergreen problem of contemporary Garhwal in the drama Kathai Birali (काठऐ बिराळि) as following dialogue states

मार्तंड - हाँ  आजै मिटिग्यौ कार्यक्रम क्या ?
तरंगबात  पुराणि ही  गुरजि पण अमणि ज़रा हम लोग वां पर कुछ ण्या तरीका से
गंभीरता पूर्बक स्वचणा छां -पाड़ी माटो सौब उन्दों बौग्यी औणु .
The playwright of contemporary drama Kathai Birali (काठऐ बिराळि) also deals with the negative points in contemporary political world. Azad lost election recent election. Now, he joins the ruling party and the characters of contemporary drama Kathai Birali (काठऐ बिराळि) describes the political characteristics as –

मार्तंड - अच्छा  आजाद जीन ह्रदय परिवर्तन कर यले ?
अरुणा - ये देश मा हौर हूणु क्या बगैर स्र्जारी का दिल बदलेणा छन -कमाल
Bahuguna has been a leader in adopting popular Hindi and Sanskrit phrases in Garhwali as

तरंग-सूरज का समणि मु छ्याळो क्य रगर्यौण

The contemporary Garhwali drama ‘Kathai Birali (काठऐ बिराळि) is successful in depicting the frustrating state of migrated Garhwali intellectuals and social workers who can only discuss about the problems of contemporary Garhwal and Garhwalis in plains but are totally unable to act upon.
Bahuguna wrote this contemporary Garhwali drama ‘Kathai Birali (काठऐ बिराळि)’ for radio medium. Therefore, Abodh Bandhu emphasized more on dialogues that the requirement of stage on contemporary Garhwali drama ‘Kathai Birali (काठऐ बिराळि)’.

 References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Contemporary  Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Contemporary 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 (Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Contemporary 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 Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Contemporary  Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058
Copyright@ Bhishm Kukreti,

Jeetu Haran: A Garhwali Drama

(Review of a Poetic Garhwali Drama ‘Jeetu Haran’ written by Abodh Bandhu Bahuguna, 1986)
(Notes on Indian Poetic Drama, Himalayan Poetic Drama, Uttarakhandi Poetic Drama, Garhwali Poetic Drama, Hundred Years of Modern Garhwali Dramas)
All the plays compiled in ‘Chakrchal’ by Abodh Bandhu Bahuguna are radio dramas. There is one poetic drama in the collection ‘ Jeetu Haran’.  The poetic drama ‘ Jeetu Haran’ is based on popular folk story of Jeetu Bagdwal.
The story of jeetu Bagdwal is narrated by sutrdhar in whole of poetic drama. The story is about meeting of Jeetu bagdwal with Bharana, there are many community songs in poetic drama ‘ Jeetu Haran’ including a couple of folk work songs.  The drama does not end with anchheri taking Jeetu Bagdwal but with a preaching Jhumailo song.
The lyrical drama was written keeping in mind the radio audience. Bahuguna never leaves his intellectualism in each of his creation. Bhishm Kukreti calls Intellectualism in Garhwali literature as ‘Bahugunaism’ and realism as ‘ Dandariyalism’.  The lyric are with figures of speech and create desired images.
References:
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- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti

Nauchhami Narain: A Garhwali Drama

(Review of ‘Nauchhami Narain’ a Lyrical Garhwali Drama by Abodh Bandhu Bahuguna (1986)
(Notes of Indian Stage Plays, Himalayan Stage Plays, Uttarakhandi Stage Plays, Garhwali Stage Plays, Hundred Years of Modern Garhwali Stage Plays)

Nauchhami Narain’ a lyrical Garhwali play is based on nine aspects of life span of lord Krishna. There are nine parts of ‘Nauchhami Narain’:
1-Krishna Janm
2-Pootana Maran
3-Kaliya Dahan
4-Govardhan Dharan
5-Ras leela
6-Cheer Haran
7-Ban Devi Poojan
8-Rukmani Mangal
9-Updesh in Kurukshetr
The playwright Abodh Bandhu Bahuguna regionalized the story of lord Krishna. There is no any story link. The drama is totally a poetic play and is on Jagar style where it is not necessary to have link of one part to other story.  There are many emotions in the drama to attract the attention of audience. Bhishm Kukreti supports the statement of Dr Anil Dabral that it is not a drama but a descriptive tale.  It may be said that Bahuguna wrote Jagar of lord Krishna in modern and Sanskritized Garhwali (for which Bahuguna is famous).
References:
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- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti,

18 March, 2012

Lang Dance-Song: Folk Song

(Notes on Folk Dance-Songs by Professional Class in India, Folk Dance-Songs by Professional Class in Himalayan areas, Folk Dance-Songs by Professional Class in Uttarakhand,   Folk Dance-Songs by Professional Class in Garhwal) 
Brief about Badi a Professional class for dancing and singing
Badi is a professional class of dance-song of rural Uttarakhand. It is said that Badis are born by dross of body of lord Shiva. Badis are also called ‘Shivjee k phool’ or ‘flower of lord Shiva. Badis don’t touch plough or they don’t do farming. It is said that if they would plough there would be snakes all around. Badis have to depend on their skill of folk dancing, performing instant folk plays, creating folk song and singing folk song. In old age, each Badi family was attached to particular villages. Each village family used to offer ‘dadwar’ (portion of crop) for each harvesting to their Badi family as these villagers used to offer ‘dadwar ‘(portion of crop). Badis used to dance and sing at the time marriage, fairs and festive days too.  Part from getting ‘dadwar’ and award (inam) from their Thakurs(upper cast families attached to Badis) , Badis depend on hunting birds for their livelihood.
There is a very specific cultural custom in rural Uttarakhand where Badis used to perform their art. (Perhaps the tradition is diminishing due to various reasons). Badis perform a specific performance ‘Lang’ after every twelve years in every village in the month of Chait under them. ‘lang’ is performed as community ritual by villagers.  There are two specific kinds of performance ‘Lang’:
1-Lang
2- Badi Radan
The Lang or badi radan performance runs for fifteen days in the month of Chait only.
1-Lang
Lang means a bamboo rod. The bamboo rod should have nine knots. On an auspicious day, the rod is fixed in the earth that the rod is straight. The bamboo stick has to be thick and very strong as Badi has to perform on top of bamboo stick by his navel. At the rod fixing place, there is the ritual of praying lord Shiva before the bamboo rod is fixed at one place of  the courtyard of Padhan or village concil.  There is a big cloth knot on top of thick bamboo stick as Badi has to lie on it. On each day, there is ritual of praying for Lord Siva and goddess Parvati for fifteen das.  In evening, Badis do perform folk dramas and sing various types of folk songs.
On the fifteenth day, Badis take procession of lord Shiva-Parvati ‘swang’ in village and visit each family.  On a particular auspicious time of the fifteenth day, the ‘Lang’ starts. Before Badi starts ‘Lang’ performance, there is ritual prayer of lord Shiva and goddess Parvati. When the ritual is completed, Badi climb on top of bamboo rod and lie on top by his navel on cloth knot (deelu). Then Badi revolves round on deelu with the help of his navel.
At bottom the village ‘Padhan’ offers donation. Then each family offers donation in the form of money, food grains, cloths etc. The donation is supposed to be offering to Lord Shiva-goddess Parvati.
The Badi shouts Shiva –Shiva. When he completes a round the other family members of Badi sing one line of following folk song.             
लांग खेलते समय शिव-पार्वती पूजन


खंड बाजे हो खंड बाजे
शिव-पार्वती को खंड बाजे
पंचनाम देवतों को खंड बाजे
गौं कि भगवती को खंड बाजे
गौं को भूम्याळ को खंड बाजे
क्षेत्र का क्षेत्रपाल को खंड बाजे
नरसिंग नागर्जा को खंड बाजे
भैरों -निरंकार को खंड बाजे
गौं का पधान को खंड बाजे
सत धर्मी नारियों को खंड बाजे
दानि राजों को खंड बाजे
पंच हिस्सेदारों को खंड बाजे
खंड बाजे हो खंड बाजे
गीत-स्रोत्र डा. शिवानन्द नौटियाल , गढ़वाल के लोक-नृत्य-गीत

Khand baje means I am playing for .

There is shouting on the ground. The round is called ‘khand khelna’ . Many thakurs offer an exclusive Khand for themselves. Badi tells the name of Thakur and sing one lone ‘faln Thakur ka khand baje’.
When ‘Lang’ is complete, Badi gets down. At this occasion, people come with the soil-lumps from their various fields. When Badi comes down, each family touches the soil-lump on the hair of Badi and takes hair of Badi too.  People keep some portion of such soil-lump at home and balance they distribute on their farms. ‘Lang’ is performed for better harvesting and protection of crops from bad weather, wild animals and pests. Or it may be said that ‘Lang’is performed for prosperity of village.

2- Badi Radan

If any village does not have temple, there is performance of ‘Badi Radan’. In ‘Badi Radan’ performance by Badi, Badi has to slip through a big grass rope. All the rituals are performed as in lang. on the first day a grass rope or fiber rope is tied on a tree near the boundary of other village. The rope should be long enough to touch the boundary of other village. The tree should be on top. Badi slides on the rope either by sitting on wooden plate or with the help of his belly. The tree is always on hill top and last portion of rope is in a valley.
The song is same for both types of performances by Badi. However, ‘Badi radan’ or sliding through rope is more tedious and dangerous.

Copyright@ Bhishm Kukreti

Popular Posts

Blog Archive

Our YouTube Channel

Subscribe Our YouTube Channel BOL PAHADi For Songs, Poem & Local issues

Subscribe