Showing posts from 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 Garh

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).

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’ mov

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.

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

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   बिराळि )  is 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 Delh

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 ‘ Chakrcha l’ 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 literatu

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

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 a