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CHAPTER – II
REVIEW OF LITERATURE
Garhwali folk songs and heartly music is basically related to
the various festivals, folk stories and simple life of people in
Uttarakhand. Many singers and music listeners expressed
their feelings by saying that Garhwali lok geets are god
gifted. Garhwali folk songs have natural melody. It comes
from the bottom of heart. Garhwali folk songs are always
praised and loved by all Indians. Even Garhwali culture, art
and music are the attraction of pilgrims in Uttarakhand.
Number of people has done research on Garhwali folk
literature but not in Translating Garhwali Folk Songs in a
form of English Poetry with Relevant Information. Even
though without reference of Dr. Nautiyal Ji book “Garhwal
Ka Lok Sangeet aur Vadya” as well as ‘Khuded’ geet. My
research work may be half done. A versatile and rerest
personality of Indian politics, Shiva Nand Nautiyal was born
in 1936 in a remote village Kothala, Patti-Walla Kandarsyun,
Pauri Garhwal, Uttarakhand. After completing post
graduation Shiva Nand Nautiyal became teacher in Assam.
However, because of ill health he settled in Delhi and started
his own weekly news paper Shailodaya. Dr. Shiva Nand
Nautiyal is famous for his voice for hill districts of
45
Uttarakhand. His famous wordings after Uttar Pradesh
government created a separate department of ministry that is
Parvatiya Vikash Mantralay, “Pahado ko Jhun jhuna Pakada
Diya UP government handed over a playing toy child” made
him the hero in the heart of people of Garhwal and Kumaun
regions. People of Karanprayag elected him as independent
legislator. He was also minister for higher education in Uttar
Pradesh government. He was very honest politician and a
politician for common man.
He is remembered not as a politician of Uttarakhand but he is
acclaimed as the scholar, researcher of high order in the field
of Folk Literature of Uttarakhand. Without his reference, we
cannot think research on Folk Literature of Uttarakhand. He
collected folk songs, folklores, folk stories , folk dances, folk
musical instruments and folk tones of Uttarakhand and
published his researches with logical analysis. He had
published the following books on folk literature of
Uttarakhand. Dr. Nautiyal wrote many articles in Garhwali.
His drama in Garhwali language Baun ka Phool, stories as
Chandra Devi, Pagal, he Jagdish, Daini hwai ja, seli ag were
appreciated very much by Abodh Bandhu Bahuguna for his
realism, storytelling capability and using pure Garhwali
words. His novel “Karj Ko Byau” still is unpublished. There
are some , books published which are related to Garhwali
Folk Songs and culture such as: Garhwal ke Lok manas
46
(1979), Garhwal ke Nritya (1974), Badrinath Kedarnath Yatra
Darshan (1988), Garhwal ke Lokgeet (1964), Garhwal ke
Khuded Geet (1965), Garhwali Baramasha (1965),
Tapobhumi Garhwal (1988), Uttarakhand ki Jan Jatiyan
(1991) etc. Even ‘Garhwal ke Loknritya’- Geet is a
comprehensive book, written in 680 pages about Garhwali
folk songs. Uttar Pradesh government awarded Garhwali ke
OLoknritya geet book by Hajari Prasad Puruskar. All greate
Garhwali writers appreciated Dr. Nautiyal for his contribution
on folk cultural, art, music of Garhawal and Kumaon. Dr.
Nautiyal expressed the means of music which are generally
used in folk songs. He published his researches with logical
analysis. He portrayed the various aspect of life of Garhwali
people through his folk songs. Dr. Nautiyal analyzed each
song and classified each song according to the principles of
music. He provided the symbols or signs of Sa, Re, Ga, Ma,
Pa, ….. of musical measures for each song. He also analyzed
of folk songs on the basis of Poetic Principles. In the chapter
of Kavya Sashtriya Adhyan the profound analyzer of folk
dance and song Dr. Shivanand Nautiyal classified, evaluated
the songs on the basis of poetic principles. Inspiration for
creating folk songs, Nautiyal credits nature, attractive
geographical variances and human beauties of varied Indian
cultures and becoming exclusive Uttarakhand Garhwali
culture for creating of such songs and dances. Rasyojana
47
(Raptures) : Dr. Shivanand Nautiyal classified the
Uttarakhand Garhwali folk songs from the angle of raptures
of Bharat’s Natyashashtra and added two more raptures.
Those raptures are rapture of love (meeting, conjunction and
separation) rapture of chivalry, rapture of wonder, rapture of
wrath, rapture of pathos, rapture of fear, rapture of natural
beauty , rapture of progeny , rapture of love and dedication to
parents.
Alankar Yojana (structure by figure of speech ): the learned
Nautiyal reviewed Uttarakhand – Garhwali folk songs on the
basis of following figures of speech and other poetic
parameters. Upma (comparison, rupak (allegory), Utprexa
(illusionary), Sandeh alankar (doubt), Vanier (negation) ,
Atisayokti(exaggeration), Anuprass (different kind of
repetition, bimb Vidhan (symbol) and imagery. Dr. Shivand
Nautiyal did to leave any subject of poetry (folk songs) for
reviewing Uttarakhand- Garhwali folk songs.
There is some confusion among the scholars and writers that
Garhwali is not a language. Hindi language was the language
of Garhwali people from the ancient time. But I don’t think
so. It has been observed that Hindi never been a language of
any kingdom before independence. But Garhwali had been
the state language of garhwal kingdom from the time of the
kingdom came in existence in garhwal. There is no doubt that
as happened with the development of other language, the old
48
Garhwali took many shapes and shades with the time for
becoming today’s Garhwali.
The eminent scholar of Hindi and Garhwali, Dr Nand Kishor
Dhoundiyal stated in his book ‘Garhwali Bhasha Hai Boli
Nahin’, that Garhwali is a language not a dialect as wrongly
perceived by not only common men but linguistic scholars
too. If Garhwali is not a language then how could be possible
to write number of folk songs in Garhwali. There are some
important characteristics of Garhwali language. Such as it is
spoken all over Garhwal, simple and common words used,
similar to Rajasthani, Himachali, and Marathi. Learned
scholar Dr. Dhoundiyal expressed his feeling in his book
‘Garhwali ek Bhasha Hai Boli Nahin’ that there is need to
study properly the history of Garhwal and the characteristics
of Garhwali language to justify the folk songs written in
Garhwali language. Dr. Nand Kishor proves brilliantly that
Garhwali language is much richer than Hindi in terms of
confusion less grammar.
On the other hand Dr. Ramesh Chandra Pokhriyal gave vivid
pictures of Nanda Devi Raj Jaat, published in 2008. The book
contained Garhwali religious Jhumeila and Chaunphula
which are part of folk songs. This book is also known
Himalay Ka Mahakumbh. It gives the commentary of the
longest journey of the pilgrims in the world in sake of Lord
49
Shiva and Parwati. The beauty of the nature and the peoples’
faith towards the god and goddess is enriched.
Abodh Bandhu Bahuguna published his book ‘Dhunyal’ in
1954 which is the first work of analyzing and classifying the
Garhwali folk songs such as Jaagar, khuded geet, buraans,
chauphula etc. His work is praiseworthy and most helpful to
young researchers. His contribution towards folk songs,
cultural, art, music of Garhwal and Kumaun is appreciated by
folk literature pundits.
“Bajuband” geet is written by Ramopla in 1989. The folklores
as ‘Bajuband geet’ in Garhwal are earlier than the alphabets
would have started. Ramola provides example of saying by
Sinjwik that “bajuband” folk songs are earliest of Garhwali
folk songs. These folklores are older than literature and older
than alphabet. His written work is inspiration to the young
readers and researchers.
“Lok Sahitya Sidhant aur Prayog” is written by Dr. Mohan
Babulkar and it was published in 1980. He is one of the
pillars of doing extensive surveys for Garhwali folk literature.
Dr. Babulkar credited not only for his serious researches and
exposures of Garhwali folk song but also he is exalted for
providing extensively the characteristics of folk literature in
any society or area. Dr. Babulkar provided 21 characteristics
of folk songs. (Garhwali LokSahiyya ka Vevechanatmak
Adhyayan, 1980, page-11)
50
1. Folk songs are traditionally ballad in nature and noit of
written form.
2. These are non masculine in nature.
3. The creator does not creates for name or fame.
4. These are created and diminsshes or continuity is
fundamentals of creation of folk songs.
5. This is the reason, we cannot get manuscript of these
types of literature.
6. The songs are lyrical and melodious.
7. These lacks the long story or dialogues
48
8. There is no boundary of time and place in these songs.
9. These are created by women
10. These songs communicate the struggle or lacking
something in life but don’t mark or count the lacking in
life.
11. These folk songs express the simplicity of human
culture and emotions
12. These songs narrate the nature and ethnicity of the land
13. In the absence of artificiality, these songs are reflection
or approval of spontaneosity and decorationlessness.
14. The language of these songs are of country folk men,
therefore, folk songs don’t have the language of
meteoric poetry.
51
15. These are away from cities or towns. Therefore, there is
nature, landscape, human life, and seasons of village or
rural regions.
16. According to Shri Devendra Starchiy, the girls of
region carry and bring the symbols from one place to
their places .
17. These are the narration by and of nature. According to
Shyam Parmar, the main properties of folk songs are
without tawdriness, transparent or pure as glass, simple,
ecstatic, melodious.
18. Dr. Shyam parmarappraises another property of folk
songs that history is hidden into them. The narration of
big heart of female, the human relation from birth to
death, the asset of human relation from birth to death,
49
the asset of human evaluation, immense stock of
emotions and melody are their other properties.
19. Dr. Yadu Nath yadav suggested that the domain of folk
songs are with high speed of management skill,
effortless word construction , universals delight of
nature and human, subtle but very effective
characterization , enormous narration of sport ground,
relegating of artificiality and insincerity.
20. According toFrench critics Mr. Ayere, the creator of
folk song uses synchronizing style in sound instead of
using rhymes in verses, repeated uses of numbers.
52
21. Three, five and seven inclination of adding the name,
waiting for somebody, questions and answers in verses
are the characteristics of folk songs.
22. Collective wisdom, benefits to people, inclination to
universal cooperation and freedom are other
characteristics of folk songs.
Dr Anil Capila published a book Images of Women in the
Folk Songs of Garhwal Himalayas in 2002. She described the
life of villagers living in Kumaun and Garhwal . She also
picked up various pictures for the justification of Garhwali
folk songs. She portrayed women behaviour mixing with
nature and environment. Their living standard, languages and
heritage classified systematically.
Along with other writers Netra Singh Aswal provided new
temperament, new disposition to Garhwali poetry world.
Netra Singh Aswal is the poet of that era when we saw the
new wave in Garhwali poetry. Poets tried to connect poetry
with the life of common man or the life of contemporary time
. Netra Singh published a poem Badrinath express in 1988.
Netra Singh wrote very less but whatever he wrote that
became witnessing to give new direction to Garhwali poems.
He shown his experience in providing new form to Garhwali
language i.e. ghazal form which was new to Garhwali poetry.
History will always remember Rajkuimari Bisht, born in
Pauri Garhwal as the first female who sang the folk songs at
53
Delhi and Lucknow Akashwani Radio stations. She is the first
Garhwali who took part in many cultural music program and
played many roles on the stage program. She took part in
Garhwali musical and cultural program in Agara (1946),
Lucknow (1954 & 1962) Delhi (from 1963 to 1970 ),
Mumbai (1966.) and many other places as well as in her
home town.
Rajkumari Bisht is famous for taking lead for involvement of
Garhwali women in cultural and stage program. She is very
famous for playing effectively the role of Rami Baurani in the
famous garhwli Nritya Natika written by Baldev Prasad
Sharma ’Deen’ at various cultural program in different places
of India. She was awarded for her tremendous courage and
work by U.P. government and many other institutions. She
became the inspirational institution and source for Garhwali
femles to come out for freely participation in cultural and
drama of Garhwali programs. She has been always remain an
active Gadh Kala Sangam Chandigarh to promote Garhwali
culture music and stage plays. Her contribution in themetic
study of Garhwali folk songs is an enchanted and
praiseworthy ( mera pahad community of uttarakhand lovers-
28 july,2009- by Bhism kukreti).
Kusum Bisht is another great artist who is contributing and
sharing her folk songs among the Garhwali people. She takes
part in various Garhwali cultural activities in different places
54
so the Garhwali language could be enriched and extend all
over the country. She credited for bringing many audio
cassettes of Garhwali folk songs. She is also first Garhwali
movie female performer of first Garhwali picture Jawal by
Pareshwar Gaur. She had god gifted performing ability. She
acted in famous Garhwali drama Jeetu Bagdwal.
Adityaram Dudhpudi was one of the great freedom fighter,
writer and translator of Garhwali poems. He translated the
work of Pandurang Shashtri and Tawgyan from Gujrati to
Hindi as ‘tatwadeep’. “Translation of Garhwali Literature”
published in 1985. In Garhwali literature his contribution is
very innovative and memorable. He translated Geeta in
Garhwali language as ‘Ghargeeta’. His translation of 24
upnishad is one of the mile stone in Garhwali literature. His
work is innovative that when people were inclining towards
materialism, he inspires people not to forget spirituality.
There are many other writers who wrote on Garhwali folk
songs but did not get recognition such as Rup Mohan
Saklani’s “Lodi Rikhola” Baldlev Prasad’s “Dwitiya Pathy
Pustakam, Govind Prasad Ghildyal the first Garhwali writer
etc. Das Saley khabar Sar is a collection of 40 articles
published in 1999. It is very rich collection of Garhwali
language articles. It is an historical and appreciable work of
Vimal Negi. Much work has been done on Garhwali folk
songs and lokgeet in this regard.
55
The article “Gagar Maa Sagar Vala Chhan Garhwali Bhasha
Ka Shabd” published under the collection of Das Saley. The
collector and surveyor of more than 7000 provers in Garhwali
language, Pushkar Singh Kandari provided intellectual and
logical proofs that Garhwali is the only language in the
world, which has more than 7000 proverbs. In this article, he
recasts that Garhwali has words for each meaning in this
world.
Dhanga Se Sakshyatkar, a poety colletionof Netra Singh
Aswal in Garhwali language, is one of the mile stones in
Garhwali poetic world. The author wanted to write review on
this poetry collection but when he read this commentary of
Rajendra Dhashmana, he felt that it is better if he translates
the same in English instead of writing a fresh one. This
review is an intelligent and precise commentary on Garhwali
language. Garhwali poems exist to be known since 1850.
Later on, getting inspired by Hindi movement, various
Garhwali poets started creating poems on the line of Hindi
poems. The Garhwali poets used all the poetic styles and
figure of speech of Sanskrit and Hindi. Usually, garhwali
verse creators who worked more on the form of poetry were
called great poets of that time.
It is also found that barring a couple of Garhwali words,
the words were of Hindi. This situation of copying style,
form, wordings, gigure of speeches from Hindi and Sanskrit
56
was never found in Garhwali folk songs or folklores or rarely
established. Garhwali folk songs and folklores were original
in form, style and subject. Copying form, style, poetic styles
from outside, the garhwali poems could not get originality nor
could attract the readers due to lacking of garhwalism or
Garhwali taste. Garhwali poets started creating Garhwali
poems since 1850, people enjoy the verses of Chandramohan
Raturi in his collections of poetry “Devva, Virah Basant
Vilap” published in the beginning of twentieth century.
Taradutt Gairola once said that Raturi is Keats of Garhwali
poetry.
Pandit Satyasharan Raturi and Atmaran Gairola were also the
toop most Garhwali poets of that time. These poets criticized
unwanted social customs, selfishness, and poverty in their
poems. Poems as ‘Suryodaya, Betuli, and Panchhi, Panichak
of Atmaram gairola were very popular poems of his time.
Since, these poets were well acquainted with Sanskrit,
English and Hindi their way of writing poems and use of style
were very similar to the poets of these languages.
Another article published in Das Saley under the title
‘Garhwali Kavita ki Jeewan Yatra’. In this article, Dr. Nand
Kishor Dhoundiyal briefs about the start and slow
development of Garhwali poetry. He stresses that Garhwali is
the daughter of language of Vedas. Garhwali originates from
prose version of Vedas. He provides proofs of dag utarano
57
mantra, rakhwali and analogical similarity with Sanskrit and
jagar gathas etc.
Garhwali lok geetun ko alikhit sahitya bhandar is a
wonderful article which is totally based on Garhwali folk
songs. In this article, famous poet of Singh Nad describes
various aspects of life through his folk songs. Singh reviews
the initiating poems and poets of Garhwali, importance of
collection and publishing of Garhwali folk songs.
Bhagwati Prasad Nautiyal is encyclopedia of Garhwali
literature and here , he provides the examples of those who
did not forget their language in migration too, as Gabar Sing
Bisht in Panjab, Shridhar Prasad , and Vimal Pokhriyal. In
the article ‘apdi bhasha aur Sanskrit tain jeevit rakhan holu’,
he suggested that everyone should have proud of their
language .He passes the message to every Garhwali, if
anybody want to know culture and heritage, learn Garhwali
language. For the improvement of Garhwali folk songs the
“Ghughuti team” which is an organization of Garhwali
culture is trying to inculcate the Garhwali folk songs. The
Ghughuti team provides a Magazine written in Garhwali. It
gives a platform for the young generation who can write
poems and articles and folk songs. Ghughuti team also
organized stage program in various places in Uttarakhand as
well as in various parts of the country.
58
There are number of Garhwali folk songs written or sung by
men, women and children. Many articles are also written on
this burning topic Chipko Movement. The Himalayan region
had always been exploited for its natural wealth, minerals and
timber. The end of the nineteenth century, it has been
observed that most of the Himalayan ranges became naked.
The trees were used for the commercial purposes. But in the
same way it spoiled the evergreen environment. The pathetic
conditions of the forest, trees, vallys etc. are frequently
portrayed in the Garhwali folk songs such as ‘dala na kata
chucho dala na kata’ by Narender Singh Negi.
Generally the word “Chipko” is derived from the Hindi
dialect meaning by “to stick” or “to hug”. Garhwali women
were the first who started Chipko Movement in the region of
garhwal. This movement was a social and non violent
movement. The aim of the movement was to protect trees
from destroying and to maintain the environment. With the
help of Garhwali folk songs, Garhwali women make aware to
every villager to protect the trees.
59
The innocent villagers whose livelihood is forest always
protect, pray and love them by hreart. They can’t see anyone
destroying their property. They hug the trees if anybody
approaches to cut them. Chipko movement was based on the
Gandhian philosophy of peaceful resistance to achieve the
goals. It was the strong uprising against those people who
were destroying the natural resources of the forests and
disturbing the whole ecological balance.The Chipko
movement,though primarily a livelihood protection
movement rather than a forest conservation movement, went
on to become a rallying point for many future
60
environmentalists. It was a great surprise to every Indian that Garhwali women only opened the eyes of the environmentalists. It was a peaceful movement. They love the trees like their children and taught everyone how to tend the trees and forest. Garhwali women challenged the government and objected from cutting and auctioned off the trees in Chamoli garhwal. Number of trees were protected by the women.
Chipko empowered women to change their world. In the
same way folk songs became a part of women who use to
sing frequently.
Women reciting group song based on protection of trees.
Garhwali women played an enchanted role to divert the mind
of the government towards the protection of trees. Among the
women, Gaura Devi the head of the Mahila Mangal Dal led
27 women in the Reni (village) Forest and protects the trees
from being felled. Around forty years ago the movement of
61
Chipko started by some women from Reni village. They draw
attention of everybody towards the Himalayas future. Since
then, the Chipko Movement, groups of activists protecting
their trees, has spread across country. Today there are number
of folk songs are written to aware the people. Even children
also acts on protection of trees. It becomes a part of literature.
An active protest, the Chipko Movement put themselves
between their beloved trees and the axe threatening to cut
them down. Everyone by now knows about the chipko
movement. But many know about the women of the
Uttarakhand region who have made it their lifetime mission to
leave undestroyed forests for their children and
grandchildren.
Sunderlal Bahuguna.
62
The great social worker Mr. Sunderlal Bahuguna passess the
message to every human being that without evergreen forest
we may not be able to maintain our environment. In this
respect many plays were acted, folk songs were sung, several
competitions were conducted. 1983, Sunderlal Bahuguna
travelled 5000 km across the Himalayas spreading the
message of the Chipkos.
Today chipko movement could be heard in the Garhwali folk
songs. Some books are written on Chipko movement in a
form of story while few poets write folk songs.
Jagigyan hum beejigyan hum; Ab ni chalali choron ki
Ghor apuna, baun apuna; ab ni chalali auron ki
(We have risen, we are awake; No lopnger will thiefs rule our destiny
It is our home, our forests; no longer will the others decide for us)
Maatu hamru, paani hamru, hamra hi chaan yi baun bhi
Pitron na lagai baun, hamunahi ta bachon bhi
(soil ours, water ours, ours are these forests too
Our forefathers raised these, it is we who must protect these too)
63
The famous Garhwali folk songs’ writer and singer Mr.
Narender Singh Negi tried to aware the people about the
deteriorating trees and the environment with the help of his
beautiful folk songs.
1. Na kata tyoun dalyoun
Daala na kata chucho daala na kata
Daali katali ta mati bagali
Mati bagali ta koodi na pungadi bachali
ghas – lakhara na kheti roli, bhoul ta aas aulad kya kholi
dhar mangara pandera sukhala ------------
sainta taun dalyoun tain nouna jani , palyaa taun dalaun tain aulad jaani
(do not cut the trees , don’t cut the beautiful trees. If you will
cut the trees the soil will flow and then neither the houses nor
64
the fields will remain. There will be no grass, woods and
fields and so the coming generation will be in hunger. So love
the trees. Give birth more trees and save them with tender
hands like own children.)
2. Maatu bikigi, paani bikigi, bikigya hamara baun bhi
Haath khaali , pet khaali, thikanu ni kakhi raun ki
( soil has been sold, water sold, our forests too have been sold
off ,Hands bare, stomachs empty, we have no shelter to stay)
We’ve all heard about tree huggers, but this is one time when
this method really worked! It just goes to show that, if you
feel strongly about something, if you want to protect it, you
can. If you love something, you can fight to save it too, just
like the Chipko movement. In true sense Uttarakhand women
became path maker of evergreen environment in the world. In
this regard everyone should follow the footprints of Gaura
Devi so we can make the ecological balance which is the
permanent source of our economy. No doubt Gaura Devi
emerged like goddess Nanda who cannot be forgotten from
the history of Chipko Movement.
There is a great role of Garhwali films in enriching the
Garhwali folk songs and culture. Garhwali Films industries
contributed a lot in enhancing Garhwali language, folk songs
65
and culture. Jagwal,(wait) the first picture appeared in
Garhwali language which boosted and made interesting
Garhwali language among the young generation. It appears
just like a gift to the Garhwali people. The film attaracted a
large number of people from and around the neighbourhood.
In promoting Garhwali culture and Garhwali folk songs many
great personalities produced serials and pictures which were
shown village to village with the help of projector. It was a
great task in shaping Garhwali language. This credit goes to
Mr. Bindesh Nautiyal for producing films such as Kabhi
Sukh-Kabhi Dukh; Ghar-Jawain, and Kauthik.
Most of the Garhwali folk songs are either based on women
or sung by women. In the article ‘pahadi mahilaon ka jeewan
man kab alo badlau’. The writer portrayed the life of women.
The women are the power of Garhwal. Santosh Rawat makes
aware that the ratio is 40 and 60 among educated women and
men but there are only 3 percent of female employed in
Garhwal , while there are 15 percent of women employed at
all India level .
He provides the data that there are only 1638 females
registered out of 14364 total registered unemployed persons
in pauri. He shows his worries that still the women condition
in Garhwal is same as before independence. Therefore most
of the songs are based on women. Folk songs are still being
66
composed and there are even now singers of epiclays who
compare these during performances. Folklore has vitality
enough to imbibe modern elements. The reactions of the folk
to the modern systems of economy find vivid and subtle
expression in the folk literature. The folk songs reflect
women’s characteristic status, such as taste, love secretes,
fickleness, curiosity, tears, blessings etc.
Narender Singh Negi is a famous singer or called Singer
Samrat in Garhwali language. He has written more than 300
songs and sung number of songs. Most of the songs are
written between 2000 to 2012 in two volumes. His songs are
based on variety of theme – such as love, war, melancholy,
tranquility, farmers, nature, festivals, religion etc. He is
doing commendable job in enriching Garhwali literature
specially folk songs and lokgeet.
Bhola Dutt Devrani worked in central secretariat, New
Delhi. Devrani published Garhwali poetry collection books
by the names- “Pakha Ghaseri” . Bhola Dutt Devrani also
published “Juo ar Janani” based on the story of Nal Damyanti
, Maletha Ki Kool . Deverani also translated rhymes of
abhigyan Shankuntalam and Shrimad bhagwad , Geeta in
Garhwali poetic form. His poems are with full of symbols,
imagery and are melodious.
Atma Ram Gairola is the Garhwali poets who initiated
creating Garhwali poetry in the form of Hindi. He is the
67
contemporary creative of Satya Sharan Raturi, Mahant
Harsha Puri, Daurgadutt Rudola. Atma Ram Gairola was born
25th April, 1855 in Lal Dhung, patti Badiyargarh of Tehri
Garhwal. He used to publish his Garhwali poems in a
monthly magazine – Garhwli. His Garhwali language poetry
collection as Garhwali kavitavali. His poems are called as
inspiring poems in Garhwali. He used to inspire other
Garhwalis to write poems in Garhwali rather than in Khadi
boli. Chala gwero ! Goru hum charola bhyun ki raw, vakhi
machha marla, dhungali bhi vakhi pakaula. Tara Dutt Gairola
is famous for his uses of pure Garhwali words in poem and
was stern advocate of Garhwalism, Gairola pointed attention
on the village system of Garhwal by his poems. He was born
in Shrinagar and used to use nick name Aleksandra. His poem
‘Lat Ripan’ is famous Garhwali poem wherein he advocated
the equality between white and black skins or he attacked on
discretion for black people by white people.
Harsha Puri was born 1820 and was the chief priest of
Kinkleshwar temple Shrinagar Garhwal. Mahant Harsha
Puricrated poetry in Garhwali and published them in
Garhwali monthly magazine. He was also the poet of Braj
Bhasha and Khadi boli. This is the reason his Garhwali and
the subject is influenced by Braj language and its spiritualism.
His poems are with full of tenderness and melody. Social
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awareness orientation, inspirational or idealistic subjects is
the speciality.
Mahant Yogendra Puri was born in August, of 1895, in
Kilkileshwar , Patti Chaiuras of Tehri Garhwal. He is famous
for his creating Garhwali poetry of telling the social facts of
his time, describing nature, uses of Sanskrit words, religious
and inspiratioinal poetries. He published seven poetry books –
Phulkhandi, Dharmopadesh, Kaljugi Bhagwat, Nal Damyanti,
Sat Sautela and Vikash Mala in Garhwali language. His two
poems – Paun tu Pran Myaree, and In Jindagi Ko din ek alo’
are the famous poems.
Dr. Shiv Dayal Joshi was born in village, Poni Patti Basar of
Tihri Garhwal. After completing his post graduation in Hindi.
He did research on Folk Songs of Garhwal. He was awarded
for his research oriented article, “Samajik Kala Shilip
Premchand” by Panjab Saurabh. His notable work is on the
raptures and emotions in Garhwali folk songs and he
published his work as “Lokgeet ton me Ras Yojna” in 1985.
This book is about various emotions and raptures in folk
songs. He also published mor than thirty articles on various
aspects of Garhwali folk songs.
Braj Mohan Kavtiyal was born in 1933 in Vikashnagar,
Kotdwara. He wrote many articles and poetries in Garhwali.
His ‘Vartayen’ were many regularly relayed by Akashvani,
Nazibabad. He translated Ramayana in Garhwali and
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published. His poetry collection ‘Gadhchetna’ is the
collection of more than twenty Garhwali poems. These poems
are about social awareness, geographical environment and
social environment as well. In his life, he is true follower of
Mahatma Gandhi. He was very active in literature and
cultural activities in Kotdwara.
Badrish Pokhriyal is famous for his encouragement to new
Garhwali literature creative and showing them path of writing
style or subject. For a long time, Badrish Pokhriyal was
within editorial board of Shailodaya weekly being published
by Dr. Shiva Nand Nautiyal. He used to cal, write letters, visti
the creative for contribution in Garhwali literature or write
about Garhwali and Garhwal. When Badrish was with
Sahityik Mandal Delhi, he published many books of
Uttarakhand literature.
Badrish Pokhriyal was born in 1918, in village
Timlalidhatsyun of Pauri Garhwal, Uttarakhand. Badrish is
famous for crating poetry in Garhwali and Hindi. He
translated Meghdoot of Kalidas and Kamayani of Jayshankar
Prasad. These translations are enjoyable as original Meghdoot
and original Kamayani. He also published to poetry
collections in Hindi. Yadon Ke Jharouke and Kala. He is
master of Garhwali vocabulary that his way of translating
Sanskrit poetry becomes unique that the readers do not feel
that the poems are the work of translation.
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For the better standard of Garhwali folk songs and dramas,
Professor Bhagwati Prasad Panthari contributed a lot. Mr.
Panthari wrote dramas, folk songs and stories in Garhwali
language. Mr. Panthari was one of the founder editors of
Yugvani, a weekly newletter of Uttarakhand. He wrote many
history books on medieval era. He also fought the fight of
independence from Tihri King along with Shridev Suman..
He was very much worried about the poor conditions of Tihri
Garhwal so he reflected the situation and condition of the
Garhwali people in his books Adhah Patan (1938 ) and
Bhuton Ka Khoh (1941) which are written in Garhwali
Language.The language he used is pure Tihryali (spoken in
Tihri district). The dialogues are very simple but effective to
make audience emotional. However, his both the books were
banned in Tihri regime. He also wrote stories in Garhwali
language.
He published his story collection in Garhwali, panch phool
bansuli is his poetry collection published in 1942. Panthari
used to distribute pamphlets regarding freedom movement in
Garhwali language and he arranged many mini conferences
for the development of Garhwali literature along with late
Damodar Thaplaiyal, Tjram bhatt and late Acharya
Goopeshwar Kothiyal in Dehradun and Missouri area.
Bhagwati Panthari founded a literature organization by name
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Garhwali Sahitya Kutir in 1938. Panthari’s all works in
Garhwali language are mile stones.
A profound scholar of Sanskrit, Shridhar Jam Loki is
remembered in Garhwali literature for his Garhwali poems
and drama writing in Sanskrit. Shridhar Jam Loki was born
on 5th January 1920 at Ukhimath, Chamoli Garhwal of
Uttarakhand. Jamloki was Sanskrit teacher in Uttarakhand
Vidyapeeth, Ukhimath, Chamoli Garhwal and retired from
there. He published four poetry collections in Garhwali
language such as Ashrumala, Dundabhi Dimdim, Vritmala
and Ed Visi. Jamloki also wrote a drama in Garhwali- Sita
Parityag based on the epixode of discarding of Sita by Rama.
Tara Dutt Gairola has many credits as far as Garhwali
language is concerned. He was one of the poets who initiated
Garhwali poetry writing in modern time. He also brought the
Garhwali folk songs in lime light. Tara Dutt Gairola was born
on 6th June, 1875 in Daldhung village, patti Badyargarh of
Tihri Riyasat. He was LLB and shifted to Pauri for his last
practices. Tara Dutt Gairola was elected MLC and was
awarded Raj Bahadur by British government.
Gairola was expert of Garhwali, English Urdu and Hindi
language. Tara Dutt Gairola was attached to Garhwali
magazine and also edited a first ever Garhwali poetries
collection Garhwali Kavitavali, wherein there are Garhwali
poems written in Garhwali language. Tara Dutt Gairola was
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fine Garhwali poet and he published his Garhwali poetry
collection in Garhwali language under the title – sadei. The
poems of ‘sadei’ are of pathos raptures and emotions. Tara
Dutt published books related to Garhwal Himalayas in
English too.
There is one of the most recognized figures in Garhwali
literature that is Narendra Singh Negi. In Uttarakhand he is
very famous for his folk songs. He is not only an entertainer
but he is also an artist, a singer, a composer and a poet, who is
very sensitive to his surroundings. He has performed almost
in all the major countries of the world. People like his songs
because he provides excellent and quality of songs related to
the society.
No doubt his voice attracts the entire Uttarakhand with great
love, respect and affection. The main attaraction of Negi's
song is his typical folk songs and lyrics with intense feelings
towards Uttarakhand people. He has captured and covered all
types of difficulties, painful moment and cheerfulness of
Uttrakhandi peoples’ life through his lyrics and voice. He has
sung all kind of Uttarakhndi Lok Gheets (Folk Song) without
altering the emotion and dignity of those folk song. He is one
of the most popular singers among Garhwali singers.
Sometime Negi Ji and his wife both set Garhwali folk songs
and present before the people. They also conduct stage
program time to time to promote Garhwali language.
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Along with folk songs, she also got recognized in Himalayan
Estate Food Festival. Negi Ji served as a District Information
Officer in Information and Public Relation Department till
July 2005. Right now he is concentrating on his family and on
his upcoming folk songs. Negi Ji started his music career by
releasing "Garhwali Geetmala". These Garhwali Geetmalas
came in 10 different parts. He released many cassettes. His
first album came with the title called "Buraans". Buraans is a
well-known flowerfound on hills. Negi Ji started his career
from Pauri and now he has performed almost in all the major
countries of the world. This renowned singer of Garhwal
(Uttarakhand) believes in quality rather than quantity and
that's the reason why people like his song very much. With
time lots of singers got introduced to Garhwali Music
Industry but despite of these new voices, his voice is still
being heard by entire Uttarakhand with same respect and
affection.The main speciality of Negi's song is his lyrics and
intense emotional for Uttarakhand and the people of
Uttarakhand. He has realesed most number of superhit
albums. He has also Given his voice in many Garhwali movies
like "Chakrachal", "Gharjawai","Meri Ganga Holi Ta Maima
Aali" etc. This renowned singer from Garhwal has sung more
than 1000 songs till now. After long gape he was recognized
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for his beautiful folk songs by Akashwaani Kendra Lucknow
and awarded for his tremendous work by the government.
Even he has been awarded in various occasions from public
round the world. He is known for his "Farmayashi Geet"
(Songs on Demand).
Negi ji performed in various countries like USA, Australia,
Canada, New Zealand, Muscat, Oman, Bahrain and U.A.E.
etc. Garhwali & Kumauni Societies, which are run by
Garhwali-Kumauni NRIs regularly, calls Garhwali folk song
singers to perform abroad. Garhwali-Kumauni families living
abroad and in India enjoy his songs very much. "It is their
love that still I am continuing with my singing", says Negi ji.
He believes in reality of the Uttarakhand's culture that is why
his all the songs are reality based and that is why Negiji is in
the heart of Garhwali and Kumaoni people. Being a Garhwali
singer he is also most populer singer of kumaoni. Though all
kumaoni people don't understand garhwali but they all like
and injoy Negi ji's songs. He likes the work of Gulzar sahab.
"His work, old or new has a deep meaning". Besides singing,
Negi Ji is also folk songs writer. Till now his three books
have published. His first book "Khuch Kandi" (meaning cane
bucket used to carry Arsa and Roat) got published in 1992.
His second book "Gaadiyoun Ki Ganga, Saniyoun Ka
Samudar" (meaning Ganges of imagination and sea of lust)
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got ‘published in 2000. His third book "Muth Boti Ki Rakh"
(meaning tighten your palm and hands and be ready) got
published by Shekhar Pathak. This book has got the
collection of all his "aandolan" songs.
In years past, he has also sung sad elegies related to
Tehri town where hundreds of people suffered and separated
from there ancester’s land and culture due to set up of Tehri
Dam. He also wrote and sung some folk songs based on
political barriers. In this respect Culcutta Cultural association
praised him.His songs in the nineties during the Uttarakhand
state movement inspired the hill folk to stand up and fight for
the cause of a separate state. For his enchanted contribution to
the preservation of the Garhwali folk culture, many cultural
and social organizations across the country have honoured
him. He has been decorated with the coveted titles, like Garh
Lok Kavi, Garh Lok Gayak, Garh Gaurav and Garh Gayak of
the millennium. He was honoured with the prestigious
Garhkala Shiromani Samman.
Every aspects of life reflected in his folk songs. His folk
songs are from the battle field , bravery, sadness of woman,
social problems, political issues, nature, religious faith etc.
His inspiring songs has given new platform to the young
generation to keep alive our culture and language.
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With reference to the study of Garhwali folk songs, Nanda
Devi Raja Jat inspire Garhwali culture and language. There
are number of folk songs originated by village people. The
life of Nanda Devi is portrayed beautifully by the different
writers in different times. The folk-lore and the folk songs
are the mirror of garhwal. It fills the life of Uttrakhandi, with
dancing and singing. Perhaps folk songs are the ornaments of
Garhwali culture. For them the Gods can be influenced by
dances.
The word Raj Jat, originally known Raj Yatra or
the Royal Journey. Nanda Devi Raj Jat is associated with the
legend of Nanda Devi, a goddess held in reverence by the
local inhabitants of the region. Perhaps it is their faith and
intense devotion towards Nanda Devi as the devotees
cheerfully passes from the difficult places. Nanda Devi Raj
Jat is an important religious event of Chamoli district in
Garhwal region of Uttrakhand. It is purely religious festival.
The entire scenario could be justified with listening Garhwali
folk songs.
Nanda Devi Raj Jat is a typical religious journey taken up as
per the wish of god. This may be after 12 or 14 years. The
royal priest of Nauti village and the royal class of Kunwar
organize the entire journey of Nanda Devi. 280 km long
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arduous trek undertaken by thousands of devotees is to escort
the Goddess to her in-laws place in Kailas Mountain.
Defferent villages prayed Nanda Devi with their typical
Garhwali and Kumaoni folk songs.
Barah baras beeti gaina mein mait ni dekhi
Char din swami ji me matura jayolo
Risa ka maityaon ko mero karj hoyoun ch
Char din swami ji me matura jayolo
Idiomatic Translation
Oh Lord, let me go to my mother’s land
The devotees may be waiting with band,
Oh Lord let me go for four days Risha village
I am debt of Risha villagers.
Nanda, daughter of Maina and Hemant Rishi got married to
Lord Shiva. Nanda went to Kailas with her husband who
always remained in Tapasya in a snow bed. Nanda has no
friends. She was very sad. She remembers her parents,
childhood friends and all her villagers by heart. She starts
crying . On the other hands villagers were waiting her. There
is contradictory between Nanda and her parents as generally it
could be seen in family.
Nanda Devi Raj Jat is a religious ballad. As it is 20 days
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journey crossing 280 km. and passing through hundreds of
villages, it has variet of folk songs sung in vivid style and
tune. Sometime jagars while some time jhumeila and mangal.
Generally it is sung village to village., most of the Garhwali
folk songs are written in Garhwali local language in a form of
verse. The tale ia usually fierce and tragic and frequently
introduces the supernatural. Harmony between thought and
expression could be seen in every line of the folk songs.the
repeated words create music with heavy emotions.
Treatment of Nature could be seen and highlighted in the
Garhwali folk songs.
Lord Shiva is believed to reside at Mount Kailash while
Parvati (Shail Putri) is mythologically regarded as the
daughter of the hills. Parvati is also known as Nanda in
Garhwal and Kumaon area and the highest peak of the district
has been identified with the name of reigning deity of the
area. After 12 years, Nanda Devi Raj Jat originates from Nauti
after elaborate rituals. The image of the Goddess and offerings
are taken in procession, accompanied by bare footed devotees.
The followers observe self control.
Thousands of people from hundreds of villages take part in
this holy, religious tradition.
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Saat panch bainyu maa me whaigi kuladi
Baba me whaige kuladi
Kwaiyi baini deeni salakh salan
Kwaiyi baini deeni rotela kumaon
Risa gaun ka maiti sudh bhuli gaini
Barah baras beeti gaini rant raibar ni aini
Sarap padya pita Hemant, maata Maina
Jaun me biwai hiwala Kailas.
Nanda blamed her parents as they married her with Lord
Shiva who have no clothes except the ash. She was
not happy with her parents. Her other sisters were married in
a good family such as in Salan region Kumao region. On the
other hand she was given in Kailas which is too far and
inconvenient to her. Even nobody is bothered about her. She
cursed her father Hemant Rishi and Maina devi for neither
remembering her nor calling her in her village Risha.
No doubt Nanda Devi Raj Jat keeps alive Garhwali culture
and folk songs. It indicates that we must not drift from our
culture. There is need to protect and preserve the culture for
our future generation. The image of Nanda is cultural identity
of Garhwal. Nanda Devi Raj Jat just like Mahakumbh.
King Jasdhaval of Kannauj is closely associated with the
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history of Nanda Raj Jat. Some Garhwali folk songs referred
the story of Chandrapura and the angry mood of Nanda Devi.
There are some folk songs based on the story of Rupkund
where number of people buried due to avalanche or curse of
Nanda Devi. There are number of folk songs sung in various
occasion.
Some songs are also related to Jasdhal, the ruler of
Chandrapur. Jasdhal is believed to be an ancestor of the
prince of Kansua and thus began the tradition of offering
homage to Jasdhaval at this point . In some areas, there is a
tradition of organizing annual Raj jaat. These jats are
slightly different and cover a smaller circuit . Such annual
jaats are common in Garhwal and kumaon areas. At many places special worship is performed in Nanda temples. Such
celebrations are also organized in Danpur, Katyur, Vadhan,
Nainital, Almora. and many other places in Garhwal region.
Nauti ka nautiyaloun ke, sem ka semwaloun ki
Nanda raj rajeswari
Eda badhan ki jaman singh jatola ki Kansuwa
kunwaroun ki nanda rj rajeswari Deve ki
dewalyoun ki, nauna ka naunyaloun ki
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Nanda raj rajeswari.
Goddess nanda put her holy feet in many villages. And the
prime organizers are nauti villagers, sem, eda badhani, nauna,
deve and knsuwa villagers. Her visit symbolizes the beauty,
nurture and protection of society.
It is observed that Nanda Devi Raj Jat is clearly associated
with Garhwali culture, language, religion, history and folk
songs. After every ten or twelve years, this program is
organized. Due to Heavy rain and cloud-bust in June 2013,
Nanda Raj Jaa Yatra cancelled and now it will be organized
in the month of August 2014. In this respect many Garhwali
writers has written folk songs which may be sung during the
journey of Nanda Devi to Kailas Himalaya.
There is a young figure, Mr. Sandip Rawat who has written
folk songs and folk stories in Garhwali language. Mr. Rawat,
being of Chemistry lecturer is taking keen interest in building
up Garhwali language and folk literature. Sandip Rawat is a
promising poet who has been publishing his poems for a
couple of years in Garhwali magazine and news letters and
relaying his poems through Akashwani too. He also published
some articles based on Garhwali folk literature in Garhwali
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language. Sandip is very sensitive writer who has ability to
see every aspect of life through his folk songs. The first folk
songs collection was published in 2013 under the title ‘Ek
Lapang’. No doubt Mr. Sandip Rawat is a budding Garhwali
folk songs writer who have to go long distance to reflect
every aspect of life of Garhwali people.
To revive Garhwali culture, Hans Foundation is taking
initiative. Shri Bhole Maharaj and Mata Mangala ji are taking
whole hearted effort to boost the Garhwali and Kumaoni
culture. So far Hans culture Centre set up various sub sub
centers in different states for the betterment of Garhwali
culture and folk songs. In this respect Hans Culture Center
organized a program in Navi Mumbai to enhance Garhwali
culture, language and folk songs. Utsav Group from Garhwal
displayed a beautiful Nritya Natika with various folk songs
and dance. Mr. Upreti, Mrs. Mona Bhatt, Mr. Nand Kishore
Nautiyal Miss Reshma Shah Mr. Beeru Joshi and Miss
Khushi Joshi were present and suggested some points for the
improvement of Garhwali folk songs and language. ‘Sumadi
Ko Panth Dada’ Nritya Natika reflected the culture of
Garhwal. Every songs mirrored the society of Garhwal.
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