उत्तराखंडी ई-पत्रिका

Jeetu Bagdwal जीतू बगड्वाल : एक गढ़वाली रण भूत लोक गीत

vipinpanwar@gmail.com (Vipin) — Mon, 10 Oct 2011 11:37:00 +0000

Jeetu Bagdwaal : A Ranbhoot Garhwali Folk Song

Presented by Bhishma Kukreti

Source: Dr. Govind Chatak , Garhwali Lok gathayen

Refrence: Dr Shiva Nand Nautiyal, Garhwal ke Loknritygeet

जीतू बगड्वाल : एक गढ़वाली रण भूत लोक गीत

इन्टरनेट प्रस्तुतिकरण: भीष्म कुकरेती

स्रोत्र : डा गोविन्द चातक , गढवाली लोक कथाएँ , पृष्ठ १११-११७

सन्दर्भ डा शिवा नन्द नौटियाल , गढवाल के लोकनृत्य गीत

जीतू द शोभनु होला गरीबौ बेटा

माता त सुमेरा छई, दादी फ्यूंळी जौसू

ददा जी कुजर छ्या , भूलि शोभना छई ,

जाति को पंवार छयो जीतू अकली गंवार

बगडू जैका ह्व़े गेन बगड्वाळ

राज मान शाही ना दिने कमीण को जामो

गौं मुड़े को सेरो दिने , गौं मथे को घेरो

जीतू रये दादू भातु उदभातु

राणियों को रसिया फूलों को हौसिया

अणब्याई बेटियों को ठाकुरमासों खाए

बांज घटों को वैन भगवाड़ी उगाये

ऊँ बांजी भैसों को पाळी दिने परोठो

जीतू रई गे राजों को मुस्सदी

बगुड़ी ऐगे भैजी उल्या मूल्या मॉस

तब जितेंसिंग राजा धावडी लगौन्द

ओड़ू नेडू औंदु मेरा भुला शोभनु

सोरा सरीक भुला सब सेर सैक लैन

कि मलारी को सेरा हमारो

साणो रैगे त बाणो मेरा दादू

तू जयादी भुला जोशी का पास

गाडिक लऊ सुदिन सवार

पातुड़ी की भेंट धरे सेल़ा चौंळ पाथी

धूल़ेटी की भेंट धरे सोवन को टका

चलीगी शोभनु बरमा को पास

जाइक माथो नवौंदो सेवा लगान्दो

पैलागु पैलागु मेरा बरमा

चिरंजी जजमान मेरा

भैर गाड याले बरमान धूल़ेटि पातुड़ी

देखद देखद बरमा मुंडळी ढगड्योंद

तेरी राशि नि जुड़दो जजमान

तुमारी बतैन्दी बल वा बैण शोभनी

वा बैण मेरी रैंद कठऐतूं का गाऊं

चूला कठुड़ तै बांका बनगढ़

सोचदू सोचदू तब घर ऐगे शोभनु

पौन्चीगे तब जीतू का पास

खरो मानी जौ , मेरा जेठा पाठा भैजी

तेरी राशि नी जुड़े दिदा लुंगला को दिन

जीतू भिभडैक उठे तब गये माता का पास

हे मेरी जिया हमारी राशि नी जुड़े लुंगला को दिन

मै तो जांदू माता, शोभनी बैदोण

तू छयी जीतू बाबरो बेसुवा

भुला शोभनु होलू माता बालो अलबूद

मैं जौंलू माता शोभनी बैदोण

न्यूतीको बुलौंलू पूजीक पठौंलु

नी जाणो जीतू त्वे ह्वेगे असगुन

तिला बाखरी तेरी ठक छ्युंदी

नी ल़ाणी जिया त्वेन इनि छ्वीं

घर बौडी औंलो तिला मारी खौंलो

भैर दे तू मेरी गंगाजली जामी

मोडूंवां मुंड्यासी दे दूँ , आलमी इजार

धावड्या बाँसुली दे दूँ नौसुर मुरली

न जा मेरा जीतू कपडी तेरो झोली ह्वेन मोसी

आरस्यो को पाक तेरो ठनठन टूटे

त्वेक तईं ह्वेगे जीतू यो असगुन

माता को अडैती जीतू एक नी माणदो

लैरेंद पैरेंद तब कांठा मा को सि सूरज

गाड को सि माछो सर्प को सि बच्चा

बांको बीर छयो जीतू नामी भड़

राजो को माण्यों छयो रूप को भर्र

पैटी गे तब जीतू बैणी को गऊँ

रानी पटुड्या तब तैको गाळी दीन्दी

जान्दो ह्वेई मेरा स्वामी , आंदो नि ह्वेई

स्याळी का खातिर तू पैटी बैणी बैदोण

बिदा लिनी जीतून रस्ता लगे वो

चल्दु रै वो ऊँची तौं धऐडियों

ऊंची धऐड़यों चढ़े जीतू गैरी त पाख्युं

कलबली कूंल़े छई देव्दार स्वाणा

ह्र्याँ डाल़ा छ्या फुलून जन ढक्याँ

पौन्छी गये जीतू रैंथल की थाती

घडाँदी दोफरी छई तडाँदो घाम

तडाँदो घाम मा जीतू सेळ बैठी गे

तमाखू पीयाले तैंन साध्यान लीयाले

हांस्यारी पराण वैको उलारिया गये

हाथ गाडयाले वैन नौसुर मुरली

नौसुर मुरली परे घावड्या बांसुळी

बावरो छयो जीतू उलारीया ज्वान

मुरली को हौंसिया छौ रूप को रौन्सिया

घुराए मुरली वैन डांडी बीजिन कांठी

बौण का मिर्गून चरण छोडि दिने

पंछियोन छोडि दिने मुख को त गाल़ो

कू होलू चुचों स्यो घाबड्या मुरल्या

तैकी मुरली मा क्या मोहनी होली

बिज़ी गैन बिज़ी गैन खेंट की आंछरी

जीतू कि आंख्युं मा जनी शिशो चमल़ाणी

छम छम घुंघरू बजीन, जीतू की आँखी मुन्जीन

क्वी बैणी बैठींन आन्ख्यों का स्वर

क्वी बैणी बैठींन कंदुडों का घर

छालो पिने लोई , आलो खाए मांस पिंड

पन्द्र पचीसी जीतू रैन्थल थाती रैगे

अल्हर जवानी जीतू भुंचण नी पायी

तिन नि माने जीतू माता की अड़ेती

फंसी गे कन आन्छ्र्यों का घेरा

सुमरिण करदो जीतू बगुडी भैरों

कख व्हेली मेरी कुलदेवी भवानी ?

आज मै पर ऐ गे बिपता भारी

बीच बाटा मा कनी होए मेरी मोल की मरास

दैणो ह्व़े गे तब जीतू की बगूड़ी भैरों

नौ बैणी आंछरी तब छूटी गैन

आज मै जान्दो बैणी बैदोण

छै गते आषाढ़ लुंगला को दिन

तै दिन तुम मिली तैं पुंगड़ी ऐन

तब मन ह्व़े गे उदास जीतू

चित्त ह्व़े गे चंचल

तब पौंची गये जीतू बैणी का गौं

मिली गे वै बैणी शोभनी

तब आये स्याळी वरुणा

सेवा मेरी पोंछे वीं स्याळी वरुणा

सेवा मैं खरी लांदु भेना बगड्वाळ

तेरी खातिर छोडि स्याळी बांकी बगूड़ी

बांकी बगूड़ी छोड़े राणयों कि दगूड़ी

छतीस कुटुंब छोड़े बतीस परिवार

घिटूडियों जसो रथ छोड़े चकोरू जस टोली

तेरा बाना छोड़े मैं भेना

दिन को खाणो रात की सेणी

तेरी माया न स्याळी जिकुड़ी लपेटी

कोरी कोरी खांदो तेरी माया को मुंडारो

जिकुड़ी को ल्वे पिलैक अपणी

परोसणो छौं तेरी माया की डाळी

अब त भरीक ही मिटली स्याळी

त्वे भेजे को हेत

यूँ डाळीयूँ मा तेरा फूल फुलला

झपन्याळी होली बुरांस डाळी

ऋतू बोडि औली दाईं जसो फेरो

पर तेरी मेरी भेंट स्याळी

कु जाणी होंदी कि नी होंदी ?

बौडिक ऐ गे जीतू तैं बांकी बगूड़ी

ओड़ू नेडू ऐगे लंगुला को दिन

घटु की रिंगाई सामळ कि पिसाई

चौखम्भा तिबारी जीतू होए मगलाचार

गडायूँ गुंडाखु पैटयो , घुंगरियालि होका

पोंछी गे बल्दुं की जोड़ी मलारी का सेरा

तब जोतण लग्या जीतू का धौल़ा त बुल्ला

मलारी का सेरा शुरू ह्व़ेगे रोपण

सेरु सैक ऐगे तैं मोंळ पुंगड़ी

एक फाट उंडो लीगे जीतू एक फुंडो

फीकू ह्व़े गे ज्यू जीतू जी को

तबे वीं मोंळ पुंगडी छूटे घेंटुडी रथ

मलेऊ सि मिड़को

नौ बैणी आंछरी ऐन , बार बैणी भराडी

क्वी बैणी बैठींन कंदुड़यो घर

क्वी बैणी बैठींन आंख्युं का स्वर

छालो पिने लोई , आलो खाये मॉस पिंड

अंगुडी छयो जीतू , पछींडो फरकी

स्यूं बल्दुं जोड़ी जीतू डूबी गयो

मलारी का सेरा जीतू खोए गये

अल्हर जवानी जीतू भुंचण नी पाए

लाख्डू सि ताबु होए पिंडाल़ू सि भाड़

बत्तीसु कुटुंब तेरो तै मलारी रै गे

बावरो नी होंदो जीतू नी होंदो बिणास

Satire and Fatkar - Political Parties in Search of Shameless Spokesperson

vipinpanwar@gmail.com (Vipin) — Mon, 10 Oct 2011 11:36:00 +0000

Bhishma Kukreti

The general election is near in various states and all political parties are in the process of face lifting of their images. For face lifting their images, every political party is in search of new spokesperson.

I got call from spokesperson of All India Western UP Dal, Sir! We need a new spokesperson. We feel you suit for the job”

I asked, “What are my qualities that suit to your job?”

He answered, Sir! We need spokesperson that is brave enough to hide our leader’s weaknesses and could bring weaknesses of other political leaders. Since, you write satire, we feel you are the best to bring out weaknesses of other political parties.”

I asked, “ You mean Charitrhanan of other leaders?”

The spokesperson said, “Yes Sir! We need who can attack blatantly on personal characters of each political leader”

I said,” Sorry Sir! We satirists attack on characteristics and not on person. You need political person and not satirists to do your job.”

There was a call from Samajvadi Party, “ Sir! We need to over hall our image. You are in advertisement profession and at the same time you are a writer too.”

I asked,” What do you think about new spokesperson?”

He answered,” We need the spokespersons that can hide our past sins candidly.”

I answered,” Sorry sir! You politicians can hide your own sins but we satirists bring out the sins before our readers. I am not fit for your job.”

A call came from BSP and the person said,” sir! We need the spokesperson that can blame our bad works on our opposition parties.”

I asked, “Can you clarify please?”

BSP spokesperson answered, “As who can blame worsening law order in out rule on all our opposition parties. Many of our ministers are caught in rape cases, looting, exhortation etc. Now we want that our spokesperson blame on opposition parties for misdeeds of our ministers.”

I said,” Sorry sir! We satirists don’t blame others but to those who did misdeeds. You should find such spokespersons from political arena only.”

A call came from Akali dal,” Sir! We want spokespersons those can prove that Akali Dal workers are lesser corrupt than Congress party workers.”

I answered,” Sorry Sir! For satirists, the corruption is corruption and for us, there is no scale which can measure lesser or more corrupt deeds”

A call came from Bhartiy Janta Party head quarter,” Sir! We have army of expert spokespersons of manipulating truth into falsehood and falsehood into truth. But we require fresh face that can hide the corruption of Ramesh Pokhariyal, Yadurappa, mining mafia Jagnath Reddy, state sponsored riots by Modi etc. The spokespersons should be soulless”

I answered, sorry sir! Satirist doesn’t change truth into falsehood. We satirists have souls.”

A call came from Congress party management cell,” sir we need shameless spokespersons those can deny all true allegations on our ministers!”

I answered, “But! Congress has tens of shameless spokesperson those can deny shamelessly the existences of sun and moon and you don’t need more shameless spokespersons.”

The Congress party public relation manager answered, “You are right that we have good numbers of shameless spokespersons who shamelessly can deny the proven allegations on our ministers but unfortunately all spokespersons are exposed much and we need newer, fresh ruthless and shameless spokespersons to deal denying proved allegations on our ministers.”

I answered,” Sorry sir! We satirists expose the shameless characteristics but we feel shame when we indulge in antisocial works.”

He said,” You may take your time. Whenever you feel you are shameless you may join our brigade of shameless spokesperson cell.”

(This looks like true story but is purely work of fiction and imagination)

Copyright @ Bhishma Kukreti

HillyTube! | Garhwali Song apni taun sharmiyali akhiyun-by SureshWadkar

vipinpanwar@gmail.com (Vipin) — Fri, 07 Oct 2011 12:04:00 +0000

HillyTube! | Garhwali Song apni taun sharmiyali akhiyun-by SureshWadkar: Garhwali Song apni taun sharmiyali akhiyun-by SureshWadkar

HillyTube! | Teri Yaad Satei Main Ijoo - Paili Mulaqat

vipinpanwar@gmail.com (Vipin) — Wed, 05 Oct 2011 09:33:00 +0000

Nice song.... touching
Music composition is excellent, visualization is satisfactory and song written wel

HillyTube! | Teri Yaad Satei Main Ijoo - Paili Mulaqat: Teri Yaad Satei Main Ijoo - Paili Mulaqat

vipinpanwar@gmail.com (Vipin) — Wed, 05 Oct 2011 07:33:00 +0000

"मातृभूमि, मातृसंस्कृति और मातृभाषा। यह तीन देवियां हैं, इनका सम्मान करना चाहिए। इनही से ही संसार में सम्मान मिलता है।"

Team YU ready for Next Career Guidance Camp at GIC MUNNAKHAL, DEVPRAYAG, TEHRI GARHWAL on 21-22 OCTOBER

100 रूपये का note बहुत ज्यादा लगता है“ जब किसी गरीब को देना हो या किसी कि मदत के लिए देना हों ” मगर होटल में बैठना हों तो 100 रूपये का note बहुत कम लगता है. 3 मिनट ईश्वर को याद करना या किसी गरीब के बारे में सोचना मुश्किल है , मगर 3 घंटे कि movie देखना बहुत आसन है ....... क्या पता आपके थोड़े से सहयोग करने से न जाने किस बच्चे का भविष्य उज्जवल हों

A professional’s team will guide the students for their career in Management / Engineering / Medical / IT / Journalism / Govt. Job / Self Employment etc. sectors.

Financially weaker but brilliant students will be awarded with 1 / 2 year scholarship for their future study.

Now here is an Golden Opportunity for all of you to be part of this Social Cause by donating for their Projects of Young Uttarakhand

A/c in The Name Of :- Young Uttarakhand
Bank Name :- ICICI Bank
Branch :- Panchsheel, New Delhi
A/c No :- 022401002313
RTGS/NEFT/IFSC Code : ICIC0000224

Cheque should be in favour of "Young Uttarakhand"

*Registered Office address*

Young Uttarakhand
232, Subhash Khand, Giri Nagar,
Kalkaji, New Delhi – 110 019, INDIA

लोरी :- HillyTube! | Bala Se Jadi - Narender Singh Negi Garhwali song

vipinpanwar@gmail.com (Vipin) — Tue, 04 Oct 2011 05:00:00 +0000

HillyTube! | Bala Se Jadi - Narender Singh Negi Garhwali song: narender singh negi garhwali song

यंग उत्तराखंड पाँचवां कैरियर गाइडेंस कैम्प क्वेराला, (सल्ट) अल्मोड़ा, उत्तराखंड)

vipinpanwar@gmail.com (Vipin) — Tue, 27 Sep 2011 03:32:00 +0000

यंग उत्तराखंड द्वारा दिनांक 23 व 24 सितम्बर 2011 को राजकीय इंटर कालेज क्वेराला, (सल्ट) अल्मोड़ा, उत्तराखंड में दो दिवसीय कैरियर गाइडेंस कैम्प का आयोजन किया गया |

यंग उत्तराखंड द्वारा आयोजित यह पाँचवां कैरियर गाइडेंस कैम्प था | इस कैम्प का मुख्य उद्देश्य कक्षा दसवीं, ग्यारहवी व बारहवी के छात्र-छात्राओं के स्कूली शिक्षा उतीर्ण करने के उपरान्त रोजगार प्राप्त करने व रोजगार के विभिन्न क्षेत्रो के बारे में जानकारी प्रदान करना था |

कैम्प लिए टीम का दिल्ली से प्रस्थान: यंग उत्तराखंड के 11 सदस्यों की टीम दिनांक 22 सितम्बर 2011 को रात्रि 9:00 बजे दिल्ली से क्वेराला, अल्मोड़ा के लिए रवाना हुई |

यंग उत्तराखंड की ओर से इस कैम्प में जाने वाले सदस्य: श्री ललित प्रसाद ढौंडियाल, श्री चन्द्र मोहन ज्योति, श्री भास्कर कांडपाल, श्री के सी एस रावत, श्री नीरज बवाड़ी, श्री जोगिन्दर सिंह रावत, श्री विपिन पंवार, श्री विवेक पटवाल, श्री चन्द्र कान्त नेगी, श्री विजय सिंह बुटोला व श्री मनोज रावत |

टीम का उत्तराखंड में प्रवेश: अगले दिन 23 सितम्बर 2011 को रात चार बजे सदस्यों की टीम रामनगर पहुंची | जलपान आदि करने के बाद सभी सदस्य अपनी शेष यात्रा पूरी करने के लिए चल पड़े | विश्व विख्यात जिम कोर्बेट वन्य जीव अभ्यारण से होते हुए प्रात: पाँच बजे हम मर्चुला पहुचे | मर्चुला > मौलेखाल > जालीखान > पसिया > झिमोर > डोटियाल > मल्ला मनीला >पुरिया चौड़ होते हुए सदस्यों की टीम प्रात: 8:00 बजे पुरिया चौड़ स्तिथ होटल काफल बुरांश पहुंचे | यहाँ पर श्री जोगिन्दर रावत जी ने टीम के रहने -खाने की व्यस्था की हुयी थी |

कैम्प की कार्यवाही का आरम्भ : नित्य कर्म से निवृत हो कर हम सभी ने नाश्ता किया और प्रात: 9:30 पर टीम राजकीय इंटर कालेज क्वेराला के लिए रवाना हुई | सुबह दस बजे विद्यालय शुरू हुआ कार्यवाहक प्राचार्य डी. के . श्रीवास्तव जी से मुलाकात कर हमने उन्हें कार्यक्रम से पुनः अवगत करवाया | यह कार्यक्रम 10:30 बजे आरम्भ हुआ इस कैम्प में कक्षा दसवीं, ग्यारहवी व बारहवी के 238 विद्यार्थियों ने भाग लिया | सभी छात्र-छात्राओं की बैठने की ब्यवस्था एक हाल में की गयी | कार्यक्रम के प्रारंभ में श्री चंद्रकांत नेगी ने स्कूल प्रशासन का धन्यवाद करते हुए यंग उत्तराखंड एवं टीम का परिचय दिया तथा छात्र-छात्राओं को करियर के लिए शिक्षा के महत्व के बारे में बताया | तदुपरांत अपने अपने व्यावसायिक क्षेत्रो के टीम विशेषज्ञों द्वारा कक्षा दसवीं, ग्यारहवी व बारहवी के छात्र-छात्राओं को क्रमवार संबोधित किया |

श्री ललित प्रशाद ढौंडियाल ने इंजीनिअरिंग एवं मेडिकल सम्बन्धी विषयों में करियर, श्री सी एम ज्योति ने पत्रकारिता, मीडिया (मॉस कम्युनिकेशन) श्री भाष्कर कांडपाल ने सूचना एवं प्रधोगिकी (आईटी) श्री नीरज बावड़ी ने सरकारी नौकरियों एवं प्रबंधन, श्री के सी एस रावत ने सेल्स मार्केटिंग एवं प्रबंधन तथा व्यक्तिगत विकास एवं श्री जोगिन्दर रावत ने जो की उसी स्कूल के छात्र रह चुके है, अपने अनुभव शेयर किये तथा किस तरह शिक्षा में सफलता प्राप्त की जाती है छात्रों को बताया |

दो दिवसीय इस कार्यक्रम में टीम के सदस्यों ने छात्र-छात्राओं को संबोधित करते हुए कहा कि विद्यार्थियों को शिक्षा के क्षेत्र में दक्षता हासिल करनी चाहिए तथा भविष्य के प्रति सचेत रहना चाहिए । उन्होंने प्रतिभागियों को सूचित करते हुए कहा कि शिक्षार्थियों को विविध क्षेत्रों में अपने ज्ञान को व्यावहारिक रूप देने का प्रयास करना चाहिए | उन्होंने कहा कि विद्यार्थियों को कंप्यूटर, पत्रकारिता व अपनी रूचि विशेष समर्थित रोजगारों की खोज करनी चाहिए तथा इस दिशा में हर सम्भव प्रयास करना चाहिए । टीम के सदस्यों ने सभी विद्यार्थियों को संबोधित करते हुए कहा कि हमें प्रशासनिक सेवाओ में रोजगार के लिए क्या-क्या तैयारिया और प्रयास करना चाहिए |

उन्होंने बताया कि आज के दौर में शिक्षा का महत्व किसी से छिपा नहीं है। शिक्षा चाहे जीवकोपार्जन के लिए हो, सामाजिक मूल्यों की पुनर्स्थापना के लिए, या फिर जीवन की सही समझ के लिए। शिक्षा हर हाल में बेहतर जीवन की गांरटी है | आज शिक्षा का स्तर चरम पर है इसीलिए बिना लक्ष्य निर्धारित किए पढ़ाई करने का कोई अर्थ नहीं रह जाता है। आपकी रुचि जिस क्षेत्र में है, उसी को ध्यान में रखकर करियर की प्लानिंग करना उपयुक्त माना जा सकता है। यदि आप 12वीं के बाद जिस भी क्षेत्र या विषय को चुन रहे हैं, उससे संबंधित समुचित योग्यता आपमें है या नहीं, इस तथ्य को पहले से ही परख लें!

अभिभावक व टीम के मध्य बातचीत सत्र: श्री चन्द्र कान्त नेगी जी ने आमंत्रित माता पिता को बातचीत सत्र की शुरुआत की | श्री नेगी जी ने उन्हें अपने बच्चो के प्रति उनकी जिम्मेदारियों से अवगत कराया था साथ ही सभी विसेसज्ञों ने अपने अनुभव एवं किस तरह से बच्चों में अच्छे संस्कार एवं शिक्षा के प्रति रूचि के लिए उचित शिक्षा हेतु मार्गदर्शन किया| अभिभावक मीटिंग में अभिभावक एसोशियेशन के पदाधिकारी भी मौजूद थे उन्होंने एवं अभिवाहकों ने यंग उत्तराखंड के कार्यों को सराहा एवं भविष्य में इनसे कैंप के लिए निवेदन किया

विद्यार्थियों के लिए सामान्य ज्ञान प्रतियोगिता का आयोजन : टीम के सदस्यों के संबोधन के बाद एक सामान्य ज्ञान प्रतियोगिता का आयोजन किया गया इस प्रतियोगिता में सभी 238 छात्र-छात्राओ ने भाग लिया |

प्रतियोगिता में पुरुस्कार पाने वाले विद्यार्थी इस प्रकर से थे:

1. प्रदीप मनराल (कक्षा 12B, प्रतियोगिता में प्रथम स्थान प्राप्त किया तथा प्रमाण-पत्र व स्मृति चिन्ह प्रदान किया गया)

2. भरत सिंह चौहान (कक्षा 10, प्रतियोगिता में द्वितीय स्थान प्राप्त किया तथा प्रमाण-पत्र व स्मृति चिन्ह प्रदान किया गया)

3. जीत सिंह (कक्षा 12A, प्रतियोगिता में तृतीय स्थान प्राप्त किया तथा प्रमाण-पत्र व स्मृति चिन्ह प्रदान किया गया)

प्रमाण-पत्र व स्मृति चिन्ह वितरण समारोह के पश्चात् इस प्रतियोगिता में भाग लेने वाले शेष सभी प्रतिभागी विद्यार्थियों को उत्साहवर्धन स्वरुप एक-एक प्रमाण पत्र दिया गया | श्री सी के एस रावत ने निम्न छात्रों को स्कूल बैग दान दिए एवं श्री भास्कर कांडपाल ने दो शिक्षकों को कैंप में उनके उत्कृष्ट सहयोग के लिए कुछ पुस्तकें भेंट की |

होनहार निर्धन विद्यार्थियों को छात्रवृति : यंग उत्तराखंड ने इस वर्ष से आर्थिक रूप से कमजोर होनहार 3 निर्धन विद्यार्थियों को उनकी एक वर्ष की शिक्षा हेतु नकद धनराशी के रूप में छात्रवृति योजना की शुरुवात की है | चालू शैक्षिक -सत्र हेतु इस वर्ष यंग उत्तराखंड ने दसंवी तथा ग्याहरवी के 3 विद्यार्थियों को एक वर्ष की शिक्षा हेतु पुस्तके, शिक्षा-शुल्क, जूते, गणवेश, बस्ता, पैन-पेंसिल व् अन्य शिक्षण सामग्री के लिए नकद धनराशी के रूप में जिन 3 विद्यार्थियों को छात्रवृति प्रदान की गयी उनके नाम इस प्रकार हैं :

नवीन चन्द्र आत्मज श्री प्रकाश राम कक्षा 10

हरीश सिंह आत्मज श्री लक्ष्मण सिंह कक्षा 10

मनोज सिंह आत्मज श्री जगत सिंह कक्षा 11B

कैंप के समापन समारोह में छटी कक्षा के दो छात्रों ने पहाड़ी गीत गाकर सुन्दर समां बांध दिया जिसे टीम एवं शिक्षकों ने बहुत सराहा. अंत में सभी छात्रों को जलपान हेतु बिस्कुट इत्यादि बांटे गए एवं कैंप की समाप्ति की |

कैम्प का समापन और वापसी : दिनांक 24 सितम्बर को अपने दो दिवसीय कैरियर गाइडेंस कैम्प के सफल आयोजन के समाप्ति के पश्चात यंग उत्तराखंड की टीम ने वहा के माता मानिला के मंदिर जाकर माता के दर्शन कर आशीर्वाद प्राप्त किया | अगले दिन 25 सितम्बर को यंग उत्तराखंड की टीम सुबह 9 बजे दिल्ली के लिए रवाना हुई |

इस प्रकार यंग उत्तराखंड द्वारा आयोजित यह कैरियर गाइडेंस कैम्प का सफल समापन किया | यंग उत्तराखंड इस कैम्प में भाग लेने वाले सभी सदस्यों का आभार प्रकट करती है जिन्होंने अपना अमूल्य समय निकल कर इस कैम्प के सफल समापन में अपना उत्कृष्ट योगदान दिया यंग उत्तराखंड उन सभी अन्य साथियो का भी आभार प्रकट करती है जो कि प्रत्यक्ष व परोक्ष रूप से इस जन-कल्याण कार्यक्रम में सहभागी बने |

निवेदक

टीम यंग उत्तराखंड

Gadi Chaleli Chaleli - Chhapeli - Anandi Devi & Santram

vipinpanwar@gmail.com (Vipin) — Tue, 20 Sep 2011 08:20:00 +0000

http://hillytube.com/video/Gadi_Chaleli_Chaleli_Chhapeli_-_Anandi_Devi_and_Santram

Gadi Chaleli Chaleli - Chhapeli - Anandi Devi & Santram
*Artist - Anandi Devi & Santram (Almora, Uttaranchal)... The precise meaning of this song is not clear and the stanzas have most likely been added over time by the singer. Towards the end of the song the singer gives his own introduction and his complete address. This is a common practice followed in many folk songs.

अपने ज़माने के प्रसिद्द उत्तराखंडी गायकों के अनमोल गीत सुनिए

vipinpanwar@gmail.com (Vipin) — Mon, 19 Sep 2011 08:51:00 +0000

अपने ज़माने के प्रसिद्द उत्तराखंडी गायकों के अनमोल गीत सुनिए सिर्फ hillytube.com और hillymusic.comपर

Gopal Babu Goswami Songs (Biggest Collection on Internet)

http://hillymusic.com/music/index.php?action=artist&id=10
http://hillytube.com/search/all/gopal%20Babu

Kabootri Devi ( Song's Collected From Nazimabad Radio Station - Hillytube! Exclusive )

http://hillytube.com/search/all/kabootri%20devi

Kishan Singh Panwar
http://hillytube.com/search/all/kishan%20singh

तथा अन्य लोकगायको के संगीत तथा स्वरों को सुनने के लिए क्लिक करें hillytube.com / hillymusic.com(Music of Himalayas)

HillyMusic / Hillytube Team!

ढोल - दामो पर नाचे न हम कभी

vipinpanwar@gmail.com (Vipin) — Thu, 15 Sep 2011 12:15:00 +0000

ढोल - दामो पर नाचे न हम कभी
मंडाण कभी लगाया न हमने
DJ पर नाचे सदा को ,
हम तो डिस्को करने वाले हैं
मुझको पहाड़ी मत बोलो
में तो .............

अंग्रेजी ही पीते हैं हम सदा नी को
कची हमने चाखी नी कभी को
लुकी - लुकी के पी न कभी हमने
हम तो बार - रेस्ट्रोरेन्ट में पीने वाले हैं
मुझको पहाड़ी मत बोलो
में तो .............

रंत- रैबार भेजा नि कभी हमने
न समलूंण के बारे में सुना कभी को
ईमेल - चाट करते हैं सदा को
हम तो बुके - गिफ्ट देने वाले हैं
मुझको पहाड़ी मत बोलो
में तो ............"Written By Nishan"

Listen Songs http://hillymusic.com/music/index.php?action=album&id=136

HillyTube! | जागी रै प्रीतम भरतवाण6

vipinpanwar@gmail.com (Vipin) — Wed, 14 Sep 2011 09:57:00 +0000

HillyTube! | जागी रै प्रीतम भरतवाण6

Make a world of a difference to a needy child’s life.

vipinpanwar@gmail.com (Vipin) — Tue, 13 Sep 2011 07:06:00 +0000

Schedule for Day 1

Brief Introduction

About Young Uttarakhand.
Purpose of Career Guidance Camp
Counseling

Brief introduction of Counselors.
Mass Career Counseling of different fields e.g. IT, Finance / Accounts, Engineering, Graphic Designing, Government Sector Jobs etc.
Specialized Career Counseling by making groups according to their field / subject of interest.

Quiz Competition

Schedule for Day 2

Interaction with students along with their parents.
Spot Essay Writing competition,
Discussion with school authorities regarding Adopt a Child Plan.
Distribution of career guidance books, scholarships, certificates and mementos to the students
Interaction with school staff and principal.
Distribution of mementos to the principal.
Make a world of a difference to a needy child’s life.
Help make change happen, Adopt a child now......
Now here is an Golden Opportunity for all of you to be part of this Social Cause by donating for their Projects of Young Uttarakhand
A/c in The Name Of :- Young Uttarakhand
Bank Name :- ICICI Bank
Branch :- Panchsheel, New Delhi
A/c No :- 022401002313
RTGS/NEFT/IFSC Code : ICIC0000224

Cheque should be in favour of "Young Uttarakhand"

*Registered Office address*

Young Uttarakhand
232, Subhash Khand, Giri Nagar,
Kalkaji, New Delhi – 110 019, INDIA

vipinpanwar@gmail.com (Vipin) — Fri, 09 Sep 2011 06:39:00 +0000

Make a world of a difference to a needy child’s life.

Help make change happen, Adopt a child now......

Now here is an Golden Opportunity for all of you to be part of this Social Cause by donating for their Projects of Young Uttarakhand

A/c in The Name Of :- Young Uttarakhand
Bank Name :- ICICI Bank
Branch :- Panchsheel, New Delhi
A/c No :- 022401002313
RTGS/NEFT/IFSC Code : ICIC0000224

Cheque should be in favour of "Young Uttarakhand"

*Registered Office address*

Young Uttarakhand
232, Subhash Khand, Giri Nagar,
Kalkaji, New Delhi – 110 019, INDIA

HillyTube! | Kabootri Devi Song - Durga Bhawani - Hillytube Exclusive

vipinpanwar@gmail.com (Vipin) — Fri, 09 Sep 2011 06:32:00 +0000

HillyTube! | Kabootri Devi Song - Durga Bhawani - Hillytube Exclusive: kabootri devi songs, Hillytube.com exclusive

HillyTube! | RONGPA SONG - Kishan Mahipal

vipinpanwar@gmail.com (Vipin) — Thu, 08 Sep 2011 05:57:00 +0000

HillyTube! | RONGPA SONG - Kishan Mahipal: RONGPA SONG - Kishan Mahipal

Steps and Movement in Chaunfala चौंफुल़ा (ळ+आ) , a Garhwali Folk Dance

vipinpanwar@gmail.com (Vipin) — Wed, 07 Sep 2011 04:12:00 +0000

Bhishma Kukreti

Bhishma Kukreti (2011) concludes with references that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance is there in Garhwal before 2000 years back. The song is very popular in the region and part and participle of Garhwali culture. A prolific expert of Garhwali folk literature Dr Shiva Nand Nautiyal states that in most of the respects, Chaufula, Chaunfula or चौफुल़ा (ळ+आ ) or चौंफुल़ा (ळ+आ) is similar to garba of Gujrat, Bihu of Assama, Ras of Manipur and the dances of medieval time dances as Chamtkar Nrity, Chalit Nrity and Geet Nrity. Dr Shiva Nand Nautiyal argued that the people (who settled in Garhwal from various regions of India) added the new version into primitive Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance and song.

Since, the old classic books provide less literature on group dances , it is difficult to find out history of development of Chaufula, Chaunfula or चौफुल़ा (ळ+आ ) or चौंफुल़ा (ळ+आ) dance –song.

Bharat Naty Shashtra offered more time on Solo dance but orovided very less literature on group dances. Bharat called group dance as ‘Pindibandh’. Bharat described nd divided group dances as per the form the dancers create while dancing. That is why Bharat took cue from war strategy and called group dances as Mayurpindi, Trishulpindi (raudrpindi), Kamalpindi, Halpindi, Garudpindi etc (Bharat Natya Shashtra, 4- 221 to 272) similar to Battle strategy as Chakrvyuh, Mayurvyuh, Makdvyuh etc. Bharat did not mention any rule of gender discrimination in group dances.

Steps ,Movement and Chronological Satges of Chaunfula चौंफुल़ा (ळ+आ) Dance

The dance is performed in open place specially in country yard (Chauk). The dance starts by female dancers and male dancers standing in line separately. The female dancers come opposite of male dancers but not too far and the each dancer comes forward one step, put left hand on the left hand 9palm) of opposite dancer and again put right hand on the right hand of opposite dancer. After this the dancers come back on original position. In second stage, the dancers clap on the hands of opposite dancers with going forward one step and then coming back. In the third stage, each dancer moves in full circle with dance and then claps on the opposite dancer’s hands as in earlier stage In fourth stage, the dancers create a circle and moves in dancing form in anti-clock direction. Dancing in circle is fifth stage of Chaufula, Chaunfula orचौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance. Now half of the dancers sing the song and other half repeat the song. The half dancers bend towards left and half dancers bend towards right while dancing in sixth stage. The dancers beat their feet on the earth and clap while dancing in circle. The singing also goes on.. from third stage the performing on face start (Mukhaabhinay). In later stage, the dance takes speed and singing takes back seat.

Here is an Old song of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song.

Major Types of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song.

There are many variants in Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song. However, Dr Shiva Nand Nautiyal provided two main varieties of Chaunfula dance as:

1- Khada Chaunfula dance

2-Laludi Chaunfula dance for both genders

3-Laludi Chaunfula dance for male dancers only

As far as numbers of dancers is concerned, there is no restriction for number of dancers. However, the dancers should be in even numbers for making pair.

The songs pertaining to Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song.are mainly of

1- Love rapture

2-humrous raptures

3- Satirical or playful raptures

4- Inspirational

5- Doubting to other or lovers songs

Specific Characteristic of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Songs.

Usually, in Garhwali folk songs, the first stanza or line is meaningless stanza and is used to make lyrical poetry.. The first meaningful line is always repeated.

However, in most cases, in Chaufula songs, te first meaning less stanza is not found and the firsts line is also not repeated with other stanzas.

चौन्फ़ल़ा (ळ +आ) नृत्य गीत का एक उदाहरण

(गढवाली लोक गीत, उत्तराखंडी लोक गीत, भारतीय लोक गीत)

महात्मा गांधी बडो भागी छ, देस मुल्को अनुरागी छ Mahatma Gandhi is great man, He loves this country

बाखरी दूद ओ पीन्दो च, खाड़ी क लारा पैणदो च He takes the milk of goat, he wears Khadi dress

(सन्दर्भ: डा. शिवा नन्द नौटियाल गढवाल के लोक नृत्य-पृष्ठ ११२-११९) .

Group Circle Folk Dances-Songs of France

In most of the community, group circle folk dance-songs are common. Take example of France, there many types of folk group dance-songs which are performed in circle..in a brilliantly researched book’ Folk Dances from France, Fredericka Moore provides us the details of following group dance-songs which are performed in circle with graphic figures and musical notes and in all the following dances, children, girls and boys take part::

1- Girofle, Girofla ( In a couple of aspects , the dance has similarities with chaunfala as clapping, backward and forward movement etc)

2-Il court, Il court, Le Furet

3- Meunier, Tu dors

4-Nous N’Irons Plus au Bois

5-dans le jarden.. ( this is similar to Chaunfla dance in many aspects as in this dance song, the dancers make two lines facing each other and not too far.and later on makes circle. The difference between Chaunfala and this dance is that it is also a game of animals and birds.

The description of Garhwali Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) Dance –Song .and briefing about group circle folk dances of France is proof that circle group dance-songs have been there in the older societies allover world. The variation in foot movements and body parts may differ but the people gain same rapture all over the world.

Copyright@ Bhishma Kukreti bckukreti@gmail.com

Gadhwali Poet-३ - Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry

vipinpanwar@gmail.com (Vipin) — Tue, 06 Sep 2011 04:03:00 +0000

Gadhwali Poet-3
Jaya Nand Khuksal ‘BauLya’: the initiator of realism in Garhwali poetry
Bhishma Kukreti

(Read L as the L of chhalu, syalu, byali etc , D as in kadu, mod, and DH in paudh, gadhu etc.)

There tens of migrated Garhwali poets who crafted beautiful Garhwali verses about Garhwal and the pain, emptiness of Garhwal because of migration but there are only a couple of Garhwali poets who could create poetry showing the pain, hurting, insults, aloofness, paying struggle, worthless struggle, the burden of two places (in migrated place and in village of Garhwal), the new social community formation where his/her pride is pierced before him/her by the situation or displacement of a common Garhwali migrated to metro or cities of India from lovely Garhwal.

The common and helpless migrated Garhwali has to struggle with many dimensional situations just not for his own survival but for the present family in Garhwal and for building a new golden future for his next generation. At one side, the newly migrated Garhwali has to face the situation of fast adaptation for materialistic growth in the city and other side , he has to keep the burden of rural culture alive and be ready psychologically and physically at all the time for balancing both the burdens. Though most of the modern Garhwali poems were created by migrated Garhwali but very few Garhwali creative could pay attention on the burdens of migrated Garhwalis. Kanhaya Lal DandariyaL Lalam Ji and Jaya Nand Khuksal ‘ BauLya’ are remembered in Garhwali poetry field for their poems showing , describing , displaying the sting , the balances and imbalances in accommodating the newer situation occurring every time in migrated land, the soaring agonizing in keeping others happy of migrated Garhwalis . No doubt , Jeet Sing Negi was the first Garhwali verse creator to show the pain of migrated Garhwalis (tu wheli beera uchi nisi danyun man gashiyaryun ka bhesh man, khud man teri run lagun chhaun des pardes man). However, Jeet Singh Negi is more famous for his creating melodious songs (geet) than the modern poems.

Born on 17th October in a farmer family of NooNyun of Aswalsyun, Pauri Garhwal in the year 1925 , Jaya Nand Khuksal served twelve years in the army till 1954. After retiring from army Late Jaya Nand Khuksal shifted to New Delhi he worked Ganesh Flour Mills from 1955 to 1986.

He created around hundred of poems in Garhwali but we could find only twenty one poems in his only book ‘Ilmatu Da’published in the year1988.

Kanhaya Lal Dandariyal wrote about his unpublished poems, “Garhwali writers are unlucky in publishing their created literature and most of the literature of each writer is dumped in the corner of cupboards. Hundreds of poems created by Jaya Nand Khuksal are tied in funchis (bundles.)”

Most of the poems of Jaya Nand Khuksal come under utter realism. Many his unpublished poems were read by him in kavisamellan or before his literary friends like Dandariyal, Vinod Uniyal, Prem lal Bhatt, Netra Singh Aswal . One of his poem lover Shri Nand Uniyal said to me , once, about his poems, ‘His some poems are purely real experiences of a migrated Garhwali who is not well educated and struggling a lot in Delhi.”. Shri Nand Uniyal further explained about those poems, which seems to be the subject of Garhwal are in fact, displays the pain of a migrated Garhwali . Uniyal further said, “The beauty of narration of late ‘BauLya’ is that even the happenings of Garhwal in his poems show, display, reflect the feeling of migrated Garhwali. This is his exclusivity among Garhwali poets.” Chhabis January poem is the best example , which show a real pain of a migrated Garhwali and the real pain of migration.

His formats of Garhwali poetries are unique and became the directional force and inspirational force for newer poets of the language. His style and simplicity in composing the verses made him famous poet of kavisamellan of his time.

His famous poems are :

Ilmatu dada
Ghar basaula
Janm bhoomi
In marilya
Jog maya
GhutDu ki bwai
Chhabis January
Chal bichari Ghara
Chitthi
Control
Sun lya mera praN
Ghughati
Dhandai pukar
Jaya Nand BauLya was always a stern supporter of separate state for Uttrakhand and he criticized the discriminative acts and policies of Uttrapradesh government, administrative officials and red tapism.

The famous Garhwali verse critic Bhagwati Prasad Nautiyal comments on the wordings, composition and format of Jaya Nand’ BauLya’s poems that late Jaya Nand used unique symbols and similitude, which his other contemporary or older poets never used.

It is the tragedy for Garhwali literature that the creative has to arrange himself for publishing the literature and arrange free distribution too. Late Jaya Nand BauLya was not rich man and could publish only one collection of poems.

Jaya Nand BauLya was one of the poets who initiated realism in Garhwali poetry.

Copyright @Bhishma Kukreti, Mumbai ,2009, email---bckukreti@gmail.com

Great गढ़वाली (उत्तराखंडी) Personalities-४ - Rajkumari Bisht

vipinpanwar@gmail.com (Vipin) — Tue, 06 Sep 2011 04:03:00 +0000

Great Garhwali Personalities-4
Rajkumari Bisht : first female Garhwali stage artist and radio singer
By: Bhishma Kukreti

History will always remember Rajkumari Bisht, born in Pauri Garhwali as the first female who sang the song at Delhi and Lucknow Akashwani radio stations . She is the first female Garhwali who took part in many cultural music program and played many roles on the stage of such programs.

She took part in Garhwali musical and cultural program in Agra (1946), Lucknow (1954 and 1962), Delhi (from 1963 to 1970), Mumbai (1966), Uttrakashi (197 and 1969) and Pauri (1965).

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 Garhwali Nrityy Natika written by Baldev Prasad Sharma ‘Deen’ at various cultural program at various places of India. She got high praises from late Jag Mohan Singh Negi (former minister of Uttar Pradesh), Brigadier Juyal, and Dr. Kushala Nand Gairola. She got many prizes and appraisal from Garhwali social organizations across India.

She became the inspirational institution for Garhwali females to come out for freely participation in cultural and drama Garhwali programs.

She has been was always active Gadh-Kala Sangam Chandigarh to promote Garhwali culture, music and stage plays.

Garhwalis are proud of a great migrated female Garhwali Rajkumari Bisht

Copyright@ Bhishma Kukreti, Mumbai, India11/3/2009

Garhwali Poet-17

vipinpanwar@gmail.com (Vipin) — Tue, 06 Sep 2011 04:03:00 +0000

Dr. Khyat Singh Chauhan
Bhishma Kukreti
Dr Khyat Singh Chauhan is famous for his book ,Beesaveen Sati Tak Ka Rikhani Khal”. This book is marvelous book in terms of detailing the historical, geographical and cultural arena of Rikhanikhal block of Pauri Garhwal.
However, Dr Chauhan also create Garhwali verses in many forms and styles . ‘bramh’, ‘twai tain shaheedana takdeer milin cha’, ‘ kutai’’Timala’, ‘madghat’ nad ‘kavita’ are his representative poems among hundred Garhwali poems created by Khyat Singh .

In the opinion of the author, ‘Timala‘ (The Fig fruit) is his best poem. The poem ‘Timala’ is spectacular piece of poem in Garhwali literature. By using Timala, the poet describes the geography, nature, culture, economics of a small Garhwali village in a few words and this make this poem one of the wonderful poems of Garhwali verses. He also exposes many forgotten Garhwali words through this poem:

jhadyan Timala dlatal, rag-rang baki bat
Bhinbhinat, chweenchat , kiklat, ramnat, chachlat
Katnai makha, mauna, chakhula, bakhara gor

He uses pure Garhwali symbols, images, common and understandable words in his all verses . His subject varies from philosophy to burning issue of Gujarat riots . Being a teacher, he does not leave preaching in his each poem. The author feels that many teaching poets of rural Garhwal do not leave this habit of preaching even in humorous poems.
Birth date: 1st October, 1944
Place: village, Andarson, Bichla Badalpur, Pauri Garhwal
Education: M A (Hindi), B. Ed, D Phil ( Sant Panap Das aur Unka Panth)
Writing: Published many articles, critics, poems, in local periodicals in Garhwali and Hindi. Regularly, relays his poems and though provoking akhyan through Akashvani
By profeession he was teacher and retired as Principle from Inter College Sanglakoti , Pauri Garhwal.
Copyright@ Bhishma Kukreti, June, 2009, Mumbai, India

Origin of Chaufula or Chaunfula a Popular Garhwali Folk Dance Song Style

vipinpanwar@gmail.com (Vipin) — Tue, 06 Sep 2011 04:02:00 +0000

Bhishma Kukreti

There is no tendency among Garhwalis for doing research on the origin of folk dance of Garhwal. Barring Dr Chatak, Dr Nautiyal very few scholars touch the subject of origin of various Garhwali folk dances. Lately, a couple of scholars as Dr Baluni, Dr Hatwal came in the field but sorry to say that they did pay no attention on finding the history of dance and song as time has come to find the origin of each folk dance of Garhwal.

Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is one of the popular dance song sequence of Garhwal and Kumaun. Chaufula, Chaunfula or चौफुल़ा(ळ +आ ) or चौंफुल़ा (ळ+आ) is agroup dance and there is no restriction of genders. Both the genders can participate in the dance. However, mostly the dance is performed by females. In fact, as far as group dance is concerned, there is no restriction of gender in such dances as mentioned in Bharat Natyshashtra . Bharat uses Pindi for group dances (B N.S 4- 270) but there is no mention of restriction for any gender in Pindi dances. It seems that from the early age, in India, group dances were for females and males together.

Folk Stories behind Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा(ळ+आ) Dnace

Dr Shiva Nand Nautiyal states that from many stories in Garhwal, the two popular stories are relevant know the origin of Chaufula, Chaunfula or चौफुल़ा(ळ +आ ) or चौंफुल़ा (ळ+आ) dance-song in Garhwal.

Shiv Parvati Marriage

Chaunfula or Chaufula means blossom in all direction and other meaning is spread in all four direction. It is believed that daughter of Himalaya started Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) in Garhwal.

It is said that to please lord Shiva, Godess Parvati built a ‘Chaunri’ - a square or round stage of mud and stone. Parvati and her friends danced around ‘Chaunri’ together and sung the praising and love songs By the dance and songs, flowers bloomed around ‘ Chaunri’. By the sdance, song and bloom of various types of flowers, lord Shiva became cheerful and agreed for marrying Parvati. Later on, Shiva married with Parvati.

Due to dancing in all direction and blooming of flowers in all direction, the people named this dance sequence as Chaufula, Chaunfula orचौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) or flowers in all four direction. Another meaning of Chaunfula is spreading in all four direction and this is related to happiness spread in all direction after the dance of Parvati and her friends..

The stories of Fairy , Sirens or Nymph अन्छेरी सम्बन्धित लोक कथा

अन्छेरी (Anchheri) or fairy, nymphs are commonly talked about in Garhwal specially upper Garhwal. There is story that in the hills, Nymphs or fairies used to build ‘ Chaunri’ and used to dance and sing around ‘ Chaunri’. As soon as they finished the dance and songs, the flowers used to bloom around ‘ Chaunri’ . Due to blooming of flowers around ‘ Chaunri’ the Garhwali folks named as “ Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) ‘ for this type of dance-song.

Time of Origin of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा(ळ+आ)

The scholars as Dr Shiva Nand Nautiyal compares Chaufula or Chaunfula dance with Bihu dance of Assam and Garba dance of Gujrat. However, historians will agree that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) did not come in the form of Bihu of Assam as Bihu itself was introduced in Assam in the seventeenth century (Anil Saikia,, 2011, the learned scholar of Assamese Folk literature). Therefore, it cant be said that Chaufula came in Garhwal from Assama and in any case , there was less migration in Garhwal from Assam.

Kalidas describes in Jhumelo of Garhwal or Jambhalika dance in Vikramorshsheesh ( 4-450 and Raghuvansh ( 9-35). It means Jhumelo was popular before 2000 years in garhwal. However, Jhumelo is more developed dance than Chaunfula dance in terms of performance sand body acts. This indicates that prior to Jhumelo , Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) existed in Garhwal.

The literature of Kalidas indicate or prove that Chaufula, Chaunfula or चौफुल़ा (ळ+आ ) or चौंफुल़ा (ळ+आ) was existing in Garhwal before 2000 years.

There are similarities between Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) dance and Dandiya , Garba and Ras dances. Dandiya, Ras and Garba dances are devoted to mother Durga or Naudurga. However, the sect Durga did not flourish before fifth century from popularity point of view. Therefore it can’t be said that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा(ळ+आ) was the form of Garba or dandiya or Ras.

Even by studying the history of Uttarakhand in Dr Shiv Prasad Dabral’s Uttarakhand ka Itihas ( 2^nd and 3^rd parts) it may be said that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) in its primitive form was existing in Garhwal before first century. Dr Dabral’s study state that Shaivism came in Garhwal before than Durgaism or Markendiy Puranism . Historian will agree that Purans related to Shiva are far earlier than Markendiy Puran,. Durgaism became popular only after creation of Markendiy Puran . since, the story of Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is realted to Shiv-Parvati, it may be said that there is no relation of origin of Chaufula, Chaunfula or चौफुल़ा (ळ +आ) or चौंफुल़ा (ळ+आ) with Garba, Ras Dandiya and Behu,

It may be concluded that Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) was existing in Khas , Kanaiti or Kainturai dynasties in Garhwal may be in its primitive style. Slowly, slowly the people developed the dance and today’s Chaufula, Chaunfula or चौफुल़ा (ळ +आ ) or चौंफुल़ा (ळ+आ) is found in refined form than when it was originated

References:

1-Dr Shiva Nand Nautiyal

2- Bharat Natya Shashtra 4- 270

3- Anil Saikia - Times Of Indian May 2011

4- dr Dabral, shiv Prasad ‘ Uttarakhand ka Itihas part 2nd and 3^rd

Copyright@ Bhishma Kukreti, bckukreti@gmail.com

Ranihat Ni Jan Gajesingh : A Garhwali Thadya Circle Folk Dance Song

vipinpanwar@gmail.com (Vipin) — Mon, 05 Sep 2011 06:23:00 +0000

Ranihat Ni Jan Gajesingh : A Garhwali Thadya Circle Folk Dance Song रणिहाट नि जाण गजेसिंग : एक लोकगाथा युक्त गढ़वाली थड्या लोकनृत्यगीत

Ranihat Ni Jan Gajesingh : A Garhwali Thadya Circle Folk Dance Song

Narration by : Bhishma Kukreti

‘Thadya ‘ dance song is very popular in Garhwal from the centuries. The historians as Dr Shiv Prasad Dabral, the cultural pundit as Dr Shiva Nand Nautiyal believe that the tradition of dancing in circle and singing had been there in Garhwal before Gupta era and might have been developed in Khas era. There are proofs that the ‘Thadya’ a circle dance-song was popular at the time of Great Poet Kalidas in Garhwal.

The Thadya is group dance-song and performed in circle with many variations.

The ‘ Thadya’ Dance-Song

The dance-song is performed in fairs, festivals, Geetun maina (month of songs), or at any time for pleasures. The place should be plain and wide enough for group dance.

There is no restriction of class or caste for performing the dance-song.

In month of songs (16^th March to a5th April) , the dance-song is performed in evening after finishing all works and dinner. In fairs and festivals the Thadya dance- song could be performed at day time too.

First the dancers (only males or only females, males and females together, or children) make circle and keep hands on each other’s shoulders. The dancers depending upon the dance variety can put hands on the back of each other. However, depending upon the numbers of dancers, the group is divided into two groups. The first group just moves their feet and dance-sing. The second group stands there and only slaps the earth slowly by feet. When first group stop, the second groups start singing and dancing.

The second part of Thadya is the dancers leave their hands from the shoulders and put their both hands on each other’s back. The every dancer catches hold tightly the hands of every third’s dancers. Then the dance and song start. At this point the dance is more artistic and with fine rhythm. The face expressions of dancers depend upon the song contents and demand of story line.

The fourth stage of Thadya is dancers bringing emotions on their faces. In between the sequences of steps also change as per the need of the song and dance as there steps ahead and one step back. Lastly the group is divided and a group of two dancers dance together. There is variation of speed in dance in between the dance too.

The Gaje Sing Thadya dance is performed by males or females or together too. However, when the male dancers perform the dance, the dance is very speedy. The song is a story of one of the bravest personalities of Garhwal.

रणिहाट नि जाण गजेसिंग : एक लोकगाथा युक्त गढ़वाली थड्या लोकनृत्यगीत

(गढवाली सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत , उत्तराखंडी सामुदायकव सामूहिक सामाजिक लोक नृत्यगीत )

(Garhwali Folk Dance-song, Uttarakhandi Folk Dance-Song, Himalayan Folk Dance Song)

Mother of Gaje Singh Advices

रणिहाट नि जाण गजे सिंग Don’t visit Ranihat , Hey! Gaje Singh

मेरो बुल्युं मानिले गजे सिंग Take my advice, Hey ! Gaje singh

हळजोत का दिन गजे सिंग Today is plough festival, Hey! Gaje Singh

तू हौन्सिया बैख गजे सिंग You’re love admirer, Hey! Gaje Singh

रणिहाट नि जाण गजे सिंग Don’t visit Rranihat , Hey! Gaje Singh

तेरा बाबू का बैरी गजे सिंग They’re your father’s enemy, Hey! Gaje Singh

रणिहाट नि जाण गजे सिंग Don’t visit Rranihat , Hey! Gaje Singh

त्वे ठौरि मारला गजे सिंग Brutally, they will kill you, Hey! Gaje Singh

तेरा कानू कुंडल गजे सिंग You’re putting earrings, Hey! Gaje Singh

तेरा हाथुं धगुला गजे सिंग You’re putting wrist band, Hey! Gaje Singh

त्वे राणी लूठ्ली गजे सिंग The queen will loot you, Hey! Gaje Singh

रणिहाट नि जाण गजे सिंग Don’t visit Ranihat , Hey! Gaje Singh

बैरियों का बधाण गजे सिंग Not to visit enemy’s place, Hey! Gaje Singh

सार्युं का डिसाण गजे सिंग There will be spiky bed, Hey! Gaje Singh

बड़ो बाबू का बेटा गजे सिंग you are son of great father, Hey! Gaje Singh

रणिहाट नि जाण गजे सिंग Don’t visit Ranihat , Hey! Gaje Singh

Gaje Singh Replies:

मर्द मरी जाण गजे सिंग Man dies, Hey! Gaje Singh

बोल रैय़ी जाण गजे सिंग His acts live on words for centurieslive,Hey! Gaje Singh

(गीत स्रोत्र : पीताम्बर दत्त देवरानी (लंगूर पट्टी ) एवम डा शिवानन्द नौटियाल किपुस्तक ' गढवाल के लोक नृत्यगीत )

‘Dakwan’ (Murder of a Postman) : A True Incident Based Garhwali Thdya Folk Song

vipinpanwar@gmail.com (Vipin) — Mon, 05 Sep 2011 06:22:00 +0000

‘Dakwan’ (Murder of a Postman) : A True Incident Based Garhwali Thdya Folk Song डाकवान :सच्ची घटना पर आधारित एक थड्या लोक नृत्यगीत

Bhishma Kukreti

Folk songs or folk literature cover a immense range of musical styles and speak various community topics. When the creator creates the folk song , it is contemporary and usually deals with the contemporary issues pertaining to the society. The issues may be changes happening, culture, Folk songs cover tens of areas as war, religion, society’s relationship, love political issues, conflicting subjects among society members, racism, memories, true incident narration, protest against various aspects of politics or society, education etc. In true sense, the folk songs are mirrors or reflections of society of that time when the song was created.

There have been hundreds of instances in each community, when the community members create songs narrating true events happened in the society. For example, ‘ Una rarde fesquita de mayo’ is a famous Latin American folk songs originated at the end of nineteenth century based on true event .

Irish writer Thomas Davis who initiated collection of Irish Folk Songs called the songs related to actual events as- Come-all-yes.

‘ Hua Mulan ‘ song an ancient Chinese folk song is based on true events.

Folk songs are not limited to ancient time only. Folk songs creation is as water flowing into the river. Today, folk songs are taking different root and films, TV serials, concerts are also taking place of folk songs . There are numerous examples of songs based on the true events in modern time all over the world.

John Labarbera provides many examples of Italian folk songs based on true events happened in the respective region in his brilliant book “ Traditional Sothern Italian Mandolin and Fiddle Tunes’.

In a fine book, ‘Howard W Odums folklore, Odyssey transformation to tolerance’, L.M sanders offers details of folk songs based on real happenings.

The readers may find folk songs based on real events in ‘ Ontario Library review , Volumes 36-37’.

G w Edwards presents examples of English Ballads based on true occurrences in his book ‘ a Book of Old English Ballads’.

T A Mood (2004) offers many folk songs which were based on true happenings in the book ‘ American folklore ; a research book and research guide’.

P V Bohlman (2004) describes the details of folk songs based true incidents in his book ‘ The Music of European Nationalism, cultural identity, Modern..’.

Franeil ( 2011) details of many Mexican folk songs originated because of true stories in the book ‘ Mexican American Folklores …’.

G M H Shoolbraid provides many examples of folk songs based on true incidents in the book ‘ The oral epics of Siberia and Central Asia’.

Kemp (2004) provides many examples of folk songs based on true events in the book ‘ Oral Tradition of Southeast Asia and Oceana ..’.

Amresh Datta ( 2006) provides many cases of folk songs of Indian communities in the book “ The Encyclopedia of Indian literature (Vol. 2)’.

In Volume 1 of ‘Peking Review’ (1958), there is descriptions of Chinese folk songs based on true events.

Spence (1990) details of many Egyptian folk songs based on real incidents in the book ‘ Ancient Egypt: Myths and legends’.

Watts (1988) in the book “ The Greek Folk songs’, Beaton ( 2004) in book ‘ Folk Poetry of Modern Greece’, and many writers details folk songs of Greece based on true happenings

By reviewing above literature, it may be concluded that each community time to time, creates folk songs based on true incidents taking place in the area concern. . some such folk songs survive for centuries and some die of natural death as happened today the death of news published on newspapers.

Tradition in Garhwal for Creating Folk Songs based on true Incidents

There tradition in Garhwal (India) to create folk songs based on real incidents. This author has been providing examples of Garhwali folk songs based on true happenings in his many articles. In each region of Garhwal (India), the villagers have been creating songs related to incidents took place there. Howver, the popularity of that song in all over Garhwal depends on its content, exclusivity, unique punctuations, melodies, wordings, and universal subject. This author heard many folk songs related to incidents of Dhangu but he did not hear them in other regions because of above reasons.

Murdering for greed is an universal property of human beings There have been murders for money in recent times ( pre independent and post independent ) . for example, there was a murder of a government servant late Sachidanand Barthwal of Khand (Bichhla Dhangu) near Bagon-uttinda. Though murder was not proved nor the murders were caught but it was believed that thugs of the area murdered Sachidanand Barthwal and they threw his body into Bhel (steep hill) after taking money of government treasury. The women created songs on the case in Bichhala Dhangu and they used to sing while cutting grass. However, the song did not come out of Bichhala Dhangu because the song was never sung in open.

Dr Sivanand Nautiyal writes about the following folk song ‘Dakvan’ that Bachu Singh a postman was murdered by his uncle Ganga Singh near Adwani area and later on people created folk song on the true incident

डाकवान :सच्ची घटना पर आधारित एक थड्या लोक नृत्यगीत

(गढ़वाली लोक नृत्यगीत , उत्तराखंडी थड्या लोक गीत, भारतीय लोक गीत )

झम बल, थेब सिंग का नौना रे गंगा Ganga was the son of Thebsingh

तीला धारु बोला . झम

झंगोरा की धाण

मैकू पकाऊ रोटी मांजी , Bachu said to his mother for cooking bread

मीन डाक लिजाण . झम I am going taking post

खेली जाली गेंद बचुरे , खेली जाली गेंद बचुरे

बचू रे तू डाक कू जांदी रे Mother said- hey! Bachu you are going for post

क्वी छट छट छीन्द , झम . Somebody sneaked

खेली जाली गेंद बचुरे , खेली जाली गेंद बचुरे

बचू रे तू डाक कू जांदी रे

क्वी छट छट छीन्द , झम

ग्युं लाइ गौन्छी

बचुरे घर बटी पैटी Bachu started journey from his house

बचुरे तू डाखाना पोंछी Bachu reached to post office

काटी जाली राई,

थेबसिंग कू नौनु गंगा Ganga was the son of Thebsing

त्वे दगडी आई . झम Ganga came with you (Bachu)

बाखरी बियाली ----बचुरे ---बाखरी बियाली ----बचुरे

अदवाणी का डांडा In Adwani mountain

बचुरे तमाखू पियाली . झम ganga said, “ hey Bachu ! Let you smoke tobacco’

घुमे जाली घोड़ी -- बचुरे , घुमे जाली घोड़ी -- बचुरे

तमाखू पीण कू , बचुरे ? For smoking

पता लेटी तोड़ी . झम Bachu took leaves

ढुंगा धोळी मारी - गंगा रे

रुप्यौं का बान गंगा रे for the sake of money, ganga Sing ! you murdered bachusing

तिन डाक्वान मारी . झम

बाबुला की बोत -- गंगा रे, बाबुला की बोत -- गंगा रे

कन लगाईं तिन गंगा रे Ganga ! You hit him by an axe

कुलाड़ी की चोट . झम

बाखरी की तांद - झम , बाखरी की तांद - झम

को भागी बरतोलो गंगा रे . Bachu said, “ who will enjoy my beautiful wife shaka ?’

मेरी शाका बांद . झम

मारी च बिराळी --- गंगा रे , मारी च बिराळी --- गंगा रे

तीन लास धोल़े गंगा रे Ganga ! you threw the dead body below the road

सड़की तिरवाळी . झम

खाटी को जंगला --झम

खाली खचर ऐन , दादा रे the empty mule reached to post office at Pauri bunglow

पौड़ी का बँगला . झम

देखी जालो ऐना--दादा रे , देखी जालो ऐना--दादा रे

खाली खचर देखिक दादा रे . by watching empty mule, everybody became worried

सबि घबडै गेना . झम

चिलमो को पीच --दादा रे , चिलमो को पीच --दादा रे

दादा रे खाली खचर ऐना , दादा , Empty mule came

खचरोई क्वी नी च . झम no rider was there

तौली पाको भोज, दादा रे , तौली पाको भोज , दादा रे

खाली खचर ऐना , दादा रे ? Empty mule came

कारो डाक की खोज . झम Go! Find out postal material

मारी जालो कवा --दादा रे , मारी जालो कवा --दादा रे ,

क्वी अदवाणी जावा , दादा रे Somebody should go to Adwani shrine

क्वी थाणा मा जावा , दादा रे Go! somebody go to police station

कुखडा की बची --दादा रे , कुखडा की बची --दादा रे

तैं पौड़ी का बीच . दादा रे There was scuffles in Pauri

हैला-चल मची . झम

दाथुडि की धार --दादा रे , दाथुडि की धार

डाक क बाना .दादा रे The sent telegram

ऊन दे दीन तार . झम

बाबुला की गुच्छी दादा रे , बाबुला की गुच्छी दादा रे

क्वी जावा अदवाणी , दादा रे somebody ! go to Advani and bring Ganga

क्वी गंगा ल़ा पूछी

काटे जालो बांस दादा रे , काटे जालो बांस दादा रे

सड़कू क तिरवाळी दादा रे The dead body of Bachu was near road

तै बचू की लास . झम

गुठ्यारो को कीच दादा रे गुठ्यारो को कीच दादा रे

गंगा सिंग का ड़्यार , दादा रे they said that Ganga Sing was not at his house

गंगा सिंग नी च . झम

धागों की लाछड़ी दादा रे , धागों की लाछड़ी दादा रे

तै बचू की लास , दादा रे They took dead body of Bachu to Pauri court

पौड़ी की कछेड़ी , झम

ढुंगा धोळी गारी दादा रे , ढुंगा धोळी गारी दादा रे

खचरोई ब्वादन , दादा रे Other mule owners told that Ganga sing killed Bachusing

गंगासिंग न मारी .झम

काटे जालो तूण दादा रे , काटे जालो तूण गंगा रे

बचुसिंग की मांजी , गंगा रे Mother of Bachu started weeping

कन बैठी रूण . झम

मारे जाली सीटी --गंगा रे , मारे जाली सीटी --गंगा रे

बचुसिंग की मांजी , गंगा रे She was roaming in madness

घिंडुड़ी सी रीटी .झम

काटे जालो काण्ड गंगा रे काटे जालो काण्ड गंगा रे

गंगा रे कनु करे तीन , गंगा Hey Ganga! Hwo come you killed Bachu and made daughter inlaw as widow

जेठी ब्वारी रांड , झम

आलू काटे भुजी गंगा रे , आलू काटे भुजी गंगा रे

तिन भतीजो मारे , गंगा रे Ganga ! You killed nephew. How you thought?

त्वे कतै नि सूजी . झम

चिलमो को पीच गंगा रे , चिलमो को पीच गंगा रे

तिन डाक्वान मारे , गंगा रे Ganga! You killed postman between seven families

सात खोलोँ (खोळओं ) का बीच . झम

काटे जालो कांडा गंगा रे , काटे जालो कांडा गंगा रे

तीन भतीजो मार , गंगा रे ganga! You killed nephew in Advani shrine

अदवाणी का डांडा . झम

आंगड़ी को मैल गंगा रे , आंगड़ी को मैल गंगा रे

हतगड़ी लगी की गंगा सिंग Ganga Singh was handcuffed and brought Pauri jail

ल़ी गेन पौड़ी की जेल . झम

गैड़ी च तकमा गंगा रे , गैड़ी च तकमा गंगा रे

गंगासिंग कू ह्वेगे , गंगा रे There was order for death sentence for Ganga Singh the son of Thebsingh

फांसी को हुकमा , झम

(स्रोत्र: डा शिवानन्द नौटियाल, गढ़वाली लोक गीत,)

Dr shiva Nand Nautiyal mention it as inspirational story for society that not to indulge in inhuman activities.

The song is sung as Thadya dance style or it is group circle dance song of Garhwal.

The dakvan’ folk song is an example that in each community, people create songs based on real incidents and many songs become popular that they survive for many generations.

Copyright@ Bhishma Kukreti

Bcklukreti2gmail.com

Naidaali PanyaanJami : A Garhwali Thadya Folk Dance-Song, नैडाळी पैंयाँ जामी : गढवाली थड्या लोक नृत्यगीत

vipinpanwar@gmail.com (Vipin) — Fri, 02 Sep 2011 04:24:00 +0000

Naidaali Panyaan Jami : A Garhwali Thadya Folk Dance-Song

Bhishma Kukreti

‘ Thadya’ I means on the ‘Thau’ or specific place or specific open place . The dance-song is performed at the time of festivals or fair. However , the villagers perform Thadya dance song a in the Geetun maina (The month of Songs- from Vasant panchami to Baishakhi/Bikhot) too in night as Manipuris perform dance-song in moonlight.

The ‘ Thadya’ dance-song is circle dance and the dancers sing the song as per the rhythm or subject. The dance has similarities with Hora of Slavic , Romania, Klezmere, Bulgaria which means round dance, speak ; Serbian ‘Koro’; ‘Hora’ of Turkish, ‘Valle’ of Albania; ‘Oro’ in Macedonia, Montenegro, Gypsy communities; Mayim Mayim of Israel ‘ Kantu’ of Bolivian highlands; Anyako Atsia of Africa; Ghuozhuo ‘ of China; ‘Dati of E-Ethnic group of china; Guoxi of Tibet, rauf dance of Kashmir,

Thadya dance-song has many variants. ‘ Thadya’ dance is performed by feals or males alone, or both genders dance together in circle depending upon the song. The dancers stand in circle and put their hands on the shoulders of oteach other and start dancing and singing. From this point, the variation of each Thadya dance start . Depending upon the song and subject the dancers change the instances.

Usually, when the community songs start the women sing an auspicious song and perform dance . The ‘ Naidali panyan’ is asocial and religious dance danced together by women in circle. The song is dedicated to Panyan tree and Khetrpal deity. The dance is rhythmic but with slow speed as the song is worshiping songs for Panyan an auspicious tree and deity Khetrapal’. All the dancers sing the song and the outsiders also sing the song. There is no need of musical instruments in this dance-song.

नैडाळी पैंयाँ जामी : गढवाली थड्या लोक नृत्यगीत

(गढवाली सामुदायक व सामूहिक सामाजिक लोक नृत्यगीत , उत्तराखंडी सामुदायक वसामूहिक सामाजिक लोक नृत्यगीत )

(Garhwali Folk Dance-song, Uttarakhandi Folk Dance-Song, Himalayan Folk Dance Song)

सेरा कि मींडोल्यूं नैडाळी पैंयाँ जामी At the Paddy filed mound, Panyan tree grew

दिब्तौं कि डाळी नैडाळी पैंयाँ जामी The dietary tree , Panyan tree grew

कूली की बेड़वाळ नैडाळी पैंयाँ जामी At the canal bank, Panyan tree grew

सेरों की ढीस्वाळी नैडाळी पैंयाँ जामी At the upper side of paddy filed, Panyan tree grew

चालों दीदा भुलाओं नैडाळी पैंयाँ जामी Let brothers-sisters go, Panyan tree grew

क्वी दूध चारयौन्ला नैडाळी पैंयाँ जामी A few irrigate by milk, Panyan tree grew

एक पत्ती ह्व़े ग्याय नैडाळी पैंयाँ जामी It is now one leaf plant,Panyan tree grew

दुपत्ती ह्व़े ग्याई नैडाळी पैंयाँ जामी Its now double leaves, Panyan tree grew

फूटी गेन फांकों नैडाळी पैंयाँ जामी The branches came up, Panyan tree grew

द्यू करा धूपाणा नैडाळी पैंयाँ जामी Let us do Dhoopano, Panyan tree grew

कै देव शोभली नैडाळी पैंयाँ जामी Which deity will come? Panyan tree grew

खेतरपाल शोभली नैडाळी पैंयाँ जामी Khetrapal will cme, Panyan tree grew

दिबतौं क सत न नैडाळी पैंयाँ जामी Due to deity’s blessing, Panyan tree grew

क्वी घांडा चढ़ावा नैडाळी पैंयाँ जामी Somebody will offer bell, Panyan tree grew

क्वी निशाण लगावा नैडाळी पैंयाँ जामी Somebody will offer flag, Panyan tree grew

* Panyan (Prunus ceresoidus ) kedarja, padm, is a Himalayan cherry or like deciduous African cherry

Sorce_ Shri Pitambar Datt Devrani’s personal collection and published in ‘ Garhwal ke Lok nritygeet by Dr Shiva Nand Nautiyal. D Late Pitambar Datt devrani started his career from Silogi High School and later on became principal of Matiyali Intermediate College, Pauri Garhwal, Uttarakhand.

Copyright@ Bhishma Kukreti bckukreti@gmail.com

A Child is precious, and childhood priceless

vipinpanwar@gmail.com (Vipin) — Thu, 01 Sep 2011 11:36:00 +0000

क्या पता आपके थोड़े से सहयोग करने से न जाने किस बच्चे का भविष्य उज्जवल हों

Contribution Received

Meenakshi Rawat - Rs.500.00
Naveen Panwar - Rs.1,500.00
Sachidanand Semwal - Rs.1,000.00
Manoj Rawat - Rs.1,100.00
Soniya Rawat - Rs.3,000.00
Vinod Jethuri - Rs.1,000.00
Balbeer Rana - Rs.1,500.00
Dinesh Chandra Nauriyal - Rs.1,100.00
Vijay Singh Butola - Rs.500.00
Anonymous - Rs.1,500.00
Dinesh Negi - Rs.1,000.00
Ganesh Bijalwan - Rs.500.00
Sangeeta Negi - Rs.1,000.00
Sushil Sendwal - Rs.2,000.00
Brijpal Singh Rawat - Rs.1,000.00
Neeraj Rawat - Rs.500.00
Satyandra negi - Rs. 1,000.00
Subhash kukreti - Rs.1000.00

Now here is an Golden Opportunity for all of you to be part of this Social Cause by donating for their Projects of Young Uttarakhand

A/c in The Name Of :- Young Uttarakhand
Bank Name :- ICICI Bank
Branch :- Panchsheel, New Delhi
A/c No :- 022401002313
RTGS/NEFT/IFSC Code : ICIC0000224

Cheque should be in favour of "Young Uttarakhand"

*Registered Office address*

Young Uttarakhand
232, Subhash Khand, Giri Nagar,
Kalkaji, New Delhi – 110 019, INDIA

HillyTube! | A Garhwali Song

vipinpanwar@gmail.com (Vipin) — Thu, 01 Sep 2011 11:36:00 +0000

HillyTube! | A Garhwali Song: Nice garhwali song "Phulela burans dandi kanthi lani deri..mei dandiyou ko bakrado.. VCD "JILLA TOP" SINGER-SANJAY SINGH RAOUNCHELLA TEHRI GARHWAL