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

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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

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(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

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(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

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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

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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)

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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

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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.

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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,

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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.

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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

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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

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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.

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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

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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

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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.

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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.

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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

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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

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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.

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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)

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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

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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

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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

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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

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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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