CHAPTER – III
RESEARCH METHODOLOGY
Research is an art, an inner voice of a writer or a person,
creative thoughts and ideas of a researcher. New creation may
be the footprints to the future generation. It gives direction to
the society and awakes new spirits among the scientists and
the creators.
There is need to dig out our past culture, nature, religion
music etc.
Modern generation is fascinated from the
materialistic world, so they don’t have time to peep towards
the cultural values and social attachment. Now the time has
come to discover these values in Garhwali lokgeet.
Generally Garhwali folk songs are either neglected or
forgotten by the modern generation or the people of Garhwal.
To recollect these beautiful songs, various methods were used
in this respect. Such as the study of location and environment;
friendly cooperation and atmosphere; relationship and
personal interview; attending local festivals and mixing with
the people.
Other methods also used such as listening and watching
Garhwali folk songs with the help of CD and tape recorder;
meeting some important Garhwali writers and editors;
referring old and new books on Garhwali folk songs written
by Garhwali authors etc.
Primary and secondary datas are the weapons to discover the
old and original Garhwali folk songs. These songs are either
in group or in individual.
Garhwali lokgeets are written in
Garhwali language which are translated in Hindi but never
translated in a form of English poetry.
For the successful study of Garhwali folk songs, secondary
data is used such as Garhwali magazine and newspapers,
Hilaans , Rant Raibaar , Baduli , and the great writers such as
late Dr. Chatak - ‘Garhwali Lokgeet’; late Dr. Shivanand
Nautiyal - ‘Lokgeet Music and melody’
and ‘Nanda Devi
Raaj Jaat’ by Ex Chief Minister of Uttarakhand Shri Ramesh
Chandra Pokhriyal. Even Garhwali singers such as Shri
Narender Singh Negi and Mrs Meena Rana will be other
sources of my research.
There are number of instruments used for the beauty of
Garhwali folk songs- lokgeet such as Dhol, Damaun, Thali,
Hudaki Kartal, Bhankori etc. All these are the part of
Garhwali literature. These instruments are used for the
various purposes and in different situations. There is method
to provoke the god and devil; men and women; forest anchari
and the village god etc. All methods polished Garhwali songs
and discovered new ideas of Garhwali folk songs in the
society.
Studies Conducted in Garhwal :
3.1
Most of the research work is conducted in Garhwal
Himalayan area. Various folk songs based on different themes
studied in Garhwal and translated in English. Interaction was
done with the few old women in Ranau village and Baisod
village during my summer visit in May, 2012. As per Das
Prem Lal and Bhakti Lal, the history of Garhwali folk songs
are very old. Some short of questions were asked orally to
verify the reality and originality of Garhwali folk songs. The
interaction was done with an old man Mr.Bhakti Lal.
How many Garhwali songs you can read, write and
recite?
Neither I read nor write any Garhwali songs but always recite
the songs. How you came to know about these beautiful
songs? I borrowed from my father and grand father and
mother. Do you think today’s generation like Garhwali folk
songs?
No, they don’t. Day by day our children are becoming
westernized. They don’t take interest. Perhaps due to
television or lack of guidance. Our Garhwali language is
vanishing day by day. Even some festivals do not exist in the
villages. Perhaps they are no more. Seeing of these I studied
all the aspects of Garhwali folk songs and I feel that Garhwali
culture, language, society could be preserved. In this respect
Shri Narender Singh Negi, the famous Garhwali folk song
singer and writer has taken initiative to protect Garhwali
culture and language.
3.2.
Description of Garhwali Folk Songs- Translation
Folk songs are known the oldest folk arts. The beauty of
garhwali folk songs are to be found in the forest, hills,
streams, mountains, rivers, fountains etc. and all the folk
songs expresses human feelings. Dr. Nautiyal defined
Garhwali folk songs and lokgeet as “confluence of feeling
and imagination of the person or singer.”
The term folklore which has been derived from the German
term, Volklehre (peoples custom) , has obviously been used
differently in different countries and different times. In
anthropological usage the term folklore has come to mean
myths, legends, folktales folksongs, proverbs riddles and a
variety of forms artistic expression whose medium is the
spoken words. Folklore covers all types’ verbal arts. Folk
songs are one part of a liberal education. Besides giving us
some feel for the time and culture they represent.
Garhwali folk songs are the rich material and great wealth as
well source for the better understanding Garhwali cultural.
There are historical folk songs such as Madho Singh Maletha,
there is mythical character such as Rami Baurani, some folk
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songs are from the battle fields. There are folk songs that go
with the history we study in school, there are songs that, like
the poetry of the day. It gives the feeling and flavor of the
time or culture - a very important goal in our daily education.
Folksongs do this in a unique and special way. Great folk
songs are, after all an open conversation. Reading, listening to
singing and doing language exercises both written and oral
based upon folk songs covers many, if not most, of the basic
teaching points in foreign language acquisition. Structure
analysis,
phonology,
functional
analysis,
vocabulary
development, oral and written comprehension, and much
more is practiced through the natural language and mental
imagery of folk songs. The beat and rhythm of speech, the
repetition of recognized patterns, and the progressive story
line add to their effectiveness and motivate students to active
participation.
Folk songs can serve numerous educational purposes and
should
be
appropriately
chosen
to
maximize
their
effectiveness. The folk process naturally weeds out the songs
whose meaning or loveliness is no longer recognized, but folk
song research, always scouring the past for the obscure and
unknown, can give misleading results by reprinting long
forgotten songs. Some songs were only sung in restricted
areas or even within family circles. Topical song-forgotten
songs. Some songs were only sung in restricted areas or even
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within family circles. Topical songs have a very short life
span, and unless they have some enduring message or quality
there is no reason for their reproduction. On the other hand
the recent commercial recording boom of folk and pseudo
folk music can prejudice us as to what the folk really sang.
Probabley the best we can do is to trust the judgment of
leading folklorists who include in their collections the most
important songs. The best means presentation of a folk song
is, without a doubt, the interpretation given by a live folk
singer.
The folklores as typical Garhwali geet (folk songs) in
Garhwal are very old. Perhaps Bajuband folk songs are
earliest among all Garhwali folk songs. These folklores are
older than literature, older than alphabet. It is lore and
belongs to the illiterate folks. Ramola says that these folk
songs are there in Garhwal from the intiating point when the
human beings started to live there in garhwal. Govind Chatak
and Shiva Nand nautiyal state that bajuband geet are equal to
nyaoli of kumaun. Nautiyal (1981) positions that Dudo or
teedu/teedo are another style of Bajuband Nritya geet.
Chatak, Nautiyal and Ramola agreed that these songs have
been part and partial of Garhwali society. However, Nautiyal
states that there is no more existence of dance, drama with
these songs. Nautiyal and Chatak states that Bajuband but not
deedo/teedo are love dance songs are of Ravanee – Jaunsar
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but Ramola porves that these are common songs of each
Garhwal creates bajuband poetry in his / her lifetime. The
process of being poetic is nothing but to create bajuband song
or verse. It is natural to create poetic statement by all.
Though, Ramola says that education becoming the medium of
educated garhwalis to ignore these initial Garhwali rhymes,
howefer this writer feels that garhwalis are not stopping to
create newer types of bajuband verses and these educatied
garhwalis may not be using these verses as entertaining and
communicating medium as used to be in older garhwal. The
Bajuband
songs
are
truly
expressions
of
emotions,
perceptions, knowledge of the creator and the wordings for
Bajuband verses originate from the heart and not by intellect.
In the last twenty years garhwal has progressed in various
ways in the field of education, culture, language, integrity,
social, political etc. Singers and writers reflect the literature
of garhwal. Like Narendra Singh Negi, Bhartwan, Dr. Chatak,
Dr. Nautiyal, and many more have roused people's interest in
Garhwali language by their popular songs and videos. On
average there is one movie in four or five years in Garhwali.
In order to create a folk genome tank of Uttarakhand where
one can find each genre and occasions in the form of folk
music, and to bring the melodious folk from the heart of
Himalaya on global screen, the very first internet radio of
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Kumaon/Garhwal/Jaunsar was launched in year 2008 by a
group of non-resident Uttarakhandi from New York, which
has been gaining significant popularity among inhabitants and
migrants since its beta version was launched in year 2010.
This was named after a very famous melody of hills of
Himalaya, ‘Bedupako Baramasa O Narain Kafal Pako
Chaita Meri chaila’.
Although Garhwali language is the most spoken language of
Uttarakhand, the state government has not recognised it yet.
There are demands to make it the official language of
Uttarakhand and to be taught at schools and universities. At
the national level, there are constant demands to include
Garhwali in the 8th schedule of the Constitution of India so
that it could be made one of the Scheduled Language of
India. Recently, Member of Parliament from Pauri Garhwal,
Satpal Maharaj brought a private member's bill to include
Garhwali language in the Eighth Schedule of the Constitution,
which is being debated in the Lok Sabha. In 2010, the Sahitya
Akademi has conferred Bhasha Samman on two Garhwali
writers- Sudama Prasad 'Premi' and Premlal Bhatt. The
Sahitya
Akademi
Sammelan"(Garhwali
also
organized
Language
"Garhwali
Convention)
Bhasha
at
Pauri
Garhwal in June 2010. Many Garhwali Kavi Sammelan
(poetry readings) are organized in different parts of
Uttarakhand and, in Delhi and Mumbai. Being part of the
Indo-Aryan languages, Garhwali shares its
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Grammar with other Indo Aryan languages especially
Hindi, Rajasthani, Kashmiri and Gujarati. It shares much of
its grammar with the other Pahari languages like Kumaoni
and Nepali. The peculiarities of grammar in Garhwali and
other Central Pahari languages exist due to the influence of
the ancient language of the Khasas, the first recorded
inhabitants of the region and the root of Garhwali language.
Garhwali folk songs are so varied and are in such numbers
that there had been debate and discussions for classifying
Garhwali folk songs. Garhwali folk songs- lokgeet could be
classified on conventional basis as given below.
JAAGAR :
(Awakening Songs): Uttarakhand is a land of
god and goddess (gods land ). In every aspects gods presence
could be seen. It is believed that every stone and pebbles,
lord shiva is presence ( jitney kanker utne Shankar). In this
regard the place of gods and goddess is very important in our
culture. Jaagar is related to worship of unknown spiritual
souls and ghost. This could be performed in the form of folk
songs alongwith dances. Sometimes, Jaagars are performed in
a mark of respect towards the gods and goddesses. Generally
puja of gods and goddesses are performed in various ways.
In Garhwal, Kumaon, there is a very important folk
ritual performance of Hantya Jagar. Ranbhut Jagars are also
Hantya Jagar. Once, Kukreti explained Hantya Jagar as –
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“‘Hantya’ means the unfulfilled desire of deceased one. Many
times, the future teller speaks that there is ‘Hantya’ problem
for the bad days of a family or families the family perform
the ‘Hantya’ Ghadela ritual. The Jagri (Ghadela performer)
first sings the following songs before the stories
of Hantya Jagar. In the initiating chants the Jagri calls the
souls of deceased died by accidents or with unusual death.
Jagri and his assistant play the Daunru and bronze plate.” It
is said that when a person dies by accident or dies in early age
or dies without fulfilling a specific desire, the soul of said
person does not get eternal piece. The said dissatisfied soul
wants ritual performance from the family.
When the future teller suggests the family member arranges
Hantya Pujai (ritual for satisfying dissatisfied soul). There
are many folk songs in tale form for Hantya Jagar (calling
dissatisfied soul). The Hantya Jagars are always with pathos
or sadness. The following is one of the Hantya Jagar folk
song from Ravain/Rawaeen region of Garhwal (Yamuna –
Tons valley).Jagari (Ritual Priest) after calling the female
soul and soul entering into a body of the person –
O dear! Bird herds are separated from you.
O dear! How would be your motherhood without your
children?
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O dear! How did the death come for you?
O dear! The death came hiding and surrounding you.
O dear! The death was searching you and you were
thinking that you would see the happiness of family.
O dear! Your dear husband is sitting here.
O dear! The death separated you from your husband.
O dear! You see here and there everywhere in your house,
see your garden and then satisfyingly go for ever.
There are number of folk songs and stories based on various
spirits, gods and goddess, fairies and ghosts. It is the duty of
jagariya to fixe the time on which a Jaagar is to be conducted.
Jagariya sings jaagar songs by using thali, hudaki and dhol –
damaun along with the perfect rhythm and music. While
performing jagar, burning fire must be there. Later on all the
family members occupy the place in a circle. The jagariya
sing and chant mantras with the help of drum beats and
invoke the spirit in the body of the family members. In a short
time the body tremble and then they lay down, scream loudly
and jump here and there. With jumping and shouting they
move around the fire, then the priest or Das starts to address
them by the name of the spirit. Even the families ask
questions to the spirit as well as the remedies of their
questions. Usually the spirit demands a sacrifice of a goat or a
chicken or something else. The spirit is sent back to its
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Himalayan abode and the spell breaks the dance and the
ceremony is over. To justify, whether they are truth or false,
the spirit (dancers) lick red hot pokers, or shove their hands
into the blazing fire without being harmed.
Most of religions practice Consecrating. In Garhwal and
Kumaun, when a person becomes ill or there is need of
protection from evil spirit, any disease or bad luck, the
Mantrik-Tantric consecrates the ash (usually put in leave
saucer -pudki), the patient or needy one rubs ash on forehead
and keeps ash under the pillow while sleeping. In Ukrainian,
Tibetan and Polish traditions, the consecrating ritual
performances are very common. In West coast of South
Africa, people used to burry tortoise with consecrating ritual
performances (Jayson Orton , 2012) as found in Kali or
Chaubatiya Mantra ritual performance in Garhwal or
Kumaon.
Dhooni (fire place)
(sacred place)
95
Before singing jaagar, there is essential to prepare dhooni
(fire place) for the god. It is totally sacred and religious way
of performing jaagar.
Jaagria force to come up invisible soul or spirit in a form of
living being. And this work is done by jaagaria by describing
important incidents, characteristics and the importance of
god. Actually jagariya is a man who invokes the invisible soul
by singing jaagar and chanting different mantra in a form of
describing various characteristics of gods and goddess and
transferring the soul in a holy persons soul. Jaagaria generally
belong to Harijan family (schedule caste) or Brahmin family
background. They are very respectful in the society. He
supposes to be in white dress. He takes fast every day. This
program goes on for three days, five days or seven days.
Dhol – Damaun
Bhankori
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Sources of Jaagar; There are many sources of jaagar.
Generally it is old tradition and belief of Garhwali people.
Today no village is untouch of Jaagar. Dhol , Damaun,
Hudaki , Thali and some other minor instruments also used
while singing jaagar by jaagaria and his assistant. These
instruments help jaagaria thoroughout the ceremony. Without
these music system and the instrument, jaagar cnnot be
performed. So the jaagariya first pray to his instrument then
he starts jaagar.
Thali – Hudaki
There is an example of jaagar song which is a beautiful
description of various creatures. Generally there are two types
of jaagar. Jaagar based on worship of god and goddess and
the second jaagar is related dead man’s soul. While
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performing jaagar, three persons play important role such as
jaagariya his helper and dangaria. Dangaria has very
important place in the society and everybody respect him.
When the god appears in a soul of dangaria , he discloses
many unknown matters and things which help the sad and
troublesome persons even solve many problems. It is a greate
and hearted belief of garhwali people. Some time it become a
part of entertainment. Such functions are conducted either in
the month May or November.
It has been observed that jagars are performed on the stage by
Basanti Bisht, the only woman for the first time. This ancient
tradition is exposed by Basnti Bist. She learnt this form under
her mother and trained in classical music at the pracheen kala
kendra in Chandigarh . She sings at many programs and
performs regularly on All India Radio and Doorshan. She is
trying to keep alive this tradition of our culture. There are
number of jaagar songs which are translated as given below.
Literal translation (Garhwali language)
Song - 01
Turani ko din turani nibhige
Dhar dubya din gaad chaya aige
Baunka panchhin bhitti basu liley
Jal ki machyoun na jal basu liley
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Bata ka batwe na batu basu liley
Chaat ka mrig na chaat basu liley
Jaal ka makaraon na jaal basu liley
Hey jaag re jaag panch naam devtao jaag
Badri-kedar jaag , hey uncha kailash jaag ,
Kholi ka ganesh jaag, mori ka naren jaag
Hey jaag re jaag , bhumi ka bhumyal jaag
Noubaini aanchari jaag , barah baini bharadi jaag
Hey jaag re jaag hiwala kantha jaag
Panwala danda jaag ---------------------Ab deva devato saboun tea ashish
Whey jaava devatao antardhyan
Ab java devatao apana devlok
Ab java devatao apana kailash
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Jaagariya performing jaagar
Performing jagar in the village – Ranau and Baisod
Idiomatic Translation
The shining sun has gone behind the mountain and the
shadow appeared in the valley. Forest birds have gone to take
10
0
rest in their particular places while the fish has remained calm
under the water. The traveler gone to take rest on the way
while the deer has gone to take rest in the forest pockets. The
spider has gone to take rest in her cobweb. Oh five gods wake
up. Oh kedar god, Kailas god, lord ganesha, lord Krishna and
land god awake. Oh nine sisters of forest goddess, twelve
sisters of Bharadi goddess and the snow mountain, awake.
Oh god! Give blessing to everyone before leaving to Kailas
Mountain and the land of gods.
It shows that the chanter or jaagaria provokes the god to
appear in the soul of human being. He describes the elements
and the environment which is suitable for appearing god. The
jaagaria uses different tone and rhythm while singing songs.
Generally it has been seen or believed by the villagers that the
god appear in the soul of man or woman and speaks many
things which may be beyond the limit of human being
consideration. The main objective of jaagaria is to give
satisfaction with the help of god to the ordinary persons. In
this jaagar , jaagariya praises different gods and goddesses.
After every six lines the tone and the rhythm of the song
changed and give new direction of the song. Anyway it is a
calling of god.
10
1
Shiv Aradhana in a form of Jaagar
(Literal translation)
The jagaria sings jaagar in a form of shiv Aradhana. Lord
Shiva is known the disroyer of evils. So the Garhwali people
has high devotion towards their god- Shiv, Parvati and
Vishnu. More than ninety percent of people are the believer
of Lord Shiva. It is believed that lord Shiva always remained
in peace and meditation. To awake him is not easy. So the
jagaria sings in such a way that lord shiva awake and present
himself before the devotees. Here is an expression.
Song - 2
Hari om, Vishnu, Vishnu hari hari
Umapati jaagi jaagi
Jaagi re jaagi akhand jyoti jaagi
96
Shiv jata maa ganga maa jaagi
Dhol damau maa ek koti devi devata jaagi
neelkanth maa bhujang jaagi
Shivshakti ko trisul jaagi
10
2
In this ‘jaagar’ jaagariya wishes to call Vishnu god, lord shiva
and akhand jyoti, it also describes Bhagirathi river which
originate in the lock of lord Shiva. Even one caror gods and
goddesses appears by playing dhol damaun. Bhujang awakes
in neelkanth and trishul of Lord Shiva became very strong. It
shows the power of jaagariya as he is able to awake and
describe any kind of spirit. Before performing jaagar at the
evening, the jaagariya recollect the name of different gods
and goddesses, name of their places, spirits and ghost and
natural causes etc Jaagar also performed in sake of dead
people whose soul doesn’t take rest. Sometime these dead
men’s soul attacks the innocent person which gives trouble to
the person. For removing the shadow of such spirits, jaagariya
arranges jaagar so the spirit could be thrown away.
Some time jaagaria provoke the ghosts instead of god. It is
believed that ghost or spirits trouble the people and the
children. On the other side masaan (ghost ) generally found at
the funeral place (samsan ghat).
There is a temple of ghosts at Faldkot in Kakari Ghat.
Kachhya Masaan has great influence in garhwal. Everybody
fears from this masaan. Who soever come under the influence
of Kacchya Masaan , always remain in trouble. To get rid of
from such spirits, jaagariya performed and arranged a jaagar
as given below.
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Song - 3
Jag jag re masaan tu jag,
Tu kyoun aaya iss pinde mei
Kya chahata hai? Deinge tere ko bhains ka seeing
Deinge gaeinda bali deinge,
Bhujyela deinge , khichada deinge, tikda deinge,
Ek baar Shankar bhagwan ne
Tere ko trishul se maara , tu na mara,
Tab krodh mei aakar kadai ki
Chasani mei , tere ko galane ki sochi
Tab re masan , teri maa roi
Ki kya pai maine , kya pai main nau maina
Garbh maa raik , dharati maa janm jab leni ,
Te meri kookh nasht nakara .
Oh , masaan awake , awake, you come up. Why you have
caught innocent and what you want? We will give you horn
of buffalo and the flesh of hippopotamus. We will give you
bhujeela (a kind of pumpkin) , khichada ( hotchpotch) and
pieces of one sided baked chapatti. Once the lord Shiva tried
to kill you by his trishul but you survived, then lord shiva
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thought to put you masaan in the hot oily pot. Then your
mother cried and begged for (masaan) him. She prayed lord
Shiva not to kill you. Oh, masaan awake, awake
you come
up. Leave the life of innocent person.
It has been shown that how powerful scene of ghosts is fixed
in the mind of Garhwali people. Secondly jaagariya has the
wonderful magic to throw him out. The confliction between
the man and supernatural is endless. People have greate faith
towards the ghosts.
As per Dr. Shivanand Nautiyal book, ‘Garhwal Ka
Loksangeet & Badhya’, Jaagar tradition is a very old
tradition. It is a deep belief of Garhwali people. Some jaagars
are performed for the brave people who lost their lives by
conspiracy or who died for their bravery. In sake of their
memory there are many chabutaras (squire shape tomb) are
made. Villagers performed jaagar on the name of those dead
warriors in the month of chatra and get relief from the curse
given by them. Such type of tradition could be seen
everywhere in Garhwal. Some jaagars are typically sung or
performed on the name of Surju Kunwar, Kaffu Chauhan,
Kalu Bhandari, Gadh Sumyal, Jeetu Bagdwal, Madho Singh
Bhandari, Tilu Rautela etc. They all are respected and prayed
just like a God. It has been observed that every kind of gods,
goddesses, spirits, ghosts etc are always respected and has a
great belief and faith on them.
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Religious songs called jaagar are not sung so widely now.
The Ouji who were the traditional singers of narratives and
episodes from the epic Mahabharat are now rare to find. Mr.
Prem Lal and Rup Lal from village Ranau- Gauchar said that
in the interior valley still many people would gather to hear
him sing but nearer the town this tradition has disappeared.
The children of our families no longer follow this profession.
CHOUNPHULA & JHUMAILO:
(Sad and Love Songs )
Jhumailo and Chaunphula are the speciality of Garhwali folk
songs. These songs are never written but pass from generation
to generation. These are the parts of seasonal dances. Actually
chounphula and jhumailo are performed from Basant
Panchami to Sankranti or Baisakhi. Both the songs are sung
or danced in a group by men and women.
Actually ‘chaunphula’ has two words as ‘chaun’ means all
four directions and ‘phula’ means to be happy. It means the
folk songs which sung with great pleasure and make happy all
around. Chaunphula dance has great importance in garhwal
region. People believe that goddess parwati danced with her
friends on a chaunpal in garhwal Himalayan peak to impress
Lord Shiva. Lord Shiva became happy and got married to
Parwati. This kind of songs also expresses and describes the
beauty of the women.
Chaunfula is one of the popular dance sequence of Garhwal
and kumaun. There is no restriction of genders. Both the
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genders can participate in one dance. However, mostly the
dance is performed by females. Chaunfula means bloosom in
all directions. The chauphula means to spread in all four
directions . it is said that to woo Lord Shiva , goddess parvati
had performed this dance with her friends on the mountain
ranges.
It is believed that the daughter of Himalaya started chaunfula
in Garhwal . It said that to please lord shiva goddess parvati
built a chauri – a square or round stage of mud and stone.
Parvati and her friends dance around chaunri together and
sung the praising and love songs. By the dance and songs
flowers bloomed around chaunri . Seeing of this, lord shiva
became cheerful and agreed marrying Parvati.
Literal translation (Garhwali language)
Song - 4
Jai, jai bola jai Bhagwati Nanda,
Nanda uncha Kailas ki jai
Jai bola teru chausinga khadu
Teru chantoli ringoli ke jai
East devi Nanda, Nanda Kumao – Garhwal ki jai -----
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Idiomatic Translation
Victory! Say the victory, goddess Nanda victory.
The wooden palanquin mark the victory,
Your four horns ram on the way, victory
Family God of Kumaon and Garhwal- victory.
There is an echo of the devotees as goddess parvati leave her
mayaka (mother’s place) to proceed her husbands place
Kailash Mountain. One side the devotees are happy as parvati
came to meet her friends after long gap but in the same way
they are also very sad as she is departing from them. Nanda
(parvati) walks along with her friends and four horns ram
with great joy and sorrow. Sometime nanda uses palanquin.
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She is lovely goddess of Garhwal and Kumaon. The
performers, who keep increasing as more and more people
visiting the fair join in, encircle the lead singer, putting their
hands on each lead singer sings, in chorus. The dancers move
in
a
coordinated way and
their
bodies
swing
in
synchronization with the sond and the beats of the hurka. The
famous Nandadevi fair of Almora has a grand jhora as one of
its attractions.
Song - 5
Literal Translation (Garhwali language)
Saun bhado ki durga ashtami chal bainyoun nachi khelola
Saun bhado ke durga ashtami
Chal bainyoun bheti wheyjal ta
Nachadi kheladi mero haar tutige
Ku mero haar gathyolo -----------------Idiomatic Translation
In the above jhumailo
all the friends expresses their
feelings. They get together in the month of shravan and
bhado, (July & August) on the day of ashtami. They embrace
and dance each other. By chance the necklace of Parvati
shattered while dancing and now she is worried about her
necklace that who will join or make the necklace again. Here
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the jhumailo indicates relationship of parvati with her friends.
Such description could be found easily in Garhwali literature.
Garbha dance in Gujarat, Bihu dance in Assam and Rass in
Manipur are similar to Garhwali chaunphula. Chaunphula and
Jhumailo are the typical folk songs of garhwal. Generally
they are related to images of geographical nature of the
villages. There are memories of mayka (mother’s house) so
these folk songs are considered to be major achievements of
Garhwali literature.
Literal translation (Garhwali language)
Song - 6
Balo ch badri jhumailo
Parwat aii jhumailo
Gadwal aii jhumailo
Deenu ka data jhumailo,
Raja ka sami jhumailo
Idiomatic Translation
Badri is a boy
He has come in the mountain
He has come to Garhwal
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He is a kindful to the poor
He is the god of the king.
On the other side Jhumailo is an old traditional folk song.
This is the style of dancing by swinging, spinning and
waving.
While
dancing
and
singing
chounphula the
participants hold hands and make a circle while other clap
and enjoy the dance. Some time the dancer dance in a very
slow motion, three steps front and again three steps back with
bending position. Every first line of the song must be
repeated. The speciality of the song is, the word ‘jhumailo’
must come at last in the song. Generally the theme of these
folk songs is based on love, beauty, appreciation of nature,
war and battle field and loss.
Every steps and actions reflect the life style and the inner
feelings of the women. It is also a part of entertainment and
get together. Basically newly married girls come to their
mother’s house after long gap to celebrate the function in the
month of paus and magh. They chit chat and share their
experiences from the married life to each other. These songs
are sung or danced in winter season. During winter season,
days are short and while nights are long. So the women get
enough time to dance freely. There may be eight to twelve
women in a group. They wear traditional dresses such as
pakhula (thick black woolen cloth) and nath (big round nose
ring ). Some time they are offered sweet and tea in the mid or
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at the end of the dance. Thus chounphula and jhumailo are the
spirit of folk songs. It keeps alive Garhwali tradition and
literature.
One of the description , concern to jhumailo is given below.
Jhumailo --------------------- jhumailo.
As the night break the sweet and murmuring sound starts
resounding in the Himalayan valley. A sad voice draws our
attention automatically. It expresses the hard and painful life
of a Garhwali woman which she keeps always secrete in a
corner of her heart. She cannot disclose and share her sadness
with anyone. This feeling is called jhumailo.
As the spring season approaches, the land of Garhwal
decorated by nature like a newly bride. The different colour
of flowers flourishes in all around and attract every one.
Seeing of this beautiful and happy environment the feeling
arises in the heart of the women about their mayaka (mother
place). She also thought about her mayaka and imagines she
would be in her mother’s village. She expresses her grief in
different ways.
Song - 7
Fir baudige syaun jhumailo!
Foola sagrand bway jhumailo !
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De ganda buraans jhumailo! Dola
see gachhaini jhumailo! Maiku
baramaasa bway jhumailo! Gwaru
ki bansuri bway jhumailo! Tu na
baja bway jhumailo!
Meri jikudi maa jhumailo!
Kyapani hound re jhumailo!
Nirmaika dhiyan whay jhumaio!
Banau banau byali bway jhumailo!
Ye panchami bway jhumailo!
The flower has come up on the yellow and black mustered
plants. The trees of buraans are full of buraans flowers which
look like a palanquin. Jhumailo, the spring has come. But for
me all the seasons look like shravan. The festival of
fulsankranti (vasant panchami) has come back and she is still
in her sasural (husband’s village). Oh! Cowboy does not play
the flute. Due to your flute sound something happening in her
heart. Others’ relative will come to meet their daughter but
she is unlucky and ‘mayakaless’(who have no mother
village). She is working hard in the forest. Oh , if anyone of
her would be there. She would have gone to her mother’s
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village on the occasion of Vasant Panchami festival. Alas,
nobody has come to take her .
Most probably, jhumailo folk songs and dances begin from
vasant panchami and ends on good day of makarsakranti.
Basically jhumailo folk songs are related to nature and the
murmuring memories of a woman.
KHUDED GEET : (Sad Song) : Songs of women became a
crucial and important source material for understanding the
images and life style of the women of Garhwali. It is this
approach (translation) in looking at the material evidence that
is central and not peripheral to their life. It is clear that folk
songs are the core of social life.
Khuded geet generally sung by newly married girl in memory
of her parents, brothers and sisters, friends and relatives.
Sometime the nature and the festivals also generate sad
feelings in the heart of women. The sad song sung by a
woman is known ‘khudaidi’. Sometime the newly married
lady unable to go to her mother home. So they expresses their
feelings with the songs while cutting grass in the forest or
reaping the field.
“Khuded” is a song of pain and separation. As most of the
men living in the hilly regions have to leave their houses in
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search of a job, the women of the house are left to fend for
their families; “khuded” depicts this pain of parting from their
beloved. The songs in “khuded” style portray the anguish of
the woman, as she remembers her husband and the good
times she has spent with him. Sometime women expressed
their distress as their husbands left for the battlefield.
It has been observed that khuded geet originated from the
heart of the young departed woman. Many years ago the girl
gets marriage in a very young age far from her native place.
The heavy work and the mother in law’s wicked behavior
break the heart of the the newly married girl. This situation
generates khuded geet (sad song).
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A woman waiting her son from the battle field
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For Example:
Literal translation (Garhwali language)
Song – 8
Pyari ghugooti jali meri maa koo raibar lali
Sabhi bari tyohar aina , mera baba bhi mee mu ni aina
Pyari ghugooti jail meri maa koo raibar lali
Idiomatic Translation
This song is sung in chorus by the womenfolk of the village
who come together to sing these song , sharing their pain and
suffering . the songs may also depict a women’s longing for
her Mayka her pining for her parents. Oh, pigeon go to my
maika and bring the message from her mother.
All the religious festivals have come but her father is
nowhere. Generally the birds are used or the sources of
passing messages from the ancient time. Here the lass cannot
send the message through the pigeon but she can feel or
express her grief or sadness symbolically. The newly married
women wait for the fair or any religious festival so they can
go to their mother’s home. Most of the festivals have gone
but the woman father forgotten her or may be busy in another
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work so he has not come to meet his daughter. She addresses
the pigeon as a messenger.
Literal translation (Garhwali language)
Song - 9
Kan ladik bigari mero bwari kairi ki
Kai mu lagaun yani chwein apuni ghar ki
Pungari bechi padai likhai,
Nathuli bechi min bwari lyai ,
Bwari bichari na yani jaap dali
Apanu naunu bi bus ma ni rayi.
The father is left alone by his son and his wife
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Idiomatic Translation
Every mother and father has a great love and hope from their
sons and daughters. Generally the son looks the entire family
when the father becomes old. Some sons neglect their parents
and never care
about them which is very sad to the parents.
Here is one of the expression could be seen.
How wonderful son of mine changed by his wife! I cannot
say this matter of my family to anyone. I am a very poor so I
sold my field and gave him good education even I sold big
nose ring of gold and brought a wife of my son. But now my
son left us without care. He dosen’t lesson to us. My son is
totally under the control of his wife. He doesn’t care of his
parents.
Literal translation (Garhwali language)
Song - 10
Kile chodi gai maaji mait ekuli
Maunsyani maa deeni maiku kan kari khairi
Hey maaji tuu balapan meeit chodi gaiy
Delyoun delyoun ki thokar hey maa min yakh khai
Mausyani maa dini mait baba bhakayi
School chodik hey maa ghaas katai
Ghaas lakudu ley ki jab ghaur me jandu
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ghar pahunchi ki Mausyani ki gaali mi khandu
Dwi dinu batin hey maa khanu ni khai
Fir bee mausyani maa daya ni khai.
Maa meri o pahari boli ma paas bulondi
Gaula ma baithigi me tai lad ladondi
Meri ta bidhata na kan kismet badai
Jindagi bhar ki khairi metai wheygai.
This is also a kind of khuded geet or sad song. Some songs
really touch the heart of the readers. Here the emotions and
feelings of a girl is very sensitive and murmuring. The
separation of the mother and daughter trace our heart and
make us grief.
In this Garhwali khuded geet, the girl
expresses her feeling by saying that how her mother left her
alone. Her mother left her with the step mother when she was
very small. Due to this she is facing many problems and
struggling very hard. The step mother did not allow her to go
to school and study, instead of this she was forced to reap the
grass in hills. Even though the step mother abuses when she
comes at home with the bundle of grass and woods. Last two
days she has not eaten anything yet her step mother do not
have pity and kindness towards her. If her mother would be
there she would have called her and hug her but alas, she is
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suffering due to her luck. Perhaps she will be struggling in
her whole life.
Literal translation (Garhwali language)
Song – 11
In garhwal as demonstrated by the interviews with the
women, when the song of a woman takes off, it reverberates
in the air, she feels free, because according to her, natureprakriti-is listening, the whole universe is listening. This
clearly unifies her in a wayu with all the elements. She sees
herself as a part of a cosmic order her would view contains
within it the other, the sacred. The songs in “Khuded” style
portray the anguish of the woman as she remembers her
husband and the good times she has spent with him. This
song is sung in chorus by the womenfolk of the village who
come together to sing these songs sharing their pain and
subfreezing. The songs may also depict a women’s longing
for her “Mayka,” her pining for her parents.
Barah mainu ki barah ritu ali
Bhagyan maitura aani jaani rali
Bhado ka maina durga ashtami
Dagadyou ko tyohar aayoun
Beti bu-ari ko raibar aayoun
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Ghuti ghuti baduli lagi cha
Maityo ko raibar aayoun cha
Bhado ko mahina dagado
Pati ko tyohar aayoun cha
Koda jhangora ki saar bharigi holi
Kakhari mungari bhi lagi holi
Kab jalo kab khalo, jikuri hular lagi cha
Idiomatic Translation
There are number of seasonal khuded geets which arises in
the mind of men or women as per the environment. The
above folk song is one of the expressions by a woman. All
twelve seasons will come and go, the fortunate girls or newly
women will come to their Maika (mother’s village). On the
occasion of festivals which generally falls in the month of
Bhadro (Shravan) , perhaps her friends gathered and sing
songs and embrace each other. They pass the message each
other. The woman is so sad that she cannot express. She
remembered her mother and all the relatives so she got
hiccup. She is tempted to go her maika and to sea the green
grain fields and fruits trees which she can take freely. But
alas! She was protected by her mother in law that she should
not go to her mother’s village.
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Song - 12
As the dauthter intended to go to her mother’s village, in the
same way the mother also waited her daughter on the
occasion of any festival. She prayed to god that her daughter
suppose to come. The murmurring heart of the mother melts
when the festival approaches. Many times she dreams. In one
of the expressions a mother waited her newly married
daughter. She expresses in a following ways.
Para bheeda buransi phulige
Maije kunu meri hiruli aigey
Seeing the beautiful red flowers of burans and the green
forest, the mother imagine that her daughter is coming to her
maika with wearing green Ghaghara (gown) raped with red
pichora (dupatta). Here the nature played very important role
in the life of women. Perhaps the nature is the best friend of a
lonely person.
Song - 13
Many folk songs are sung when the Garhwali men and
women work in the forest while cutting the grass or woods.
Seeing the beautiful flowers and green grass surrounded to
her, the woman cannot control herself, the feeling arises in
her heart and started disclosing the hidden matter whatever be
she has. The woman expressed her feeling as given below:
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Phuli jaalo kaans bwei phuli jaalo kaans
Melwadi basali bwei phuligai burans
Moali gaein daali bwei hari hwaini dandi
Goun ki didi bhuli bwei maitu aei gain.
The beautiful white flower and the flower of buraans
flourished while the melwadi bird starting chirping in
between beautiful plants and trees. The greenery could be
seen all-around the hills, dales and peaks of the mountains.
Perhaps all the newly married young girls and women, sisters
and other relatives must have come to their village. This is
purely imagination of the woman but in the same way it
realizes that she is very right on her track.
Song- 14
Barah baras beeti gaina mein mait ne dekhi
Char din swami ji me matura jaolo
Risa ko maityoun ko mero karj jayolo
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Idiomatic translation
Oh Lord, let me go to my mother’s land
the devotees may be waiting with band,
Oh lord let me go to Risha village for four days; I am debt
of Risha villagers.
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The goddess Parvati is another example of khuded geet or sad
song. Parvati got married to Lord Shiva. She went to Kailash
with her husband. Lord shiva did not understand the feeling
of Parvati and forgot to send her back to her maika as she was
newly married. She remembered her mother, father, friends
and villagers. She was expecting from her parents that
somebody should come to call her. Many days passed but
nobody has come to take her. Neither had she received any
message from her village. She tempted to go to her village
and meet her devotees, villagers and friends. They may be
looking for he
Song – 15
Here is another sad expression by a woman. Garhwal is
spread in a vast area. It has folded mountains and hills.
Flowing rivers and ravine valleys, canal dales and fountains.
Some times the mountains appear kissing the sky. Seeing of
the nature the woman over excited and at the same time she
felt very sad prayed to the nature.
117
Unchi dandyoun tum nisi whey java
Baba ji ko desh mai tai dekhan deva
Ghughuti ghurali maanji hilans vasali,
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Aag bhabhrandi maanji baduli lagali
Phuli gey buraans maanji mouli gey baun
Jaika maiti hola maanji uo jaala mait
Nir maiti mai tei ni bulonda
Katadu din mee maanji roundu roundu.
The woman thought that her mother’s village is behind of
mountain. She requested mountain to bow down so she can
see her father’s village. She may be able to observe the sound
of pegion and dove. The woman also saw the fire with some
sort of sound which symbolized the message of her mother,
even the hiccup arises in sake of her mother’s memory. All
plants and grass has come with new buds while burans flower
flourished everywhere. Perhaps her friends may have gone to
their mother’s village but she is unlucky so she weeps every
day.
Song -16
Ghughuti (pegion) is the name of a bird which is found in the
hills of garhwal Uttarakhand frequently. This bird got the
name and fame because it has a beautiful sound. It sings when
there is perfectly calm and quite. It has murmuring sound
which touch the heart of any one. Most probably the bird is
found in the hills of garhwal. Various songs are related to
bird, ghughuti which
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links it with love and cry, sacrifice of brother and sister. Our
land is known as the place from where the Hinduism starts its
journey and encompasses the whole of India and rest of the
world. We Uttarakhandis have always understood the
meaning of sacrifice respect and love and value relationships.
Ghughuti na basa , amai ki dali maa,
Ghughuti na basa.
Teri ghur, ghur suni, mee lagi udas
Mera swami pardesha barfila ladak
Ghughuti na basa.
Here is one of the most murmuring expressions from a
woman. She is unable to bear the voice of sparrow bird; she is
hoping that the sparrow should not sing a song from the
mango tree. Because it reminds her husband face who is at
the ladhak border . The season of chaitra has come. She is
very much worried about her husband. So she thought that if
she would have wings like sparrow she would have met her
husband. But there is no wings so the sparrow take the
message to her husband.
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From the Battlefield
Song : 18
The Garhwal rifle has its own music band which is based on
Garhwali folk song. Garhwali people use to opt Indian
defence services for their betterment. They always prefer to
join Indian defence firt. Various Garhwali and Kumaoni
battalions are always remembered for their bravery. They
never turn from the safe guarding the country.
Many war songs reflect and teach many things from the
history of Indian army. There are number of Garhwali folk
songs related to the bravery of Garhwali soldiers and officers.
Hey suwa nind tuti raat byani maa meri Ghut-ghut baduli
lageechi teri Chaa ku pani Chula maa dhani wheyli Jara
si mai bhi yaad kani wheyli Hey suwa aag wheyli
bhabrani teri Jikuri yakh jhar-jhurani meri.
Generally the soldier is always brave. Never neglect the duty
in any cost but when the soldier remember his village and
family his heart melt. He expressed his feeling in very sad
manner. The remembered his wife. He did not sleep properly
and got up early morning. The soldier believed that perhaps
his wife may be preparing tea and may be remembering her.
The fire may be making some sort of sound which
symbolized by your memory or remembrance.
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Song- 19
Some time the soldier use to write letters telling all the
difficulties and the problems to their parents. In the same way
the singers and the writers created folk songs based on
various difficulties and problems. Here is one of the
expressions of a soldier from the battlefield. It is a kind of
folk song.
Kashmir border pyari, me afi ladulo,
Na ho udas pyari, jeeti ghaur aula
Peeth maa pithwa, kandhi maa raifala,
Kamar maa goli, samani dushman hola
Kashmir ------------------------- afi ladulo,
Na ho ----------------------------- ghaur aula
Mera dagada kumaou ki lagi rai fauj
Tera dagada ghar hondu, mai karadu mauj
Kashmir ------------------------- afi ladulo,
Na ho ----------------------------- ghaur aula
128
Ghar ma ch devi than, diya jala diye
Tu mera naam ko pyari path padh diye.
Oh, lovely wife I will fight myself for my country, especially
for Kashmir. You do not worry; I will come home with great
victory. I am loaded with gun on my shoulder, on the back the
heavy bag while the bullets rounded over my wrist. The
enemies will be infront of me. There will be victory of ours. I
am along with my friends, kumaon regiment. If I would be at
home I would have enjoyed the life. Any way I will bring the
victory to my country. Oh my wife lights the lamp before the
goddess. And ask Devi’s blessing for me. So I may be able to
through the enemies from my country. In this folk song the
soldier shows his bravery and determination which is the
symbole of Garhwali people’s honesty and faith.
BARAMASA : (Songs for every Season) Baramasa songs
are sung as per the seasons. These songs may be based on
happy or sad mood of men and women. Such as Thando re
thando is about the cold (‘thando’) wind blowing over the
mountain of the village. The songs also describe the change
of nature as per the seasons. Every steps and actions reflect
the life style and the inner feelings of the women. It is also a
part of entertainment and get together. The songs which are
sung in different month in different style are called
BARAMASA SONGS. The people or the singer sings song
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according the seasons, environment and objects. They
expressed their grief and happy through the folk sogs.
Song – 20
Number of folk songs are based on different seasons. As the
Vasant season (spring) approached the woman starts singing
in their own. The feeling comes out with smiling as given
below:
Runak jhunak ritu vasant geet lagoundi aigey
Vasant aige haa paar danda saryoun maa
Thumak thumak gunkyali khutyounou hiteeke aigey
Vasant aigey tyoun routely dandyoun maa.
The spring seasons has come with smiling and singing a new
song. Vasant could be seen on the hills and in beautiful fields.
Realy the spring is coming like a chld crawling and walking
from the wonderful mountains, valleys and hills. The folk
song is contained deep love towards the nature which is the
part of woman ornaments.
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Song – 21.
As per the Garhwali tradition, newly married girl suppose to
be in her maika during the month of paus and magh.
Generally, during this period days are short and nights are
long. So the newly married girls get together and gossip all
the night. Secondly during this cold season they sit infront of
fire and sing some songs whatever comes in their mind as
given below:
Hyun ka dina fir boudi aigina
Ho juu ni lagadu swami ji tum bina
Hyun ki raat lambi lambi hondi
Aankho ko pani ter- ter chundi
Ghut ghut me tai baduli lagadi na
Oh jyu ni lagadu swami ji tum bina
Devato ka thaan maa deep sirandu
Kusal mangal swami tum tai chandu
Devi bhagwati tu kabhi ruuthi naa
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Ho jyu ni lagadu swami ji tum bina.
The winter season has come again which gives uneasiness to
her. She remembered her husband all the ways. The long
night gives her trouble in the memory of her husband. So her
tear does not stop. She wishes that she will pray and light the
lamp to the god and goddess to keep her husband all right.
Further she prayed to Devi Bhagwati, never be angry, keep
her husband safe and sound. She felt uneasy without her
husband. All this described in the winter night by a newly
married woman or girl. The nature played very important role
in this cotext.
NATURE AND LOVE SONGS:
Garhwali people generally born and brought up in the lap of
nature. Most of the time the feeling of love, sorrow, pity.
,memory etc, automatically arises in the mind of the women.
The relationship between Garhwali people and the nature is
inseparable. Due to this friendship many folk songs are sung
in garhwal based on nature which are linked with the daily
life of Garhwali people.
Bedu pako is one the famous Garhwali folk songs which is
sung most of the occasions. Even Garhwali and Kumaoni
army play this tune in their army band.
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Song - 22
Bedu pako bara masa
O Naraini kafal paako chaita , meri chhaila
Roon bhoona deen aaya
Naraina, tuja mera maita, meri chaila
Almora ki nanda devi
O naren phul chaduni paat meri chaila
Almora ko lal bazaar
O naren lal matta ke Seedhi meri chaila
Idiomatic Translation
The fruit Bedu ripen in all the seasons
While the Kafal fruit ripen only in chaitra.
Very hectic,dwowsy and difficult days has come
Narain you go to my mother’s home.
Almora has a market Lal bazaar
Where all the ladders are made of red soil.
In the song the woman look the fruits in different angles.
Bedu, the fruit remains in all the seasons. It does not give that
much effect to her. Whil kafal could be found only in the
month of chaitra. Generally newly married girl use to go her
maika in the month of Chaitra which is compulsory to every
newly girl. She requested her husband to allow her to go to
her mother village or her husband suppose to go and get
133
information from there. Kafal ( wild red colour berry ) is
available only in the month of chaitra. She also want to for a
short time.
However kafal not only tastes good but also it happens to
ripen around the month when natural beauty instigates
childhood memories her interest of going to her mother’s
place. Also to add to the meaning composer included places
like Almora and Nainital in the songs and the famous things
therein. In one of the lines composer provides us with the
powerful bond of love and explains that if beloved is hurt it
is the self who realizes and feels the pain more than anyone
else around.
Song - 23
Literal translation (Garhwali language)
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. In 1970, number of pine, oak and deodar
trees were cut in garhwal resion. There was scarsity of water,
shortage of fodder and woods and frequently there were
landslides. So the writers aware the government and other
people not to cut the trees which are essential for our
future.
134
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
Na kata tyoun dalyoun
Idiomatic Translation
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
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.
Song - 24
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 .
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Hands bare, stomachs empty, we have no shelter
to stay
Song - 25
If anybody want to enjoy India's natural beauty, Uttarakhand
is fast being discovered as a destination with much to offer.
Uttarakhand is not only famous for its beauty but also the
land of great freedom fighters and brave people. Gopal Babu
Goswami is one of the famous pahari folk song singers. He
described Uttarakhand in his song ‘Chabilo garhwal mero
rangeelo kumaon’.
Himala ko ………….. himala ko
Himala ko uncha danda pyaro mero gaon
Chhabilo garhwal mero, rangeelo kumaon
Himala ko ………….. himala ko
Yo bhumi janam mero madho singh maletha
Gabar chandar singh aajadi ka paida
Mitayo julam paigo dikhayo ujalo
Chhabilo garhwal mero rangeelo kumaon.
Himala ko ………….. himala ko
Himala ko uncha danda pyaro mero gaon
Chhabilo garhwal mero, rangeelo kumaon
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Jagnath bagnath badari kedar, Jagnath bagnath badari
kedar,
Chama chama chamaki meri shiv ki himala.
Himala ko ………….. himala ko
Goriya aswtari deva , dwi bhai ramola, Goriya aswtari
deva , dwi bhai ramola,
Hitjyu bhumiya deva, yo bhumi janama, Hitjyu bhumiya
deva, yo bhumi janama,
Janami awatari nandadeva re kalian, Janami awatari
nandadeva re kalian.
Himala ko ………….. himala ko
Himala ko uncha danda pyaro mero gaon
Chhabilo garhwal mero, rangeelo kumaon
Lankhon krantikari paiga yu bhumi nanam
Salma saltiya paiga nee bhuli salma
Desh ki azadi liji jagyo , ujayolo
Weeron ki janambhumi deva yo kumaon
Weeron ki janambhumi gad yo kumaon
Chhabilo garhwal mero, rangeelo kumaon
Himala ko ………….. himala ko
Himala ko uncha danda pyaro mero gaon
Chhabilo garhwal mero, rangeelo kumaon
I salute my great country India and specially Devbhumi
UIttarakhand. On top of the Himalaya my lovely village is
situated. This is a land of splendid garhwal and colourful
kumaon. I was born in this land where brave persons like
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Madho Singh Maletha, Gabar Singh Negi and Chander Singh
Garhwali was also born. They fought in freedom struggle and
shown us the new light. This is land of Jagnath (Jageshwar)
and Bagnath (Bageshwar). This is the abode of lord Shiva and
other god / goddess like Goria, Ramola, Bhumiya and Nanda
Devi. Several freedom fighters came from this land. We
cannot forget the salt incidents? This is the land of great
myrtyr and freedom fighters from Kumaon and Garhwal. This
is a land of splendid garhwal and colourful kumaon.
Song -26
This song thando re thando is also a beautiful description of
garhwal nature. Here all kinds of seasons could be found.
During winter season, water is not that much cold as compare
to summer season. This is not only cold but sweet, tasty and
energetic. In the same way the singers expressed their
feelings in the folk song.
Thando re thandoo mera pahadey ki
Hawaa thandi, pani thandoo
Hoho hoho ho – ho hoho thando thandoo
Aich uch hyu himal thando thandoo
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Neesu ganga ji ku chaal, thando thandoo
Hoho hoho ho – ho hoho thando thandoo
Ransula burans kaila thando thandoo
Banjh deodar chail , thando , thandoo
Danda uwaar danda paar thando thandoo
Hoho hoho ho – ho hoho thando thandoo
How beautiful is garhwal – uttarakhand where the cold and
sweet water is found everywhere. We are lucky and protected
from the pollution. Along with the pure water it has fresh
wind all the ways. There is no defference either the wind
blow over the mountains or hills or river vallys. It remains the
same which is beautiful and healthy. Across the river, forest,
between the shadow of deodar and oak trees the beauty of the
nature is ossum and undescribable.
Song – 27
Melody of uttarakhand folk from the singer of millennium ,
Lata Mangeshkar with her beautiful voice she makes any
song a classic and this bring an another example supporting
the fact that melody queen would always remain the role
model. Lata Mangeshkar influenced from Garhwali folk
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songs and wishes to sing some typical songs. Her contribution
of singing Garhwali folk song will always be remembered by
Garhwali people. This great contribution deserves a grand
salute from all uttarakhandi.
Man Bharmaige Meri Sudh- Budh Khwe Gey
Man bharmaige meri sudh budh khwe gey
Sun teri bansuri sur, banma sure
Sur bansuri, banma sure sur.
Bhoura potala , phool chodik
Rangmat hwey angina, teri dhun sunee k
Gore bakharoun ki toil ekattha houn laigi
Rangmat hwey geena sabhi teri dhun sunee k
Dali boti sabhi jhumi-jhumi ke
Dharati pai dekha chumi-chumi ke
Naya moulyar naila lagi n teri dhun suni k
Hiwali kanthyon graham lagi
Suni teri bansuri sur, ban maa sure sur
Kopal bugyal mulmuul, haisani lagin bani tai fool
Mathu mathu hawa chalan lagi, sur bansuri sur, sur
Gad gadryoun syunsyat kam hon lagi
Sun teri bansuri dhun, sun bansuri sur
Man Bharmaige Meri Sudh- Budh Khwe Gey
Sun teri bansuri sur, banma sure
In Garhwal region, the cow boys or shepheared generally play
flute in the forest. Whenever there is calm and quite, the flute
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player play the flute in such a way that every body
astonished. The lady who was cutting the grass and woods in
the dark forest heard the flute music or tune; she impressed
and forgot to cut the grass and woods. Even all the bees and
butterflies are excited and have come to flute piper leaving
the flowers. The cattles and goats also left grazing and
approach to the flute piper as he sings beautifully. All the
small or big trees started shaking their heads, snow mountains
got grahan, this is the time to kiss the green dharati maa.
Overall we can say that due to beautiful tune of the flute
piper, the surrounding resounded.
Folk Songs - Social Change
Song - 28
Uttarakhand is a fully hilly area. It has many folds of small
and heigh mountains. Perhaps due to this situation
earthquake frequently occurred in garhwal. Due to this
hundreds of villagers lost their lives, cattles and property. It
was heart breaking news. Heavy rains from 14 June caused
rivers in Uttarkashi, Rudraprayag, Chamoli and Tehri districts
in Uttarakhand state to overflow. This triggered flooding and
landslides. More than 5000 people are predicted to have been
killed and 75,000 people are stranded.
Seeing of this, Garhwali writers and singers wrote many
poems and folk songs. These folk songs reflect the reality of
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Garhwali people and their society. They pray to almighty not
to do such disaster. They blamed god and goddess for the
tragedy. One of the expression is given below in a form of
folk song.
Dear God,
How did you turn your face from garhwal the land of gods
and goddesses
Today this land lies in silence!
After the moths of sawan and bhado came asuj
And we were all waiting deepawali
At 3.o’ clock one night
This treacherous earthquake came
The earth was shaking with its impact within seconds
Fields and homes entire families were buried alive
There was darkness everywhere
The town of uttakashi devasted
Whoever sas this singh
Fell link journey into the river and dying
Oh what a night!
Dear God
Why did you get upset with this beautiful land garhwal?
Today it lies stunned in silence
Oh dearest god, how you have gone away from us. Why the
god turn his face from the mankind? Everybody were waiting
deepawali for last three months. All were in happy mood but
alas! Today, uttarakhand is silence and grief. The dreadful
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earthquake occurred and shook the entire land and buried the
families alive. There was no sign of people. Everywhere there
was darkness. Uttarkashi totally devasted. Those who were
alive fell down in the river and end their journey. Oh, god
what a sad night! Why did you upset and neglect the beautiful
garhwal? Today it astonished and remained silence.
Song – 29
There are many folk songs related to Garhwal tragedy. Such
as SATPULI FOLK SONG. Satpuli is the place located
between Kotdwar and Pauri. This place was very famous to
the passer by during those days. This was the place at least
thirty to forty buses could be accommodated. Generally most
of the buses halt at satpuli. Satpuli is surrounded by the
beautiful hills and deep valley with Nayar river. In 1951 there
was heavy loss of the people at Satpuli as the river Nayar
flooded. 22 drivers and conductors washed away by the river.
Today this place could be heard in the Garhwali folk songs.
The folk litereature creators of Garhwali and Kumaon were
Vaddi and Hudkya communities. Women used to create folk
songs on their regional subjects and contemporary subject.
Landslides, flooding have been common in hills of garhwal
and Kumaon. There had been many folk songs about
Himalayan disasters such as landslides flooding, forest fire
cloud bursting etc. from the ancient age. However, such folk
songs remained alive only if rthey became popular among
people and had durability purpose. The following folk song is
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based on true events of flooding in Nayar river at Satpuli,
pauri Garhwal. The flooding of Satpuli, in August,1951
washed away lands and many motors standing there. Here is
one of the expression.
Dwee hazaar ath bhado ka masa,
Satpuli motor bagin khaas.
Seyi java bhei bandho
Barakha gid-gid, thar-thar sunaun liege
Subeir uthik jab ayan bhair
Baugik aigina sanad khair
Gadi ka bheetar ab dhunga bhara
Hoi jail sangudi dheeraj dhara
Gadi ka chat maa ab pani aige
Jikudi dagmag kampan liege
Apan bachan peepal pakare
So papi peepal syoun jauda ukhade
Dagada ka bhai bando tum ghar jala,
Satpuli halat jiya bwe mu lala
Shivanandi ko chayo Goberdhan Das
Dwee hazaar rupya cha jaika pass
Dakhana chhodi ke tain gadi leeni
Tai papi gadi na kan dhoka deeni He
papi nayaar kamai tweeku Mangseera
ka maina byo chhayo maiku Kakhadi,
mungari booti chhayi bwain Kan lagein
holi ne khayi main.
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It was August – September 1951. The motors washed away
by flood. There was order that the officer would check the
components of motors. There was to bring all motors. The
officers informed that there would be checking next day. He
advised to sleep. While we were sleeping, ther was a heavy
rain. The rain water reached up to roof of motors. We were
afraid. The Nayar river flood washed away all motors. Oh!
Mother don’t weep for me.
The said folk song is still popular in Garhwal.
Getting fodder and fuel wood for domestic consumption is a
major task performed by the Garhwali woman. Her life is
centered around going to the jungle twice a day, once for fuel
wood in the morning and once for fodder. In areas where the
forest have been taken over by the government, and were the
jungles have been cut extensively because of construction of
roads this activity becomes even more difficult for her. She
has not only to walk a longer distance, but interact with forest
rangers and forest guards. This is not a particularly pleasant
situation for her because the latter represent power and
authority whereby exercising control over her life in a number
of ways. The following folk song by a woman reflects some
of these aspects.
Dear Rupali
Why did you bring the wood of the deodar tree
Cut by the timber merchants
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They sell this wood in the market
And make large wooden boxes
Now they will beat you up.
Song – 30
Tihri Dam Incident Folk Song
More than 25 years ago, the perposal of constructing Tehri
dam was passed. This dam is constructed on Bhagirathi River,
in Tehri Garhwal. It was thought that there will be prosperity
of Garhwali people. But alas, thousands people lost their land
and property in very low cost. Even their original culture also
misplaced. Number of environmentalists protect of Tehri
Dam not to build. Inspite of this the dam was built. Hundreds
of people shifted in diffent places. They were separated from
their relatives. Keeping this feeling many writers wrote folk
songs based on Tehri Dam.
Mukh Jatra Kai Aolu , Doobadi Tihri Dekhi Aolu
Mukh jatra kai aolu, dubati tihri dekhi aolu
Barasoun puranuo ku nato tutan ch
Sakh puranuo ko natu tutan ch
Oa tei seva lagey aolu, akhir bar mee dekhi aolu.
Bhagirath ji tum ganga nain
Purakha apana swarg sidhaina
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Hamun kya khyoei teru ganga maata
Pitaraun ka kuda bhi afoo maa samain
Haath Jodi nisaaf mangolu, Dubadi tihri dekhi aolu
Much jatra kai aolu , dubati tihri dekhi aolu
Much jatra kai aolu , dubati tihri dekhi aolu.
Laindi gaudi , bhainsi ramandi chei,
Kakh bati dekhan o chandana chauk
Bhabhrya baldaun ki Jodi hamari
Hari bhari saari, kan firi tyounk
Chaobatu kari parideshi jagwal
Khola mela khelani joun chouk bagwal
Apana haath ki matti deyi aulo
Apani tihri bheti aolu, dubati tihri dekhi aolu
Aun tei seva lagai aolu.
One of the villagers of Tehri Garhwal expressed his feelings
and suggested others to come slong with him to see Tehri at
least once. Let us go to see our village at once which is
submerging in the water, Bhagirathi. Let us touch the feet of
our Tehri where we have the relations from hundreds of
years. He blamed Lord Bhagirathi who have submerged their
villages with him. They also blamed Ganga maya for doing
injustice with them. He reminded his past when they plough
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the field, keeps milk cow, buffalo and bulls. Now the days are
gone to celebrate dipawali and other festivals. So let us go
and kiss the soil of our village land which may not be after
few days.
Song – 31
The Sarvodaya movement which was initiated by shri
Biharilalji Budakedar village in Tehre Garhwal had a great
impact on the life of the people in the villages surrounding
Budakedar. A number of shops, making country liquor were
closed down on the initiative of the women of the village,
who had formed a Mahila Mandal with the support of the
NGO Lokjeewan vikas Bharati. The ladies constructed a song
and started singing in different places and aware the men not
to use liqiour.
Oh people of this world – what is in this world?
Do not drink alcohol
Your house will be sold – do not drink
Your fields will be sold – do not drink
Your thali will be sold – do not drink
Oh people of this world – what is this world
Sit down to sing bhajans
And have good thoughts
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Do not drink alcohol!
People who drink get into fights
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They are found lying in the streets
There wives and children carry
The burdon of their deeds
They wash the utensils in the neighbourhood,
And earn money for the their sustenance
Oh people of this world
Do not drink alcohol
The world has been blessed
By people who have earned a name for themselves
People of this world what is in this world
Do not drink alcohol.
Today it has been seen that some of the villagers are hardcore
drunker. They spoil themselves and also spoil the life of their
family and children. They creates bad environment in the
society. In the above poem many aspects of drunkers
highlighted. People of the world, do not drink. It will hamper
family and society, he will be neglected by the people. The
drunker has no reputation. He will sell his land, property,
household etc. The drunker fight and laid somewhere in the
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street. Let us enjoy the precious life. Pray to almighty and
read the bhajan, help others and evergreen society of the
world. Perhaps the Garhwali woman was in great trouble. She
may have the experience of her drunkered husband or some
one in the village. So she requested to everyone not to drink.
It is a part of social change.
Song – 32
Garhwal is the treasure of all kinds of folk songs. During
marriage ceremony, various types of Garhwali folk songs are
sung. The ceremony begins with Lord Ganesha and also ends
with their kul devata’s blessings. Such types of folk songs
never written but simply recited by the Brahmins or by the
village women.
Mangal folk Songs
Daina hoyan kholi ka ganesha hey
Daina hoyan mori ka naren hey
Daina hoyan bhumi ka bhumiyal hey
Daina hoyan panchnaam devata hey
Daina hoyan naukholi ka naag hey
Daina hoyan nakhandi nursing hey.
Oh, Lord Ganesha of ours, bless us. Ho Lord Naren (Krishna)
of our window, bless us. Oh, land god bless us. Oh, panch
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parmeshwar devata bless us. Oh, Naag devata help and bless us.
Oh nakhandi nursing devata bless us.It shows great faith of
Garhwali people towards different gods and goddess. No
doubt Garhwali people are pure religious. They are traditional and
follow vivid traditions.