उत्तराखंडी ई-पत्रिका की गतिविधियाँ ई-मेल पर

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उत्तराखंडी ई-पत्रिका

उत्तराखंडी ई-पत्रिका

Saturday, December 19, 2009

21 जनवरी 2010, गुरूवार, सायं 7 बजे से



पर्वतीय नाट्य मंच

के तत्वाधान में



ममता भट्ट

द्वारा



समस्त उत्तराखण्डी प्रवासियों के लिए नव वर्ष की सप्रेम भेंट

बीर भड़ माधोसिंह भण्डारी (गीत नाटिका)

और

गीत नाटिका के पार्श्व गायक या पार्श्व गायिका

प्रीतम भरतवाण

मीना राणा





और विरेन्द्र राजपूत, बिक्रम कप्रवाण, जितेन्द्र पंवार,

मंजू सुंदरियाल, दीपा पंत आदि



स्थान ->: श्री षणमुखानंद सभागृह ( किंग्सर्कल स्टेशन समीप)






--

Wednesday, December 2, 2009

नेताओ की पछयाण

नेता बल आम आदमियो से बिलकुल ही अलग हुन्दन अर पछीणे जदिनी ! जन कुतो माँ , खुजली वाल वालू कुता .... दूर बीटी ही पछ्याणे जांद उनी जनता का बीचम वो भी ! ऊकी , चाल- ठाल, उठूणु-बैठूणु, खाणु- पीणु , बुन- बच्याणु , सब , सब से अलग ही हुन्द ! जी हां , अलग ! संस्कृतं एक श्लोक च " लुन्ड़ो ; बिचतरो गती : " अर्थात जन की लुंड माने आवारा किस्म का आदमी की हर कुछ अलग ही हूँ उनी नेताओ की भी !

हमरा यख याने गडवाल बीटी वी नेता हूनी , जोन, द्वी -द्वी ब्यो कैनी ! जनकी हेम्वान्ती नदन बहुगुणा, शीबानद नोटियाल , जग मोहन सिह नेगी आदि आदि ! अबत कुमो बीटी भी य पर्था चली आण लगी ! हरीश रावत भी ये लग्यात माँ शामिल ह्वेगीनी ! या सबसे पहली पछयाण नेता हूँण की ! नेता त, कई ह्वनी ! पर, इन जन ना ! .. बाकी त जन बुलदं ना बल " बड गोर बल लूण बुकाऊ , अर छुटा थुबउड़ चाट " वनी !

ऊ बुल्दा कुछ छन अर करदा कुछ .. ! देख नी आपल, आज से १० साल पैली , एक बडो नेताल..., तब जू बुलद छो , की मेरी त अंतर्राष्ट्रीय राजनीत म दखल च ! त फिर मी प्रदेशीय राज्नितिम किलै जो ! मयारू दिमाग खराब च क्या ? है, ..... मि , कै पागल कुत्तो कटियु छो जू मी इनु काम कैरू ! कुई पागल ही ह्वालू जू प्रांतीय राजनीतंम जालू ! उन यख तक भी बोली दे छो की " राज्य ? कनु राज्य ...! अगर राज्य बनालू भी त मेरी लाश पर ????? ,,,,, अर जब राज्य बणीगे ! सया पिच्ल्या दरवाज बीटी राज्य की सब से अहम कुर्सी याने चीफ मिनिस्टर ह्त्येदी ! य दूसरी पछयाण च !

तैला मिल्या खुवाल, त , हमन सुणी भी , अर देखि भी छ ! पर, हर
चुनोमाँ , फिरका परस्ती , जजमानी -बामणी, खा- बा- डा अर बाजा बाज त गड्वाली कुमुनी नि चुकदी ताबा ! ये भै, कुई यूथे पूछा ....... /// तुम त हैरी जीती चली जैल्या .... पर हमत यख यखी रैण ! म्यारा गौ माँ कुई जाज काज होल त बामणलत काना ! कुई मोरी भाजिगे त हमले त हमने त हूँ ना कठा ? हमनै त, उठान ना ..मुरियु मुर्दा ? की ई आला देहरादून बीटी, हमरा गौ माँ मुर्दा उठानु कु ? जबरी यूथे हमरी चाड रैद त, कन घुम्दी, हमरा अग्वाडी पिछाडी लिडा कुकर सी ! अर जब हम थै युकी जरुरत पुडाद त तब पट दरवाज बद कैकी भैरम संतरी जू बितर त भीतर आगन्म तक नी आणि देदु ! युकू कुई मुवार्लुत वख सरकारी सरय मशीन दोडी डोदी ई जाली ! युका आसू पुच्णु बड़ा बड़ा अफसर मंत्री ऐजाला ! ये किक नि हुन्दन ये एक औरी पछ्यण च ! ईनी कै बता ओउरी भी छन !

पराशर गौर
नम्बर १६ दिनम ११.५५ पर

खंतडी मुडै छुई

रातिकू खाण-पीणा बाद
जनि हम द्वी झाण पवाडा
सुरक ऱजॆ , मुखं धैरी
खुस-पुश - खुश-पुश बच्याण बैठा
किलैकी ...........
भैरम ब्योई छेई सीई !

वा, बोली...............,
यैसुका साल
खेती-पाती बटवालण क बाद
तुमुन क्या सोची ?
मी थै दगडी लिजैल्या
य घारे रो ?

भाग्यानु का , सी छी
कुई खुच्ली पर त,
कुई पीठम छीन झुंटा खीना
मेरी दा , त ............. ,
बिधातल भी पट
आखी बुजिदी !

क्या छा सुचणा ?
कुछ बुल्ल्या भी य इनी ..
छी भै, युका दगड भी
उफ़ .......... ,
कुनस युका भी, जू
गिचु तक नि उफर्दा !

सुणु छो, सुणु छो
दगडा-दगडी सुचुणु भी छो
जू .. त्वे दगडी लिजोलू त
बोई कु क्या ह्वालू ?
इनकारा , की , मि थै छ्वाडा
उथै ही लिजाव इबरी
उकी दों खूब सोची
अर हमरी दा पीठ किलै ?

छई- साथ साल ह्वेगी ब्यो कया
भैका सो , ......,
सुनी डनड्याली अर
खालि भितरी मी , खाणु आन्द !
अरै ...,
नि समझ, नि समझ उलटा
ब्योईल कतका जी बचण
कखी , निरसे -फटगवसे` जालित ?
प्रभात पुछुलू बोई थै
क्या ?
जू ब्याललित , नि लीजो ..
त.... क्या ?
नि लिजोल . औरी क्या ... ? !

दिखादै दिख्द....
बियाणा धारम एगी
व, पाणी की चली गे
अर मी.....खंताडी पर मारी अंग्वाल;
सुचूणु रों , लीजो की, नि लीजो ?

खैर ........बिखुन्दा खाद बगत
बोई ल बोली ' बीटा ..
खेती-पाती संभालेगी
गोर बचुरु नि न

एक काम कैर ......
ब्वारी थै तखूंद ली जा
हवा पाणी भी बदली जालू अर
दिबा दैणी होई जाली त
क्या पता मी नाती कु मुख देखि सैकु ?
मिन वीक तरफ देखी
अर वींन मेरी तरफ
लगद जन बुलिद दिब्ल हमरी
बात सुणी याली छीई !

पराशर गौर
२७ नंबर ०९ ४.३० बजे स्याम
न्यू मार्किट कैनाडा

बाबाओ की दूकान ;

घुप्या जनि पैदा ह्वै , पैदा हुदै वेल बोई खाई दे ! सब्युन वे थै ट्व्का ट्व्का बुलण शुरू कैदी ! बुबा कारू भी त, क्या कारू ... खैर जनि कानी कैकी वेल वे थै पाल्ली पोसी बडो कई ! जनि वेल आठ पास कारी , बबल हाथ खडा कैदिनी य बोली की की " बिटा, अब म्यारा बसों नि राइ तेरी अग्वादी की पदाई को खर्च उठाणु ! इन कैर की ,तू भी त्खुन्द जैकी कुछ ध्यली पैसी कामो ! "

घुप्या अब, करू भी त क्या कारू ! .. कख जो? क्या कैरो ? नादाँ उम्र , पदाई लिखाई भी ज्यादा नि छ ! वो कपाल पर हात लगे की बैटीयु छो की तबरी एक बाब आई, वेसी पुछन लेगी .. " बेटा यहाँ पर रीखनी देबी नेगी का घर कहा पर है .." बाबा के साथ चार पांच चेले चांटा भी छाया ! वेल इशारा ल उंकू घोर बताई ! वो बोली " जरा चल वहा तक हमारे साथ " ? जनी वो वाख पोचिनी , घुप्या क्या दिखदा की रिखणी
बोडी लंप तंप कैकी वे बाबा का खुटो माँ पुड़ी गे ! जू नेगी जी खुणी खाणु त खाणु ,, चा तक नि बाणों दी छई , व, वे बाबो खुणी दाल भात, सब्जी , बन बनी का पकवान बाणोंण लगी ! बाबा पर खासी को रोग छो ! हर बगत खप खप कनु छो ! नेग्यण वेकु खंक्हरू तक चै उठोंण पर लगी जैन नेगी का कपड़ा तक णी उठाया !

घुप्या घर ग्या वेल अपना बा से बोली " बुबा ण त मिल अगनै पणई आर ना ही नौकरी कने ! " बबल जब य सुणी त, वेसे बुन बैठी " त क्या करिलू ..
चोरी च्पोरी ?
न -- न -- मी बाबा बनुलू बाबा .. !
त जोगी बणिली .. है ? बबल पूछी !

बड़े प्यार से वेल बाबा थे समझीइ ' अचा एक बात बतो .. ज्यादा पैडी लेखी की , ज्याद से ज्याद ३ ४ लाख साल का मिल्ला ना ? आर जू मी एक ही दिनम
इतका कामे दयुल त ...? बबबॆ की सम्झ्मा बात नि आई

घुप्या रात झणी कबरी सटक .. आज पट २० २५ साल हवे गीनी वे थे हर्च्या ! बुबा बिचरू आदा जाड़ों रैद पुचुणु की कहकी तुमल मेरु घुप्या भी देखि
घुप्या दिखया आज बाबा घुप्यानाथ बणी छ माल लुटूणु ! च्याला चान्तो की मोज ही मोज ! अर अफु क्या टाट बाट .. आबत वेल बाय्कैदा बाबा बाण नै की एक इंस्टीटुयुशंन भी खी याल जख हर साल एक ना की बाबा निकल दी !

पराशर गौर
नमम्बर २८ ०९ सुबह १०.२३

Critical History of Garhwali , Kumaoni, Himalayan Literature

Epic Uttarayan : A History of Civilization, Philosophy, and Spirituality
(Commentary of Dr. Shiva Nand Nautiyal on Uttarayan an Epic by Prem lal Bhatt)
Translation: Bhishma Kukreti

Uttarayan is a History, a philosophy of human life, but on top of it , it is poetry. The poet Prem Lal Bhatt used the imagination but there is total realism in the story. The epic is about philosophy but is not beyond common men.. One of the great poets of Garhwali language Prem lal Bhat took clue from Purans but took those stories, which are needed for proving humanity as the supreme power or force. The ’Narayan’ of Uttarayan is as old as his wife ‘Laxmi’ who is ‘Chanchala’ . Other name of ‘Laxmi’ is ‘Vasana’ the desire, yearning, craving, want, wish and so on. And whole earth moves around desire .
The cultural history of human beings is the history of ups and downs brought by power (Indriya- sensational organs) and desire (Vsana) .The desire and power together attack first on the devotion and faith.
Upnishad and Purans described ‘Shradha’ (devotion) with many names and forms. The eldest wife of Dharma or Vishwash (Faith) is Shradha among his thirteen wives. Shradha is the eldest daughter of Prajapati (the creator) . Prem Lal Bhatt took this clue only - Shradha and Vishwash because Shankar and Parvati are the form of belief (faith) and trust. If, the Shradha (trust) of Kamayani epic by Jai Shankar Prasad , along with Manu ( Focused thinking) develops humanity; the Shadha of Uttarayan cooperates with faith/belief and culture the humanity. The name of son of Faith (Dharma ) and Trust (Shradha ) is Shubh (auspicious or beneficial) in Uttarayan. Both Dharma (Faith) and Shradha ( Trust) .
For some time, for protecting their existence , Shradha and Dharma had to escape away from the kingdom of Narayan and Laxmi to Aryamandal. However, in Arymandal too, the people are divided between believers and non believers,. Here too Narayan and Laxmi (Power and desire) are ruling to people. Dharma and Shradha start to unite them and try to free the people from the bad effect of power and desire. Here, both happen to to meet Deena (Poverty) and her daughter Bhakti (extreme Devotion) . Bhakti tells the story of her struggle in life to Shradha.
Deena (Poverty) is the real fact of this earth. Karma (Acts ) always been deceiving Deena (Poverty). And those who who do not accept this immutable fact that he does not understand Karma (Act) and Karmic (Doer). The imaginary wives - Kinchana (Having) and Kinshasa (Not having or Deprived) of Karma in Puran are objective oriented. Deena is human being who is in pain and her husband Prabhu (The God) don’t hug her but Deena is always devoted to Parmeshwar (The God). The people exploited by Laxmi (wealthy and powerful) come under the banner of Vishwash and this ignites the Class -War in Aryamandal.
The Class war between haves and Haves not is the central point of Uttarayan, where Shakti is essential and Shakti is also exploiter of humanity . Prem lal Bhat proves his genius in describing the Class War , which is always there from the initiating point of human being taking birth in this earth.
Deena (Deprived) is representative of human sensitivity and her revolution against Power and Endless- Desire is the struggle for existence in Aryamandal. Shradha and Vishwash help to unite individual struggles of deprived class and help the humanity. Eradication of poverty is the main objective of humanity and for that the unity among deprived ones is essential ingredient.
The imagination of Swarg (heaven) above the earth is wishful thinking . Full of aspirated person becomes weightless and goes to Shunya (heaven) and reaches in devious position . Desire or wsh throws the human into wandering position. Narayan under the influence of Laxmi falls in wandering position. But Bhakti brings him down in the reality that is in the earth. Humanity and Bhakti protects His deity characteristics.
From today’s point of view, there is nothing wrong if learned people perceive the consumerism as the real face of Laxmi and East India Company as human face of Laxmi too. Indian people revolt against British ia nothing but the combined struggle of Faith and devotion for saving humanity. The Indian freedom fight is the repetition of Dev- Asur Sangram (War between Demons and Deities) .
The two attitudes Shadha and Vishwas (Trust and Faith) struggled against the Shakti and Bhogvadi Pravirti (Power and Consumerism) and got success. However, the prime objective of Shradha and Vishwash is not success but the amin aim is equality among all human beings and providing highest position to humanity in this galaxy. This war is never ending and the exploiters/terrorists and humanitarians will always clash with each other.
Scientific researches never believe that blood or flesh is living matter but for scientist blood is a matter only. In Uttarayan, the poet imagined the wealthy and powerful become ‘Shila’ (Stone or heartless)
When there will be struggle/clashes between the two opposite attitudes, then only the humanity will get heist position in this earth . Pralayntar or after revolution, humanity will definitely win
Curtsey and Copyright Shri Prem lal Bhatt for permitting translation
Uttarayan:

A Garhwali language Epic
Poet : Prem Lal Bhatt
Publisher : Sahta Sahitya Bhandar 57-B Pocket a Phase-II
Ashok Vihar New Delhi
Internet copyright Prem Lal Bhatt, New Delhi, 2009

History of Garhwali, Kumaoni, Himalayan Literature

Sidhi Lal Vidyarthi : A Garhwali Poet of Dalit Consciousness
Bhishma Kukreti

Sidhi Lal Vidyarthi comes in the category of Ram Prakash Bagchhat , Surendra Pal who experienced the bitterness of class discrimination in our society and wrote about the discrimination against Dalit community .
Sidhi Lal was born in a remote village Chweecha , Pauri Garhwal on 20th May 1946. After passing Intermediate from St Mesmer College Pauri, Sidhi Lal joined arm force and retired from there as assistant commander in 2003.
Hindi story writer and translator Late Mohan Lal Thapliyal inspire young Siddhi Lal to take interest in literature and members of Dhah organization in Dehradun motivated Sidhi Lal Vidyarthi for creating poetry in Garhwali language
Sidhi Lal Vidyarthi wrote tens of poems in Garhwali and published in local periodicals.
Though Sidhi Lal Vidyarthi created poems on various subjects but the poems related to social discrimination aginst Dalits, women and girl child are more effective and sharp than his other subject poems.
His poem Niradhari ko Adhar is true representative of Dalit Consciousness, where in Sidhi Lal expresses that the poverty is bearable but social differences are always unbearable :
Bhuku pyasu raiki bagat kate hi jalu
Pan samajik dhutkar ku dank kankaik jhyale jalu
His Takrar poem also shows us the pain and frustration of social differences :
Kudrat ki taraf se sabi barabari ka hissed chhan
Hamari hi ulkani soch se bani kwee uncha neecha chhan
Sidh Lal Vidyarthi also expresses his annoyance against girl child killing, girl embryonic killing ,
Most of the poems of Sidhi Lal Vidyarthi shows the man made differences in the society. The poems are conventional ones in terms of body and tones.
Garhwali literature will remember Sidhi Lal Vidyarthi as the poet of Dalit consciousness in Garhwali literature .

Copyright @ Bhishma Kukreti, Mumbai, India, 2009

Garhwali, Kumaoni, Himalayan Folk Literature

Twenty Two Tunes of Dhol-Damau
Bhishma Kukreti


The dancers and audience enjoy the Dhol-Damau according to tunes . There are two theories of tunes for Dhol Damau . According to ‘ Ramcharan Dhol Sagar’ , as per time, class and place , there are thirty five tunes in playing Dhol-Damau or Rauntal

1- Jangan man -- for earth prayer
2-Dhup Deep aur Dhwaj--- Prayer of own deities and nation
3- Surya Kiran ---Prayer of Sun
4- Kucche ki Naubat-Morning Play
5-Saras-- Worship of arms and ammunitions
6-Parikrama-- Circumambulation of earth
7-Badhai Shabad-- Happy news, Congratulation
8-Ghai Shabad- Initiation of war/battle
9-Jadkhamb- To ascend
10-Thaman-- Stopping
11-Utrai--To descend
12-Sone ki Naubat-- Resting period
13-Saat sanjha aur Nau Doha- Travel through ocean
14-Sagun- Conference hall/conference of deities
15-Chakravyuha---worship of deities
16-Ram Rahman- meeting place or Conjunction
17- Gadh ganga - at the River bank
18-Chakor Jojan- At the time of Tug of war
19-Machkaro - At the time of son birth
20-Bhair Khol-Bhitar Kohl - At the time of initiation of walking by child
21-Shabad Grah- Preventing bad omen
22-Chaurasi Ghai- Worshipping eighty four lakhs deities
23-Chauras- To call all deities in one place
24-Sarva sidhi-- For best wishes
25-Chauk Vijeta- Starting from country yard
26-Sarvagan Vijeta-- Best wishes for wins to all
27- Painsara- Step by step
28- Upgrah Vijeta-- Continuous walking
29-Chauhato-Chhablato-- Lanka dahan
30- Takkato- Head-on
31-Bajrahato- Undesired
32-Airali- Chait Pujan
33-Bairali- Welcoming/Worshipping of auji
34-Jalvayu- Worshipping season
35-Holi Vijeta- Win over bad omen

However, some learned persons , basing on ‘Chistkala dhol Sagar’ call following twenty two tunes of Dhol Sagar :

1- Dhunyal
2-Panch Badhai
3-Daud Badhai
4-Daud Shabad
5-Chauk Shabad
6-Adtali
7-Khodawa Painsaro
8-Jeet ki Painsaro
9-Pai ko Painsaro
10-Solhaman ki shrawanee
11-Yudbheed ki Jhakadi
12-Suraj ki kiranee
13-Madirau Painsaro
14-Tamas ko Painsaro
15-Akash ko Painsaro
16-Bhair Doon Ko Painsaro
17-Uthda ko Painsaro
18-Baithda ko Painsaro
19-Khadi Chal
20-Baithi Chal
21- Rahmani Chal
22-Dudbudi Chal

Curtsey Dr Vichar das Suman
Copyright @ Bhishma Kukreti, Mumbai, India, 2009

Garhwali, Kumaoni , Himalayan Folk Literature /Folklores

Surji Nag a Chivalry Garhwali Folklore
Edited by Dr Shiv Prasad Dabral )
Commentary By Bhishma Kukreti

There are many folklores in Garhwal. Many are very popular among all areas of Garhwal . Garhwali historians are trying to print those folklores for preserving our oral heritage . Late Dr Shiv Prasad Dabral is one of the topmost writers who took keen interest in collecting folklores of Garhwal and Kumaun regions and published them by his own . Surji Nag is one of the folklores, Dr Dabral published the legendary poetic folk story of Surji Nag exclusively from Veer Gatha press Dogadda.
According to Vimal Negi the editor of Uttarakhand of Khabar Sar, Surji Nag folklore comes under the category of stories as Madho Singh Bhandari, Tillu Rautela Lodi Rikhaula, Kaffu Chauhan , Hari Hindwan and Rajula Malu Shahi . Dr Shiv Prasad Dabral took the help of Dr Haridatt Bhatt ‘Shailesh’ and hudkyas to collect, compile and edit the story of Surgu Naag or Surji Kaunl.
The story of Surji Nag or Kaunl is the mixture of chivalry, firmness, love and showing the immense effect of Guru Gorakhnath on our past lives in Garhwal .
Surji Nag the prince of Bhinwali Nagar, Garhwal saw the princess Jotmala of Bhotantak kingdom in his dream . Jotmala was the beautiful most girl of her time. After awakening, Surji Nag tells about his dream and princess Jotmala to his mother. Surji Nag tells his intention for bringing Jotmala as his wife from Bhotaa country. His mother describes the various types of great difficulties in going and coming from Bhinwali country to Bhotta kingdom. However, Surji Nag showed his keen desire to marry Jotmala and does not accept the suggestions of his mother not to go Bhotta country. Understanding the firm desire of her son Surji Nag , his mother sends Surji Nag to Guru Gorakhnath. After taking the blessing of Guru Gorakhnath, Surji Nag started his journey for Bhotta country. Surji nag faced many adversities and wins over all small and big challenges and usefully reaches to Bhotta kingdom. Later on Surji Nag brings to his kingdom Bhinwala with great pride Jotmala after marrying her .
This story is sung by women folks and by Jagris too
Those interested to read full poetic story of Surji Nag can read Uttarakhand Khabar Sar Pauri Garhwal from editions from first June till this edition .
Curtsey by Vimal negi, Uttarakhand Khabar Sar, Pauri, Pauri Garhwal

Copyright Bhishma Kukreti, Mumbai, India , 2009

History of Garhwali, Kumaoni, Himalayan Literature

Surendra Pal : A Garhwali Poet of Dalit Consciousness
Bhishma Kukreti

There is no shortage of Garhwali Shilpkar poets in Garhwali language but very few could express the social injustice of touch-ability and un-touchablity of our society for more than five thousand years in India. Late Ram Prakash Arya ‘Bagchhat’ used to sing song of Dalit’s human right on the cultural programs and in the small geometers of poetry lovers. However, he could not publish his poems and even after a request to many, this author could not get the diary of Ram Praksh in which he used to write poetries of Dalit’s human right, the frustrating state of Dalits for social injustice, the poor economic conditions of Dalits due to no ownership of land among Dalits of Garhwal . Surendra Pal had been initiating Dalit consciousness in the society through his poetries. Though his poetries do not attack by abusive words on upper class directly but uses indirect way and with effective mannerism, Surendra is famous in garhwali poetic field for attacking the inhuman culture of social divides among Hindus for his life through poetries.
Surendra pal was born on 23rd March, 1952 in a Himalayan village Gadhamonu , Khatsyun of Pauri Garhwal, Uttarakhand. Surendra expired in his early age of 48 on 28th January , 2000 AD
After passing Intermediate , Surendra pal passed degree in Flute playing from Prayag Sangeet Samiti , Allahabad. A prestigious organization in music training. Surendra Pal provided music to many concerts of Garhwali cultural programs, stage plays. Surendra was expert of playing Garhwali folk music instruments as Flute , Hudki, Mochhang. Being trained on western music, Surendra did many successful experiments in music by mixing Garhwali orthodox music with western style music.
Surendra pal published hundred of poems in local periodicals. Surendra pal receved Pundit Aditya Ram Navani award for ‘Chungti ’ a collection of forty three Garhwali poems .
The profound Gazal maker in Garhwali language, editor and a critic Madhusudan Thapliyal writes that Surendra Pal is the sole representative of Dalit consciousness in Garhwali language poetic field. Madhusudan Thapliyal praises the poems of Surendra pal related to colour discrimination among human being, inhuman treatments to deprived class in caste system, dangers of religious divides .
Though Surendra criticizes the caste systems religious divide etc but never leaves the optimism that one day will come when equality will be there in this world.
Surendra Pal used many forms and styles in creating Garhwali language poems. However, having knowledge of music , Surendra’s poems are melodious. He uses common Garhwali imagery, symbols, figure of speeches for creating easily understandable poems.
As American literature is proud of James Weldon Johnson, Claude McKay, Etheridge Knight, Paul Lawrence Dunbar , Langston Hughes, Z.N Hurston, Countee Cullen, Gwendolyn Brooks, Rita Dove, Jessie Redmon Fauset, Robert Hayden, Arna Bontemps, Quincy Troupe, Alice walker, Natasha Trethewey , Jupiter Hammon, Forest Hamer, Aundre Lorde , Wanda Phips, Maya Angelou, Lucile Clifton, Cornelius Eady , for their contribution in awakening African consciousness, talking about human rights, bringing the racial pain before the world, frustration of discrimination by human to human, dreaming of equal social structure , fight for the human rights and equality , finishing injustice to deprived class from the society, Garhwali literature is proud of Surendra Pal for his poems of Dalit consciousness.

Copyright @ Bhishma Kukreti, Mumbai, India, 2009

Garhwali, Kumaoni, Himalayan Folk Songs

Garhwali Bal LokGeet : A Collection of Garhwali Folk Songs for Children
(Collected and edited by Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal )
Review By Bhishma Kukreti

Garhwali language is unique language in the sense that Garhwali language has the highest most proverbs and sayings among all current languages . This fact of proverbs and sayings suggest that Garhwalis have been proactive in teaching management to their children through poetic and other simple media. Creating poetries for children is also a part of teaching management to the children in any society. Garhwalis have been expert in creating folk songs for children.
Abodh Bandhu Bahuguna was first literate person who collected and edited Garhwali folk songs meant for children in the book ‘Ankh-Pankh” . There are twenty Garhwali folk poems for children in the book ‘Ankh-Pankh’

Garhwali society will always remember Dr Nand Kishor Dhoundiyal and Manorama Dhoundiyal for their book ‘Garhwali Bal-LokGeet’ published in 2009 by Dhad Prakashan . Though, this author totally condemns the statement of Dhoundiyal and Dhoundiyal in this book that there would not be more than hundred folk songs in Garhwal in Garhwal meant for children because they did forget that each mother creates songs for her child and that song does not come on the surface as millions of Bajuband Garhwali poems do not come out of the village. This author and his fellows of Jaspur Dhangu had created many folk songs in their childhood in home, in jungle or in traveling. But these songs were of short lived and limited to them only for one day. However, this author appreciates the step of Nand Kishor and Manorama for their efforts in collecting and editing the folk poems which are dying from Garhwal due to fast changes in the society.

Dhoundiyal due first explain the process of child coming in contact of different kinds of poetries in his life span from the birth to marriage. They also classified Garhwali folk songs for children into following categories:
1-Lullby Folk Songs: Nand Kishor Dhoundiyal and Manorama Dhoundiyal provided only three examples of such poems
One poem is as :

Inda binda ravan jholi gheeya kamoli
Yeka kapal par ghyu dhudha ko patak binda

2-Indistinct and meaningless Songs: The child creates such types of songs and such songs are neither collected by parents or learned persons as Dhoundiyal due. An example of indistinct song is as:

Atangan patangan chhai chhai chhatangan kakad vekad jhalya baud a a a
There are four songs in this collection. This author is confident that each Garhwali child of Garhwal creates more than fifty such poems in his childhood. The reason is that many times, being alone, in jungle as shepherd, filed, bringing water from water source, or another time, the child creates such indistinct poems for removing boredom or many times removing fear.
3-Songs for expansion of language knowledge: The writers provided examples of four songs in this category. One example is as :

Kumbha rani kumbha rani
Kumbha ranin muso mari

4- Songs related to learning Alphabets : The authors presented nine poems related to alphabets learning . Here also Bhishma Kukreti states that each village has creators who create different types of poems for children that children learn alphabets
5- Songs related to numbers and arithmetic: Nand Kishor and Manorama presented only seven poems related to learning numbers and arithmetic. Here, the writers contradicted their own statement that Garhwali language would not have more than hundred folk songs for children. In this chapter, both authors say that there are songs related to learning weight measurements -as ser, chhtang, rati, or astrological numbers, many types of measurements and so on.
6- Songs of farms, jungle etc: Manorama and Nand Kishor presented us six songs which are sung in many types of works and work places.
7- Songs of entertainment : These songs are humorous and entertaining. There are eight such songs in this book
8- Songs related to children games/sports: Dhoundiyals collected nine songs related to sport/games of children
9- Songs related to birds and animals: Dr Nand Kishor Dhoundiyal and Dr Manorama Dhoundiyal three songs related to birds and animals of Garhwal.
10-Misclenious Folk Songs for Children: Manorama and Nand Kishor make available three songs which are milieus of nature.
11- Songs taken from other languages as they are: Due to floating population and dual migrating tendency , Garhwalis have also taken songs for children from other languages -Hindi, Braj, Awadhi etc. There are four such songs in this collection ‘ Garhwali BalLokgeet’.
Dr Nand Kishor and Dr Manorama also explained each types of songs for children from many angles .
The songs are in simple words understandable to children, which show the expertise of creator as children psychologist.
This volume is definitely a treasurer for the society and folk literature lovers. This author congratulate husband wife Nand Kishor and Manorama for their efforts in collecting, editing and publishing a well needed book
The migrated Garhwalis should buy this book for their children learning Garhwali

Garhwali Bal LokGeet
Dhad Prakashan
74 Anew Connaught Place
Dehradun
dhadprakashan@yahoo.in

Price paper back-Rs 50.00
Hard cover: Rs100.00

Copyright @ Bhishma Kukreti, Mumbai, India 2009

History of Garhwali, Kumaoni, Himalayan Literature

Neeta Kukreti : The Garhwali poetess of Bramasa , Praising Garhwal and Creating Imagery Poems
Bhishma Kukreti

Neeta Kukreti published more than 150 poems in Garhwali language . She is specialist of creating poems for praising geographical beauty, cultural supremacy, peaceful but industrious and honesty oriented social structure of rural Garhwal, narrating seasons in tune of folk songs-Baramasha.
Neta was born on 7th September 1952 in Narendra Nagar Tihri Garhwal. From father’s sir name, she is Kala and belongs to famous village of Garhwal -Sumadi. She is married to Shri H. Kukreti of village Gweel , Malla Dhangu Pauri Garhwal.
After completing post graduation in Economics and Political Science and passing M.Ed., Neeta Kukreti joined Guru Ram rai Inter College Shubuta , Dehradun as teacher and now Neeta is principle of the same college.
Neeta Kukreti is also Sangeet Prabhakar a diploma holder in music.
Neeta Kukreti had been writing Garhwali poems from her young age and publishing them in various regional periodicals . Neeta published more than 150 Garhwali language poems and Akashvani Nazibabad has been relaying her Garhwali language pomes regularly from 1979.
Neeta Kukreti contributed Garhwali literature too by publishing more than fifteen thought provoking articles in various magazines and newspapers.
Neeta has created poems on various subjects pertaining to Garhwal and Garhwalis . Her area of expertise of Garhwali poem creation is high praise for Garhwal, Garhwalis and geographical beauty of Garhwal . Neeta sees god in a small round stone of Ganga river. She narrates the season of Garhwal, Himalaya very effectively for making beautiful images in the reader’s mind.
Sarag ko gagdat gadinyun ko sarsarat
Udas parani ni manand ….
..
Mi khudenu chhaun
Neeta is expert of relating season and seasonal changes with the human emotions. Neeta Kukreti uses common and self created symbols of Garhwal and Garhwali for connecting seasons with various human emotions and pleasures/sadness.
There is one eighty degree changes in Garhwal for the sake of development and Neeta also points out those wrong ways of developing rural Garhwal by non-sensitive and ignorant authorities who are unaware of reality of Garhwal and its geographical bases. Many of her poems are related to frustrations about the indifferent thinking for Garhwal by Uttar Pradesh government authorities , Definitely such pomes are in support of separate Uttarakhand movement.
Neeta does not do much experiments in terms of form and style but does not stick to conventional ways of creating Garhwali poems. She opts balance way of form and style in Garhwali poem creation.
The language and words are simple in her poetry to connect the poems with the hearts of readers easily.
Conclusively, Neeta Kukreti is praised for her Prakritivad (describing natural beauty and season of Garhwal) in Garhwali language poem creation

Copyright @ Bhishma Kukreti, Mumbai, India, 2009

Critical History of Garhwali , Kumaoni, Himalayan Literature

Mahesh Tiwadi : A Poet , Singer, and a Composer
Bhishma Kukreti

Mahesh Tiwadi had been a prominent figure of composing music for Garhwali plays staged between eighties and twenties in Delhi . However, Mahesh Tiwadi was also a poet and his poems are emotional, melodious, with realism and many poems are so provocative that the readers feel restlessness. Most of his poems are in tune of Geet style . Mahesh used pure Garhwali words and avoided to use Hindi words in his poems.
Mahesh Tiwadi was born in a Himalayan village Pokhari, Patti Sitounsyun of British Garhwal (Pauri Garhwal) in 1943. Mahesh Tiwadi got music and lyric training from Dharni Dhar Chandola the famous Garhwali music director, innovator of music instrument -Vichitra Bela and a painter.
The people never forget the services of Mahesh Tiwadi for providing music to tens of Garhwali dramas and cultural programs as Ardhgrameshwar , Lati ko Byau, Dyur Bhauj staged in Delhi, Lucknow, Kanpur Mumbai etc. Akashvani relayed many musical programs and poems of Mahesh Tiwadi . Mahesh worked with Akashvani till his death on 14th December 1997. Mahesh tiwadi had been a very famous poet of Garhwali Kvisammelans too .
Mahesh Tiwadi created many Garhwali Geet for cultural programs and Garhwali plays. Mahesh wrote more than hundred poems but he could never publish his geet and poems in his life time . However, Garhwali Sahitya Parishad Kanpur published fiftee three poems of Mahesh Tiwadi by the name ‘Vedi Ma ka Vachan’.
Mahesh Tiwadi created poems of varied subjects as ruining of villages due to migration, fast declining of the cultural values and idealism in he society, destruction of natural environment ,geographical beauty of Garhwal , inspiriting poems, Uttarakhand separate state movement, relationship -importance and reality of breaking the old culture about relationship. Mahesh always, tried to be near realism and avoided unnecessary intellectual fantasy creation his poems.
His poem about Ganga is an example of his innovative thinking and creating provocation through realism in life. Most of Garhwali and even Hindi/Sanskrit poets of Garhwal or elsewhere praised reverend rive Ganga but Mahesh revealed a new aspect of Ganga for Garhwalis

aryaun ku lagai hola tin amrit ki dhara ssss
Bhag ma hamari aini tera dhunga ar gara sssss
Tu che bal s matami kilai boli hola badon
Kya kam aun hamari , bol tera ganglwadan sssss

The poet says that though Ganga have been eternal river for Aryans , Ganga have been a reverend river , Ganga have been a source of water for half of Northern and eastern India but for Garhwal, Ganga is worthless and provide stones and stones.
Mahesh also took clue from exclusive style and subject of Garhwali folk song Baramsa and wrote poems on those lines too.

baudi aigen chait ki chaitwali, dalyun uli gen general
Bhiti bhorin fyunli ka fulun, dandi mauli gen bugyal

His style is limited to Geet and melody has been the primary objective of Mahesh Tiwadi. In a couple of case, Mahesh seems be influenced by Expressionism but most of his poems are influenced by realism . Mahesh Tiwadi never avoided hum in his poetry to make them melodious.
Mahesh is the master of creating emotions , pathos, love in the reader’s mind and narrating geographical beauty of Garhwal.

Copyright @ Bhishma Kukreti, Mumbai , India, 2009

History of Garhwali, Kumaoni, Himalayan Literature

Kamal Sahityalankar : A Garhwali Language Poet of Nature and Inspiration
Bhishma Kukreti

Kamal Sahityalankar is prominent signature in Hindi poetry world and critics as Ram Chandra Shukla , Mahaveer Prasad Dwivedi, dr Vasudev Sharan Agarwal, Dr Pitamber datt Barthwal, Babu Shyam Sundar Das , Babu Gulabrai praised for his geographical nature oriented and directive poems . However, Kaml Sahityalankar wrote more than hundred poems in Garhwali language . Kamal Sahityalankar is famous for using Salani dialects, memorizing geographical beauty of Garhwal and writing inspirational or directive poems in Garhwali language.
Kamal Ghansala ‘Sahityalankar’ was born on 15th May 1909 in a Himalayan village Hali, Patti Talai , Salan Pauri Garhwal. Kamal got educational degree of Intermediate, Madhyama, Sahiyashashtri, Kavya Manishi and Sahityalankar from Pauri Garhwali, Punjab, Uttar Pradesh and Bihar .Initially, he worked in Queta (now in Pakistan), shifted to Delhi after independence, and retired from All India Radio.
Kamal Sahityalankar published his poems in various regional periodicals and published his collection of poems book ‘ Swar Mandakini’ (1982). All India Radio also relayed Garhwali poems of Kamal Ghansala Sahityalankar .
The Garhwali poems of Kamal Sahityalankar are related to describing the natural beauty of Garhwal, patriotism, providing direction to next generation. Kamal used symbolic words , create imagery in the mind of readers, used metaphor in praising Garhwal region. Many poems of Kamal Sahityalankar are symbolic too

Mi thain jalam bhumi teri khud lagdi bhair
Sadani yad aundi dialam jun jani pyari
In many poems he tries to use ham
Saujadyaon (ahaha )
Mi gadhali chhaun
Min badi kandali khaya
Mattha milaik chhanch khaya
This is one example of his directive poem
Nati nantan put santan
Pet bhori khayan

This is one example of his description of natural beauty of Garhwal:

Yun laya ka phool ma jab
Lay hwai jand man myaro
Tab yunka sankyun fankyun ma
Darshan pando me tyaro

Kamal Sahityalankar is no more with us.

Copyright @ Bhishma Kukreti, Mumbai, India, 2009

Girish Sundriyal : A Modern Garhwali Geet Creator

(A Review of Garhwali, Kumaoni, Himalayan Literature)
Bhishma Kukreti

Madan Duklan the editor of Hamari Chitthi says that Girish Sundriyal is the strong pillar of contemporary Garhwali poetry and representative of new generation. Girish Sundriyal deals with various subjects in his poetries and does many experiments in poetic form and style. Girish is called the expert of using ornamental Garhwali poetry and marvelously uses metaphors, simile and onomatopoeia in his poetic version.
Girish Sundriyal was born in May, 1968 in Churedgaun, Ringwadsyun Patti of Pauri Garhwal, Himalaya. Sundriyal is M.A in English, Hindi and Sanskrit . Sundriyal is lecturer in Garhwal, Himalaya.
Girish Sundriyal started publishing his poems from his early youth and published his Garhwali poems in periodicals as Hilans, Dhad, Chitthi Patri, Hamari Chitthi, Sahara, Nav Bharat Times, Samy Saxi, Though, Girish has written essays and stories in Garhwali but he is identified and respected for his Garhwali Geet. Girish is also appreciated to pull the crowds in Garhwali Kavi Sammelan across all cities of India.
So far, Girish Sundriyal published two volumes of collections of Garhwali language poetries - Anwar (2006) and Maulyar ( 2008). Both collections of Garhwali language poetries are marvelous pieces of world literature . There are seventy two poems in Anwar and fifty two poems in Maulyar .All poems are of different subjects of rural Garhwal and different moods of society and the poet too. The Garhwali language critics as Madan Duklan and Bhishma Kukreti positions Girish Sundriyal among Andrei Codrescu , Russell Edson and Maxine Chernoff for surrealism, Gwendolyn Brooks, Maya Angelou e,Detric Hughes, Lyn Hejilinian , Ron Silliman , Bob Perelman, Adrianne Rich, Jean Valentine, L Ephemere , Andre du Bauchet, Jaques Duplin,Ezra Pound, William Carlos Williams, George Oppen, Tahnasis Athanasious, Dimitris Lyacos, Alaxis Stamatis, Antonis Fostieris , Cesare Pavese, Giuseppe Ungaretti , Eric Mottram, Simon Armitage , Kathleen, Jamie , Jacob Polly, Perdika Press in terms of bringing modernity, doing experiments, multicultural poetries etc.
The poems of Girish Sundriyal are also translated in English . The specialty of poems of Girish are that they are melodious and with simple, understandable wordings . Girish Sundriyal never hesitates in doing experiments with Garhwali poetry creation but never leaves melody. Sundriyal wrote Gazals in Garhwali too and he is effective making much bigger picture by few words.
Madan Duklan surmises about poetries of Girish Sundriyal, “ the songs of Shri Girish are adorned with metaphor, simile and onomatopoeias etc. His love songs are the matchlessly creative, .it can rightly be said that Girish Sundriyal is the master of the love song maker of this century . The folk colour and lure of Garhwal, Himalaya are preserved in his heart, that is why he is able to create such marvelous and wonderful songs--

She has tolen my youth
By squeezing it out of life
Now stricken by love she hums within…”

Copyright@ Bhishma Kukreti, Mumbai, India, 2009

Spiritual and Philosophical Literature in Garhwali Language

Spiritual and Philosophical Literature in Garhwali Language
Bhishma Kukreti

Whenever there will be talk, discussion of philosophical literature or spiritual literature in Garhwal or Garhwali, Dhol sagar will be first chapter , which has to be discussed first. However, there is least knowledge about the importance and reality of Dhol Sagar among Garhwalis. Garhwalis think that Dhol Sagar is related and for Auju or Das caste. In fact, Dhol Sagar and other such literature is our real heritage of spiritualism, philosophical concept, the height of our religious thinking. Since, Dhol-Sagar and suc literature was sung and protected by Auji society, less attention was given to these marvelous pieces of oral literature, which is more than thousand years available literature in Garhwali and of Garhwal.
The Dhol Sagar is about the talk or discussion between lord Shiva and his wife Parvati about origin of galaxy and pain of human beings as is in Vigyan Bhairav
Parvati--are auji nahi sas nahi as
Nahin giri nahin kavilas
Sarvat dhund dhundkaram
Tai din ki utpati boli de
Shivji---hami onkar tain dhaudhokar
Nad-bund hami kvato, hami binto
Narakar nirnkar hamro naun
Nirakar te sakar sristi rachi lei
Rachi lei naukhand prithavi
You all will be surprised that Dhol Sagar contains the following subjects

1- The creation and concept of this galaxy
2-The creation of seven continents and nine main regions of the earth
3- Solar system and galaxy
4-Sixteen types of decoration, make up or Shrigar
5- Thirty two types of jewels and jewelries
6- Forty six types of Ragas or musical modes
7-Thirty six types of Raganiyan or transformation of musical modes
8-36 Musical Instruments
9-The chronological development of life and biological progression in this world
10-Sanyas and how to take it
11- Explanation of Yoga
12-Tal and their importance in our life

Dhol Sagar is nothing but expansion of Samved, the extract of philosophies of all Shat Darshan (Six Hindu Philosophies- Two Mimansa or Vedant Darshan, Vaishishiki, Nyayashastra, Shankhyaki, Patanjali’s Yogasamhita ), Upnishads, Gorakhvani, Nad-Bhairav, Vigyan Bhairav. Gorakhvani or the preaching of Guru Gorakhnath is the main source of creation of Dhol Sagar and other such oral literature
Since, there is description of music and musical instruments and make up science in this philosophical science, the modern Garhwalis did not write much about it and never did any attempt to popularize Dhol Sagar out of Garhwali societies except some references provided by Mohan Babulkar, Abodh Bandhu Bahuguna , madna Chandra Bhatt, Dr Shanti Prasad Chandola.

Keshav Anuragi is called the main source of bringing Dhol Sagar in lime light among Intellectuals of Garhwal and other societies. Dr Vishsnu Datt Kukreti is called the master of Dhol Sagar and other such literature. Recently, Recently, in Shailvani Kotdwara, Vijay Das has written in details about Dhol Sagar and other such Garhwal’s original philosophical oral literature.

Uttam Das of Savali Tihri is progressing marvelously for popularizing Dhol Sagar .
Apart from Dhol Sagar, following oral philosophical , spiritual manuscripts of Garhwal in Garhwali language of past are also discovered by researchers as Dr Vishnu Datt Kukreti:

1- Dhol Sagar
2- Damau Sagar
3-Ukhail
4-Bairi Binash
5- Jogeshwari Sakhi
6-Ghat Staphana
7-Nadbud
8-Chaudiyabeer Masan
9-Samain
10-Indrajal
11-Kamrup jap
12-Saidwali
13-Mahavidya
14-Narsingh ki Chauki
15-Ath Hanmant
16- Bhairavali
17-Narsingwali
18-Chhidrawali
19- Anchharwali
20-Mochwali
21- Rakhwali
22-Maimda Rakhwali
23-Kali Rakhwali
24-Kalua Rakhvali
25-Dain Rakhwali
26-Jur Todi archival
27-Mantrawali
28-Fodibayali
29-Kurmastak
30-Ganit Prakash
31-Sankracharj bidhi
32-Dariyau
33-Olyachar
34-Bhavuna Beer
35-Mantra Goril kai
36-Panchmukhi Hanuman
37-Bhairvastak
38-Dadiya Mantra
39-Saub Jadu Ukhel
40-Sabdiyan
41-Ap Raksha
42-Chudamantra
43-Chudail ko Mantar
44-Dakhan Disha
45-Lochda ki Baidai
46-Hauri mantar
47- Guru Paduka
48-Shrinath ko Suklesh
49-Nath nighantu
50-Daint sanghar

Dr Vishnu Datt Kukreti proved that these types of literature was available in Garhwal before year 750AD .
An example of such spiritual and philosophical prose is :
om namoh guru ko juhar
Vidya ku namsakar
Kala kalua, kali rati
Toi hankaro re kalua adi raati
Hatai gosa ko deemad leejai
Turant mero kaj kari deejai
Mero satur bairi ko mush baithi
Charai hat paun bantho
Nali gali ko bantho

Copyright @ Bhishma Kukreti, Mumbai, India 2009.

Critical History of Garhwali, Himalayan literature

Nityanand Maithani as a Garhwali Language Poet
Bhishma Kukreti

Nityanand Maithani is a prominent figure in Garhwali literature for his contribution in Radio plays, Radio essays , dramas, translations . Apart from writing novel in Garhwali, Nityanand Maithani wrote poetries in Garhwali language too. His poetries deal with different subjects related to rural Garhwal and emigrant Garhwalis scattered across India. Nityanand Maithani is famous for avoiding Hindi words in his Garhwali language poetries and he got appreciation for his describing nature, season, day to day life of Garhwal in his poetries.

Nityanand Maithani was born on 10th November, 1934 in Shrinagar, Pauri Garhwal, Uttarakhand. His inclination towards music brought him to All India radio and he served in various centers of All India Radio. His transfer to Naziabad center of All India Radio became blessing for Garhwali language . Nityanand Maithani started many programs in Garhwali language from All India Radio Nazibabad relay centre.
Nityanand Maithani wrote tens of poems in Garhwali. Latu Gunduru, Ramdei, Ko chu Bal Va’, Mayedi aj Des Vikral are his famous and well heard Garhwali language poems. Using metaphors , memoir , pure Garhwali words , describing the contemporary life style of Garhwal and comparing with the past , personification of animals and plants are some specific specialty of Maithani . The poems are melodious and seemed to be not written by an intellectual but by a common man . Nityanand Maithani is popular poet of Kavi Sammelan too because of his simple wordings, perfect and understandable figure of speech, common symbols and imagery wordings in his poems.
Chhota ma dekhi chhau twai he ramdei
Ab ni chhai kakh chai batau he ramdei

Dhoti theglya chirin angadi tutin dhagula
Thainch bujnani khosi-mausi chhai ramdei

Copyright @ Bhishma Kukreti, Mumbai, India.2009.

परसी ओंकी चिटटी आइ

परसी ओंकी चिटटी आइ, कि रुडियों माँ मिन घौर औन.
मि त हकोदक छुं, कि ऊकु मिन क्या जू खिलोन.
सावन औंदा भादो औंदा, काखड़ी मुंगरी खे कि जांदा.
सायद च कि नौकरी छूटी, घौर नि औंदा त कख दी जांदा.

ब्यो से पैली खबर छे , कि नौनु बडू होसियार च.
थोड़ा भौत बिग्दियों छो, पर अब त कमोदर च
एनु लेगी द्यो जब ह्वेगी ब्यो, खीसा उंका झाडे गेनि.
रूप्या पेंसा जुलम बात, खीसा भी मिन फत्या पैनी.

लोक्हू भाग्यनु चा, चीनी,चोणी, मिठे लती कपरी.
चूडी, झुमकी, धोति साड़ी जरा दगड़ा माँ नरयूले कत्री.
छट, छटकि जिकुड़ी मेरी, जनि ओंकू झोला खोळी.
अपड़ी लती कपरी, धेरी, अर् मीकू थें मुन्डारे गोळी.

इना देसी चूले त नौंना अपड़ा हौल सिखा.
झूठ मूठे चलक फलक, बेटी वालू थें ना दिखा.
घौर बोण, साळी, खरक, पुन्गीरियों माँ हौल त लगली.
कभी इन आस त रौली कि आज रोटी बणी मिलली.


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