CHAPTER – II REVIEW OF LITERATURE Garhwali folk songs and heartly music is basically related to the various festivals, folk stories and simple life of people in Uttarakhand. Many singers and music listeners expressed their feelings by saying that Garhwali lok geets are god gifted. Garhwali folk songs have natural melody. It comes from the bottom of heart. Garhwali folk songs are always praised and loved by all Indians. Even Garhwali culture, art and music are the attraction of pilgrims in Uttarakhand. Number of people has done research on Garhwali folk literature but not in Translating Garhwali Folk Songs in a form of English Poetry with Relevant Information. Even though without reference of Dr. Nautiyal Ji book “Garhwal Ka Lok Sangeet aur Vadya” as well as ‘Khuded’ geet. My research work may be half done. A versatile and rerest personality of Indian politics, Shiva Nand Nautiyal was born in 1936 in a remote village Kothala, Patti-Walla Kandarsyun, Pauri Garhwal, Uttarakhand. After completing post graduation Shiva Nand Nautiyal became teacher in Assam. However, because of ill health he settled in Delhi and started his own weekly news paper Shailodaya. Dr. Shiva Nand Nautiyal is famous for his voice for hill districts of
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CHAPTER – II
REVIEW OF LITERATURE
Garhwali folk songs and heartly music is basically related to
the various festivals, folk stories and simple life of people in
Uttarakhand. Many singers and music listeners expressed
their feelings by saying that Garhwali lok geets are god
gifted. Garhwali folk songs have natural melody. It comes
from the bottom of heart. Garhwali folk songs are always
praised and loved by all Indians. Even Garhwali culture, art
and music are the attraction of pilgrims in Uttarakhand.
Number of people has done research on Garhwali folk
literature but not in Translating Garhwali Folk Songs in a
form of English Poetry with Relevant Information. Even
though without reference of Dr. Nautiyal Ji book “Garhwal
Ka Lok Sangeet aur Vadya” as well as ‘Khuded’ geet. My
research work may be half done. A versatile and rerest
personality of Indian politics, Shiva Nand Nautiyal was born
in 1936 in a remote village Kothala, Patti-Walla Kandarsyun,
Pauri Garhwal, Uttarakhand. After completing post
graduation Shiva Nand Nautiyal became teacher in Assam.
However, because of ill health he settled in Delhi and started
his own weekly news paper Shailodaya. Dr. Shiva Nand
Nautiyal is famous for his voice for hill districts of
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Uttarakhand. His famous wordings after Uttar Pradesh
government created a separate department of ministry that is
Parvatiya Vikash Mantralay, “Pahado ko Jhun jhuna Pakada
Diya UP government handed over a playing toy child” made
him the hero in the heart of people of Garhwal and Kumaun
regions. People of Karanprayag elected him as independent
legislator. He was also minister for higher education in Uttar
Pradesh government. He was very honest politician and a
politician for common man.
He is remembered not as a politician of Uttarakhand but he is
acclaimed as the scholar, researcher of high order in the field
of Folk Literature of Uttarakhand. Without his reference, we
cannot think research on Folk Literature of Uttarakhand. He
collected folk songs, folklores, folk stories , folk dances, folk
musical instruments and folk tones of Uttarakhand and
published his researches with logical analysis. He had
published the following books on folk literature of
Uttarakhand. Dr. Nautiyal wrote many articles in Garhwali.
His drama in Garhwali language Baun ka Phool, stories as
Chandra Devi, Pagal, he Jagdish, Daini hwai ja, seli ag were
appreciated very much by Abodh Bandhu Bahuguna for his
realism, storytelling capability and using pure Garhwali
words. His novel “Karj Ko Byau” still is unpublished. There
are some , books published which are related to Garhwali
Folk Songs and culture such as: Garhwal ke Lok manas
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(1979), Garhwal ke Nritya (1974), Badrinath Kedarnath Yatra
Darshan (1988), Garhwal ke Lokgeet (1964), Garhwal ke
Khuded Geet (1965), Garhwali Baramasha (1965),
Tapobhumi Garhwal (1988), Uttarakhand ki Jan Jatiyan
(1991) etc. Even ‘Garhwal ke Loknritya’- Geet is a
comprehensive book, written in 680 pages about Garhwali
folk songs. Uttar Pradesh government awarded Garhwali ke
OLoknritya geet book by Hajari Prasad Puruskar. All greate
Garhwali writers appreciated Dr. Nautiyal for his contribution
on folk cultural, art, music of Garhawal and Kumaon. Dr.
Nautiyal expressed the means of music which are generally
used in folk songs. He published his researches with logical
analysis. He portrayed the various aspect of life of Garhwali
people through his folk songs. Dr. Nautiyal analyzed each
song and classified each song according to the principles of
music. He provided the symbols or signs of Sa, Re, Ga, Ma,
Pa, ….. of musical measures for each song. He also analyzed
of folk songs on the basis of Poetic Principles. In the chapter
of Kavya Sashtriya Adhyan the profound analyzer of folk
dance and song Dr. Shivanand Nautiyal classified, evaluated
the songs on the basis of poetic principles. Inspiration for
creating folk songs, Nautiyal credits nature, attractive
geographical variances and human beauties of varied Indian
cultures and becoming exclusive Uttarakhand Garhwali
culture for creating of such songs and dances. Rasyojana
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(Raptures) : Dr. Shivanand Nautiyal classified the
Uttarakhand Garhwali folk songs from the angle of raptures
of Bharat’s Natyashashtra and added two more raptures.
Those raptures are rapture of love (meeting, conjunction and
separation) rapture of chivalry, rapture of wonder, rapture of
wrath, rapture of pathos, rapture of fear, rapture of natural
beauty , rapture of progeny , rapture of love and dedication to
parents.
Alankar Yojana (structure by figure of speech ): the learned
Nautiyal reviewed Uttarakhand – Garhwali folk songs on the
basis of following figures of speech and other poetic
Pustakam, Govind Prasad Ghildyal the first Garhwali writer
etc. Das Saley khabar Sar is a collection of 40 articles
published in 1999. It is very rich collection of Garhwali
language articles. It is an historical and appreciable work of
Vimal Negi. Much work has been done on Garhwali folk
songs and lokgeet in this regard.
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The article “Gagar Maa Sagar Vala Chhan Garhwali Bhasha
Ka Shabd” published under the collection of Das Saley. The
collector and surveyor of more than 7000 provers in Garhwali
language, Pushkar Singh Kandari provided intellectual and
logical proofs that Garhwali is the only language in the
world, which has more than 7000 proverbs. In this article, he
recasts that Garhwali has words for each meaning in this
world.
Dhanga Se Sakshyatkar, a poety colletionof Netra Singh
Aswal in Garhwali language, is one of the mile stones in
Garhwali poetic world. The author wanted to write review on
this poetry collection but when he read this commentary of
Rajendra Dhashmana, he felt that it is better if he translates
the same in English instead of writing a fresh one. This
review is an intelligent and precise commentary on Garhwali
language. Garhwali poems exist to be known since 1850.
Later on, getting inspired by Hindi movement, various
Garhwali poets started creating poems on the line of Hindi
poems. The Garhwali poets used all the poetic styles and
figure of speech of Sanskrit and Hindi. Usually, garhwali
verse creators who worked more on the form of poetry were
called great poets of that time.
It is also found that barring a couple of Garhwali words,
the words were of Hindi. This situation of copying style,
form, wordings, gigure of speeches from Hindi and Sanskrit
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was never found in Garhwali folk songs or folklores or rarely
established. Garhwali folk songs and folklores were original
in form, style and subject. Copying form, style, poetic styles
from outside, the garhwali poems could not get originality nor
could attract the readers due to lacking of garhwalism or
Garhwali taste. Garhwali poets started creating Garhwali
poems since 1850, people enjoy the verses of Chandramohan
Raturi in his collections of poetry “Devva, Virah Basant
Vilap” published in the beginning of twentieth century.
Taradutt Gairola once said that Raturi is Keats of Garhwali
poetry.
Pandit Satyasharan Raturi and Atmaran Gairola were also the
toop most Garhwali poets of that time. These poets criticized
unwanted social customs, selfishness, and poverty in their
poems. Poems as ‘Suryodaya, Betuli, and Panchhi, Panichak
of Atmaram gairola were very popular poems of his time.
Since, these poets were well acquainted with Sanskrit,
English and Hindi their way of writing poems and use of style
were very similar to the poets of these languages.
Another article published in Das Saley under the title
‘Garhwali Kavita ki Jeewan Yatra’. In this article, Dr. Nand
Kishor Dhoundiyal briefs about the start and slow
development of Garhwali poetry. He stresses that Garhwali is
the daughter of language of Vedas. Garhwali originates from
prose version of Vedas. He provides proofs of dag utarano
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mantra, rakhwali and analogical similarity with Sanskrit and
jagar gathas etc.
Garhwali lok geetun ko alikhit sahitya bhandar is a
wonderful article which is totally based on Garhwali folk
songs. In this article, famous poet of Singh Nad describes
various aspects of life through his folk songs. Singh reviews
the initiating poems and poets of Garhwali, importance of
collection and publishing of Garhwali folk songs.
Bhagwati Prasad Nautiyal is encyclopedia of Garhwali
literature and here , he provides the examples of those who
did not forget their language in migration too, as Gabar Sing
Bisht in Panjab, Shridhar Prasad , and Vimal Pokhriyal. In
the article ‘apdi bhasha aur Sanskrit tain jeevit rakhan holu’,
he suggested that everyone should have proud of their
language .He passes the message to every Garhwali, if
anybody want to know culture and heritage, learn Garhwali
language. For the improvement of Garhwali folk songs the
“Ghughuti team” which is an organization of Garhwali
culture is trying to inculcate the Garhwali folk songs. The
Ghughuti team provides a Magazine written in Garhwali. It
gives a platform for the young generation who can write
poems and articles and folk songs. Ghughuti team also
organized stage program in various places in Uttarakhand as
well as in various parts of the country.
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There are number of Garhwali folk songs written or sung by
men, women and children. Many articles are also written on
this burning topic Chipko Movement. The Himalayan region
had always been exploited for its natural wealth, minerals and
timber. The end of the nineteenth century, it has been
observed that most of the Himalayan ranges became naked.
The trees were used for the commercial purposes. But in the
same way it spoiled the evergreen environment. The pathetic
conditions of the forest, trees, vallys etc. are frequently
portrayed in the Garhwali folk songs such as ‘dala na kata
chucho dala na kata’ by Narender Singh Negi.
Generally the word “Chipko” is derived from the Hindi
dialect meaning by “to stick” or “to hug”. Garhwali women
were the first who started Chipko Movement in the region of
garhwal. This movement was a social and non violent
movement. The aim of the movement was to protect trees
from destroying and to maintain the environment. With the
help of Garhwali folk songs, Garhwali women make aware to
every villager to protect the trees.
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The innocent villagers whose livelihood is forest always
protect, pray and love them by hreart. They can’t see anyone
destroying their property. They hug the trees if anybody
approaches to cut them. Chipko movement was based on the
Gandhian philosophy of peaceful resistance to achieve the
goals. It was the strong uprising against those people who
were destroying the natural resources of the forests and
disturbing the whole ecological balance.The Chipko
movement,though primarily a livelihood protection
movement rather than a forest conservation movement, went
on to become a rallying point for many future
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environmentalists. It was a great surprise to every Indian that Garhwali women only opened the eyes of the environmentalists. It was a peaceful movement. They love the trees like their children and taught everyone how to tend the trees and forest. Garhwali women challenged the government and objected from cutting and auctioned off the trees in Chamoli garhwal. Number of trees were protected by the women.
Chipko empowered women to change their world. In the
same way folk songs became a part of women who use to
sing frequently.
Women reciting group song based on protection of trees.
Garhwali women played an enchanted role to divert the mind
of the government towards the protection of trees. Among the
women, Gaura Devi the head of the Mahila Mangal Dal led
27 women in the Reni (village) Forest and protects the trees
from being felled. Around forty years ago the movement of
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Chipko started by some women from Reni village. They draw
attention of everybody towards the Himalayas future. Since
then, the Chipko Movement, groups of activists protecting
their trees, has spread across country. Today there are number
of folk songs are written to aware the people. Even children
also acts on protection of trees. It becomes a part of literature.
An active protest, the Chipko Movement put themselves
between their beloved trees and the axe threatening to cut
them down. Everyone by now knows about the chipko
movement. But many know about the women of the
Uttarakhand region who have made it their lifetime mission to
leave undestroyed forests for their children and
grandchildren.
Sunderlal Bahuguna.
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The great social worker Mr. Sunderlal Bahuguna passess the
message to every human being that without evergreen forest
we may not be able to maintain our environment. In this
respect many plays were acted, folk songs were sung, several
competitions were conducted. 1983, Sunderlal Bahuguna
travelled 5000 km across the Himalayas spreading the
message of the Chipkos.
Today chipko movement could be heard in the Garhwali folk
songs. Some books are written on Chipko movement in a
form of story while few poets write folk songs.
Jagigyan hum beejigyan hum; Ab ni chalali choron ki
Ghor apuna, baun apuna; ab ni chalali auron ki
(We have risen, we are awake; No lopnger will thiefs rule our destiny
It is our home, our forests; no longer will the others decide for us)
Maatu hamru, paani hamru, hamra hi chaan yi baun bhi
Pitron na lagai baun, hamunahi ta bachon bhi
(soil ours, water ours, ours are these forests too
Our forefathers raised these, it is we who must protect these too)
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The famous Garhwali folk songs’ writer and singer Mr.
Narender Singh Negi tried to aware the people about the
deteriorating trees and the environment with the help of his
beautiful folk songs.
1. Na kata tyoun dalyoun
Daala na kata chucho daala na kata
Daali katali ta mati bagali
Mati bagali ta koodi na pungadi bachali
ghas – lakhara na kheti roli, bhoul ta aas aulad kya kholi
dhar mangara pandera sukhala ------------
sainta taun dalyoun tain nouna jani , palyaa taun dalaun tain aulad jaani
(do not cut the trees , don’t cut the beautiful trees. If you will
cut the trees the soil will flow and then neither the houses nor
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the fields will remain. There will be no grass, woods and
fields and so the coming generation will be in hunger. So love
the trees. Give birth more trees and save them with tender