Classification of folk dance song of Uttarakhand Garhwal – 4
["गढ़वाल के लोक नृत्य गीत" डॉ शिवानन्द नौटियाल द्वारा लिखी हुई एक महत्वपूर्ण पुस्तक है। इसी पुस्तक की समीक्षा श्री भीष्म कुकरेती जी द्वारा की गयी है। इस पुस्तक समीक्षा को एक श्रंखला के रूप में प्रकाशित कर रहे हैं। इस श्रंखला के माध्यम से आप उत्तराखंड-गढ़वाल के सांस्क़ृतिक परिदृशय से भी परिचित होंगे।- प्रबंधक]
पहला भाग, दूसरा भाग, तीसरा भाग
Dr. Shiva Nand Nautiyal explains that though Pandaun and other dance-songs are very similar to dance-songs of Nagrja etc. but because apart from worshiping the deities and Devis, these dance-songs are more entertaining in nature, having more of community feeling acts. He segregates this type of dance-songs and excludes from dance-songs related to Nagraja, Nanda Jat etc.
In Pandaun Nachan (Pandava Dance ), there are a common factors all over Uttarakhand-Kumaun and Uttarakhand-Garhwal. The dance-song is performed in Mandan -a flat community place or country-yard- where hundreds of dancers perform and there is sufficient place for audience too. Pandav Nritya is performed any where in carnival, marriage procession or at festival time. When, pandav Nritya is performed, a campfire is arranged at the centre place of Mandan and dancers dance around the campfire.
Pandav dance-and songs are always, vibrant, with high order of enthusiasm, with chivalry, lyrical, inspirational and bring highest degree of community feeling
The Das (A community who plays musical instruments-Dhol Damau, Sinai and sing mangal too) first worship agni (fire), vastuk, and calls the deities-goddesses through Chauras Baja or Chauras tones for benefits of all. The das sings the stories of Mahbharat, which are adapted or transformed according to Uttarakhand-Garhwali-Uttarakhand-Kumauni habits and habitats and this story telling is called ‘ Pandoli’. The das also asks ‘Chal mangan’ means to request dancers for dancing in discipline way and as per the music, story, characters and emotions of the story.
The starting stanzas of Pandav dance-song after deity-goddess worship are :
Pargat hwai jan, pargat hwai jan, pargat hwai jan Kunti mata, pargat hawai jan rani dropata
Konti mata holi padon ki mata, nagon ko bister dedee, bhukon ko ann,
The story has all raptures and emotions -Chivalry, love, pathos, wrath, abhorrence, wonders, laughter, fear etc and make the dance-song attractive to all. There are following dance-songs or of Pandaun dance-songs:
B1-Kunti Baja Nritya-Geet : This dance-song is with full of tenderness, rapture of pathos and sadness of separation.The tone of musical instruments is “ Gija-Gijadi,Gija -Gijadi” .A song starts as
Pragat hwai jan pragat hwai jan, pragat hwai jan panch bhai pandaun
Kunti mata supni hwai ge tachhum tachhum, pandu ka saradh tain chand gaindo tachhum tachhum
B-2-Yudhistar Baja Nritya: The dance and tone of music is always peaceful, happiness, penance in Yudhister baja Nritya and the tone of music is “ Jaikta tu Jak, Jaikta Tak’, on which the dancers dance at one place and there is lowest kind of speed in the dance. The song is like:
Dharma ka khatir dharma baun geni, dharma ka kahtir taun kasha uthai
Dharma ka avtar hwai dharma yiddisher, jaun ki chhap podin cha sara sansar par
B-3-Bhim Baja Nritya: Bhim is synonym of enthusiasm, bravery, anger, wrath, fear to enemies, speed, wonder and the dance of Bhima Baja is full of rhythms speed, ups and downs, forwardness-backwardness , somehow free for dancers, full of laud chivalry cries of dancers. The tone of music is always fast as “ Gija Gijadi Ghinta, Gija Gijadi Ghinta” . The words are as :
Bala daini hwai jaini teri daini hwai jaini jodha tyari,
Partigya ka danI bala, sau man ki gada bala tyaro holu sau man ki dhal
B-4-Arjun Baja Nritya: Arjun is synonym of brevity, agility, wiseness, focus but always firm and courageous. However, anger when he knows the killing of his son Abhmanyu. The dance initiates slow, with tenderness, dancers perform their act by vibrating their heads according to story and musical tones. At the time of fight by Arjun, the dance becomes vibrant as of Bhim Baja Nritya. Arjun being the central hero of ‘Pandauni’, there tens of rhythms, styles, speeds, bodily performances of dancers, changes in musical tones and total atmosphere of Mandan. The main tone of music is “ Jaikta tu Jadak Jai na Tak .The example of words is:
Krishna ab paeechhe aige he arjun, dekhi taun he arjun, janto bar man vilap he arjun
Jaydrath tai mee mari dyonlu he arjun,nthar suraj duban par bhol he arjun, chita man pdalu he arjun
B-5-Nakul Baja Nritya: The dancers dance at low vibrancy level in Nakul Bjaja Nritya and dance evenly. The sound of Dhol-Damu (drumming) is “ Jaikta tu Jade”
B-6-Sahdev Nritya: The Sahdev Baja dance is sober and with tenderness. The tone or sound of Dhol is “ Tu Jadak Jaikta jai nat”
B-7 Abhumanyu Baja Nritya: The dance is combination of chivalry’s vibrancy when Abhimanyu fights with opponents in the story and pathos when Abhimany was killed by Kauravas.
B-8 Draupadi Bjaja Dance: The dance and performance is full of love, pathos, tenderness and chivalry too.
In Pandon dance the following aspects are important:
1-Mandan
2-Saron: When the Pandavas fight
3-Varta: The story telling by Das
4-Draupadi Chandon: When Draupadi comes in rage for killing the opponents.
Book Details
Uttarakhand-Garhwal Ke Lok Nritya Geet
By Dr Shiva Nand Nautiyal
Published by :
Hindi Sahitya Sammelan
Prayag, Allahabad, Uttarapradesh, India
Year of Publication : 1981
namaskar,mai ''uttarakhand k lok sangeetik vadyon ka vishleshnatmak adhyayan''vishay par reasarch kar raha hun .mujhe is sandarbh me adhikatam jankari chahie kripya meri madad karen.dhanyavad.