Pooja

Dedicated to
My Beloved Parents
And
Family
Copyright ©Institute of Agricultural Sciences,
Banaras Hindu University, Varanasi, INDIA (2012).
All rights reserved.
Contents
1. Introduction 1-10
2. Theoretical Orientation 11-15
3. Review of Literature 16-56
4. Research Methodology 57-67
5. Results and Discussion 68-169
6. Summary and Conclusion 170-179
 Bibliography i-xiii
 Appendix …..
 Paper Published …..
 Personal Profile 1
LIST OF TABLES
Table No. Description Page No.

RESEARCH METHODOLOGY
Table 4.1 Some important details of the Almora district 58
Table 4.2 Some important statistical details of Dwarahat block 59
Table: 4.3 Statistical details of selected villages 60
Table 4.4 Selected variables and their empirical measurement 62
RESULTS AND DISCUSSION
Table 5.1 Distribution of respondents based on sex 69
Table 5.2 Distribution of respondents based on caste 69
Table 5.3 Distribution of respondents based on education 70
Table 5.4 Distribution of respondents based on occupation of the 71
family
Table 5.5 Distribution of the respondents based on the type of 71
house
Table 5.6 Distribution of respondents based on annual income 72
Table 5.7 Distribution of respondents based on land holding 73
Table 5.8 distribution of the respondents according to the size of 73
family
Table 5.9 Distribution of respondents based on family type 74
Table 5.10 Distribution of respondents based on their social 74
participation
Table 5.11 Distribution of respondents based on frequency of Mass 75
media exposure
Table 5.1.12 Nature of Traditional folk media 161
Table 5.1.13 Themes of Traditional folk media 163
Table 5.1.13. Extent of use of Traditional folk media 164
LIST OF MAPS
Map No. 1 : Map of India
Map No. 2 : Map of Uttarakhand
Map No. 3 : Map of Almora
Map No. 4 : Map of Dwarahat Block

LIST OF FIGURES
Figure 5.1 Distribution of respondents based on sex
Figure 5.2 Distribution of respondents based on caste
Figure 5.3 Distribution of respondents based on education
Figure 5.4 Distribution of respondents based on occupation of the family
Figure 5.5 Distribution of the respondents based on the type of house
Figure 5.6 Distribution of respondents based on annual income
Figure 5.7 Distribution of respondents based on land holding
Figure 5.8 distribution of the respondents according to the size of family
Figure 5.9 Distribution of respondents based on family type
Figure 5.10 Distribution of respondents based on their social participation

Chapter I Introduction
“India is, the cradle of the human race, the birthplace of human
speech, the mother of history, the grandmother of legend, and the
great grand mother of tradition. Our most valuable and most
instructive materials in the history of man are treasured in India
only”. Mark Twain (The United States Educational Foundation in India).
India, as is well known, is a nation of diverse and divergent cultures and sub-
cultures, languages and dialects that run into several hundred, varied religions and
faiths. Out of 1027 million (102.7 crore) population of India, as per Census 2001,
742 million lie in rural areas and 285 million in urban areas, comprising of 72.2 per
cent and 27.8 per cent of the population, respectively. In India 40 types of languages
or dialects are prevalent.
The rural population is basically illiterate, traditional and shy in nature. The
transfer of messages is rutted in many modern ways, types and methods by
Government and corporate which is mostly one way. India has a rich culture and
heritage. The traditional media is of the people, by the people and for the people.
Therefore, rural population is logically, psychologically and mentally attached to
these traditional media like Ram leela, Ras leela, Bhajan, Jhanki, Allaha etc.
Mass Media Development in India:
Indian society is often characterized as one having “Unity in Diversity”. In

ancient India, cultures blossomed in different parts of the sub continent. These were
unique and independent of each other. These cultures derived strength and inspiration
from each other. The merits of cultures were communicated through the long
established oral tradition. The roving saints and sufies performed the task of
communicating messages. They propagated the gospels of truth enshrined in the
Vedas, Purans, epic stories like Ramayana and Mahabharata and other scriptures.
During early times Indian village communities were mostly self sufficient.
Each community had strong and extensive cultural links with other communities
Introduction
beyond the neighbouring villages and towns. Thus, in ancient or traditional India,
there existed effective systems of communication which were both local and pan-
Indian in character. Such communication provided meaning and justification for the
social order. It inculcated the spirit of devotion, love and faith.
It is unfortunate that prior to 1947, when India formed a part of British rules,
it acted only in those directions which either aided in extending their influence or
perpetuating their power. Newspapers were not permitted freedom of writing, radio
was under the control of the government, and television had not even been conceived.
The advent of independence in August 1947 removed the shackles of the

colonial era and a new horizon breathed in all aspects of country‟s life. There was a
tremendous progress in the field of print and broadcast media, the rate of literacy
rose; more and more people came in contact with one another in the countryside and
the urban areas.
The printing press preceded the advent of printed news in India by about 100
years. It was in 1674 that the first printing apparatus was established in Bombay
followed by Madras in 1772. India‟s first Newspaper, „Calcutta General Advertise‟,
also known as „The Hicky‟s Bengal Gazette‟ was established in January 1780, and the
first Hindi daily, „Samachar Sudha Varshan‟, began in 1854.
In India, radio broadcasting started during 1927. All India Radio (AIR) started
with only six broadcasting stations including relay stations which were broadcasting
several foreign, national and regional languages. AIR went commercial in 1967.
Television arrived in India on 15 September, 1959 on experimental basis for a

40 km area around New Delhi. First school television was started in October 1961 for
the school of Delhi. A special programme for farmers called „Krishi Darshan‟ was
launched in January 26, 1967. From August 1, 1975 Doordarshan had undertaken the
Satellite Instructional Television Experiment (SITE), one of the most ambitious
project in the field of communication. In 1982, India introduced its own multipurpose
satellite called INSAT-1A, which was used for Telecasting, Telecommunication,
2
Introduction
meteorology and radio. The Indian cinema has also taken rapid strides, some 619
films in 15 Indian regional languages were produced in 1978 and there were over
8,000 cinemas in the country‟s various states.
As we know that today we have all types of media but even today we depend
on Traditional folk media because a large number of Indian population belong to rural
area and Indian people are deeply linked with it mentally, psychologically,
emotionally and rural people are directly associated with it etc.
Traditional Folk Media:
“Traditional Folk Media” is a term used to denote “People’s

Performances”. It describes folk dance, rural drama and musical variety of the
village people. This term speaks of those performing arts which are cultural symbols
of people.
Some channels and forms of communication are deeply rooted in the culture
and preserved traditionally from generation to generation. Such channels are called as
Indigenous/Traditional Folk Media. They serve various social needs of community.
They are direct, face to face and linked with emotions and values of people. They are
cheap and do not require external resources.
Traditional media are tools of a special nature. Their special nature is derived
from the fact that they have no grammars or literature, yet they are nurtured through
oral and functional source. In a total perspective traditional media provide channel for
expressing socio-ritual, moral and emotional needs of society to which they specially
belong.
Folk media can overcome the difficulty of languages, speech, words and other
barriers of communication, like interest, understanding, interpretation, attitude,
perception and mood. Traditional media of communication are non-conventional in
character and having particular image of rural people. Thus cultural heritage and
communities in existence of the people shape traditional media.
3
Introduction
Role of Traditional Folk Media:
There is a tremendous wealth and variety in traditional folk media in India.

Conventionally, the traditional folk performances are usually carrying theme of
morality. The rural drama with its stock characters has also carried across modern
messages, without in any way hurting the community‟s traditional culture. During the
past few years they have slowly acquired a functional dimension without losing their
cultural roots.
Soon after achieving freedom the National Government started a full-fledged

Song and Drama Division in 1954, with the objective of training and utilizing the
service of traditional folk performances to inform the rural masses about the planning
and development programmes of the country. Flexibility is the most important factor
which determines the viability of a folk medium for rural communication. Flexibility
of a folk medium might reveal itself either in its form or theme or in both.
Various categories:
Depending on the nature and extent of flexibility the traditional folk media
reveal themselves in three categories-rigid, semi-rigid and non-rigid (Guha, 2006).
1. Rigid Media- Rigid media are those that reject a new massage summarily.
These are ritualistic or intensely religious in form and theme. There content is
hard-core and unchangeable, like the African and Indian ritual dances, songs
based on religious scriptures or those in praise of Gods and Goddesses.
2. Semi-Rigid Media- Semi-rigid media traditional folk media are those that
provide limited scope for the new message. While dealing with a classical
theme, the medium would have in-built characters or situations which hold out
flexibility. The rural drama with its gesture, the Katha-Kirtan and the temple-
based, traditional rod-puppets are examples of this category.
3. Non-Rigid Media-Non-rigid media are those that absorb new messages
without any reservation to reflect them effectively in the field. Many varieties
4
Introduction
of the ballad with social content, educational and functional songs, the strings
and glove puppets and group sessions of poetry recitation and story-telling are
illustrations of this category.
Types of Traditional Folk Media:
According to Parmar (1975), some of the traditional folk forms of

entertainment situations and institutions are.
1. Traditional folk theatres of rural dramatic forms including tribal dance-dramas
2. Puppetry
3. Oral-cum-musical forms, folk musical styles, ballads, Harikatha, Kabigan,

story telling etc.
4. Fairs and festivals including social, ritual and ceremonial gathering.
5. Traditional youth clubs like ghotul of tribal of Bastar or the Dhumkuria of the
Oraon of Bihar
6. Folk dances
7. Ritual symbols, Traditional designs and miscellaneous motifs
8. Sound signals and speech surrogates
Advantages of Traditional Folk Media:
Advantages of the traditional folk media over the radio and television are
many, particularly in the rural and tribal areas of the country. They may be
summarized as follows:
1. Traditional folk media are most intimate with the masses in all the regions of
the country. Their primary appeal is to the emotions rather than intellect.
2. They command an immense variety of forms and themes to suit the

communication requirements of the masses.
5
Introduction
3. They are local and live, and able to establish direct rapport with the audiences
as they antecede the mass media.
4. They are easily available to their customers.
5. They are flexible to accommodate new themes.
6. They are enjoyed and approved by all the age groups.
7. They are low- cost media as compared to the sophisticated mass media.
8. They are people oriented. They involve people both as resource (talents) and
audience. People have control over it.
9. They are credible and culturally compatible. As people believe them and can
understand them easily, they are acceptable in rural society.
10. They are capable of raising public consciousness. As indigenous channels are
popular and linked with the emotions and aspirations of people, they have
great appeal to the masses. Messages of development can be effectively
communicated in local idioms, proverbs and symbols. In past, messages of
high yielding varieties were communicated to the people through folk songs in
India.
Statement of Problem:
The traditional folk media have been used for moral, religious, social, political
and even for occupational purposes. The traditional folk media embody the people
belief, their social concepts and perception of their relationship, their social ethics,
their philosophy of life and their life pattern. Traditional folk media like folk songs,
drama etc. are highly structured and deeply rooted in the socio-cultural mores of the
society. Proverbs, riddles, folk tales, myths and folk songs have played (conventions)
an important role in development of society. Indigenous Communication Channels
are available in many forms and structure.
6
Introduction
During past numerous studies have been conducted on modern media but a
very little has been done to study every detail of traditional folk media. The
traditional folk media has its roots in the culture of people. India has variety of culture
and traditions. Therefore, every culture and society has its own traditional folk media.
So there is a need to find out the types of traditional folk media which are existed in
the society, what is the content/message of traditional folk media, what is the state of
their popularity in the society, their use in society, their relevancy of content in
modern stage etc. Keeping these backgrounds in mind the present study entitled
“Traditional Folk Media Prevalent in Kumaon Region of Uttarakhand: A
Critical Study” was planned.
Objectives:
1. To study the personal and socio-economic characteristics of the respondents.

2. To find out and document the folk culture and oral traditions prevalent in
Kumaon sub-culture.
3. To study the nature, theme and extent of use of traditional folk media.
4. To find out the possibilities of entrepreneurship through traditional folk
media.
5. To suggest strategy for using traditional folk media loaded with
developmental messages.
Assumptions of the Study:
An assumption is the supposition that an apparent fact or principle is true in

the light of the available evidence (Goode and Hatt, 1981). The researcher made
following assumptions while undertaking the study.
1. The respondents included in the sample were competent enough to reply

queries designed for the study.
2. Responses furnished by the respondents were valid and reliable.
3. Views and opinions of respondents were reflective to whole population of the
study.
7
Introduction
4. The researcher was well adjusted to the social environment of the study area
and the collected data were free from biasness.
5. The data were normally and independently distributed.
6. The items, questions and scale included in the questionnaire were relevant and
appropriate.
7. The information sought reveals the real situation to satisfy the objectives of
the study.
8. The results of the study were applicable for all areas of India where more or
less similar socio-economic status exists.
Importance of the Study:
The importance of the study of Traditional Folk Media is to search the

scientific view behind the tradition which is not measured easily. Traditional folk
media send message to the people for their improvement at local level. Tradition is
developed after long experiences of generation to generation. Presently a large
number of problems are generated day to day because of continuous human interfere
with the nature. For solution of these problems required to point out those tradition
which were prevalent earlier days and adopted them for security of life and future
generation.
The study of Traditional Folk Media of Kumaon region is basically the study
of Indian traditions. Mukherjee et al. (1958) said that traditional folk media are
concomitant understanding of the past and the present. In order to draw effective
generalization on social change, delving into the past is very essential, without it we
cannot draw generalizations.
The findings of this study would help the extension workers, policy makers,
scientists and other concerned people to develop appropriate communication strategy
by mixing with modern media of today as well.
Limitation of the Study:
Culture of India has a wide scope for study. Beside wide ranged scope, the
study also has certain limitation, which is not uncommon in field based social science
8
Introduction
researches conducted by a single research worker. The present study can be carried
out on a large scale but it has certain limitations usually found in the field of applied
social sciences, conducted by a single researcher in a specific geographical area. Due
to limitation of time and resources, it was not possible to carry out the study in a
larger area.
The study was restricted to Kumaoni culture and therefore, cannot be

generalized. But findings of the study may be helpful and applicable to other culture
with similar conditions. Besides the usual limitations of social science this study was
limited to funds and other resources. Being a student, research worker was not able
to spare long time for observation. Due to in-depth nature of the study, it was limited
to only one block of the District Almora of Uttarakhand.
The findings of this study are based on the ability of the respondents to recall
and verbal opinion expressed by them. Hence, the objectivity of the study was limited
to the frankness and fairness in furnishing the needed information.
Organization of Report:
The present study has been presented into six chapters. The first chapter
entitled Introduction deals with concept of modern and traditional media, problem
statement, objectives, importance and limitations of the study.
The second chapter entitled Theoretical orientation describes the different

types of the folk media and their meaning in a very crux form.
The third chapter entitled Review of Literature deals with the salient finding of
the past studies, reports, journals, books etc. It has been incorporated to support the
investigation.
The fourth chapter entitled Research Methodology covers selection and brief
description of the locale of the study, selection of village, selection of the
respondents, selection of variables and their operationalization, technique and tools of
data collection and processing of collected data.
9
Introduction
The fifth chapter presents Results and Discussion of the study. The chapter is
presented as per objectives of study.
The sixth chapter entitled as the Summary and Conclusion gives brief
description of the results of the investigation and the conclusion drawn from the
investigation.
References deal with the citations that have been consulted during the course
of the investigation.
*****
10
Chapter II Theoretical Orientation
Communication is a dynamic process. It happens all the time. Your posture,

the way in which you walk, talk or carry out your work communicates something or
the other. Even your dress, accessories and ornaments communicate.
Communication can takes place by different media; we can divide media into
two categories- Modern media and Traditional folk media. Newspapers, Magazines,
Advertising, Films, Radio, Television, and Internet etc. come under the modern
media. Traditional folk media includes folk song and music, folk dance, yatra, drama
and theatres, puppetry and street theatres etc.
India is a land of innumerable folk arts. Apart from the highly organized
medium of modern mass communication that is used in excessive manner presently,
traditional folk media is popular among the rural masses. Traditional folk media
cultivate the rural lifestyle and culture, and serve the various needs and purposes
through entertainment. Traditional media are a part of our country‟s rich heritage.
They have as a base our strong oral tradition. They belong to our own land and are
strongly rooted in our culture. They are as varied and diverse as our culture itself. In
this chapter an attempt has been made to describe different types of the folk media
and their meaning in a very crux form.
Tradition: Tradition is the process of the transmission of age-old values and

the contextual manifestation and interpretation of the universal. Tradition is not only
a repetitive pattern or some persistent symbol or motif in community culture; it is also
an assertion of an identity, a revival and regeneration of the life-force of the
community.
The word 'Tradition' implying customs, habits and way of life existed in a
society for a long period of continuity from time immemorial and practiced from one
generation to another. It can be transmitted through written scriptures or by word of
Theoretical Orientation
mouth. The nomadic primitive people sharing a common cultural heritage based on
oral tradition are generally said to have a folk culture.
Traditional media: Traditional media means the medium through which the
cultural traits passed from generation to generation. It is born and expressed in the
idiom of people‟s culture and has always seemed to entertain, educate and propagate
the existing ideas and attitudes.
Folk media: Folk Media is the creative dissemination of information through

cultural and performance arts. In traditional societies, folk media: drama, skits,
poems, stories, riddles, songs and dance have been popularly and successfully used to
disseminate messages and even to pass on wisdom of older generations to the youth.
Folk media are indigenous equivalents of mass media. They are used largely
for entertainment, but they can also promote educational values and help in cultural
continuity. They include festivals, plays and puppet shows, song, dance, poetry, story
telling, debates.
Some channels and forms of communication are deeply rooted in the culture
and preserved traditionally from generation to generation. Such channels are called as
Indigenous Traditional Folk Media. They serve various social needs of community.
They are direct, face to face and linked with emotions and values of people. They are
cheap and do not require external resources.
Concept of Folk: „Folk‟ means race of people.
Folk Music: Music passed on from generation to generation. Any music

composed on this idiom is folk song. A folk song is a song handed down to people.
Traditional Folk Media: In every society there are various forms of

communication among people. Some channels and forms of communication are
deeply rooted in the culture and preserved traditionally from generation to generation.
Such channels are called as traditional folk media.
12
Traditional Folk Media is a term used to denote “Peoples‟ Performances”. It

describes folk dance, rural drama and musical variety of the village people. This term
speaks of those performing arts which are cultural symbols of people.
Folk Song is a song of unknown authorship that has been passed on,
preserved, and adapted (often in several versions) in an oral tradition before later
being written down or recorded. Folk songs usually have an easily remembered
melody and a simple poetic form.
The term, "folk song," covers a vast array of musical styles, but is most
commonly used to refer to a narrative song that uses traditional melodies to speak on
a particular topic. Often, topical folk songs address social and political issues such as
work, war, and popular opinion.
Many folk songs have been around so long that nobody is entirely sure who
their composers were. Often these songs are passed down within a community, and
they evolve over time to address the issues of the day.
The folklore phenomenon represents an act of communication by employing

verbal-musical and visual folk art forms, transmitted to a society or group of societies
from one generation to another. They are indigenous modes and came to be integrated
in the course of time into the complex body of sociocultural behaviors of the people
to which they belong (Devika, 2004).
Ballads: Ballad is a comparatively long, impersonal narrative song, which

depicts a single incident or incidents through the content, style and designation of the
folk. It is easily understood by almost all the members of a folk group, and is learnt
and transmitted through oral tradition from singer to singer and often from generation
to generation (Srivastava, 1974). Ballad is a poem or song telling a popular story.
Fairs: It refers to the community gathering to celebrate and exhibit local

achievements. It also means an event for public entertainment, trade and marketing.
It also denotes to an event for professionals in a trade to learn new products and do
business.
13
According to The encyclopedia of Americana (1976), fair is “Large

organized gathering at regularly spaced intervals, to which merchants come from
distant regions”.
According to the Encyclopedia of Social Sciences, “Fairs came into existence

at some local markets situated in places where merchants‟ caravans had to halt to
change their means of transportation”
Festival: A festival is an event, usually and ordinarily staged by a local

community, which centers on some unique aspect of that community. Among many
religions, a feast or festival is a set of celebrations in honor of God or Gods. A feast
and a festival are historically interchangeable. However, the term "feast" has also
entered common secular parlance as a synonym for any large or elaborate meal.
When used as in the meaning of a festival, most often refers to a religious festival
rather than a film or art festival.
Proverb: A proverb is a simple and concrete saying popularly known and

repeated, which expresses a truth, based on common sense or the practical experience
of humanity.
A short, pithy statement of a general truth, one that condenses common

experience into memorable form.
An old and common saying; a phrase which is often repeated; especially, a

sentence which briefly and forcibly expresses some practical truth, or the result of
experience and observation.
Proverbs are terse, didactic and sometimes metaphorical statements containing

concise homely truth and traditional knowledge relating to various aspects of life, like
other aspects of oral tradition proverbs are also learnt and transmitted spontaneously
through oral tradition from person to person and generation to generation. (Gauney,
1938).
14
Riddle: A riddle is a question or statement intentionally phrased so as to

require ingenuity in ascertaining its answer or meaning.
A riddle is an ambiguous and concisely formed metaphorical question which

is difficult to answer or which if apparently interpreted gives a different meaning than
what it actually incorporates. It is also learnt and transmitted from person to person.
(Georges and Dundes, 1963).
Musical instrument: A musical instrument is constructed or used for the

purpose of making the sounds of music. In principle, anything that produces sound
can serve as a musical instrument. The history of musical instruments dates back to
the beginnings of human culture. The academic study of musical instruments is called
organology.
Motifs: It refers to the recurring subject, theme, idea, etc., especially in a

literary, artistic, or musical work. It also denotes to a distinctive and recurring form,
shape, figure, etc., in a design, as in a painting or on wallpaper.
*****
15
Chapter III Review of Literature
Review of literature highlights on the past works, done to give strength to the
study. Thus, the review of literature, relevant to the objectives of the present study
was collected from unpublished as well as published materials which were accessible
on the given topic viz., books, journals, and thesis. The collected materials have been
presented in following heads in line with the objective of the study:
 Importance of Different Forms of Traditional Folk Media
 Impact of Traditional Media
 Form of Traditional Media
 Possibilities of entrepreneurship through traditional folk media
 Using Traditional Folk Media Loaded with Developmental Messages
Importance of Different Forms of Traditional Folk Media:
Tagore (1904) advocated that there is a great need to reach the neglected rural
masses and the use of festivals; Jatras and Songs which integrate the masses and
depict the efficacy of the particular culture.
Markham (1967) stressed that no mass media can exist in cultural vacuum.
After all, communication is fully realized when it passes through the attitudes and
behavioural patterns of the people. It is shaped by cultural heritage and by common
ties of existence of the people. That is why, it is said that mass communication in
India is largely communication through non-mass media, such as traditional folk
forms of entertainment, situation and institutions as listed below:
a) Rural dramatic forms and dance drama
b) Puppetry
c) Folk musical styles, Ballads, Harikatha, Kabigan, Story telling
d) Fairs and festivals
e) Traditional youth club

Review of Literature
f) Folk dances
g) Ritual symbols, traditional designs
h) Sound signals and speech surrogates
Bhargava and Khanna (1972) stated that the folk songs were the oldest
songs of community. They were sung in a simple style and there was little variation in
tune with no apparent effort at artistic effect or poetic excellence. The songs were
handed down from one generation to the other by words of mouth and were molded
by the singers to changing environment.
Damale (1975) concluded that the Harikatha of Maharashtra was perceived as

welding the society and removing the inequalities and caste differences.
Kidd et. al. (1976) stressed that folk songs can be both effective and efficient
as a communication medium for a society which has a strong oral tradition. They
further observed that folk songs can make social commentary, to express feelings or
thoughts, to arouse people to action or to insult those who misbehaved.
Rangnath (1976) described that the folk media as being intimate with the
masses, rich in variety, readily available at low cost, relished by different age group
and by both sexes, theme carrier traditionally and having greater potential for
persuasive communication, face to face communication and instant feedback.
Rangnath (1979) reported that the Indian Government established a Song and
Drama division in 1954 for organizing entertainment programme with the help of
local theatrical group on development themes. He further reported that All India
Radio also used folk media in its rural broadcasting in the form of a daily programme.
Dissanayake (1977) stated that traditional media employ the idiom of the
people and the symbol which are readily intelligible to them, reach a part of the
population that is impervious to the influence of mass media and demand active
participation in the process of communication.
Samar (1977) reported that music, dance and drama have always played an
important role in uniting disrupting elements and harmonizing emotional outbursts
relating to caste, creed, religion and language issues. Several folk forms of
17
entertainment prevalent in different part of India were powerful media of public

instruction and unifying force for emotional integrity. They used to bring all poor and
rich together and thousands of problems ridden people suffering from several
domestic and psychological problems used to witness them as a relief to their
perplexed life and tool to their emotional troubles. Such healthy entertainment did
deviate the human being from destructive activities and unhealthy thinking.
Apte (1978) observed that the traditional media of Maharastra such as Kirtan,
Bharud and Lalit had their own place but performances of a modern stage play were
most eagerly awaited and cheerfully received and acclaimed by the all strata of the
society when presented. All members of the so called higher classes as well as lower
classes were mixing freely and participating enthusiastically in the functions of the
festival without the least indication of any sense of superiority or exclusiveness. The
masses composed of peasants, domestic servants, farm labourers, artisans, men and
women. A systematic and scientific analysis of folk media helps in providing a clue
to the working of the peoples mind and their practices. Such knowledge serves as an
important tool to policy-makers and planners to evolve policies for motivating the
people in the desired direction and induce social progress as a self-developing process
in the rural areas. Folk media helps in making the task of nation-building and socio-
economic development easier and acceptable to rural masses.
Devdas (1978) stressed on the use of traditional media for effective

communication. Several traditional methods can be used in secondary school for
teaching Home Science. Among these, story telling, folk songs and dances are
outstanding to augment in imparting education in an interesting and effective manner.
Joshi (1980) revealed that if we understand folk forms of tribals, rural, semi-
urban and urban people then we will be able to visualize their social and economic
problems.
Anonymous (1981) said that the papers and proceedings of the seminars
recognized the growing need for communication support for development in the rural
areas of the country. Arts and culture have been with us since the beginning of time
and each society and country finds expression in particular form which reflects the
problems, achievements and entire gamut of experience of that particular society at
18
that time to suit the need of particular age. As long as medium is able to retain its
capacity to reflect the urges and aspirations of the people, the medium retains its
vitality.
Kumar (1981) found in his pilot study on comparative power of puppetry and
a documentary film in a two villages near Delhi that cheaper traditional medium
could be as effective as films. Women in particular responded more favourably to the
puppet shows than to films.
Patron (1981) stated that story telling is a very effective tool for education
and socialization of children. It has been used in the ―Pabasa‖ project of the Nutrition
centre of the Philippines which revives story-telling to its traditional popularity and to
use it to effect development information goals.
Malhani (1985) stated that the Government of India has been the biggest user
of traditional media. Doordarshan has been the pioneering institution to draw upon
folk music. The radio, Doordarshan Dramas and theatre have integrated various folk
theatre forms, Jatra, Tamasha, Nachas, Bhavai, Nautanki, Yakshagana, Therukuthu,
Kavi Sammelans and Mushairas are used by various stations of All India Radio.
Malik (1985) stated that India has the tremendous varieties of folk singing
styles. All these styles are capable to pass socially significant development messages.
Folk songs have often been used in India to stirrup emotions against the British
During pre-independence period, to foster a sense of national pride and integration
and to enthuse people about various projects.
UNICEF (1986) emphasized that village wells, shops, temples etc. are
important meeting places and useful to display education and motivational material or
use audio/audio-visual and other media to disseminate messages.
Upreti (1988) stated that while realizing the role and contribution of folk
culture towards enriching our national culture narrow parochialism or regional
glorification should be avoided particularly in the name of national integration and
diversity of our culture by imposing ‗programmes‘ from above. Diversity manifested
at its best in the folk culture of our country would alone be firm bedrock for
beginning about real national unity integration.
19
Wang (1988) stated that the term indigenous is often inter changeably used
with terms like traditional or local. The indigenous communication systems which
existed before the arrival of mass media are referred to as traditional or ‗local‘ such as
puppet show, folk-drama s, story telling, the community tea house, open markets and
village meetings. There are also indigenous knowledge systems which are based on
peoples accumulated experiences. Both these systems are conceptually independent
but in reality they are deeply embedded in socio-cultural system. The systematic use
of both has been well reorganized in current research and development efforts.
Arya (1989) said that the folk-poetry is very strong source and basis for
acquainting people quite efficiently with the routine activities of their daily life. Their
domestic or household affairs, private matters, external issues, their past-time or
leisure-period activities, what they eat, drink or wear, which of the gods or goddesses
do they worship, briefly to sum up, the folk-poetry is treated as the most appropriate
source which provides us many relevant clues to understand their total social life, its
structure and system. Hence it shall not be out of place if we even designate the folk-
poetry as a basis for measuring the social structure from different angles.
Karunakaran and Bagyalakshmi (1989) stated that the traditional media

that are in use even today can serve as efficient and adequate media, when the
communication is meant for the less educated as well as illiterate rural masses. This is
because, this type of media are quite native to them and quirt closer to them. The
language use reflected in them is also quite accessible to them and easily adopted by
them. As far as the forms of communication are concerned they are found to be
simple and more acquainted to them.
Intodia and Uppadhyay (1991) described in their study on puppetry-a

traditional media for rural communication, reported that beneficiaries had highly
favourable attitude towards puppetry as it effectively conveys the messages. It also
reported that it is an effective communication media for rural and tribal areas.
Demel and Pooranam (1993) reported that the Indigenous people‘s media
would include all traditional folk media, viz, folk theatre (therukkoothu), puppetry,
mask drama, folk dances, stories, songs, proverbs, jokes, folk games etc.
20
Mundy (1993) said that Indigenous knowledge - the knowledge developed by

local people and passed down over generations - is a major, untapped resource for
development. Indigenous information is transmitted mainly through indigenous
communication channels: indigenous organizations, folk media, traditional education,
and so forth.
Narayan (1993) concluded that the "Indian folklore-spanning riddle-jokes

and wedding songs, epics and proverbs, folk dance and counting-out rhymes-must at
this point be set aside as being, quite frankly, too unwieldy a category to work with.
Saxena (1993) reported that traditional media are more effective in rural areas
because the techniques are simple and easy. Traditional media can more effectively
stir the feeling and affect the attitude of illiterate masses.
Murthy (1994) found that folk arts are playing a meaningful role in rural
areas, in educating the rural people about the consequences of social evil like
alcoholism, illiteracy, population-explosion, untouchability, superstition,
communalism, malnutrition and insanitation, dowry, sati pratha and so on.
Mande (1995) stated that the purposeful utilization of the performing folk art
was not new to Maharastra. Sant Eknath was known as an exponent of the Bharud as
a new form. Traditional performances like Kirtan, Bharud and Tamasha have a
proved to be successful means of conveying message effectively. They also
emphasized that traditions play an important role in relation to economic systems.
Understanding the impact of traditions is extremely important for changing society.
Sasireha (1995) opined that public and private organizations use traditional
media on a large scale in their efforts in community and national development
schemes. The Central Government has set up a song and Drama Division under the
Ministry of Information and Broadcasting. The offices of this body function is
collaboration with the field units having an active network with Block Development
Offices, Village level Workers, Extension Officers and others local leaders. Over 43
departmental troupes and 500 private troupes were sponsored by the Song and Drama
Division. Each year, nearly 20 thousands performances are conducted. This unit
utilizes the traditional folk and contemporary states forms like puppets, plays, dance-
21
drama, ballet ballads, and harikathas for the purposes of creating awareness in the
country especially in the rural areas.
Obinne (1997) observed that for agricultural development to move forward,

indigenous technical knowledge must be integrated with formal research using the
local language and traditional media.
Samar (1997) reported that the traditional media like puppets always have
powerful impact and is used not only for entertainment but also for educational
purposes used in school and the society.
Crowder et al. (1998) described that the traditional folk media are cultural
resources that accumulate indigenous knowledge; experiences and expressions passed
down from generation to generation. Woven into proverbs and poems, songs and
dances, puppet plays and stories, rhythms and beats, they are embedded with a strong
sense of cultural identity that can be used creatively to communicate important
messages.
Kyeremeh (1998) defines that the folk media as ―any form of endogenous
communication system which by virtue of its origin from, and integration into a
specific culture, serves as a channel for messages in a way and manner that requires
the utilization of the values, symbols, institutions, and ethos of the host culture
through its unique qualities and attributes.‖
Pillai (1998) stated that folk media have been traditionally used in India and
elsewhere as a means of dissemination of information and spreading general
education about the heritage, history, virtue, evil, social values, faiths and philosophy
of the community. Story, action, music, dance, rhythm and colour are so combined in
traditional media that they become the best means of instructions through enjoyment
without making the people conscious that they are learning.
Pandey (1999) opined that the high rate of illiteracy and poverty added to the
inadequacy of the mass media to reach almost 700 million people who reside in
villages. To them, the mass media proved to be glamorous, impersonal and
unbelievable in comparison with the familiar performance of traditional artist whom
the villagers could not only see and bear but even touch emotionally. The traditional
22
media can be used to reach these people in the process of change and development of
the country.
Kumar and Hansra (2000) pointed out that indigenous traditional media
serve various social needs of the community. They are direct, face to face and linked
with emotion and value of people, thus they are quite powerful in raising
consciousness of people.
Chapke (2001) reported that the Tamasha and Bhajan are the popular folk
media in Vidarbha region of Maharastra. Sequences of steps in organizing traditional
media shows according to the Viewer were (i) money collection (ii) selection of site
(iii) publicity (iv) approaching folk artists (v) stage preparation (vi) seating
arrangement.
Adjaye (2008) found that the Indigenous Communication Systems (ICS) suit
the local environment because they are rooted in the culture; they are small-group
oriented, often geared to small rural audiences. They tend to be inclusive, dialogical,
and interactive, eliciting audience participation. They are orally based and patterned
after the ways in which social interactions occur. They are also universally
recognized within the culture group and are inexpensive. The terminologies
‗‗indigenous communication systems,‘‘ ‗‗traditional media,‘‘ ‗‗indigenous media,‘‘
and ‗‗folk media‘‘ are sometimes used interchangeably to accommodate overlapping
conceptual meanings.
Mishra and Sah (2008) stated that folk media or traditional media often
appeared as one of the viable ways of solving present problems in development.
Local or traditional communication channels such as puppet show, folk drama, story
telling, community tea house, open market, and village meetings are available to all
and enjoyed by person of different age groups, generally at a very low cost. The
Government of India made deliberate efforts to use the traditional folk media for
disseminating important themes like national integration, communal harmony, health
and family welfare, girl child, prevention of drug abuse etc.
Stambler (2008) revealed that through an examination of the content and

attitudes expressed in both Gujarati folksongs and the Rigveda we have discovered
23
both similarities and differences in regard to consideration of rain and rainfall. The
similarities in attitude may be attributed to the primal human relationship with rain, at
once thankful yet fearful of the capriciousness of the natural and supernatural powers.
The consistency across the centuries and millennia provides yet another illustration of
the continuity of Indian civilization and its cultural and ecological attributes, and
helps to contradict the primitive label applied to such folksongs. The differences in
the expression of these attitudes may be attributed to a variety of factors. The
language of Gujarati folksongs meets the needs of the localized cultures while
expressing universal attitudes toward rain.
Chapke and Bhagat (2009) observed that popularity of Tamasha followed by

others in rural Maharashtra is reflected as entertainment media, which has lot of
potential if wisely converted to entertainment cum information media. For organizing
traditional media involved simple sequence steps only with low cost, such shows
should be organized by extension personnel with social themes. Extension personnel
should, however, be given training to organize such programmes. Since village was
the most preferred place for organizing traditional media shows, it is suggested that
more such shows be held at village itself rather than district. Convenience was the
most common reason for such a preference. Utilization of locally available resources
viz. talent of the folk artists, popularity of the media, agri proverbs, acceptable
idioms, riddles, etc., through traditional media found very interesting and effective as
communication tool for rural development and natural resource technology. It is
therefore, concluded that the potential of the traditional media can be utilized wisely
and systematically for agricultural as well as rural development too.
Thanmawia (2009) stated that the Mizo society has often been called a
singing tribe. They sing on all occasions, eg. during condolence of a bereaved family,
songs appropriate for the occasion will be sung throughout the long wake at night and
the next day. It is the same at a marriage party, and they will sing or hum tunes while
at work, or even while walking. The traditional Mizo tunes are soft and gentle and
can be sung for long periods without tiring the singers. Musical instruments are not
always needed and enthusiastic singing can take place to the accompaniment of
clapping hands.
24
Impact of Traditional Media
Chaudhari (1974) reported that some decisions are made quickly but many
others require extended thought and deliberations. The final decision to use a new
practice is usually the result of a series of influences operating through time. The
traditional culture is one the factors which influences adoption behaviour most. There
are always positive influences and negative influences which make the efforts of the
change agents to get the innovation adopted. Social structures, economic pattern,
beliefs, recreation pattern, consumption pattern and value systems are the important
aspects of rural community‘s life which are directly related to adoption behaviour.
Brunswic (1975) stated that religious aspects of culture are an essential

avenue for development. In Sri Lanka, for example, ancient religious symbols are
used to develop thinking on numbering processes, and the many ways of bilateral and
rotating symmetry displayed by mural paintings and sculptures in Buddhist temples
are being used to teach geometry.
Anonymous (1978) reported that the communication needs in India are much
greater than the resources we have today to meet them. With the growth of mass
media during the last few decades, one would imagine that traditional media ought to
have vanished. On the contrary they have geared up to function more effectively
along the electronic media. The reason being the awareness that came about their
potential use among the media planners and the realization of their impact as cultural
media.
Bhatnagar (1982) and Kavitkar (1983) described that puppet was a

powerful medium which can be used in informal education. She further ranked the
puppet first followed by slide on the basis of relative efficiency index. They found
that puppet can be used properly with active participation for local people.
Atal (1985) reported that Kavad was found to be the most effective aid in
transfer of family planning knowledge among urban as well as rural women. She
found that Kavad not only changes the knowledge but it also helps in changing
opinion of the farm ladies towards family planning.
25
Das (1985) stated that the task such as inculcating scientific temper requires
knowledge and application. A country which is full of superstitions and age old
beliefs should develop scientific attitude among its citizens for achieving excellence,
equity and efficiency in every sphere. In this concern, face to face communication can
help in changing the attitude of the people. The attitudes have very deep and firm
roots in the past and are embedded in religious beliefs. but to bring in change for
improving the quality of life it is essential to start with the familiar and introduce the
unfamiliar.
Sujan (1986) pointed out that ―every SOCIAL PAST becomes a tradition.
Today ritual will become the tradition for future and tomorrow generation will try to
wed-together the TRADITIONAL AND MODERN‖. He further stated that the ―root
philosophy of folk arts which emerged out of natural evolutionary process of human
talents and fine arts. Fine arts give birth to folk media. All the fine arts have their
roots in folk age. The man of yester years praised the God and goddess with hymns
and bhajans, thus giving birth to natural MUSIC or SABGEETAM to the man. He
carved and moulded God and Goddess and gave the fine arts of SCULPTURE to the
society. He painted this, then existing society and God and gave the fine arts of
painting to the world. The prayers to various deities gave to the man ACTING OR
ABHINAYAM and grown up brains gave POETRY or KAVYAM to add to all these
fine arts MUSIC-SCULPTURE—PAINTNG-ACTING-POETRY. All the folk arts
and folk media use one or more of these fine arts. The modern media also use the
same brain product of human race.‖
Banerjee (1988) stated that the popular media are really a combination of
various art forms-music dance song telling ritual, the audio-visual and the theatre. In
many parts such as south the theatre, dance and music and story telling have
combined to fuse the classical and the popular. Kathakali is such a form. He believed
that music is a single unifying force in Indian society.
Ramanathan and Srinivasan (1988) reported that use of any one of the
selected traditional media either drama of Villupattu has increased the farmers‘
knowledge and influenced in retaining the same upto fifteen to thirty days. Drama
was more effective in case of young farmers, whereas it was Villupattu in case of
26
illiterates in gaining and retaining knowledge. They suggested that the occasions such
as agricultural fairs, farmer‘s day, exhibitions, fertilizer campaign etc. can be used by
the development agencies as a forum to disseminate agricultural innovations through
traditional media to the farming community.
Valbuena (1989) conducted the United Nations Environment Programmes

(UNEP) supported project to test the feasibility of using certain forms of traditional or
folk media to carry environment related concepts and messages. It sought the
integration of environmental messages in the storylines, dialogues, songs and other
forms of traditional media, their presentation before public audiences and their
evaluation in terms of generating awareness and increasing knowledge environmental
issues among rural audiences. The traditional media made desirable impact on the
rural people.
Dinampo (1991) reported in his study on utilization of indigenous

communication media for agriculture and natural resources technology found them as
interesting and effective. Farmers felt that it informed them and finally changed their
attitude.
Golob and Eisendrath (1991) concluded in his study on training extension

workers in food conservation using drama and other information technique reported
that both the performance and self-confidence of a group of field extension workers
were improved by a series of seminars that employed teaching techniques novel to the
area such as drama.
Intodia and Upadhyay (1991) found that traditional media have remarkable
impact on the rural society because of their acceptable idioms, functional
significance, emotional touch and entertainment component.
Capila and Katarya (1993) revealed that there was a direct relationship of
age, education level and marital status with the acceptance level of modified folk
songs. Younger age group being more enthusiastic felt that the changes in the songs
were imperative whereas the older age shows greater resistance because of societal
pressures they had experienced. The women with lower level of education were not as
aware of their position in the family. It might reflect upon the difficulties in
27
integrating the modified folk songs can be effectively used for communicating
important messages on health, nutrition and child care.
Rani (1995) observed in the Mysore, showing a puppet play highlighting the
evils of dowry in the Indian society by adopting centuries-old marionette puppets.
Initially encouraged by the overwhelming response from of estimated audience of
over 1000 people in Mysore district, it is amply clear that the puppeteers have been
able to retain the interest of the audience, by sheer merit and can still continue to hold
the attention of the audience.
Gaur (1997) found that the groups on entering the village easily gathered
attention of the villagers with its slogans, songs and dances. They held programmes
including puppet shows, street plays, folk songs and dances which were woven
around the theme of literacy. The response of the people showed that the programmes
were successful in motivating the people to be able to read and write. All the groups
covered 756 villages on foot and the survey which these groups conducted revealed
that they had been successful in bringing about an attitudinal change among the rural
masses in favour of literacy.
Sahay (2000) said that India has a long and varied history, and its people are
of most diverse origin and of different religious traditions. As might be expected, the
folklore of India reflects this diversity of history and population. Several old literary
collections of tales have been popular among the population for centuries. Folk tales,
like other genres of folklore of any society, reflect emotions, needs, conflicts and
other aspects of human psyche that people acquire as a result of growing up in a
specific culture. Folk tales are probably the most crystallised and apt expression of
human thoughts. The study of folk tales prevalent in a society helps to understand the
common universal elements on the one hand and certain characteristic traits specific
to that society on the other.
Nogales (2001) observed that the Adolescent boys and girls now have access
to alternative and informal educational activities that contribute to strengthen their
self-esteem, their cultural identities and their gender perspectives, thus allowing them
to work on new drama groups that generate their own resources and effectively
participate in the local dynamics of the neighbourhood. Teatro Trono has been
28
providing a decent way of living to many children and youths that otherwise would
not have had any opportunities in El Alto. Plays on self-esteem, gender issues,
cultural identity and youth leadership, have already had an impact on children and
have prompted some groups to organize around cultural activities. Many street
children and adolescents have been rescued from drugs and marginality and are now
integrated in positive cultural activities of various types.
Meertens (2005) conclude by saying that all respondents acknowledged the

advantages that their involvement in Kattaikkuttu offered to develop their personal
and cultural capacities and obtain a better social position, thus giving them more
freedom to achieve what they considered important in life. However, the regular
theatre‘s physical burden and its sometimes repressive imaging of women appear to
have negative effects on the wellbeing of the students. On the other hand, the holistic,
heterogeneous and open minded gurukulam system of the School helps the students,
and girls in particular, to strengthen their self-reflexive capacities, their cultural
identity, their social interaction skills, their self-esteem and their critical thinking. The
gurukulam is a safe environment where students who are in any way different feel
empowered to create an alternative world.
Sujan (2009) stated that the if our rural unemployed youth is trained in this
printing technology they can used as key communicators by printing posters, chart,
handbills, folders, booklets and like printed material. Furthermore, the strongest
features of this technology to create entrepreneurial avenues among the unemployed
rural youth. The screen printing can bring out not only extension printed materials but
also cash memo, bills, visiting cards, marriage cards, printed advertising materials,
printing on cloth, plastic, equipments, packaging items etc. Therefore the unemployed
rural youth may get a major source of income at door steps.
Form of Traditional Media
Fedral Extension Service (1967) observed that the many of traditional media
of communication are in the form of folk songs, folk dramas and folk story telling. In
Bolvia, Mexico and Argentina extension worker use puppet as a mean of
communication. In Bolvia they found puppet show very effective in teaching the
farmers.
29
Fred (1967) reported that illiterate adult villagers preferred decorative walls
printing and puppets style methods, while literate adult in the village preferred more
realistic forms.
Markham (1967) stressed that no mass media can exist in cultural vacuum. After
all, communication is fully realized when it passes through the attitudes and
behavioural patterns of the people. It is shaped by cultural heritage and by common
ties of existence of the people. That is why, it is said that mass communication in
India is largely communication through non-mass media, such as traditional folk
forms of entertainment, situation and institutions as listed below:
i) Rural dramatic forms and dance drama
j) Puppetry
k) Folk musical styles, Ballads, Harikatha, Kabigan, Story telling
l) Fairs and festivals
m) Traditional youth club
n) Folk dances
o) Ritual symbols, traditional designs
p) Sound signals and speech surrogates
Lomax (1968) stated that a folk song is usually a medium for group
communication which serves to bring the attention of a group to a common focus, to
prepare them for a singular response, and to produce consensus. Song texts usually
focus on those problems, interests and concerns common to a large segment of the
community. Folk song texts give clear expression to the level of cultural complexity
and the set of norms which differentiates and sharply characterizes cultures.
Deva (1972) reported that in ethno linguistic groups and peasant societies,
communication behaviour is not always formal. in their social functions and
festivities messages are disseminated by oral poetry, legends, ballads, mime, puppetry
and other dramatic verse plays. Dancing helps as a means of informal communication
in many tribal and agricultural communities. Their traditional folk singing, akin to
speech, serves as a mode of specialized communication. Their age old songs are
30
infused in all the activities from cradle to grave. In unlettered communities, this is
how the communication is channelized through the different genres of folk lore. It is
claimed that ―Folk culture has its own wide network of communication‖ and it does
not depend solely on the great tradition for the transmission of its elements.
Parmar (1975) has given various forms of folk theatre that are in vogue in
different part of country. A brief account of different folk theatre forms have been
given below.
Folk theatre forms in India:
Andhra Pradesh Veethi Natakam (Veedhi Bhagwatam), Yakshagana-

Bayal Natakam, Kuchipudi (Kuchipudi Bhagwat
Mela), Burra Katha
Assam Ankiya, Nat (Bhawanas), Kirtania, Natak Ojapali
Bihar Bidesia, Seraikela Chhau, Jat-Jatni, Bidapad (North-

East) (Ramkhelia) (Ramleela) in crudestyle- North
Bihar)
Gujarat Bhavai
Himanchal Pradesh Kariyala, Bhagat, Ras, Jhanki, Harnatra-Harem or

Harin (Mask Dance)
Jammu & Kashmir Bhand Palhar or Bhand Jashna (festival of Bhands),

Vatal Dhamali (Sword play)
Karnataka Yakshagana (North Karnataka), Sannata (Belgaum and

Dharwar District), Doddata Bagalata, Tala Maddale or
Prasanga (Indoor form, does not use costume),
Dasarata, Radhana (Closely resembles the Tamasha of
Maharastra)
Kerala Koodiyattom, Mudiattam or Mudiyettu, Tiyattu,

Therayattom, Chavittu, Natakam (Christian rural
drama), Chakiyar Kooth (Thullal), Kathakalli
31
Madhya Pradesh Maanch, Nacha
Maharastra Tamasha, Lalit, Bharud, Gondhal, Dashavatar
Orrisa Fala Jatra, Daskathai, chau Mayur Bhanj, Mangal Ras,

Sowang
Punjab Nautanki, Nagal, Swang (East Punjab)
Rajasthan Khyal, Rasdhari (Mewar), Rammat (Bikaner), Turra

Kilangi, Gauri (Bhil, aguri or Gavar), Nautanki,
Jhamatra (Playlets)
Tamil Nadu Therukoothu, Veethi Natakam, Bhagwat mela,

natakam, Kuravanji (Kuram or Kuluva Natakam),
Pagal Vesham, Kavadi Chindu (Dance-Drama)
Uttar Paradesh Ram Leela, Ras Leela, Anutanki, Bhagat, Sang- swang
or Sangeetaka, Jhanki, Naqqal and Bhand (different
from Bahnd of Kashmir)
West Bengal Jatra, Puruliya, Chhau, Pala, Cambhira, Kbigan
Goa, Daman & Diu Dashavatar, Tiya
Rathore (1975) has discussed in his mimeograph article various forms of

traditional media which is expressed in story, songs, folk poem, proverb, custom and
rituals. A brief classification is given below.
Poetry and songs:
Festivals songs Rural songs
Bhajan Kavisamelan
Mushaira Ramdheran
Poems Ballads
Luly Bai Baramasa
Riddle Charms
Proverbs Kirtan
32
Kabalies Puns
Pentamonies Geet
Prabhate Aarti
Written:
Symbols Katha
Prasangam Fairytales
Folk story Folktale
Aalikh Khayat
Muhavara Feble
Legend Myth
Anecdote
Drawing and Painting:
Puppet Pad
Kavad Alpana
Sanjil Kala Palm painting
Tatooning Motif
Wall Painting Painting on food stuff
Vandan war Mauana
Thapa Painting on dress
Murral Fresco
Sculpture:
Statue Molding
Carving Toys
Dance:
Puppetry Folk Dance
33
Bharat Natayam Kathak Kali
Gangor Dance Bhangra Dance
Harvest Dance Lavani
Jhumar Dance Ceremonial Dance
Dimri and Sujan (1989) found that Festivals and Melas play an important
role in the folk culture, and one can witness this rich culture in full bloom on such
occasions, when these folk people wearing their traditional attire, gather at a place to
worship God and Goddesses, meet their own kiths and kins, exchange gift and also
make shopping in the melas. Garhwali people go gaity and rejoice such occasions
very much. However, this introvert society has a deep longing for economic
development of this area. It is for planners of our country to fulfill their aspiration and
ambition, as quick as possible.
Ranganath (1990) observed that the Researchers worked on the nature of the
many varieties of peoples' performances, and categorized them broadly as rigid
(ritual) semi-flexible (traditional) and totally flexible (folk) ones, considering the
hardcore culture of a medium, and the extent of its flexibility vis-a vis a new message
which was foreign to its ethos. Heeded Messages on vital social themes also came to
be examined, catagorised and treated as to become absorbable to the selected
medium, in relation to an identified field.
Anonymous (1998) enlisted various folk dances from different part of the
country which were performed on the eve of Republic day -1998 at New Delhi. State
wise folk dances are given below.
State Folk Dances
Arunachal Pradesh Bardo Chham
Nagaland Chang Lo
Mizoram Cheraw Dance
Meghalaya Lahoo
Pondicherry Garadi
34
Lakshadweep Lava dance
Tripura Tarangmel
Andaman and Nicobar Islands Nicobarese dance
Manipur Tang Ta
Sikkim Singhi chham
Assam Rangoli Bihu
Orissa Ruk Mar Nacha
West Bengal Purulia chhau
Ladakh Spaw dance
Himanchal Pradesh Kinnauri nati
Bihar Karma (Munda)
Haryana Ghoomar
Punjab Bhangara
Uttar Pradesh Charkhula, Saina
Madhya Pradesh Panthi, kaksaar, Baiga Karma,

Badhai dance
Gujarat Siddhi Dhamal, Mer Raas
Rajasthan Kalbeliya, Bahvai, Teratali,

chakari dance
Maharashtra Songi Mukhawate, Koli,

Chitrakathi, Lawani
Andhra Pradesh Tapetia Gullu, Dhimsa
Kerala Kalari Payattu
Karnataka Dollu Kunita
Tamil Nadu Devarattam
35
Schuster (2001) reported that the traditional wooden puppetry called

gombeyata. Gombeyata is a string and rod puppet tradition of India. Scenes include
spoken narration, sung narration, dialogue, action, and dance to music and song. The
carved wooden puppets range between twenty and thirty-six inches in height.
Characters include kings and heroes, princesses and dancing girls, demons, clowns,
sages, and gods. Kings and heroes are distinguished by pink faces, even facial
features, and the elaborate crowns inlaid with mirror work. Females have pink faces
and refined features. Demons have bulging eyes, fangs, and red faces painted with
elaborate designs. Clowns are brown with irregular features and conical hats. Sages
resemble heroes, but they are distinguished by their topknots and orange clothing.
Gods are identified by their adherence to Hindu iconographic features. Skirts and
saris, which customarily demarcate the legs of the limbless figures, were draped after
putting on a blouse. Appropriate accessories were then attached: necklaces, chains,
braids, bracelets, shoulder guards, chest plates, and weapons.
Mishra (2002) stated that the Chaupal is a public place, fixed or changing, in
the Indian villages where the villagers sit and discuss their problems, celebrate their
pleasures, share the pains of an individual, family or a particular group, sort out their
disputes with the consultation of the village elders and traditional panches (judges)
and retain the communal harmony by maintaining tradition, norms, rituals etc., of
village life. An attempt has been made in this paper to highlight the significance of
chaupal as a public place for civil society in India. In order to trace the relationship
between chaupal and the public space, the concepts of civil society, public space and
public sphere are discussed in the first part of the paper; and in second part, deals
with the role of chaupal as a platform of public space. As a sacred place with secular
nature, chaupal, guarantees freedom of speech and expression to everybody in the
Indian villages without any discrimination of his/her association with sex, religious
affiliation, caste, rank, status, majority and minority etc. During the freedom
movement and even after Indian became independent, this space and the concept of
this space have been used by the freedom fighters, social animators, writers,
filmmakers, politicians, planners of development, policy makers, change agents, local
and central governments as platform or via for the dissemination of message for the
benefit of the civil society.
36
Patel (2002) reported that the folk dance drama of Bhavai probably originated
in the then Andhra Pradesh (now North Gujarat). It then spread over other parts of
Gujarat, Saurashtra, Kutch and Marvad (now Rajasthan). Although its origin are in
the worship of the Mother Goddess Bhavani, it has gathered secular elements with the
passage of time and come to embrace the whole range of human emotions of the rural
community. It is to Gujarat what Yashagana is to Andhra Pradesh, Nautanki to Uttar
Pradesh, Tamasha and Lalit to Maharashtra - a veritable folk dance drama. Bhavai is
a performance that presents a series of events that are autonomous from one another.
Each of these playlets has its own plot. There are usually no structural connection
between one playlet and the other, except that all of them are played, one after other,
on the same playground during a night or for longer duration of time.
Bevinakatti (2003) reported that during recitation, the oracles of Mylaralinga

are exhorted heroically at intervals. They dance emotionally while singing and inflict
their bodies with sharp thick needles to give a religious touch to the demonstration.
This fearsome exhibition leads us to consider Mylaralinga‘s epic on a different
ground. On the study of the epic Mylaralinga, we can notice that the incidents
described in the story are linked to the practices that are followed even today during
fairs and congregations. The epic is not mere poetry, but a part of fairs and
procedures where the incidents are reproduced — in it the age-old history is repeated.
In the poetry, we come across the superhuman powers of Mylaralinga and the
attempts that are made to deify him. The poetry is complicated and at the end we are
made to believe that he is an incarnation of god. All this looks like a puppet show and
the puppets appear to be controlled by a divine power.
Ramachandran (2003) found that there are various songs such as Narippattu,
Kaathippattu, Koomanpattu, Mampattu, Onthupattu, Pakshippaattu, Mayilppattu,
Marappattu, Theeppattu, Pooppattu, etc. As the names indicate, these songs are
mainly concerned with the description of birds, animals, plants and other ecological
factors. When they perform these songs during special occasions, one of the members
imitates the movements of that particular creature. Though Kurichiyans have their
own language, their songs follow the ordinary folk language of North Malabar.
37
Binder (2005) observed that the yakshagana is a popular dance-drama

prevalent in the coastal belt of Karnataka. The word ‗yakshagana‘ appears first to
have been used to refer to manuscripts of prasangas (‗episodes‘) written in the
‗yakshagana style‘, which seems to designate a literary genre rather than a performing
tradition. The term Yakshagana now refers to all-night performances characterized by
colourful costumes and make-up, imposing head-dresses, vigorous dancing, a distinct
style of music and witty dialogues.
Goswami (2006) stated that India is a motif and symbol minded country.
Traditional art forms, figures and rituals drawings with which an average Indian is
conditioned both by participant and observation exist all through the centuries. These
art forms include totem, symbols, tartaric configuration, terracotta figurines, floor
motifs, fold murals, traditional textile designs, scroll paintings and various other
things embracing the functional and decorative use of people‘s creative activities.
Love for traditional motif is a universal truth. Folk art, in fact is the reservoir of
originality.
Kar (2006) observed that the Lilas, Daskathia, Geetabhinaya of Baisnab

Pani,Mughal-tamsa, Prallhad natak, Dandanatya, Ravanachhaya (puppet theatre),
Desianata, Palas, Suanga and Chhau are considered to be the major forms which are
still popular in rural areas of Orissa on festival occasions. In north Balasore district
many Palas like Lalita-Pala, Karusanalila which were being performed earlier are no
longer staged frequently.
Kashyap and Kumar (2006) declared that folk media is the most organic
media which strengthen the culture, tradition, beliefs, ethos, attitude and social
framework of rural people and does not play on cost of it. Moreover, the reach of
traditional media was found to be widely spread up to grassroots in tribal area where
no other media as TV, radio, Newspaper etc. could succeed in delivering the reliable,
authentic and need-based information to the tail ends in people‘s language. The most
effective communication system, prevailing among Tharus was the informal
gatherings, the reciprocal visits to other villages and kinships on every festivals and
rituals. The weekly market was also an important venue to meet with the people of
other villages and to exchange ideas and information. The folk tales, folk songs and
38
proverbs were found to be the three methods that prevailed in the Tharus. The rituals
and prayers were also in practice which supported the communication system.
Srivastava and Singh (2006) observed that folk sources of information

utilized by the tribal farmers, constituted the primary source of information. Proverbs,
mandalies, dance, folk songs, puppetry, folk tales, folk music and drum were main
media which were utilized by the tribal for exchanging agricultural/livestock/human
health information as well as for their entertainment.
Varghese (2006) found that the Gathas are essentially religious legends which
are either narrated or sung during a ceremony called the jagar. Jagar is a spirit
possession ceremony in which a designated deity or a group of deities is induced by
ritual drumming and singing of traditional devata legends to possess a pre-arranged
oracle/medium21. A jagar is commonly arranged to cure disease or illness,
particularly when the illness is believed to have been caused by ghostly possession. In
this ceremony the most important role is played by the Jagariya who is regarded as
the priest of the ceremony22. He is the one who narrates the legend and leads the
ceremony. The success of a jagariya depends on the quality of his skills and the
number of gathas that he can narrate. The underlying theme in these gatha is the
description of the accounts and deeds of the deity to be invoked.
Mao (2007) found that the Memai or Mao Naga tribe inhabits the northern
part of Manipur and some pockets of the state of Nagaland. The Memai are known for
their exceedingly rich verbal arts of which their folk poetry constitute an awesome
repertoire. The songs are composed on a range of topics and sung at different
occasions in connection with different purposes. The songs have various tunes. The
salient themes of composition are head-hunting, valour and courage, love, tragic
circumstances and in praise of the man of consequence. True to form, these songs are
handed down the ages through word of mouth.
War (2007) stated that a lullaby is a type of song sung by mothers and nurses
all over the world to coax their babies to sleep. It is in fact a cradle song. The
simplest form of a lullaby is humming or a repetition of monotonous and soothing
sounds, often accompanied by a gentle rocking of the child in the arms or in its bed or
cradle. However, some scholars maintain that this is almost too slight to be called a
39
song, as it obviously shows little musical development. Whatever the case may be,
lullabies are sung softly, with little expression, and repeated over and over until, as
sleep claims the baby, the voice trails off to a whisper. Some are so constructed that
stanzas can be added almost endlessly, following a cumulative pattern. Khasi
lullabies are highly developed airs, imbued with splendidly conceived imagery
inspired by natural phenomena, supposed infantile fancy, allusions to animals of the
forests and augmented by other soporific devices. The poems as a whole are
concerned with the oral tradition of storytelling in the Khasi culture.
Bharadwaza (2008) reported that the pagativeshalu is performed by

hereditary performers belonging to the Ganayata Jangama community, a sub-sect of
the Saivite Jangamas. The name means ‗daytime performances‘. The jangamas are
divided into Ganayata Jangamas and Sthavara Jangams. The Ganayata Jangams are
nomadic and live as mendicants. The Stavara Jangams are settled in one place and
ritually considered lower than the Ganayata Jangamas. The texts of Pagativeshalu are
orally transmitted and differ among groups with different areas of operation. The
performers refer at least thirty-two such texts as Pagativesham texts. The texts can be
classified according to theme into four major types - those narrating origins of castes
comprise more than half of all texts. Mythology, religion and texts lampooning Islam
form about one third of all texts and the remainder connected mostly with humor and
magic.
Dhawan and Sharma (2008) stated that even the poorest man in India has
access to the traditional media, cultural media, or folk media expressed in various
forms such as story, poem, play, song, proverbs, drama, wall paintings, symbols,
socio-dramatic paintings, ‗kavad‘ and ‗pad‘. Folk media for non formal education
programme is popular in Malaysia, Niger, Thailand, Pakistan, Taiwan and China. In
each cultural region of India, there are various traditional media. Folk media,
traditional media and cultural media are common terms, which include folk songs and
dances. The folk media are based on the content of communication derived from the
traditional beliefs and customs. Dramatisation is one of the methods that make a
special appeal to farmers as it reproduces realities in life. Dramatisation depicts the
characters proceeding through the use of language accompanied by facial expression,
40
gesture and movement. Dramatisation methods not only help in quick learning but
also in better retention. The farmers learn through recreation and make use of their
sense of hearing and seeing, which results in permanent learning.
Durga (2008) stated that stories always imply a temporal organization of

events, and a plot structure that meaningfully relates past, present, and future. At the
same time, stories are organized around actors who, as protagonist and antagonist,
have opposite positions in a real or imaginary space. Both the storyteller and the
actors in the stories told are intentional beings who are motivated to reach particular
goals which function as organizing story themes in their narratives.
Maitra (2008) found that the folk tales and tales from oral tradition are an
important way of communicating with children. Acting especially as repositories of
moral and social lessons and religious instructions discovered by grandparents and
parents through time, these traditions have always been an important part of growing
up.
Mallikarjun (2008) found that the leather puppetry is called ‗tolubommalata‘

in Telugu. The word ‗tholu‘ means leather and ‗bommal-ta‘, playing with leather
dolls or figurines. It was once presented by indigenous Telugu folk artistes known as
‗ata gollalu‘ (cowherds players) who belong to the Jangama (Saivite mendicants), and
Balija castes. Today, most puppet players in Andhra live in some villages of
Vishakapatnam, East Godavari, Ananthapur, Cuddapah, Nellore, Nalgonda and
Guntur. Puppets are made of deer, goat, calf or buffalo skins. These hides are tanned,
made translucent and cut into various shapes and sizes. The sizes of puppets range
from one to six feet depending upon the age and nature of the characters. The art is
alive in some parts of the Costal Andhra and Rayalaseema districts like Ananthapur
(Nimmalakunta).
Lalremruati (2009) said that the mizo folk songs may be regarded as one of
the most popular forms of their folk orature. The folk songs are lyrical in nature, short
in length, musical, and easily understood. It reflects the social heritage, milieu and
culture of the Mizo of a particular period. The entire Mizo culture, as it were, can be
said to be reflected in them. Several folk songs have been named after the women
composers themselves. Some of them, though composed by others, continued to be
41
named after them. The Mizo folk songstresses were endowed with a remarkable
variety of expressions which reflected in their compositions.
Manuel (2009) found that the Chowtal is a folk song genre of the Bhojpuri-
speaking (―pūrab‖ or ―eastern‖) region of North India which comprises some 60
million people in eastern Uttar Pradesh and western Bihar and of the Bhojpuri
diasporas. Chowtal is a seasonal genre, linked to the vernal Hindu Holi or Hori
festival, which in the diaspora is more commonly called Phagwa (Hindi, phagwā, or
in Fiji, fāg). In India and the diaspora, Phagwa culminates in a day (usually in early
March) of carnivalesque merriment, especially the throwing of colored powders and
liquids, playful (but not unmeasured) violation of class and caste boundaries,
performance of various forms of vernacular song, and a general spirit of sensuous
abandon and fun. Song sessions of various genres associated with Phagwa occur in
diverse contexts in the weeks leading up to the culminating day itself. Typically,
groups of men and women agree to gather informally (and in India, usually
separately) at someone‘s house or patio for an evening song session, whose rowdy
and boisterous character might occasionally be further enhanced by moderate
consumption of bhang or some other hashish-based libation. Chowtal is sung in an
antiphonal format, in which two groups of vocalists (each ideally of at least four
people) sit facing each other or in a circle, with a ḍholak (barrel drum) player in
between. As cued by someone formally or informally designated as leader, one group
sings a line, and the others repeat it, while also playing jhānjh (brass cymbals),
perhaps along with other percussion instruments such as kartal (khartāl, two pairs of
short metal or wooden sticks), and jhīkā (a shaken wooden frame with jingles). In
Suriname, a nagāra (kettledrum pair) player may replace or supplement the Dholak.
Pachuau (2009) observed that the song and dances are integral to the Mizos,
both in times of sorrow and in celebration. The fact that Mizo traditional dances have
undergone various stages of fusion and transformation remains a debatable aspect of
research till today. This critique shall focus only upon six of the predominantly major
dances of Mizoram namely, Khuallam, Chawnglaizawn, Chai, Sarlamkai / Solakia,
Cheraw and Chheih.1 Dance is referred to as Lam in Mizo. Dance remains central
and intrinsic to the life of the Mizo community, not merely in terms of artistic
42
parameters but also as a reflection of an entire panorama of the ethos and sensibility
of the Mizos, in its myriad dimensions.
Sujan (2009) advocate one traditional folk media- the Screen Printing, a
traditional method of printing. Screen printing is the process of passing ink through
passed or developed on screen of organdy cloth or butting nylon etched out stencil of
matter/object by pressing with squeegee. The process allows to pass ink from open
areas of stencil and prints on paper. The process was known as ―Serigraphy‖.
Serigraphy word consists of Lain and Greek words-―Seri‖ and ―graphein‖, which
means ―silk‖ and ―to write or draw‖, respectively. Historically speaking, screen
printing process is as old as human civilization.
Possibilities of entrepreneurship through traditional folk media
Schumpeter (1934) concluded that who first recognized the importance of

human agent in entrepreneurship process. He described an entrepreneur as essentially
a man with creative and innovative activities who introduces something new into the
economy.
McClelland (1961) stated entrepreneur as a man who could organize the

business unit or increase its productive capacity. Also stated that he likes taking risk
and has high achievement motivation.
Selvaraj (1993) stated that the concept of entrepreneur and entrepreneurship

incorporates the basic qualities of leadership, innovativeness, hardwork, vision and
maximization of profits.
Ramanathan (2000) found that temple authorities usually invite performers

to their temple and pay them, but this is not the case with KaaLiyaaTTam in
Tirunelveli District. KaaLiyaaTTam has turned into a profes-sional art only in the
past fifteen years.
Mallikarjun (2008) observed that puppet performers are mostly wandering

troupes. They wander for nine months in a year from village to village giving
performances. The whole family will travel from to village to village. The villagers
give some money and rice to the puppeteers.
43
Vaidyanathan (2001) found that all the tools of Ritual Terracotta of Tamil
Nadu were made of natural materials, a small stone hand turned pottery wheel,
bamboo pottery tools, rope, a wooden paddle and a stone anvil (for beating the walls
thin) and yerkelai (a kind of a leaf), for keeping the rims of clay moist. With these
materials they produced amazing figures of village deities, horses, bulls, nertikattan
(offerings given for prayers answered by the deity), and other smaller figures
commissioned by the villagers.
Subramanyam and Mohan (2006) observed that within a tribal village the
information spreads through public announcements, intra and inter-group
communication. The traditional media of public announcements or tum-tums are the
most effective communication, locally called Dondora or Chattimpu. In this process
the traditional village vetti or Barika is paid a nominal fee to go around the village,
beat the Tum-Tum and announcing the news pertaining to public meetings, officials
visit to the village or area, village deities festivals etc.
Mukhopadhyay (2007) stated that puppets are increasingly being used as a

strategy for addressing varied development issues such as educating children,
encouraging scientific methods of farming, promoting the use of fertilizers, etc. The
Song and Drama Division of the Government of India makes wide use of puppets in
its campaigns to promote various government projects, and Life Insurance
Corporation of India used puppets to educate the rural masses about life insurance,
enlisting the help of the Literacy House in Lucknow.
Pant et al. (2009) stated that the Aipan design (traditional art form of
Uttarakhand) can be used to develop for screen printing, block printing and
embroidery and to represent some of these designs in various textile articles for
commercial marketing. This traditional art form is perpetuated by the women folk of
Kumaon. These printing techniques and embroidery can be used by the women folk
for income generation by setting up their own cottage industries.
Sujan (2009) observed that the Screen printing process a traditional method
of printing. If our rural unemployed youth is trained in this printing technology they
can used as key communicators by printing posters, chart, handbills, folders, booklets
and like printed material. Furthermore, the strongest features of this technology to
44
create entrepreneurial avenues among the unemployed rural youth. The Screen
printing can bring out not only extension printed materials but also cash memo, bills,
visiting cards, marriage cards, printed advertising materials, printing on cloth, plastic,
equipments, packaging items etc. Therefore the unemployed rural youth may get a
major source of income at their door steps. It is further advocated that when one form
of traditional folk media can generate entrepreneurs among more than 3.5 lakhs
individuals than why not other forms of traditional folk media are exploited for
entrepreneurship.
Using Traditional Folk Media Loaded With Developmental Messages
UNESCO (1972) revealed that once the social purpose for using the folk
media has established and accepted in the community, responsibility for continued
use should be left with the community itself, external agencies playing a supportive
rather than directive role. Cultural development will depend upon the artist‘s
conviction that his talents and his medium are respected, and on the freedom allowed
to him medium in a manner most acceptable to his audience. The appeal of the folk
media is emotional, moral and aesthetic rather than intellectual, and the purpose is not
so much to inform but to inspire. Therefore, these folk media, if used sensitively, can
provide motivation for social change and increased receptivity to new ideas. This role
is bound to lead to a qualitative improvement in the media and to enriched cultural
heritage.
Rogers (1974) stated that the role of mass media and interpersonal
communication in development in Latin America, Africa and Asia is reviewed. Then,
research and development program experience are synthesized to show: (1) that at
present, the mass media play a major role in creating a climate for modernization
among villagers, but are less important in diffusing technological innovations—
although their potential for doing so is high; (2) that mass media channels are more
effective when combined with interpersonal channels, as in media forums; and (3)
that the traditional mass media, such as village theater and traveling storytellers, have
an important potential for development purposes, especially when they are combined
with the modern electronic and print media.
45
Abrams (1975) observed that the most dominant feature of Tamasha in the
twentieth century is its utilization for social and political propaganda. Throughout
history, the content of Maharashtrian folk entertainments served utilitarian purposes.
Pure entertainment needs were satisfied by the pleasing formal arrangements of the
contents. The poet-saints of Maharashtra composed enticing songs, dances, and skits
to bring their moral teachings to the rural masses.
Lent (1978) said that as Third World governments use folk media and
interpersonal communication channels to transmit the developmental message to rural
peoples, it becomes apparent that they have in their hands a truly grassroots
propaganda machine capable of being harnessed to also promote non-developmental
interests. Therefore, because the dividing line between developmental, governmental
and political ends can be hair thin, it is possible (and is happening) for folk media to
be misused to promote the development of national leaders, rather than the
development of national policies and programs. That, indeed, would be unfortunate in
a world where governments already control so many mass media used to promote
their own ends.
Dimri (1986) found that the feeling of one‘s affiliation with the culture is
stronger than the non-cultures to ensure more effective communication. The designer
of communication strategy should not forget that the culture and cultural factors are
interwoven with the life of Garhwal community. Even the new race, the age group of
15 to 25 years, is also more affiliated with their cultural factors. Hence any message
to be transmitted must properly be blended with a cultural bias and taboo. It is not
difficult to pass on the messages blended with folk songs, bhajans, nritya and other. It
is generally observed that whenever there is a programme reflecting the cultural
background of folks, the people generally throng around the radio and television. The
network is there, the song and drama division is there, the communication network
already exists, and the problem is simply to blend the programmes with the cultural
shade and colouring. This will ensure a wider acceptance by the populace. mOre
specifically the traditional means of communication should be combined with the
electronic media of today for the vast communication and effective utilization of the
intended message and information.
46
Sujan and Dimari (1987) observed that the traditional folk media are much
more important for effective communication among the rural women. The traditional
folk media impart the knowledge in special nature with no grammar of a literature
and nurtured with the help of oral and functional sources. Communicating the
developmental message through traditional folk form alone takes time, resources and
has less coverage. It is judicious to utilize the traditional folk form of communication
along with electronic media.
Haq (1989) stated that Burrakatha is mainly used in TV for the projection of
Family Welfare like immunisation, preventive measures to be taken for some
diseases, cleanliness, child and mother care, breast feeding etc. This format has
helped both the parties to convey it to the masses and the message was well received
by masses. Tholubommalata is one of the most ancient forms of the folk arts which
has got immense potential to convey the message with full of entertainment value.
Sud (1989) said that in developing countries as in India, there is a growing

interest in using the folk arts for communicating developmental messages to the rural
folk. The government of India has taken steps to use the traditional media, to aid the
national developmental programmes. For this purpose, a Song and Drama Division
(Sangeet Natak Akademi), an arm of the Ministry of Information and Broadcasting,
was established in 1953 with its network of academics in different states. It organizes
folk dance festivals during Republic Day Celebrations in New Delhi with a view to
foster India thought, brotherhood and national integration.
Vijaya (1989) stated that there are very bright prospects for using the
traditional folk media to aid national developmental programme by combing its use
with the mass media and thus, develop a favorable response for development. The
traditional media carry modern messages very effectively by employing the local
idioms, proverbs and symbols of the people which can be easily understood by them.
Especially folk songs are one of the most powerful propaganda media to direct the
attention of the people towards a particular programme. It is highly effective in
exercising social control in folk societies, moral songs sung in the villages control the
behaviour of the people so that they may not overlook the norms of their community.
It plays a vital role in educating the younger generation. The simple tunes of songs
47
enlighten the tender minds of children with the useful knowledge in the easier
manner. In addition these arts forms play an important role in socialization of the
people through stories of ideal men and women.
Yadav et al. (1989) found that use of traditional media worked as reliable
approach to minimize the complexity of the message. Use of traditional at the level of
children in formal set up can best be explored to disseminate information to the most
viable clientele group of the social system i. e. women. The traditional media can still
avoid many problems coming in dissemination of scientific messages to the illiterate
clientele system and can help in ensuring minimum loss of accuracy of scientific
information.
Rajan (1991) said that while the Electronics Mass Media like Television
offers an excellent opportunity to popularize a message through Folk Art to a much
wider audience, experiences show that most of the time TV Media tries to straitjacket
the traditional form into its structural forms and time frames, in the process hurting
the traditional forms considerably. There is a need to work more closely with the
traditional media artists on these aspects such that a better integration of these media
with the electronic media is achieved. A lot of imagination and balancing is also
required to get the maximum impact for a traditional art performer performing in a
studio as against his performance in front of a live audience. While attempting to
integrate traditional media with Electronic Medium, it is important to ensure that the
culture never gets hurt.
Sujan (1993) stated that traditional folk media and modern media should be
integrated for use in development contexts. This may help interfusing interest patterns
of various regional entities. It may also be useful for intertransfer and intratransfer of
knowledge from various regions and places, enhancing the feeling of oneness in the
country. It could be a force to generate respect between various cultural groups.
Finally, this media combination could facilitate fulfillment of specific development
objectives.
Valbuena (1993) observed that folk media is entertainment communication

because its performance such as story telling, theatre shows, puppet shows and drama
could facilitate development of agricultural extension programmes through the rapid
48
diffusion of new technologies and its demonstrational values could serve as an

effective vehicle for transmission of social messages.
Crowder et al. (1998) stated that the use of traditional folk media in
development is not new. For many years they have attracted the attention of
communication professionals as an alternative or a complement to modern mass
media. Traditional media have been used in family planning campaigns, in health care
programmes, in environmental protection projects, and in adult literacy programmes,
among others. Development communicators have used traditional media to help
mothers learn to prepare more nutritional food for their children, to influence attitudes
towards family size and to introduce new practices to farmers. Traditional folk media
offer an effective means to integrate local agricultural knowledge with new scientific
knowledge from outside sources. Using traditional folk media requires skill in the
crafting of development messages into the fabric of the media. It is best done through
close collaboration between development workers and folk media artists and
performers.
Pahad (2000) pointed out that mass media cannot adequately perform the
roles which are expected from them. These are not able to reach the masses with
relevant information which is needed to bring about real social change in their lives.
The use of traditional or folk media for specific development programmes like family
planning, education etc., have proved to be a better and more effective for
participatory approach for rural development.
Balaji and Thiagarajan (2001) said that the Nalamdana‘s efforts are focused
on two areas: a) widespread communication of preventive health messages to help
people make informed decisions about their health, and b) development of local
leaders who can harness the cooperation of the critical mass needed for visible
change.
The group is involved in:
• Researching, scripting and performing community drama to increase

awareness of key health and social issues and positive behaviour change;
• Development of television dramas on social issues;
49
• Development of Information, Education and Communication (IEC) materials

for awareness and behaviour change;
• Conducting workshops on awareness about STDs and HIV, especially for

illiterate men and women;
• Facilitating fundraising for and the dissemination of Nalamdana Scholarship

Funds;
• Building up resources by training college students in street theatre.
Nalamdana has used innovative communication methods to deliver key health

messages on HIV/AIDS to semi-literate audiences in inner city slums and villages in
Chennai. In order to effectively reach the target population, it has developed a unique
style of street theatre that is shaped in the popular film styles of Tamil Nadu.
Darras and Walker (2001) stated that Wan Smolbag has written and
produced a large number of plays, drama sketches and participatory drama workshops
about environmental, health, social and human rights. The troupe has developed plays
with science messages and animated dramatic sketches with messages and
information involving audience participation. Wan Smolbag Theatre has been
working in the field of health education since 1989. Since that time the theatre has
covered many different health topics. The main focus of its health work has been in
the area of reproductive health, looking at the problems of teenage pregnancy,
maternal health, STDs and HIV/AIDS. Wan Smolbag Theatre has developed a model
of popular theatre that explains to people at the grassroots level about environment,
governance and reproductive health issues. The group has developed sketches,
showing how diseases like gonorrhea are transmitted through sex.
Panford and et al. (2001) observed that although folk media have not been
recognized in most Western literature as the most prominent means of education in all
aspects of African social life, the effectiveness of folk media in changing negative
social and reproductive health behaviors in rural Africa is clear. Rural Africa,
including the setting we have described in Ghana, is endowed with rich, popular
means of communication, including songs, proverbs, storytelling, drumming and
dancing, drama, poetry recital, and arts and crafts. These popular media are used for
50
such purposes as recreation, entertainment, ritual, ceremonies, communication

(information), and religion. Furthermore, we believe that folk media can be
accommodated by contemporary theories of communication, education, and behavior
change. In fact, it may be that folk media are better suited for theory-driven
communication interventions than such modern techniques as participatory rural
appraisal and use of mass media, to which many Africans do not relate well. These
new methods, though undoubtedly useful in several contexts, require rural villagers to
―participate‖ in ways that are often incomprehensible to them. Conversely, because
folk media are an immediately recognizable vehicle for education, they are easily
accepted by most Africans. The importance of the ―fit‖ of the communication
approach to the behavior change objectives cannot be overemphasized.
It is therefore imperative for projects whose goals aim at behavior change and
sustainability in rural African settings to recognize and use the potential of folk media
for the benefit of the rural folk as well as project implementers and funding agencies.
Finally, there is a need for research into the myriad folk media forms that abound in
rural Africa, both to explore ways to preserve these media and to document the
effects they have on behavior change in rural communities.
Pokharel (2001) found that the Aarohan Street Theatre has generally
contributed to creating awareness among the population on a number of issues
relating to the social, cultural and political environment. Some of its interventions
target long-term changes (health, education), and some have an immediate effect on
behavioural change. Other topics include family planning, community development,
health, poverty, forest conservation, drinking water, HIV/ AIDS, education and
human rights. Plays about corruption and political issues are more successful in the
cities; while in the villages the plays about environment and leprosy are much more
appreciated.
Warner (2001) found that the Teatro La Fragua (theatre) constitutes a year-
round, professional attempt to use theatre as a means of empowerment. What La
Fragua seeks to do — address socio-political issues, explore Honduran history, teach
literacy, and stimulate personal and group autonomy. Teatro acts politically by giving
51
Hondurans the opportunity to see themselves reflected on stage and to hear their own
language.
Chapke and Sonatakki (2002) stated that traditional folk media are the most
important vehicles of social change. While a lot of modification may be needed to
convey social as well as agricultural messages, traditional media will easily carry
social issues related to the rural development. Popularity of the traditional media in
rural areas‘ is reflected as entertainment media, which have lot of potential if wisely
converted to entertainment cum information media. Therefore, it is suggested that the
communicators, media personnel, policy makers and extension agencies should take
advantages of these media as a effective communication tool to achieve their
objectives of social development especially in rural areas.
Bruin (2003) said that Kaeeaikkattu performances provide a platform where

local relationships, problems and politics are acted out and – to some extent –
commented and reflected upon. They have the potential to elicit debate between
spectators and between performers and spectators, while the risk of ‗holding the
stage‘ and imposing ideas and messages upon audiences is low. In addition, the
theatre provides insights into universal dilemmas and states-of-mind, in particular, to
those who have little or no access to written and electronic media. Kaeeaikkattu can
be and has been used for extension activities, but the willingness of local audiences to
pay for novel plays, which do not link up with the ritual contexts within which
Kaeeaikkattu is normally performed, is low. Lastly, Kaeeaikkattu provides local
employment, also to people who are ‗gendered‘ differently.
Chiovoloni (2004) and Hiemstra et al. (2004) reported that the for
sustainable development of Agriculture there is a need for close collaboration
between development agents and traditional and new rural communicators to revive
or strengthen the traditional communication system for making optimal use of its
interactive power to stimulate people‘s participation.
Katiyar (2005) revealed that the feeling of one‘s of affiliation with the culture
is stronger than the non-cultures to ensure more effective communication. The
designer of communication strategy should not forget that the culture and cultural
factors are interwoven with the life of Kannauj communities.
52
Singh (2004) indicated that the study of traditional folk media in India is of
great importance in understanding Indian society and culture. It may be helpful in
developing the theoretical frame work for the study of our society.
Namdeo and Mishra (2005) said that tribal are still away from the main
stream of the society. Due to lack of education and awareness of outside world they
are suspicious about cosmopolitan, exogenous and modern sources of
communication. The development activities of the government require a great degree
of effective rapport building with tribal people to convince them about development
objectives of various programmes. The most suitable way to achieve the development
goal is the use of traditional media. The tribal village has a well-developed network
of indigenous communication channel, but the key communicators are not having
knowledge about new technologies. Therefore, it is suggested that development
planners should pay close attention to indigenous communication network and take
advantage to achieve their objectives of social development especially in tribal areas.
Chapke and Bhagat (2006) found that if we want to use traditional media as
a communication tool, it is essential to consider some points viz., selection of the folk
media on the basis of popularity with concerned folk artists who were well acquainted
with local language, dialects, culture and traditions, organize at village place with the
help of interested village people systematically with following all the steps and
themes related to social development, patriotic as well as recreational and
entertainment suitable to the media should be included. Thus, utilization of locally
available resources viz., talent of folk artists, popularity of the media, agri proverbs,
acceptable idioms, riddles, etc., through traditional media found very interesting and
effective as communication tool for rural development and natural recourse
technology. It is therefore, concluded that the potential of the traditional media can be
utilized wisely and systematically for agricultural as well as rural development too.
Kar (2006) said that in Orissa the 'Geetinatya' of Baisnaba Pani played greater
role spearheading patriotic fervor among the people during freedom-movement of
India. Similarly other folk dramas like Prahallad natak, Danda, Palas have also
enriched people's mind with religious virtues.
53
Kumar (2006) stated that unlike in western theatre, folk performance is a

composite art in India. It is a total art with fusion elements from music, dance,
pantomime, versification, epic ballad recitation, religion and festival peasantry. It
imbibes ceremonials, rituals, belief and social system. It has deep religious and
ritualistic overtones and the again, it can surely project social life, secular themes and
universal values. Traditional uses of folk media were primarily for entertainment,
social communication and persuasive communication. There have been sporadic
efforts to involve folk media for conveying development messages through mass-
media agencies.
Pushpa and Jinadasa (2006) stated that it seems appropriate that we make
use of features of Performance Arts which are available in the Traditional Folk-
Media such as Vocalization, Instrumentalization, Dancing, and Dramatization which
are prevalent in rituals and folk-lore. Development messages can be communicated
effectively through the use of Kavikolaya, Adaberaya (Drumming), ritual forms of
chanting, Panchaturya Vadanaya, Mask dancing and Devil Dancing. This type of
presentation is more attractive as well as emotionally touches the audience. It also
embodies variety of Rasa such as humor, Heroism, Erotic and Fantasy and variety of
feelings.
Mukhopadhyay (2007) revealed that efforts should be made to preserve the

originality of each folk form; adaptation need not alter nor destroy the form. For
effective community- level communication strategies, the integrated and planned use
of both folk and mass media is necessary for achieving optimum impact and for
obtaining desired feedback. Collaboration between the folk artistes and the media
producers is absolutely essential for the successful integration of folk media and mass
media communication strategies for development purposes. Peasants, agricultural
labourers, bonded labourers, women, tribals, and other oppressed groups are
rediscovering the potential of folk and traditional performing arts as a weapon in their
struggle for land, better health status, better working and living conditions, and
human rights. Government agencies, international organisations, and donor agencies
should progressively use this important and powerful communication tool as a means
for mobilising people for economic and social development.
54
Dhawan and Sharma (2008) found that although Indian agriculture has been
successful in recent years but there is a noticeable gap between research and its
application in the field of agriculture, animal husbandry and home sciences. This gap
has to be bridged by effective communication ofuseful information. Though modern
channel of communication are available but there usage islimited largely to the urban
population and theupper segment of the society, only the educated audience
benefitted from modern media. The study showed that there was noticeable hike
observed in the knowledge level of farmers after watching the street play and it gives
an ever lasting impact on the knowledge level of the farmers. Thus efforts should be
made to impart the knowledge to farmers through traditional media also.
Garlough (2008) revealed that the use of street theater by grassroots Indian
feminist groups to carve out a public forum and to articulate pressing concerns about
rape, inheritance law, and women‘s representation in popular and historical texts.
Nooripoor et al. (2008) stated that the local festivals are the most useful
media for the following purposes:
· Development of extension-education programs directed towards integrated
pest management; conservation of natural resources; and small home scale
processing methods.
· Performing local cultural-artistic programs; and accessing local cultural-
artistic programs across the country.
· Development and maintaining interactive communication process between
development agents and farmers in a flexible, negotiable and face-to-face and
yet entertaining way using local jargons and symbols.
· Organizing target groups such as rural poor and women in order to motivate
them for participating in development programs.
· Providing a share atmosphere between development agents', officers and local
people so that participatory programs in M&E are enforced.
Sudhakarudu (2008) stated that the main purpose of the performance is not
only to entertain the masses, but also educate them in political and social stances.
Burra Katha was banned in Madras by the British government and in Hyderabad
kingdom by Nizam government, because it was the medium to enlighten the people of
the current political situation in various political meetings. It is perhaps the only
55
medium that is so widely used by both governmental and non-governmental

organisations. The performers unlike bards are drawn from various castes and
religions. Both men and women perform.
Daudu (2009) described that the types of folk media used in descending order
of their usefulness were folk songs, friends,/Association, folk puppet theatre and
drama. While the most frequently used folk media were folk dance, folk songs,
friends/Association, and groups/Association. The result further indicated that the
three most frequently mentioned problems associated with folk media usage were
lack of fidelity, costly to organize and poor clarity. It was therefore recommended
that policy makers and practitioners choose appropriate folk media for use
considering the level of usefulness and frequency of use. Secondly in order to
surmount the problem of lack of fidelity farmers should be involved in the packaging
of messages and respected members of the community selected as actors to deliver
the messages. Also frequently used and useful folkmedia which are relevant and cost
effective could be used to reduce cost of organizing folk media usage. Also solo
singers could be used instead of dance groups to reduce cost. Finally, development
agencies and practitioners could adopt folk media usage for agricultural information
dissemination because it has great prospect in Benue State.
Hoivik and Luger (2009) revealed that the developmental communication
through mass media has been practiced and researched for years, its successes and
failures documented in this and other journals. Yet hardly any effort has been made to
utilize traditional means of communication like puppetry, poetry, street drama or folk
song for development goals. Such `folk media' would appear to have many
advantages: they are locally accepted, adaptable and low-cost; moreover, they
presuppose neither literacy nor modern technology. This article presents a pilot
project from the Himalayas that investigates how indigenous or traditional practices
of communication can be employed in remote areas to raise awareness on
environmental issues.
*****
56
Chapter IV Research Methodology
This chapter deals with the research methods and material used in conducting
this study as per the objectives of the study. The details of various aspects have been
presented under the following heads.
4.1 Locale of study
4.1.1 Selection of the State
4.1.2 Selection of District and Block
4.2 Selection of villages
4.3 Selection of respondents
4.4 Research design
4.5 Variables and their measurement
4.6 Tool preparation and Method of data collection
4.7 Data analysis and interpretation
4.1 Locale of study
India is a developing country. The majorities of people mainly live in villages

and subsist on cultivation of crops. India comprises of twenty eight states and seven
union territories. The present study was conducted in Uttarakhand state. In this kind
of study, the researcher’s familiarity with local language, culture, beliefs and attitude
of the people is must. Therefore, Uttarakhand state was purposively selected as the
researcher is well acquainted with the area and its culture.
4.1.1 Selection of the State
Out of the 28 states, Uttarakhand was selected purposively as the study is time
bound. Because the researcher was from that area only and for this type of qualitative
works, it is a prerequisite of the study that researcher should be well versed with the
locale, people, culture, dialect etc. to collect the data.
Research Methodology
Map of India and Uttarakhand
58
Uttarakhand has two distinct traditional politico-cultural regions known as

Garhwal and Kumaon. The state comprises of 13 districts namely Chamoli, Pauri,
Tehri, Uttarkashi, Dehradun, Hardwar and Rudraprayag in Garhwal region and
Nainital, Almora, Pithoragarh, Udham Singh Nagar, Champawat and Bageshwar in
Kumaon region, out of which the district Almora was selected purposively.
4.1.2 Selection of District and Block
The state Uttarakhand comprises of 13 districts. Almora district of the

Uttarakhand state comes under Kumaon region. It is one of the prominent districts of
Kumaon region. Almora district was selected purposively.
Almora District
Almora district is lies in the east with Pithoragarh district, in the west with
Pauri-Garhwal district, in the north with Bageshwar district and in the south lies with
the Nainital district. Almora is located at 29°37′N 79°40′E29.62°N 79.67°E. It has an
average elevation of 1,651 metres (5,417 feet). It is located on a ridge at the southern
edge of the Kumaon Hills of the Himalaya range. According to Official website
(http://kumaon.gov.in) of Kumaon, some important details of the Almora district have
been given below.
Table 4.1 Some important details of the Almora district
Particulars Numbers Year

Number of Tehsils 09 2010-11
Number of Blocks 11 2010-11
Male Population 294984 2001
Female Population 337882 2001
Total 632866 2001
Rural Population 578361 2001
Urban Population 54505 2001
Scheduled Caste 141127 2001
Scheduled Tribe 878 2001
Total Livestock 526426 2003
Veterinary Hospital 35 2006-07
Livestock Centres 65 2006-07
A.I. Centre 27 2006-07
A.I. Sub Centre 33 2006-07
59
Map of Almora
Map of Dwarahat Block

60
Dwarahat Block
The district Almora comprise of nine Tehsils, Out of the nine Tehsils,
Dwarahat was selected purposively. The Tehsil Dwarahat was one of the major Tehsil
in the district having eleven development blocks. Out of the eleven blocks, Dwarahat
block was selected and Dwarahat block has 205 revenue villages in all. District
Almora and Block Dwarahat were both selected purposively because the researcher
was quite familiar with the people, language, dialect and culture which were mainly
helpful & essential for conducting such studies & interpretation of the data for
fulfilling of the objectives of study. Some important statistical details of Dwarahat
block have been presented below.
Table 4.2 Some important statistical details of Dwarahat block

Particulars Numbers Year
Gram Panchayats 115 2010
Number of house holds 13222 2010
Literacy rate 75.42% 2010
Population 61556 2001
Male population 27391 2001
Female population 34165 2001
SC/ST population (Total) 16077 2001
Male population (SC/ST) 7508 2001
Female population (SC/ST) 8569 2001
Literate (Total) 39546 2001
Male literate 20703 2001
Female literate 18843 2001
Illiterate (Total) 22010 2001
Male illiterate 6688 2001
Female illiterate 15322 2001
4.2 Selection of villages
61
The C. D. Block Dwarahat comprises of 115 gram panchayats (205 revenue

villages). Since the study was mainly concerned with the tradition, culture and
general communication pattern, due to the paucity of time, money and resources on
the command of the researcher, it was not possible to conduct an in-depth study of
more than twenty villages. Therefore, twenty villages were selected randomly. These
selected villages were Aagar, Asgoli, Basulisera, Bayela, Binta, Bunga, Bhumkiya,
Chhatgula, Dhankhal Gaon, Dadholi, Dharam Gaon, Ghaglori, Gwar, Jaamar, Kande,
Malli Mirai, Nattagulli, Rawadi, Talli Mirai and Vijaypur. The details of the selected
villages are as follows.
Table: 4.3 Statistical details of selected villages
S. Name of No. of Population 2001 SC/ST Literate Illiterate

No. the Village House Population
Holds
T M F T M F T M F T M F
1. Aagar 40 184 70 114 181 68 113 111 59 52 73 11 62
2. Asgoli 229 104 448 598 335 165 170 642 345 297 404 103 301
6
3. Basulisera 145 715 331 384 168 81 87 446 232 214 269 99 170
4. Bayela 71 275 118 157 161 76 85 177 90 87 98 28 70
5. Binta 159 660 267 393 66 33 33 368 189 179 292 78 214
6. Bunga 73 361 154 207 198 83 115 244 125 119 117 29 88
7. Bhumkiya 52 284 129 155 282 127 155 210 104 106 74 25 49
8. Chhatgula 126 588 265 323 236 118 118 353 204 149 235 61 174
9. Dhankhal 67 313 128 185 92 40 52 198 90 108 115 38 77
Gaon
10. Dadholi 46 431 342 89 50 45 5 382 323 59 49 19 30
11. Dharam 71 297 148 149 15 8 7 226 121 105 71 27 44
Gaon
12. Ghaglori 107 488 261 227 254 133 121 360 219 141 128 42 86
13. Gwar 124 569 238 331 217 90 127 394 189 205 175 49 126
14. Jaamar 47 216 98 118 82 38 44 147 81 66 69 17 52
15. Kande 107 452 196 256 30 11 19 326 162 164 126 34 92
16. Malli Mirai 337 157 732 847 687 327 360 100 541 460 578 191 387
9 1
17. Nattagulli 53 263 118 145 64 28 36 164 88 76 99 30 69
18. Rawadi 181 909 408 501 428 188 240 625 322 303 284 86 198
19. Talli Mirai 111 447 189 258 170 84 86 642 302 340 319 101 218
20. Vijaypur 199 922 440 482 221 103 118 607 330 277 315 110 205
62
*M Stand for Male, F Stand for Female and T Stand for Total
Source: Statistical report of Block Dwarahat, 2001
4.3 Selection of Respondents
After the selection of locale, the social studies when attempted systematically
then requirement of those people which provide information related to the study are
called respondents. The size of sample was determined in order to suit the study. C.D
block comprises of 205 revenue villages, and out of which 20 villages were selected
randomly. A list of the farmers of each village was prepared. From each list, five old
aged male and female were selected randomly as respondents. Total one hundred
respondents were taken as sample. It clearly indicates that there were two categories
of respondents male and female. Therefore fifty per cent male and fifty per cent
female were selected as respondents. The criteria of selection were with the purpose
that old age people possess detail knowledge about traditional folk media.
Furthermore, there are some of the traditional folk media which are performed
exclusively by the female. Therefore, male and female respondents were selected.
4. 4 Research Design
In view of objectives and the study it is required to identify, interpret aesthetic

value, discuss the dimensions, characteristics, requirement, use, popularity, load of
message, type of message and the prevalent traditional folk media existed in the study
area. Therefore descriptive research design was followed for the study.
4.5 Variables and their measurement
To achieve specific objectives of the study, the variables were selected on the
basis of review of literature, and discussion with experts. Operationalization of
selected variables and their measurement have been presented below:
63
Table 4.4 Selected variables and their empirical measurement

S.No. Variable Empirical Measurement
1. Sex Male/Female
2. Caste As per Government of India classification
3. Education It was measured in terms of formal system of
education
4. Occupation Socio-Economic Status scale developed by Mishra
and Kaul (2000)
5. Type of House Interview schedule developed
6. Annual Income Below poverty line / above poverty line
7. Size of land holding As per Government of Uttarakhand classification
8. Size of family Large family (>5 members)/small family (<5
members)
9. Type of family Joint family/Nuclear family
10. Social participation Socio-Economic Status scale developed by Trivedi
(1963)
11. Mass Media Exposure Interview schedule developed
(Audio-visual, printed matter)
12. Nature of Traditional folk Rigid Media/ Semi-Rigid Media/ Non-Rigid Media
media
13. Themes of Traditional folk Interview schedule developed
media
14. Extent of Use of Traditional Very much used/ Somewhat used/ Not at all used
folk media
Personal and socio-economic characteristics

4.5.1 Caste
It is the social status or position of the respondent which is acquired by
heredity. It was categorized into three categories as per Govt. of India norms.
S. No. Categories
1. General caste
2. Backward caste
3. Scheduled caste and tribe
64
4.5.2. Education
It refers to level of formal education obtained by the respondent at the time of

interview. Information related to this variable was obtained through open ended
questions. It was recorded and categorized into following categories.
S. No. Category
1. Illiterate
2. Primary
3. Middle
4. High School
5. Intermediate
6. Graduate
7. Post Graduate and more
4.5.3 Occupation
It refers to the work done by a person to earn his /her livelihood. The
respondents were asked about their main and subsidiary occupation and they were
categorized as follows:
S. No. Categories
1. Farming alone
2. Farming + Dairy
3. Farming + Service
4. Farming + Service + Dairy
4.5.4 Land holding
65
It refers to the total land possessed by the respondent in Nalis. In hilly villages
of Kumaon (Uttarakhand) measuring unit of land is Nali. One hectare is equivalent to
50 nalis nd 1 acre is equivalent to 20 nalis They were classified in the following
categories as per Government of Uttarakhand classification.
S. No. Category Land Holding (Nali)
1. Marginal farmers ≤ 49 Nalis (< 1 ha.)
2. Small farmers 50-99 Nalis (1-1.99 ha.)
3. Semi-medium farmers 100-199 Nalis (2-3.99 ha.)
4. Medium farmers 200-499 Nalis (4-9.99 ha.)
5. Large farmers >500 Nalis (> 10 ha.)
4.5.5 Type of House
This indicates the dwelling, place or shelter belonging to respondents of a

family. On the basis of the housing pattern of the respondents, obtained data was
classified into the following categories.
S. No. Category
1. Kaccha
2. Mixed
3. Pucca
4. Mansion
4.5.6 Annual income
Respondents were categorized into two categories according to annual income

i.e., below poverty line (income less than Rs. 24000/year) and above poverty line
(income more than Rs 24000/year).
S. No. Category Income
1. Below poverty line Less than Rs. 24,000/year
66
2. Above poverty line More than Rs. 24,000/year
4.5.7 Family type
The type refers to the family being single or joint. Single family is one which
is comprised of the husband, wife, minor children and direct dependents. A joint
family is composed of two or more couples and their children including older person
related to them.
4.5.8 Family size
The number of family members indicated the size of family. It was classified
into two types
S. No. Category
1. Upto 5 members
2. Above 5 members
4.5.9 Social participation
This refers to the association of a particular individual with any social

organization as a member or office bearing. Social organizations like Panchayat,
Yuvak Mangal Dal, Mahila Mangal Dal, Nav Jagran Samiti and many more are found
in hill villages. Respondents were classified into the following categories.
S. No. Category
1. Office bearer
2. No membership
3. One membership
4. More than one membership
4.5.10 Mass Media Exposure
It refers to the degree of utilization of various sources of information by the

respondents. These sources include radio, printed material, television, etc. The
67
exposure of respondents to various existing mass media in terms of frequency

exposure was measured on three point scale as frequently, occasionally and never.
4.5.11 Nature of Traditional Folk Media
They are very specific in nature. The nature of traditional knowledge is such
that more of it is transmitted orally than written down. Depending on the nature and
extent of flexibility the traditional folk media reveal themselves into three categories.
1. Rigid Media
2. Semi-Rigid or Semi-flexible Media
3. Non-Rigid or Totally flexible Media
4.5.12 Themes of Traditional folk media
Folk media command an immense variety of forms and themes to suit the
communication requirements of the masses. The folk media is so flexible that new
themes can be accommodated in them. Folk media themes were studied in terms of
following categories.
S.No. Theme(s) categories
1. Entertainment
2. Social Development
3. Agriculture
4. Religious
5. Ritual and ceremonial
4.5.13 Extent of use of Traditional folk media
Traditional folk media as collected were studied with regard to the extent of
use by the respondents. To measure the extent of use, the respondents were asked to
state the extent of use of traditional folk media on a three point continuum viz very
much used, somewhat used and not at all used.
68
4.6 Tool preparation and Method of data collection
Interview schedule consisting of structural as well as open-ended questions

were developed in Hindi for data collection. Interview schedule was prepared keeping
in view the objective of the study after consulting relevant literature. Researcher has
also done observations to collect exhaustive information about the traditional folk
media like motifs, signals, traditional designs etc. As the study was descriptive in
nature so Participatory Rural Appraisal (PRA) Techniques were used for the
collection of information, which consisted of discussion with key informants, survey
and focused group discussion with the group. Camera was also used to document the
prevalent folk media of the research area.
The data was collected during June 2009 to August 2009, and October 2009 to
November 2009. Demographic information was taken from Gram Panchayats, Block,
District information centre of Almora. Data were collected with the help of structured
interview schedule and camera to document and perform critical study of content,
style, form etc. in the light of objectives of the study
The data was collected through personal interview of the respondents. The
data were collected from the respondents in number of sitting after establishing
rapport with the respondents.
4.7 Data Analysis and Interpretations
Since the study is descriptive in nature therefore, all quantitative information

obtained through personal interviews and non-participant observation were tabulated
and analyzed in the light of the objectives by using appropriate statistical techniques.
Qualitative data was collected through tape recorder and camera. Qualitative data
have been discussed and interpreted in light of the objectives set for the study.
However, quantitative data related to the profile variables have been analyzed using
simple statistical techniques like frequency and percentage.
*****
69
Chapter V Results and Discussion
The chapter is centered to present the results, observations and experiences

which were collected and processed by using social research techniques and tools in
light of objectives of the study. The study had enumerated qualitative informations
and quantitative data where in under qualitative approach, the main concern was to
thresh out document, study and interpret the existed folk culture, oral traditions and
extent of use of traditional folk media. Further to establish the authenticity and
sanctity of collected qualitative informations, the socio-personal profile of the
respondents was also studied under quantitative approach.
In view of objectives of the study the collected quantitative data was

classified, tabulated and statistically processed for clear interpretation and discussion.
The collected qualitative informations were critically examined with the techniques of
content analysis in view of existed socio-cultural scenario of locale of study.
The systematic and adequate presentation of quantitative data and qualitative

content provides clear picture and significant contribution to a field of knowledge as
well as relevancy of the collected data and documents. Therefore to make the
presentation scientific and systematic, this chapter is putforth in the following sub-
heads in light of objectives of the study.
5.1. To study the personal and socio-economic characteristics of the

respondents
5.2. To document the folk culture and oral traditions prevalent in Kumaon
sub-culture
5.3. To study the nature, theme and extent of use of traditional folk media
5.4. To find out the possibilities of entrepreneurship through traditional

folk media
5.5. To suggest strategy for using traditional folk media loaded with
developmental messages
Results and Discussion
5.1 Personal and socio-economic characteristics of the respondents
The personal and socio-economic profile of respondents was studied in terms

of selected personal and socio-economic characteristics viz. sex, type of family, size
of family, education, occupation, land holding, annual income, mass media exposure
etc. The personal and socio-economic characteristics have been presented as follows.
5.1.1 Sex wise composition
The respondents were studied on the basis of their gender and were
categorized under male and female categories.
Table 5.1 Distribution of respondents based on sex
S. No. Categories Frequency (N=100) Percentage
1. Male 50 50
2. Female 50 50
Total 100 100
The data in table 5.1 reveals that fifty per cent respondents were female and
fifty per cent respondents were male.
5.1.2 Caste wise composition
The respondents were classified on the basis of the caste system.
Table 5.2 Distribution of respondents based on caste
S. No. Caste Male Female Total (Percentage)
1. General 27 25 52
2. O.B.C. 05 03 08
3. SC 18 22 40
4. ST - - -
5. Total 50 50 100
69
Figure 5.1 Distribution of respondents based on sex
Female, 50 Male, 50
Figure 5.2 Distribution of respondents based on caste
30
25
20
Percentage
15
10
0
General O.B.C. SC ST
Male Female
70
Table 5.2 explains that maximum numbers of respondents were from General
Category (52 %). Out of which 27 % were male and 25 % were female. It was
followed by Schedule Caste with 40 % and Other Backward Caste 08 % respondents.
However, there were no respondents from Schedule Tribe.
5.1.3 Education wise composition
Educational status of the respondents was recorded and taken in terms of the
total number of years of formal education. The respondents were categorized into
seven educational groups.
Table 5.3 Distribution of respondents based on education
S. No. Categories Frequency of Respondents Total

(Percentage)
Male Female
1. Illiterate 04 26 30
2. Primary 15 17 32
2. Middle 08 04 12
4. High School 15 03 18
5. Intermediate 03 - 03
6. Graduate 03 - 03
7. Post Graduate and more 02 - 02
Total 50 50 100
Table 5.3 reveals that 30 per cent respondents were illiterate. As far as literate
respondents are concerened, the majority of the respondents had education up to
primary level (32 %) followed by high school (18 %), middle (12 %), intermediate
(03 %) and graduation (03 %) and above graduation (02 %). The table clearly reflects
that there was representation of respondents of every educational back ground.
5.1.4 Occupation of the family
Both the primary occupation and secondary occupations of the respondents‟

family were recorded and different combinations of occupations of the respondents
are given below.
71
Figure 5.3 Distribution of respondents based on education
30
25
Percentage
20
15
10
High School
Intermediate
Illiterate
Primary
Middle
and more
Graduate
Graduate
Post
Male Female
Figure 5.4 Distribution of respondents based on occupation of the family
40
35
30
Percentage
25
20
15
10
5
0
Farming +
Farming +
Farming +
Farming
Service +
alone
Service
Dairy
Dairy
72
Table 5.4 Distribution of respondents based on occupation of the family
S. No. Categories Frequency Percentage
1. Farming alone 17 17
2. Farming + Dairy 26 26
3. Farming + Service 22 22
4. Farming + Service + Dairy 35 35
Total 100 100
The respondents under current study had diverse occupational background. In

general, farming along with service and dairy was the main occupation of majority of
the respondents (35 %) followed by farming & dairy as occupation (26 %) followed
by farming with service (22 %). However, 17 per cent respondents had only farming
as occupation.
5.1.5 Type of House
This indicates the dwelling place or shelter belonging to respondents of

family. To find out the housing pattern of the respondents, houses were categorized
into four categories and results have been presented in Table 5.5.
Table 5.5 Distribution of the respondents based on the type of house
S. No. House Type Frequency of the Percentage

Respondents
1. Kaccha 32 32
2. Mixed 36 36
3. Pakka 25 25
4. Mansion 07 07
Total 100 100
Table 5.5 reveals that majority of the respondents (36 %) had mixed house,
followed by kaccha house (32 %), pakka house (25 %) and mansion (7 %).
73
Figure 5.5 Distribution of the respondents based on the type of house
40
35
30
25
Percentage
20
15
10
0
Kaccha Mixed Pakka Mansion
Figure 5.6 Distribution of respondents based on annual income
56
54
52
Percentage
50
48
46
44
42
(income less
24000/year).
24000/year)
poverty line
poverty line
More than
(income
than Rs.
Above
Below
Rs.
74
5.1.6 Annual Income of the family
The annual income of the respondent‟s family was worked out by taking into
account the income from agriculture as well as from other sources during the previous
year.
Respondents were categorized into two categories according to annual income

i.e., below poverty line (income less than Rs. 24000/year) and above poverty line
(income more than Rs 24000/year).
Table 5.6 Distribution of respondents based on annual income
1. Below poverty line (income less than 54 54

Rs. 24000/year).
2. Above poverty line (income More than 46 46

Rs. 24000/year)
Total 100 100
A cursory look at the data in Table 5.6 reveals that 54 per cent of the
respondents were below poverty line and 46 per cent of respondents were above
poverty line.
5.1.7 Land holding
The data on the size of land holding owned by respondents were recorded in
nalis. In hilly villages of Kumaon (Uttarakhand) measuring unit of land is Nali. One
hectare is equivalent to 50 nali and 1 acre is equivalent to 20 nali.
The respondents were divided into five main categories i.e marginal farmers
(having less than 50 nalis (< 1.0 ha) land), small farmers (having 50-99 nalis (1-1.99
ha.) land), Semi-medium farmers (having 100-199 nalis (2-3.99 ha.) land), medium
farmers (200-499 nalis (4-9.99 nalis) land) and large farmers (having more than 500
nalis (>10 ha.) land).
75
Table 5.7 Distribution of respondents based on land holding

1. Marginal farmers (≤ 49 Nalis) 59 59
(< 1 ha.)
2. Small farmers (50-99 Nalis) 27 27
(1-1.99 ha.)
3. Semi-medium farmers (100-199 Nalis) 10 10
(2-3.99 ha.)
4. Medium farmers (200-499 Nalis) 04 04
(4-9.99 ha.)
5. Large farmers (>500 Nalis) - -
(> 10 ha.)
Total 100 100
(* Data was originally reported in nali; 50 nali = 1 ha., 20 nali = 1 acre).
It is evident from the findings in table 5.7 that, maximum number of

respondents were marginal farmers (59 %) followed by the small farmers (27 %),
semi- medium farmers (10 %) and medium farmers (4 %). However, there were no
large farmers.
5.1.8 Size of the Family
Respondents were categorized into two categories according to size of family

i.e small family (Upto 5 members) and large family (Above 5 members).
Table 5.8 distribution of the respondents according to the size of family
S. No. Categories Percentage
1. Small family (Upto 5 members) 33
2. Large family (Above 5 members) 67
Total 100
A cursory look at the data in Table 5.8 reveals that majority of the respondents
had large family (67 %) followed by small family (33 %).
76
Figure 5.7 Distribution of respondents based on land holding
70
60
50
Percentage
40
30
20
10
0
Marginal
farmers
farmers
medium
Medium
farmers
farmers
farmers
Large
Small
Semi-
Figure 5.8 Distribution of the respondents according to the size of family
80
70
60
Percentage
50
40
30
20
10
0
members)
members)
(Above 5
(Upto 5
family
family
Large
Small
77
5.1.9 Family type
Family refers to a group defined by a sex relationship sufficiently precise and

enduring to provide for the procreation and upbringing of children. The respondents
were divided into two group i.e. joint family and nuclear family.
Table 5.9 Distribution of respondents based on family type
S. No. Categories Percentage
1. Joint Family 64
2. Nuclear Family 36
Total 100
As can be seen from the Table 5.9 majority of respondents had joint family
(64 %) and 36 per cent of respondents had nuclear family. This indicates that people
in the villages still have faith in joint family system and they prefer joint family
system.
5.10 Social Participation
This refers to the association of a particular individual with any social

organization as a member or office bearer. In the hill villages of Uttarakhand social
organizations like Panchayat, Yuvak Mangal Dal, Mahila Mangal Dal, Nav Jagran
Samiti etc. are functional.
Table 5.10 Distribution of respondents based on their social participation
S. No. Categories Percentage Total

(Percentage)
Male Female
1. Office bearer 18 14 32
2. No membership 21 29 50
3. One membership 09 07 16
4. More than one membership 02 - 02
78
Figure 5.9 Distribution of respondents based on family type
70
60
50
Percentage
40
30
20
10
0
Joint Family Nuclear Family
Figure 5.10 Distribution of respondents based on their social participation
35
30
25
Percentage
20
15
10
0
Office bearer No membership One membership More than one
membership
Male Female
79
It is evident from the Table 5.10 that 50 % of the respondents had no

membership, in which 29 % were female and 21 % were male respondents. Office
bearers were 32 % which comprises of 18 % male and 14 % female. Respondents
having membership of one organization were to the tune of 16 %. However, only 2
per cent respondents had membership of more than 1 organization. So it can be
inferred from the above finding that half of the respondents were actively
participating in the social activities where as another half of the respondents were not
participating in social activities.
5.1.11 Mass media exposure
It refers to the degree of utilization of various mass media by the respondents.

The exposure of respondents to various existing mass media in terms of frequency
exposure was measured on three point scale as frequently, occasionally and never.
The findings related to this aspect of the study have been presented in Table 5.11
Table 5.11 Distribution of respondents based on frequency of Mass media

exposure
S.No. Mass Media Frequency
Frequently Occasionally Never
Male Female Male Female Male Female
1. Radio 20 06 19 25 11 19
(40) (12) (38) (50) (22) (38)
2. T.V. 35 26 12 17 03 07
(70) (52) (24) (34) (06) (14)
3. Newspaper 22 03 20 10 08 37
(44) (06) (40) (20) (16) (74)
4. Magazine 06 - 26 07 18 43
(12) (52) (14) (36) (86)
5. Film Show 13 09 23 31 14 10
(26) (18) (46) (62) (28) (20)
6. Slide Show - - - - 50 50
(100) (100)
7. Folder/Leadlet 06 - 10 - 34 50
(12) (20) (68) (100)
8. Video - - - - 50 50
(100) (100)
9. Poster - - 08 - 39 50
(16) (78) (100)
* Values in parenthesis are percentage of respective score.
80
Radio: Majority of the female respondents (50 %) accessed radio occasionally but
majority of the male respondents (40 %) accessed radio frequently. However, 22 per
cent of the male respondents and 38 per cent of the female respondents never
accessed radio.
Television: Television was frequently accessed by majority of the male respondents

(70 %) and female respondents (52 %). Thirty four per cent of the female respondents
and 24 per cent of the male respondents accessed television occasionally. Only 06 per
cent of the male respondets and 14 per cent of the female respondents never accessed
television.
Newspaper: Majority of the female respondents (74%) never accessed newspaper,

whereas majority of the male respondents (44 %) occasionally accessed newspaper.
only 06 per cent of the female respondents accessed newspaper frequently and 16 %
male respondents never accessed newspaper.
Magazine: Majority of the female respondents (86%) never accessed magazine and
majority of the male respondents (52 %) occasionally accessed magazine. Only 12
per cent of the male respondents frequently accessed magazine and 14 per cent of the
female respondensts accessed magazine occasionally.
Film Show: Majority of the female respondents (62%) and male respondents (46%)
accessed film show occasionally. Twenty eight percent of male and 20 per cent
female never accessed film show. However, 26 percent of male and 18 percent of
female accessed film show frequently.
Slide Show: Hundred per cent male and female respondents never accessed slide
show.
Folder/Leaflet: All female respondents and 68 per cent of the male respondents
never accessed folder/leaflet. Twenty per cent of the male respondents occasionally
accessed folder/leaflet. However, only 12 per cent of male respondents frequently
accessed folder/leaflet.
Video: Hundred per cent male and female respondents never accessed video.
81
Poster: All female respondents and 78 per cent of the male respondents never
accessed poster. Only 16 per cent of the male respondents accessed poster
occasionally.
5.2 The folk culture and oral traditions prevalent in Kumaon sub-culture
The folk culture and oral traditions which were found during the data
collection and their descriptions are as follows.
5.2.1 Folk Songs
A folk song is a lyrical, rhythmic song of a folk community. It generally

reflects the social heritage, the environment and the life of the folk living in a
particular territory. It is usually created by the folk for their own entertainment,
enjoyment or emotional outlet.
It is easily sung, understood and learnt on occasion like birth, first hair-cutting
ceremony (Mundan), sacred thread wearing ceremony, marriage, festivals, special
days or during special period of the year while engaged in household or agricultural
work or in other activities by almost all the members of the folk group with no
distinction of the singer and the listener. It has the capacity of free addition,
subtraction and modification and has no known origin or possessor. It is transmitted,
circulated and perpetuated spontaneously through oral tradition from person to person
or from generation to generation.
India has a tremendous variety of singing. Parmar (1975) claims that there
are over three hundred perceptible folksongs styles in India. Therefore an account of
specific and distinguishing features of these styles would prove a futile endeavour as
far as this study goes. Parmar (1975) divides Indian folk songs into:
1. Bhakti songs, devotional songs with strong links to classical music
2. Ceremonial songs, including seasonal, ritual, work and love songs and
3. Tribal songs
Actual folksong styles which have been used in India as a channel of

communication include Baul and Bahtiali (Bengal), Duha, Ras and Garba (Gujrat),
Bihu (Assam), Mand Ghumar and Panihari (Rajasthan), Rouf and Chakri (Kashmir),
82
Sau and Dadaria (Madhya Pradesh), Chaiti and Kajari (Uttar Pradesh), Kilkali Pattu
(Kerala), Mado, Dakani and Dhalo (Goa), Heer, Jugnu and Giddha (Punjab).
According to Malik (1985), these styles are capable, with changes in textual content
or context, of expressing socially significant messages, and have been harnesses to
this effect by Government and private agencies. Folk songs have often been used in
India to stir up emotion against the British during the pre-independence period, to
foster a sense of national pride and integration, and to enthuse people about various
projects.
According to Tiwari (2002) Kumaoni songs can be classified in to several

classes, these are as follows.
1) Religious Song:
a) Sanskaar Song
b) Jagar Song
c) Fasting (Vrat) Song
2) Dance Song:
a) Chapeli
b) Chachari
c) Jhoda
d) Dushka
3) Season and Agricultural Song:
a) Spring (Basant) Song
b) Riturain
c) Hurka- baul
4) Ballad Song:
a) Bharo
b) Malu- Shahi
c) Ramaul
83
5) Mislleneous:
a) Nayoli
b) Bhagnaul
c) Bair
d) Chaufula
e) Holi songs etc.
The major folk songs which were found during the data collection and their
descriptions are as follows.
1. Religious songs-
a) Sanskaar Geet - Sanakaar songs are only sing by females of Brahmin caste.
We can say that Sanskaar geet have been mainly preserved by females. These females
are locally known as “Gidar”. “Gidar” is the term used for the lady (ies), who
know(s) most of the songs related to various occasions. Generally older ladies with
good knowledge of songs and good singing voice come in this category. In any
occasion one must call “Gidar” to start the function/process/programme. “Gidar” start
singing and other ladies sing with them. This tradition goes on. New ladies take the
place of older one in due course of time.
These songs are sung during marriage, child birth, Yagyopavit (sacred thread
ceremony), name ceremony, etc. These songs are sing without any musical
instruments, basically rhythmless or in simple rhythm.
According to Pandey (1977), Sanskaar geet can be classified again into two
parts-
i- Compulsory song
ii- Special song
i. Compulsory song: These songs are sing before the starting of any religious
and auspicious work. These compulsory songs are
a) Sakunaakhar (Shakunaakshar/auspicious words) and

b) Neutano (Invitation songs).
84
85
a) Sakunaakhar: “Shakunnaakhar” is a type of song. “Shakunnaakhar” word

comprises of two words “Shakun”+ “Aakhar”. “Shakun” stands for the “Shagun”
mean auspicious and “Aakhar” stands for the “Akshar” means word. So the meaning
of the “Shakunaakhar” is “Sagun ke Akshar” mean “The auspicious words”. The
songs which are sung in auspicious functions. These songs are sung mostly by a
group of women in an informal setting. These songs are like Ganesh vandana. These
songs are sung on every auspicious occasion like marriage, name ceremony, Shiv
Archana, Ghrah Pravesh (Home entry ceremony) etc. No occasion can start without
these songs. There is a strong influence of Awadhi and Braj songs on some of the
Shakunaakhar songs of Kumaon. Singers pray to God and Goddess that please come
in the house and accomplish our work without any hurdle. In these songs prayer for
the good health, long life, etc. are also included. The names of family‟s males and
females are also included in the song for the long life.
Sakunaakhar
Sakunaa de, sakunaa de

Kaaj yeh ati neeko
Sakunaa bolya daina baajan shankh sabd
Deini teel, bhariyo-kalash,patalo, aanchali kamal ko phool,
Sohi phool molavanta Ganesh,
Ramichandra, Laximan, Bharat, Sataru, Lav-Kush
Jeeva jan me aadhya amaru hoy
Sohi patu pairi raina Sidhi-Budhi
Seeta dehi, Uraminii, Dolahini, Aayivanti, Putravanti hoyee
Sohi phool molavanta (here include the name of the male members of the
family)
Sohi paatu pairi raina

Sidhi-Budhi (here include the name of the female members of the family)
Another song of this category:
Deina hoya Deina hoya thoru re pitar

Deina hoya deina hoya Panch re depot
Deina hoya Deina hoya Bhoomi ka bubhyala
86
Deina hoya Deina hoya Kholi ka Ganesh

Deina hoya deina hoya Pyale Basuri
Here all Panch devta (Five Gods), Land God (Bhoomi devta), Ancestors
(Pitra) etc. are prayed to accomplish the work successfully.
b) Neutano (Invitation songs): „Neut‟ mean invitation. Through these songs

singers invite Sun, Moon, Brahma, Vishnu, Ganesh or we can say that all the
Gods and Goddesses, natural powers etc. are invited. After inviting all the
Gods and Goddesses, singers also invite Brahmin, carpenter, gardener, barber
and other social personalities to attend the function.
Aaj badhaiye neutiye

Praat jo neutu main surij, kiranan ko adikaar
Samaaye badhaiye neutiye,
Saanj jo neutu ,main chandrama, taran ko adikaar
Samaaye badhaaiye neutiye
Ganapati neutu mai kaaj su,Brahma-Vishnu neutu main kaaj su
Ganpati Sidhi karay, Brahma-Vishnu shrishti rachaay
Samaay badhaaeye neutiye
Brahma neutu main kaaj su, badeiya chock le aay
Samaay badhaaeye neutiye
Aharini neutu main kaaj su, gujariyaa neutu main kaaj su
Aharini doodh le aay, gujariyaan dayya le aay
Samaay badhaeye neutiye
Halwaayi neutu main aaj su, tamoliya neutu mai aaj su
Halwaayi sini le aay, tamoliya bida le aay
Naeen nagar bulay, samaay badhaeye neutiye
Aaj badhaeye neutiye
This song is sing before the ceremony. Through these songs all the Gods and
Goddesses are extended invitation for taking part in the ceremony being held. In the
ocassin of marriage parrot being used to distribute the invitation to all the Gods,
Goddesses, relatives and villagers etc.Here parrot works as messenger.
87
Suva re Suva, vankhandi Suva, hariya tero gaat,

Pingal tero thoona
Laal teri aankhi, nazar teri baanki,
Ja suva nagari neut di aa
Nau ni janneu, gaun ni pachanneu,
Ke ghar ke naari neutu?
Bekunth gaun ch, Laxima dehi nau ch
Unra purish Narayan nau ch, vi ghar ki naari neutu,
Aghil adivari, pachil phoolwari
Chajo bethan chan, jhrokha dekhan chan
Haath ch bela, godi ch chela
Aa beti khilkani meita
Meaning- O Parrot! You are living in a forest, you have green body and yellow beak,
your eyes are red and your eye sight is sharp. You go and give the invitation in the
city. I don‟t know the name, village and home of the concern person and whose wife I
have to invite. Village is Baikunth, name of the lady is Laxmi Devi, and her
husband‟s name is Shri Narayan. Just go to the place and give the invitation to the
lady.
i- Special songs
Special songs mainly related to birth, fasting and marriage etc. The category
of birth songs are as follow.
1. Birh day song (janam din)
1. Sixth day song (chhati)
1. First food ceremony(paasini)
1. Name ceremony song (naamkaran)
1. Birth year song (janamvaar)
Name ceremony song
Aaj baaji rahe, baja baj rahe

Rami Chandra darbar, lachiman darbar
Badhaeiyaan raton ae baj bajiye rati ae,
88
Tu uth rani bahuaa, sita dehi bahuaa,

Bahurani audo, daksin ko cheer, ae
Hum to aude rahe, hum to pairi rahe,
Apne babul prasad, sasur darbar, priy parsaad,
Lalaa ke kaaj, saiyaain ke raj, balam darbar,
Badhaaeiyaan rati ae, ae sohaaee hai rato ae
Meaning- Today musical instruments plalying in the Ram Chandra and Laxminan‟
court, Sita has given birth to child in the night so best wishes to all for it.
Sakun aankhar during first Sun seeing by child on Name ceremony day
Apna planaa, apna planaa,

Apna planaa, hasti ghoda,
Hum janu, hum janu,
Babjyu mera, kakjyu mera,
Mera Surij juharaye,
Bala ki, bhai bala ki mai,
Harakhi, Nirakhi,
Hum janu, hum janu babjyu,
Kakjyu mera, surij jharaye
Meaning- This song only sings on first sun seeing by child on his/her name
ceremony, here singers say that child says to his/her all relatives like father, uncle,
and brother etc. to pay greetings to sun on his/her ceremony.
Another song of the same ceremony
Lipi ghaisi, aangana me,

Puri hala chauki,
Tasu choka bethaal pandit jyu,
Ramichandra pandit lachiman,
Aan ae paat,
Burei hali dori,
Tasu dora pairali sita dehi,
Sumitra dehi, bahurani,
Aaju bandhavan nagari suhavan
89
Meaning- A chauki (a motif) have made on the courtyard of the house and on it
Ramchandra and Laximan will sit. A sacred thread will be wear by Sita Devi, Sumitra
Devi. Today all people giving their good wishes.
Here some more examples of special songs are given below.
Bath song (Isnaan geet) of marriage or secred thread ceremony
On the occasion of sacred thread ceremony and marriage, this song is sing.
During bath with the paste of turmeric powder, mustard oil etc. females sing
following song.
Uptan daiye maiye mail chutaiye

Ganga-Jamuna mili aay to balo navaiye, kales maraiye
Bhai bahini mili aay to navaiye
Haldi ke ghar jaavo to hald molaaiye
Teli ke ghar jaavo to tail molaiye
Kunkun, kesar, parimal aang suhaiye
Kin ae o pandit le hald molaiye
To hald ki shobha ae
Kin ae o sohagili lei ghoti ghotaiye
To hald rangeelo
Kin ae o pahiran jogya to hald ki shobha ae
Raamichandra, Laximan hald molaiy to hald ki shobha ae
Seeta dehi le, Bahurani le hald ghotaiye
To hald ki shobha ae.
Meaning- Here singers say that put paste and rub on the body of the person and
remove the dirt from the body. Ganges and Yamuna has come to bath the boy/girl.
All sisters and brothers are here to bath the boy/girl. They will go to the turmeric
home to collect turmeric, oil-miller home to collect oil etc. Now happy married
women have to come to grind the all material by which it will be more auspicious and
colourful.
Kanyadaan song
This song is sung after the Kanyadaan, here a wife ask to her husband-
90
Ko ae o juhara juva kheliye?

Ko ae o Juhara juva Kitiye?
Ko ae o juhara juva hariye?
Ko ae o juhara juva jitiye?
Janak juhara juva hariye,
Ramichandra juhara juva jitiye!
Taulin haro, saiyaan mero kaserin haro!
Meri lalaniya, duduva pilaniyaan,
God khelaniya ke tum haro?
Thalin haro piya mero katorin haro,
Meri lalaniya god khelaniyaan,
Gudiya khelaniya ke tum haro?
Gudvan haro, siyyan mera lotan haro!
Meri lalaniya, gudiya khelaniyaan,
Chajo baithaniyaan ke tum haro?
Tausak haro, piya mere takiyan haro,
Lihafan haro saiyaan, mere gaddan haro
Meaning- Here a wife is asking to her husband, why he throws their Girl child in
gambling. Who plalyed the game (gambling), who won the game, who lost the game?
Janak lost the game, Ramchandra won the game. Oh my husband! You lost our child
to whom we nurture, who played on our lap. You can lose our utensil, bed, toys etc.
Departure (Bidaai) Song
This song is sung during the vidaai (farewell) of the girl marriage-
Kahe ki chodun main aijani paijani,

Kahe ki lambi kokh ae?
Babu ki chodun main aijani paijani,
Mai ki lambi kokh ae,
Kahe ki chodun main hil-mil chadar,
Kahe ko ram rasooi ae?
Bhai ki chodun main hil-mil chadar,
Bhabhi ki ram rasooi ae
Chote-chote bhaain pakdi palakiya,
91
Hamari bahin kahan jai ae?

Chodo-chodo bhai hamri palakiya,
Hum pardesin lok ae
Jaise jangal ki chidiyaan bole,
Raat base din udi chale,
Waise babul ghar hm chip soyen,
Raat base din udi chale,
Babul ghar chadi susur ka desh,
Chado tumharo desh ae
Bhaeen ghar chadi jeth ka desh,
Chado tumharo desh se,
Maayin kahe beti nit uti aaeeyo,
Babu kahe chat maas me,
Bhai kahe bena kaaj padosan,
Bhabhi kahe kya kaaj ae!
Meaning- This song expresses the pain of the girl, mother-father, brother-sister and
other relatives during the farewell of the girl to her husband‟s home. Here girl says
that whose I leave the ankle and lap? I leave the ankle of father and lap of mother.
Whose I leave the joking and whose kitchen? Brother‟s jokes and kitchen of sister-in-
law‟s. Small brother by holding the sari, asking that where our sister is going? My
brother please leaves my sari and let me go to foreign. I am like forest bird, like in
night time she uses to come for shelter. I am leaving the home of my father and
leaving for the home of my father-in-law and so on.
b) Jagar song: In Kumaon and Garhwal region ballad of local God and Goddess
are known as jagar. Jagar falls in the category of ghost and spiritual worship, in the
form of a folk song or at times combined with dances. Sometimes, Jagar may also be
in the form of Puja folk songs and are sung in honour of the various Gods and
Goddesses. During singing of these songs God and Goddess are arrived suddenly in
the body of the person and persons, these person(s) called as dangariya. After arrival
of the God in the body of dangariya, shivering began and dangariya started to act like
God and Goddess. He/she used to dance in sitting and standing mode. Dangariya
express his expression in semi conscious state. During this act people who arranged
92
this ceremony used to offer flower and akshat (rice grain) to dangariya and ask their
queries to God and Goddess. The guru who sings the song to invite the God and
Goddess is known as jagariya or dharam das or guru. Guru used to beat drum/dhol
and his subordinate used to play damua, sometimes kanshe ki thali, hudka, etc. Guru
gives order to dangariya to perform the act. Jagaar is organized mainly to pay thanks
to their kul devta after the marriage in the family, child birth etc. and also to remove
obstacles, also to know the cause of the obstacle may be that cause is the spirit of
their ancestor etc. After knowing the cause the God also gives the solution of their
problems. When the queries are finished by the organizer locally known as saukaar
(male) and sanai (female), the jagariya give permission to the God to return their
place.
Main parts of a Jagar are-
1. Jagariya
2. Dangariya
3. Syonkaar-Syonai
1. Jagaria- The person who sings or invites the God and Goddess is known as
Jagaria or Guru or Dharmia. The main work of the Jagaria is to sing the song
related to the God with the help of musical instruments.
2. Dangaria- Dangaria is the person, who plays the role of God. The holy sprit
of God enters in the body of dangaria. Dangaria show the path (dagar) to the
followers (who are in pain/trouble etc.), that‟s why he/she is known as
Dagaria.
3. Syonkaar-Syonai- Where jagar performed, that home‟s elder person (Head of

the family) and his wife known as Syonkaar-Syonai.
On the basis of rhythem and instrument used Jagar can be classified on three
types:
1. Hudkiya Jagar, „Khayala‟-With Huduka
2. Damriya Jagar- With Damru
3. Muriyaan Jagar-With Dhol
93
94
Jagar can be divided in different types:
1. Spirits related
2. God-Goddess related
3. Kings related
4. Followers of king related
There is another classification of Jagar:
1. Outside of Home
2. Inside of Home
1. Outside of Home- In outside Jagar Campfire arranged to perform the Jagar

and Dhol & Damau are used for it. The Ganganath and Bhlolenath jagar etc.
comes under this. The Ganganath jagar celebrated from four to eleven days.
2. Inside of Home- Here „Kaanse ki thaali‟ (Copper plate) used as musical

instrument. Jagar related to Ghost/spirits organized in the „Goth‟ (inside room
of ground floor of a home).
Where Jagar organized some other people also come from the neighbourhood
and also bring a full hand of rice grain (called daani) to show the God-Goddess, to
solve the problem of their life. These rice grain (daani) given to God- Goddess in
his/her plate, then God/Goddess see these „daani‟ and give some solution in his/her
language.
There are several steps in a Jagar:
1. First step- Evening singing (Saanjhwaali gaayan)

2. Second step- Birtvai Gayan
3. Third step- Oosan ((Restlessness/ Dancing song)
4. Fourth step- Prayer of Guru in Haridwar
5. Fifth step- To smear ash on the forehead
6. Sixth step- Thinking period on „daani‟
7. Seventh step- Blessing period/solution of the problem & removal of obstacles
8. Eighth step- Departure of the God-Goddess to his/her respective area.
95
Description of the each step of Jagar
1. First step- Evening singing (Saanjhwaali gaayan)
In this Guru explain the Saanjgwali with the Hudka or Dhol. In this Saajhwali
he explains the name of all God-Goddeses and their belonging areas. Here is
Saanjhwali in Kumaoni-
Jai Guru- Jai Guru

mata-pita, guru, devta
tab tumhari naam choo ijaa…
yon rumni-jhumni sandhya ka bakhat mai!
Meaning- O Guru! Hey! Mother-Father, Teacher, and local God-Goddess, we
memorize your name in this evening.
Te bakhat ka beech me
Sandhya jo jhooli re
Baram ka baram lok me, Bishnu ka bishnu lok me
Ram ki ayudhya me, Krishna ki dwarika me
yo samdhyaa jo jhooli re
Sambhu ka Kailash me
Oocha himaal, gela pataal me
Doti garh, bhagaaling me
Meaning- Evening is coming in Bramlok of Brahma, Vishnulok of Vishnu, Ayodhya
of Rama, Dwarika of Krishna, Kailash of Shambhu, in all high Himayala, deep hole
(under world) and also in Bhagaaling of Nepal.
Ki rumni-jhumni sandhya ka bakhat me

Panchmukhi Deepak jo jali ro
Syonkaar-Syonai ka ghar me
Sulakshini naari ka ghar me
Jageshwar-bageshwar, Koteshwar, Kambaleswar mai
Hari-Haridwar me. Badri-Kedar me
Guru ka Gurujhand me,
Aisa guru Gorakhinath ko Chan
Agaas ka Chootha chan, patal ka foota chan
96
Yon baras ki palak mai baithi chan,

Sau man ka bhasam ka gwala jo laagirai
Guru ka nouriya gaat me
Meaning- In this evening time, lamp enlighten in each corner of this house, the lamp
(Deepak) have five directions. The lady of this house has good characteristics.
Lamps (Deepak) also enlightened in the Jageshwar, Bageshwar, Koteshwar,

Kapileshwar and also in Haridwar of God Hari, holy city of God Badrinath and also
in Kedarnath. Lamps are also burning in Gurukhand of Guru, who came from the sky
and emerged from the Earth. Guru Gorakhnath is in meditation since many years.
Ki rumni jhumni sandhya ka bakhat mai

surjamukhi sankh baajno, urdhamukhi naad bajno
Kaansa suri thaal bajno
tamoo-bijesaar ko nagaro mai
tumhari naubat jo lagi re
myra panchnaam debo..
Aha! te bakhat ka beech mai
Nau lakh taaron ki jyot jo jali re
nau Nathan ki
naad jo baji re
naukhandi dharti mai, saaton samundra mai
agaas-patal me
Meaning- In this evening period, musical instruments have been played like conch
shell, copper plate, dhol etc. A lightning is also there in your name.
O my five lords! In this period, nine lakh lamps lighten for you in this Earth
including the seven oceans.
Ki aisi padni sandhya ka bakhat mai,

Nau lakh guru bhairi, kankhal baadi mai,
Baar saal seta runi, baar saal byunjaa runi
Tei to guru, khaakh dhaari, guru bekhdhaari
Tekdhaari, Guru Jalandhari naath, Guru Machandhaari nath chan
Naanga nirbaani chan
khara tapeshwari chan
Shiv ka sanyasi chan, Ram ka bairagi chan
97
Meaning- In this evening period nine lac Guru standing at Kankhalbadi (Haridwar)
who are conscious from twelve years and unconscious for twelve years.
In these nine lac Gurus, Guru Khaakhdhaari, Guru Bhesdhaari, Guru

Tekdhaari, Guru Jalandhar Nath, Guru Matshyendra Nath etc. are included.
Ki aisi rumni-jhumni sandhya ka bakhat mai

Jo teeno guru Trilokinath chan, Chaare guru Chorangi nath chan
Baare guru barbhoginath chan,
Sadhya ki aarti jo karnai
Guru Brashpati ka beech mai
ki tei bakhat ka beech mai,
Bishnu lok mai jalekaar-thalekaar reigo,
Ki Bishnu ki naari Laxmi ki kaam karne
Pyaan bhaire, sira dhok dine
Pyaan lot lihnei
Swami ki aarti karne
Tab Bishnu naabhi be kamal jo paid hai go,
Te din ka beech mai kamal batik panchmukhi bramha paid bho,
Jo Brahman-l shrishti rachna kari
Teen taalaa dharti bade
Nau-kahndi gagan bada chi
Meaning- In this evening period all three Gurus: Trilokinath, all four gurus Chorangi
Nath, all twelve Gurus Barbhoginath are performing the worship. Guru Brahaspati is
also sitting in between them.
At this time in Vishnu Lok, only earth and water is remaining. Goddess Laxmi
is worshiping Lord Vishnu, A lotus was emerged from the naval of Lord Vishnu and
five headed lord Bramha originated from that lotus. Bramha has created this universe
and also created the three layered Earth and nine segmented sky.
Ki te bakhat ka beech me bato batyol dyar li rakho,

Ghaasik ghasyar band he ro
Paanik panyaar band hair ro
Brahmank ved chalan band hai go
Dharamk pen chalan band hai go
98
Shetri-k kahnd chalan band hai go

Gaayik caran band hai go
Panchinak udan band hai go
Agasik chari ghol mai bhe ge
Sulakshini naari ghar mai panchmukhi deep jo jalon fege!
Meaning- In this time travellers are doing rest. Wife of grass-cutter has stopped
cutting grass. A person who was playing Binaai (a local musical instrument) has
stopped it. Lord Brahma has stopped reading the Vedas. Cows are coming back from
the forest and birds are also coming back to their nests. A good mannered lady
enlightens the five faced lamp.
Ki te bakhat ka beech mai sandhya jo jhulnei Dilli darkhad mai,

Pandav kila mai, jan paanch bhe pandavanak vaas re go
Sandhya jo jhulne iju hari hardwar mai, Badri Kedar mai,
Gaya- Kashi. Prayag, Mathura-Vindravan, Guvardhan Pahar mai,
Tapovan, Rishikesh mai, Lakshaman jhoola mai, Mansarovar mai, Neeligiri
parvat mai!
Tei to bakhat ka beech mai, sandhya jo jhoolne iju Hastinapur mai
Kalkatta ka desh mai, Jan Maiya Kalika raich
Ki Chakarwali, Khapparwali Maiya jo choo,
aakhan ki aandhi choo, kannan ki kali choo,
Jeebh ki laati choo
Garh bainte, Garh Devi hai jei,
Sor me baithe, Bhagwati hai jei
Haat mai baithe Kalika jo bani jei
Punyagiri mai baithe Mata bani jei,
Hinglaaj mei bhaite Bhaavani jo bani jei.
Meaning- This time in Delhi evening is swinging, where Pandavas created fort,
where they lived. Evening has surrounded in all places, like Haridwar, Badrinath,
Gaya, Kashi, Prayag, Mathura, Vindravan, Govardhan, Rishikesh, Laxman Jhoola,
Mansarovar and Neelgiri etc.
Evening has also surrounded in Kolkatta, where Maa Kali is residing. She is
holding wheel in her hand, she is blind, deaf and dumb. If that Kaali is living in Garh
99
then known as Garh Devi, in Sor-Bhagwati, Gangolihat- Kalika and in Punyagiri she
is known as Maa. In Hinglaaj she is known as Bhawani.
Ki Sandhya jo padne, Bageshwar Bhoomi mai,

Jan Mamu Baginaath chan
Jageshwar bhoomi me buda Jaginath runi,
Jo buda jagi nathel ija, titis kot dyaptan kei sunu ka ghaant chara chi,
So man ko dhaj chara chi
Sandhya jo padi re ija Mrityundhyo mai,
Jan Mrityu Maharaj runi, Kaal bairav runi,
tei bakhat ka beech mai, sandhya jo jhulane,
Suraj kund mai Baramkund mai, Joshimath-Ukhimath mai,
Tungnath, Panch Kedar, Panch Badri mai, Jaatadhari Gang mai,
Ganga Godavari mai, Ganga Bhagirathi mai,
Charoj ka Airi mai, Jharu jhankaar mai,
Jan mamu sakali Sem Raja runi,
Dafaut ka Haru mei, Jan Aoun Hatu Harpatt hai jan
Jaan Haru Charpatt hai jan.
Meaning- Evening has surrouned in all places like, Bageshwer where Lord Baghnath
is residing, in Jageshwer, where old Jaghnath is leaving, and has presented golden
bell and flag to the God.
Evening has also surrounded in other places like, Jageshwer where Mritunjay
is living with Bhairav Nath, in Bageshwer, Joshimath, Ookhimath, Tungnath, Panch
Kedar, Panch Badri, Jageshwer, Ganga-Godawari and Bhagirathi, Airi, Jankhar Sem
temple, where Maternal uncle (Mamu) Sem live, who gives all prosperities.
Evening has also come in Dafot, where Lord Haru is living, when he comes,
he gives all prosperities, but if he is angrey then he becomes cause of destruction.
Earlier days Jagariya was illiterate but now a days, he is little bit literate. It is
really very difficult to remember the jagar story, which are not in written form or
documented.
2. Second step- Second step locally known as „Birtvaai‟ or „Virudavali‟. Here

singer explains the origin, life-story and the work done by the concerned
100
God/Goddesses ess. In Virudavali, singer only sings the life-story of the

concerned God/Goddesses ess, to whom he wants to invite in the body of
„Dangaria‟. Here Gorila or Golu Devta‟s Virudavali is presented in a very
concise form.
Goriya…..dudadhari che, Krishan abatari che, mamu ko agawani che,

panchnaam dyaptano Bhaanij che, tei bakhat ka beech mai, Garhi
Champawati mai Haalrai raja jo chi.
aahaa…..! raja Haalrai ghar mai santane nahatan.
ke dhaan karan kuni raja haalrai………….
Tei bakhat mai raja Haalrai saat bya karni………
Santana naam per dhung lei paid nib bhe,
Putrak shok jo hai jo, tei bakhat mai raja haalrai atu bya jo karanu kuni, rajel
ganga naam per gadhyaar nei haali, Dhyaapta naam per dhung jo pooji
haali………..
Ahaa.. kawe raani batik lei putra paid nib he….
Raj kei putrak shok reigo.
Meaning- O Bala Goriya! You are the incarnation of Krishna. You are the leader of
of all Gods. You are the nephew of five Gods (Panch Devta). Once upon a time in
Champawat, King Halrai was the ruler. Aha…. King Halrai had no offspring. So king
Halrai said “Oh Lord! Now what to do?”. Thereafter he did seven marriages, and
eventhough he did not get a child. King Halrai was in grief that he doesn‟t have a
single baby boy. So to get a baby boy he decided to do another (8th) marriage. King
Halrai has already done a lot of efforts to get a baby boy. He went for Gange bath and
did worship of each and every God.
The above jagar is only a part of Virudavali, when the Virudavali reaches to
its end, Dangariya starts dancing (his/her body start shivering and that‟s the sign of
God arrival). Thereafter Jagariya start the next step of jagar i.e. Oosan (restlessness).
3. Third step- Third step is Oosan (restlessness). Here the speed of Hudka
increased and copper plat also beat by the assistant of the jagariya. The invited
devta start dancing with full energy. The each word of Oosan gives
enthusiasm to the God.
101
Here the Ganganath‟s example given-
Ae…………rajo-k rotaan chiye……

ae……… Doti garo-k raj kunwar jo chiye
Aha…… ghate ki kayelari,
ghate ki kayelari
Aabaa laagi gocho gangu
Doti I hulari
Doti ki hulari, myara naatha re….. maandata faqeer
Ramta rangeela jogi, maandata faqeer
aho….. maandata faqeer
Meaning- Here Jagariya tells to the Ganganath, that you were the prince of Dyoti
Garh, then you left the Dyoti Garh and became roaming ascetic.
4. Fourth step- Prayer/Worship of Guru- In fourth step the prayer (Aarati) of

Guru done by the God-Goddesses ess. It is believed that „Lok Devtas‟ are holy
spirits. Guru Gorakhnath is the guru of all God-Goddesses and they all have
taken instructions (Deeksha) from the Guru Gorakhnath in Haridwar, that‟s
why they are known as „Gurumukhi Devta‟.
Here explaination of Ganganath‟s deeksha given-
Ae……….. tei bakhat ka beech mai Haridwar mai baar barasak kumbh jo
laagi ron.
Ae……. Gangu……! Haridwar jei ber guru ki sewa jo kari dinu kuche……..
Aha……….tei bakhat ka beech mai Kankhal mai Guru Goarakhinath job he
rai……….
Ae…….Guru ke sira dhok jo dina, payaan lot jo leena……
Ae…..Tei bakhat mai Guru ki aarti jo karan fego, mayaar thaku baba……..
aha.. Guru dhe Kuna, Guru………, Myaar kaan fari diyo, moon muni diyo,
bhgeli chadar di diyo, mai ke vidhya bhaar di diyo, mai kei Gurumukhi jo
bade diyo.
oo……….. do taai ko taar, oo…. do taari ko taar
Guru maike diyo kun cho, vidhya ko bhaar
Vidhya ko bhaar jogi, Mangata faqeer
Ramta rangeela jogi, mangaata faqeer
102
Meaning- In this time Kumbh fair has been organized in Haridwar, Ae Gangu! Go to
Haidwar and do the service of Guru. In this time in Kankhal Guru Gorakhnath is
sitting their. Just cover the head of Guru also performs the worship of Guru. Say to
Guru that open wide the ears, cut the head etc. Kindly give me the knowledge, and
make me his pupil. I am begging you for the knowledge. (During this phase
Dangariya has a plate with rice, ash, flowers and wick (batti). During performing this
God (Dangariya) also do the worship.
5. Fifth step- In fifth step Dangariya take the ash from the plate and put ash on
her/his forehead, after that to that put the ash on the forehead of Jagariya and
his musical instrument whether it is Dhol/Hudka and Kaanse ki thaali then to
the public who are present there. People come in queue and take the blessings
from the God.
6. Sixth Step- In the sixth step Dangariya (God/Goddesses ess) consider the
daani (rice on the plate), Dangariya tells the main cause of the problem of the
concerned family (who have invited him/her) by taking these daani (rice). In
this Dangariya tells the whole story of the cause from the benignning and also
tells the solution of the same.
7. Seventh step- In the seventh step God give assurance to the Sayonkar-
Sayonai (head Male-female of the family) that he/she have taken all the
worries of their and bless the family and the people who are there.
8. Eighth step- Eighth step is the last step of the jagar, here all work has been
completed so Jagariya beat the dhol/hudka and last time, Dangariya do the
dance and holy sprit of the concern God/Goddess ready to leave for the
Kailash.
c) Hudkiya-Baul: Agriculture is the back bone of the country. Hudkiya- Baul is

kind of agricultural song. “Baul” mean labour, work, effort etc. and “Huduk”
is a local musical instrument, so “Hudkiya-Baul” mean working with the
„huduk‟. The person who plays the Hudka is known as „Hudkiya‟. Hudkias
(male and female of schedule caste) have played an important and dominant
role in creating, popularising and preserving folk songs and dances. In this
103
agricultural song a singer carry hudka in his hand and simultaneously sing the
songs. Every beat of the Hudka encourage the agricultural workers to do work
with more energy. There is a psychological fact behind this that with the beat
of hudka and songs, workers not feel the work load and exhaustion.
„Hudkiya‟-the singer sing the songs of local God and Goddess, ballads, etc.
and workers get motivated and do the work with double energy and
enthusiasm. These songs mainly sung while working as a group in a field.
These songs are sung with the beats of hudukiya (kind of musical instrument
like damroo aur dhapalee).
A section of dalits locally called dooms, (i.e., members of schedule caste)

opted for the life of musicians and singers. Men of the community played musical
instruments and sang folk songs while the womenfolk performed dances. They had
Hudak as their traditional musical instrument. The word „Hudkia‟ is derived from
„Hudak.‟ Hudkia women used to dance and sing have liquor and exposed their body
and with the help of various mean tried to look attractive and charming. They sang
beautiful songs of love, passion and separation. At one time Hudkia girls were an
integral part of high society. Most well to do persons maintained a Hudkia mistress at
a separate house. Today Hudkias entertain people during fairs, festivals and in the
sowing season. They are especially invited during maize sowing and rice
transplanting. The agriculturist women divide themselves in two groups and start
planting rice saplings. Hudkia men move forward and backward and narrate some old
story in the form of folk song. Hudkia girls sing the story of Rajula and Malu Shahi.
This is called Hudkia Bol. These things help the work. A rice planting progresses
smoothly with rhythms giving enjoyment to all. Before entering the field Hudkia
sings sagunakhar. It invokes the five Gods, the local Gods and the family God, to be
kind and merciful towards the plot owner. Then the family history (lineage) is
narrated in the verse form. (Pant, 2009). In between the transplanting, singers
(Hudkiya) observe the speed of the work and motivate them to do the work fast, if he
observe the slow speed of the laborers he says “Chaal ho chaal” means “be active, be
active”.
104
The Hudkiya Baul can be classified in to four types-
1. Prayer based
2. Invitation based
3. Story based
4. Blessing/Wishes based
1. Prayer based- In this song the singer prays to the God that they save the
agriculture and labourers.
Yo seri ka motyun, tum bhog lagla ho

sewa diya beed ho,
yon gavn ka bhumiya paro dain haya ho
roparon toparon barobari deeya ho
haliya balda barobari deeya ho
hath deeya cha ho, beeyon deeya faro ho.
Meaning- O! Land God. We are offering you the paddy which are like pearl, the God
of land you may be favourable for the whole day. May shade will be remain whole
day for the warkers/labourers, bulls and cultivators by which they do the work fast
and may seed will be suffient for the land.
2. Invitation based-
Kholika Ganesha haan re haan

Ganesha deva-deva!
Safal hai jaye haan re haan
Ganehs deva-deva!
Dhaar ka Chamua deva ho
Chamua deva-deva!
Safal hai jaye haan re haan
Chamua deva-deva!
O Bhomi ka Bhoomiyala deva haan
Bhoomiyala deva-deva
Safal ho jaye haan re haan
Bhomiyala deva-deva.......
105
Meaning- O lord Ganesha! Please accomplish our work, O lord Chamua! (A local
God, who lives in forest and protect the Cattles) and O Land God! please accomplish
our efforts.
Another song is
Jiri jhumaka dare chaandi kheta maanja re

jiri jhumka rupaai hai re cha re
jiri jhumaka dare rupaai karla re
jiri ho jhumaka yun din yun maas ho
jir ho jhumaka bhaitane le jaya ho
Here singer prays to the land god to accept the offerings.
Another song-
Ae jimi ka zamidaar, bhoomi ka bhoomidaar

Tumari seri bol, holo, tumi, daina hoya ho!
Dharti dharma raja tumi sufal hai jaya ho!
Yo gagan ki seri holi ropar-topara ho
Haldiya-bald aaya he bhoomi-bhoomiyaan ho!
Shyela bedo din diye, haath deye chaaya ho!
This song sung during the transplating of the paddy, here singer says to land
God (Bhoomi Devta) that please bless us during the transplanting of the crop and our
effort should be completed and singer offer the gifts to the land God (Bhoomi Devta).
3. Story based- During the transplanting singer sing whole day the stories of
history, mythology songs etc.
Oho! Bharar bajyu le dhana boya, dhana

Jaya joliya o ho, jhak sundra, jhak sundaara dhana!
Jaya joliya o ho, taal kinara dhan boya dhaana!
jaya joliya o ho!
gaar ki bodaee lipi, dus lagaya boliya!
o ho dhaan kaati theeke mapa dhana kaati joliyaa
o ho myar bojyu le bhaat pakaya, dhana kati joliya.
This song depicts the scene of the cultivation of paddy, singer says that in the
field we have planted the seed of the paddy and ten women arranged for the inter-
106
cultural operations (hoeing etc.), after the harvesting of the crop, measure the yield
and than prepare the rice.
6. Blessings/Wishes based- In evening when the transplanting over, the singer

bless the people who are involve in the cultivation directly and indirectly.
Salyon balda, salyon salyon,

seeng ke layale, khur ke layale
phiri phiri jaale, khai bhari jale,
gaayi giwaar ki charo chakot ki,
balla katyur ki, malla katyur ki,
koshi vaar ki koshi paar ki,
salyon balda salyon salyon,
jatuk bali, tatuk daali,
jatuk khara, tatuk bhakhara,
salyon balda salyon salyon
Meaning- Here the singer express his blessings towards the bulls which are used in
the cultivation, he says the O Bull! Please walk in such ways that fertility from each
corners of the area will come in to this field and also says that yield should be that
enough, it fills the container (Bhakhar-A wooden container to store the grains).
Another song
Jiraya jiraya janariyo godai topai

ya ritu yo maas bhaitane raya ho….
At last singer bless the land lord that live a long life and meet us in every season,
every month.
5.2.2 Folk dances
Folk dances eg. Chapeli, Chancahri/Jhoda etc. which were found in the study
area are given below.
a) Chapeli- It is an important folk dance of the area. In it two persons are

required for dance, whether they are brother-sister, boy friend-girl friend,
husband-wife etc, according to the relation subject can be changed. In it
female partner should have a handkerchief in one hand and in another hand a
107
small mirror, it is the main speciality of this dance. Female should be beautiful
and naughty.
O Bhina! kasike janu dwarihata?

O Bhina!Kasike janu dwarihata?
Hit Sali kautik janu dwarihata
Naak me nathuli naahe kasike janu dwarihata?
wahin sunar wai banul dwarihata,
hit Sali kautik janu dwarihata
Aang me lukud nahe kasik janu dwarihata?
wai tailor wai silul dwarihata,
Hit Sali kautik janu dwarihata
O Bhina! kasik….
Meaning: Here a sister-in-law saying to her brother-in law (Bhina- Jija) that O My
Brother-in-law! How I go to the fair of Dwarahat? I don‟t have the things like
slippers, clothes, ornaments etc., then her brother-in law replied to her that he will
purchase all the required things from the fair for her, so let‟s move to the fair.
Another example
Ruma jhuma rooma nacheli, meri Radhika bana

Dam dama dam hudka bajalo, mero Sheruva padhana, Ruma....
Dhaar ma Devi ko thana, doodh le navayo, Dhaar...
Tero jhootho main ni khachi, maya le khvayo, Ruma.....
Supa bhari dhaan, Suva supa…..
Teri bahgil khet kamayo, aisi bhali bana, Ruma...
Askota bangyal bati, Dhaarchula dekhi cho, Askota...
Aisi bhali bana, ke bahli chaji cho, Ruma..
Boi heli, methi suva, boi heli methi
Me kane ni huni suva, yo pahad kheti, Ruma..
Chada bhuta, mur muruli, ke dagedi kahan?, Chada..
Tikadi choor be sua, ke dagadi jahan?, Ruma...
Timali ko pat suva, timli ko pata...
Aadu bata latke giche, na para-na vara, Ruma...
Padi ko masik, suva padi ko masik
108
Nako bhalo jais holo, nak ni maniye, teasing, Ruma….

Meaning: Here a husband saying to his wife, that his beautiful wife will dance, her
name is Radhika. Then his wife is saying to him that, her husband will dance on the
beat of hudka (a musical instrument) and his name is Sheru. Wife is saying to him
that, there is a temple on the top of a hill and she has offered milk to the Goddess.
Then wife is saying to him that she loves him very much that‟s why she has eaten his
remnants of food. In this dance, they are teasing each other as well as appreciating
each other.
b) Jhoda or Chancheri: Jhoda is a special dance form popular in Almora

region. People in two groups, both men and women form a group (from five-
six people to 200) and participate in it. The moving feet in a systematic and
rhythmic manner is a beautiful sight. The use of musical instruments, Jhanj
and flute adds more charm to the dance (Pant, 2009).
Chancheri is organized during fairs, festivals and other auspicious occasions.

From ten to two hundred people – both men and women – participate in it.
Participants divide themselves in two groups. The lead singer and his teams indulge
in questions and answers that display great talent and understanding.
Men and women both participate in it. Dancer has to keep his/her one hand on
the shoulder or waist of next dancer and one hand on the previous dancer. Here
dancer have to take two steps forward and one step backward and make a circle.
Women form a round, bounds their hands in each other's waist. A man sits in
the middle of that circle, playing `Hudka', a kind of small drum. People in circle put
one step back and forth, rhythmically and slowly they keep moving in that circle.
They sing about Gods, Goddesses, and the rivers. Love-lores are also part of
these songs. This continues till Baisakhi, when all these villagers, dressed in new
clothes visit the temple and in its premises they sing the `Jhoda' song while
worshipping.
There are many forms to perform jhoda like in one form, a person or two
persons have to play hurka and chimata by their hand and keep them self in the centre
of the circle and other persons or dancers who are in circle have to repeat the same
109
lines of the song sung by the central person and in another form, some time circle
have to divide in to two parts, one part made by male dancers and another part made
by female dancers. Each party has to sing the song by their turn.
Jhoda basically based on or written on love, beauty, religion, politics, ritual,

and any topic related to society. Jhoda are basically performed on the occasion of
festival, marriage, fairs etc. On the basis of subject matter Jhoda can be divided in to
three forms:
a) Religious
b) Sentimental
c) Social
a) Religious Jhoda - In these jhodas people remember the special places or

special occasions, their local God-Goddess etc. to express their feelings
towards them. Some of the songs are given below.
Khol de mata khol Bhawani dharma kiwara

Ke laire che bhait phakowa, kai kholo kewara?
Phool pushpaa bhait lairayon, khol de kiwara.
Oho, khol de mata khol bhawani dharma kiwara
Ke laire….
Dwi jori nisaan lairayon, khol de kiwara
oho khol de….
Ke laire…
Dwi jori nagaar lairayon, khol de liwara
khol de mata….
ki laire….
Dhoop, agarbatti lairayon, khol de kiwara
oho, khol de…
ki laire…
pooja ko samaam lairayon, khol de kiwara
oho, khol de…
ki laire…
suno ko chatar lairyon, khol de kiwara
oho khol de…
110
Meaning- Here devotee(s) speaks to Goddess to open the door of her temple. Here
Goddess ask to that devotee that, what he/she has brought for her and why should she
open the door, then that devotee tell to Goddess that he/she has brought flowers to
offer and other things like musical instruments, etc. for her. So please open the door
of her temple.
Another song
Gyun Jau nu ki haraai jame cho

Yeh haraai ko Deva chare cho?
Yeh haraai Ganesha chare cho
Yeh haraai Brahma-Vishnu chare cho
Gyun….
Yeh haraai Isht Deva chare cho
Yeh haraai Durga Maiya chare cho
Yeh haraai Ram Jyu chare cho
Yeh haraai Kanha chare cho
Gyun….
Yeh haraai sab Deva chare cho
Yeh haraai gharek logu k chare cho
Gyun…..
Meaning- In this song singers are saying that, Harela (a seedling of wheat and other
grains, mainly sown on the small wooden box (s), to celebrate festivals) has been
germinated. To which God-Goddess we have to offer this Harela? Then they said
that, this harela have to be offered to the Lord Ganesha, Brahma, Vishnu etc. and
after that memebers of the family.
b) Sentimental Jhoda: The main objectives of these types of jhodas are to

entertain the audience and also to create the curiosity and interest, by which audience
can forget their pain and problems for some time. A song of this type is given below.
Paar daana ko che bhagi, sur sur

Murui baaji ge, ho muruli bajige!
Paara daana ko che bhaagi run-jhun
Biruni bajige, ho biruni bajige
111
Padi go baraf suwa, padi go baraf

Paankhi huni udi aunyun, main teri taraf
Bhaagi fur fur, muruli bajige, muruli bajige
Tel bati buji gayo, yo diyo nimano
Tumule jaano pardesh, mail katike jaano?
Bhaagi sur sur, muruli bajige, muruli bajige.
Meaning- A women is curious and she is asking that who is there on the top of the
hill, who is playing the musical instrument i.e. flute. She is saying to her husband that
snow have fallen on the top of the hills and if she could have wings, she can be there
with her husband, and at last she is saying that oil is near about to finish in the lamp
and wick is near to be extinguished. You (husband) are going to abroad, where I have
to go?
c) Social Jhoda- In these jhodas people sing about the government,

developmental plans, political persons etc. In this people also sing about the love or
affair of a girl and boy. A song of this type is given below.
Diwaani launda derihato ko tile dharo baula

Oho, Jaituli boro n ki jainta tu chi bhali bana
Oho, kaam ko harja ve jainta kaam ko haraja
Aa ha aouni raiye, chaani raiye dayo kasik rakha
Aa ha dayo kasik rakhaa, ve jainta kasik rakha
Aa ha Botali ka kaag ve jainta, botali ko kaag
Aa ha rumava me rawat laye, gilash me saaga
Aa ha, gilash me saag, ve jainta gilaash me saga
Aa ha ghaa kaato hariyo launda, ghaa kaato hariyo
Aa ha mani tu che, mani me chon jainta maya ko mariyo
Aa ha maya ko mariyo, ho launda maya ko mariyo
Meaning: A love story of a boy and girl explained by the singers, a boy from
Dwarahat and a girl from Jaituli, here girl is really beautiful, girl use to go to meet her
boyfriend and boy says that bring the vegetable in the glass and bread in the
handkerchief.
d) Sarankar Dance: Kumaon region is famous for its Sarankar dance. The
dancers carry swords, and shields. The musicians carry drums, bag pipes,
112
113
turhi, ransinghas, etc. In this dance there is no song sung by the singers.
Participants have to wear churidar paijama, white kurta, handkerchief on the
neck, dupptta on the waist and white cap/turban on the head. Participants or
we can say player have to keep sword in one hand and shield by another hand,
two to four men can be engaged in this dance. Communication is only done by
non-verbally. Now a days this dance is only performed during the wedding
party, fairs etc.
d) Holi Dance/Song: Holi is celebrated by arranging Holi sittings after Basant

Panchmi. Women have their sittings during the day and men in the night.
There are various forms of the Holi in the Kumaon region- a)- Baithki Holi
(sitting holi by males) b)- Khari Holi (standing holi by males) and c)- Mahila
Holi (female gathering). Musical instruments used by males are harmonium,
tabla and manjira in baitaki holi and in kahdi holi they used nagara, damua
and ransingh etc. Females used dholak and mangira their holi. In holi they
sing holi songs. The Baithki Holi and Khari Holi are unique in that the songs
on which they are based have touch of melody, fun and spiritualism. These
songs are essentially based on classical ragas.These sittings that continue for
over a month. The Baithki Holi begins from the premises of temples, where
Holiyars (the singers of Holi songs) as also the people gather to sing songs to
the accompaniment of classical music.Kumaonis are very particular about the
time when the songs based on ragas should be sung. The songs of the Khari
Holi are sung by the people, who sporting traditional white churidar payajama
and kurta, dance in groups to the tune of ethnic musical instruments. Women
use to wear white saari. Lot of classical touch, Awadhi touch, Braj Touch can
be found in it. Now-a-days you can also find filmy touch in it. Males wear
traditional white churidar payajama, kurta and white cap.
eg- To start the holi at the home, the singers start with the follwing song-
Kaile bandhani cheer ho Raghunandan raja, Kaile….

Ganpati bandhani cheer ho Raghunandan raja, Kaile……
Brahma-Vishnu bandhani cheer ho Raghunandan raja, Kaile……
Shiv-Shankar bandhani cheer ho Raghunandan raja, Kaile……
114
115
Rami Chandra bandhani cheer ho Raghunandan raja, Kaile……

Nav-Durga bandhani cheer ho Raghunandan raja, Kaile……
Krishna-Baldau bandhani cheer ho Raghunandan raja, Kaile……
Isht Dev bandhani cheer ho Raghunandan raja, Kaile……
Bhole Nath bandhani cheer ho Raghunandan raja, Kaile……
Lav-Kush bandhani cheer ho Raghunandan raja, Kaile……
(Then include the name of male members like)
Pyare Lal bandhani cheer ho Raghunandan raja, Kaile……
Thakur Lal bandhani cheer ho Raghunandan raja, Kaile……
Basant Lal bandhani cheer ho Raghunandan raja, Kaile…
Bhai bandhu bandhani cheer ho Raghunandan raja, Kaile……
(The name of the male members should be stated from elder to younger one)
Meaning- Who tie the knot in Holi, first of all Lord Ganesha tie the knot, after him
Lord Brahma, Vishnu, Shiv, Ram, Nav Durga etc, after the name of the all God-
Goddess, here singers include the name of the male members of the family in the
song. In between of this song a female/lady of the family (Where the Holi is
organized (Mahila Holi)) put the Abeer-Gulal on the Dholak then on the forehead of
the singers.
After this song second song of Holi has been dedicated to Lord Ganesha, the
song is as follow.
Siddhi ko data vighan vinashan

Holi khelein girijapati nandan
Holi khelein girijapati nandan
Lao bhawani akshat chandan, Lao
Holi khelein Girijapati nandan
Holi khelein.....
Gauri ko nandan musak vahan, Gauri....
Holi...
Abeer-Gulaal ke thaal saje hain, Abeer…
Holi khelein……
Tabla-dholaki, sarangi baje, holi khelein…
116
Meaning- The Lord Ganesha, who gives prosperity and who removes the obstacles,
and who is son of Goddess Gauri, is playing the festval holi. Oh Goddess Bhawani!
Please bring the roli (red powder) and akshat (rice) for the Lord Ganesha.
Shiv ke mann mahi base kashi

shiv...
Aadhi kashi me baaman baniya
Aadhi kashi me sanyasi, shiv ke...
Kahi karan ko baman baniya,
Kahi karan ko sanyasi, shiv ke...
Pooja karan ko baman baniya,
Seva karan ko sanyasi, Shiv ke...
Kahi ko pooje baman baniya
Kahi ko pooje sanyasi, shiv ke..
Devi ko pooje baman baniya,
Shiv ko pooje sanyasi, Shiv ke...
Kya iccha pooje baman baniya
Kya iccha pooje sanyasi, shiv ke..
Nav siddhi poje baman baniya
Ashta siddhi poje samyasi
Shiv ke mann...
Meaning- Lord Shiva likes Kashi (Varanasi). In half Kashi Brahman and Baniya
(businessman) resides and in half sanyasi (Saint) resides. What Brahman and baniya
does in kashi and what does sanyasi? Brahman does prayer and service done by
sanyasi.
Jal kaise bharun Yamuna gahari, jal kaise….

Thari bahrun raja Ram ji dekhein
Baithi bharun bheeje chunari
Jal kaise..
dheere chalun ghar saas buri hai
Dhamaki chalun chalake gagari
Jal kaise…
Godi me balak sir per gaagar
117
Parvat se uteri gori

Jal kaise..
Meaning- In this situation, river Yamuna is full of water, so a lady is there to bring
water. From there she says that how I fill water, if she fill water by standing king
Rama is seeing, if by sitting her cloth become wet. If she walks slowely her mother-
in-laws will scold her, if she walks fast water will come out from the container. She
has son in her lap and water container on her head, she is coming from the hills.
Van ko chale dono bhai, Unhein samjhao ri mayi

Koi samjhao ri mayi, unhein samjhao ri mayi….
Aage- aage Ram chalat hain, peeche se Laxman bhai
Aiso mori aali, peeche se Laxman bhai
Unke madhya me Siya ji chalat hain, unke….
komal kadam badai, unhein samjha ori mayi, koi…..
Unhein.......Van ko......
Ram bina meri suni Ayodhya, Ram bina....
Laxman bin chaturai, aiso mori aali, Laxman bin....
Siya bina meri suni rasoi, siya bina....
Kaun kare thakurai, unhein samjha ori mayi, koi....
Sawan garje, Bhado barje....
Pawan chale purwai, aiso mori aali….. pawan chale..
Kaun Vriks Tale baithe hoinge, Ram-Siya, Laxman bhai
Bheetar roye maat Kaushlya
Baahar Bharat bhai, aiso mori ali….baahar…
Raja dashrath ne pran taje hain
Kaikai mann pachtai
Yeh dukh barni na jayi….
Chaudah barash jab Ram ghar aaye
Ghar-ghar bajat badhaai, aiso mori aali...
Mat Kaushlaya karat aarti, Hanumat Chvar dulai
118
Meaning- Here singers expressing the situation of Ram-Sita and Laxman‟s

banishment to the forest, here again singers said that somebody tell them not to go to
the forest. Ram ji is walking first, and then Sita ji is just behind of Lord Rama and at
last Laxman ji is walking. Ayodhya city is silent without Lord Rama, without
Laxman there is lack of cleverness/alertness and without Sita ji kitchen is quiet, now
who will do the administration? The thunder has started in the month of Sawan (July)
and rain has started in Bhado (July) and wind is blowing from east. Under which tree
they have been there. The mother of Lord Rama i.e. Kaushlaya is crying inside of the
house and Brother Bharat is carying out side of the house. King Darshrath is near
about to die and Mother Kakai is regretting. Now singers again saying that they can
not explain the situation of this sorrow. After 14 years when Lord Rama came back
from the forest, everyone is pleased and Mother Kaushlaya is worshiping and
Hunuman ji is also there to fan the Lord Rama.
Jhuki aao shahar me vyopari, Jhuki….

Aha! Is vyopari ko bhook bahut hai, is vyopari….
Pooriya pake de nath wali, Jhuki….
Aha! Is vyopari ko pyaas bahut hai, is vyopari….
Paniya pila de nath wali, Jhuki….
Aha! Is vyopari ko neend bahut hai, is vyopari....
Palang bichaye de nath wali, Jhuki…
Jhuki aayo shahar me…….
Meaning- One businessman has reached in the city, he is hungry, so please give him
food, he is thirsty so provide him water and also he is tired or he is feeling drowsiness
so give him a bed to sleep.
Another song of Holi, the theme of this Holi song is entertainment.
Ingoor ki dibiya Kholo albeli, Ayo mahina fagun ko

Ayo-ayo mahina fagun ko, ayo-ayo…..
Yeh dibiya mere Sasur ji ne bheji, Saas ne laga diyo talo albeli
Ayo mahina fagun ko…, Ingoor ki......
Yeh dibiya mere jeth ji ne bheji, Jethani ne laga diyo talo albeli
Yeh dibiya mere Devar ji ne bheji, Devarani ne laga diyo talo albeli
119

Yeh dibiya mere pati ne bheji, Jhat-pat khul gayo talo albeli
Ayo mahina fagun ko…,
Ingoor ki ….
Meaning- This song is sung by ladies in a funny mood, in this song ladies explain the
situation of a married lady. Just open the box of the ingoor/vermilion (a red powder,
which is put by the married lady on her forehead) or trinket-box. She is saying that
this box has been sent by her father-in-law, but her mother-in-law has locked the box.
This box has been sent by her brother-in laws but Sister-in laws have locked the box.
This box has been sent by her husband and lock is unlocked by her.
At last, when the Holi has to be wind-up at the organizer home, singers have
to sing this concluding Holi, which is as follows.
Kesari rang dalo bhigavan ko, savari rang rang dalo bhigavan ko
Kesari.....
Ganpati jivein lakh barish, Brahma-Vishnu jivein lakh barish
Unki nari suhaag bhari, Kesari rang.....
Shiv-Shankar jivein lakh barish, Rami Chandra jivein lakh barish
Shri Krishan jivein lakh barish
Unki nari suhaag bhari, Kesari rang.....
Nav Durga jivein lakh barish, Lav-Kush jivein lakh barish
Sab Dev jivein lakh barish,
Unki nari suhaag bhari, Kesari rang.....(Now add the name of male members
of the family like)
Pyare Lal jivein lakh barish, Thakur Lal jivein lakh barish, Bsasant Lal jivein
lakh barish, Unki nari suhaag bhari
Kesari rang…..
Meaning- Soak the colour of Holi, Lord Ganesha may live long life and may his wife
be a happy married woman, after that add the names of all God-Goddess and then
name of the male members of the family. This is the concluding song of a Holi.
5.2.3 Proverb
Proverbs which predominate in oral civilization represent the essence of rural

wisdom and knowledge. They are the sound symbols of culture and have survived for
120
centuries; their use is quite frequent in oral culture. Proverbs are very creative in
knowing the importance of information or idea as they also tell the meaning of the
real message. An ideal proverb should have these characteristics-
1. Conciseness
2. Meaningful
3. Piquant/savorous
Kumaoni proverbs can be classified into several categories. According to

Bhatt (1998), Kumaoni proverbs can be classified into following categories.
1. Women related
2. Caste related
3. Policy related
4. Destiny related
5. Behaviour related
6. Laughter and comments related (Comic and Ironical)
7. Agriculture related
8. Animal related
Proverbs which are popular in Kumaon have been documented and given
below in Kumaoni (K), Hindi (H) and English (E).
1. Women related
In Kumaon a number of proverbs can be found related to women. Some of the

collections are as follows.
1. K. Soun mari saasu, bhaado ae aasu
H. Sawan me saas mari, bhaado me aasu aaye/swarth vas vilamb se

shoak pradarsan
E. Mother-in-law died in spring (sawan). Tears came in rainy season

(bhaado)/ Show off grief late due to selfishness.
121
2. K. Sasul bwari the ko, bwaril kukur the ko, kukrel puchad hilake di
H. Saas ne bahu se kaha, bahu ne kutte se kaha, kutte ne dum hila di. Ek
dusro par kaam talne ki praviti se kaam nahi banta
E. Mother-in-law said to daughter-in-law, daughter-in-law said to dog

and dog shook its tail.
3. K. Jaik jawe ne, wik kawe ne
H. Jiski patni nahi us purush ka koi nahi
E. The man, who has no wife, has no one.
4. K. Mukh lagai sheyani chui kaato
H. Patni ko muh lagane per ya sir chadane per wah chutiya katwa deti
hai.
E. If one interrogates his wife or put on his head, she cuts his ponytail.
5. K. Sadniyaki jas kawir
H. Istriyon ki jaisi gupshup
E. Gossiping like woman
2. Caste related
1. K. Aaghain bamun hain, bhaisen kheer
H. Kheer khakar tript hue Brahman ko kheer me bhais ki boo aana.

Aavasayakatao ki poorti ho jaane per uplabadh suvidhao me
kamiyaan nazar aana.
E. The satisfied Brahmin by eating Kheer smells fowl of buffalo. After

fulfillment of necessity one feels drawback in available facility.
2. K. Sradh laga baman jaga, sarad niman baman chiman
H. Shradh lage to brahman bhi jag pade, shradh samapt hue to bahman
bhi durbal ho gaye.
E. Due to Sradh ceremony Brahmin also got up, after the end of Sradh
ceremony Brahmin also became weak.
122
3. K. Khasiye ki rees, bhais ki tees
H. Kshatriya ka krodh, bhais ki pyaas, dono barabar
E. The anger of Kshatriya and thirst of buffalo, both are equal.
3. K. Khasi nei jado, baman khe jado
H. Kshtriya ko nahane ke baad, bramin ko khane ke baad jada lagta hai.
E. Kshatriya after having meal, Brahmin after having bath feels cold.
4. K. Khasiye ki ulti khopari
H. Kshatriya ki buddhi ulti hoti hai.
E. Prudence of Kshatriya is inverted.
5. K. Mukh lagayi dumri naache taal betaal
H. Dumri (Harijan estri) ko muh lagane per who apne mann ka karne
lagti hai
E. Being informal with Dumari (Harijan woman) she starts doing as she
likes.
6. K. Jo pant koon sabul karan, Jo pant karo, o kail Ni karan
H. Jo Pant (Brahmin jati) kahe wah karna chahiye, jo pant kare, wah kisi
ko nahi karna chahiye
E. One have to do the work which is suggested by the Pant (one Brahmin
caste), but one should avoid the work to do which is done by Pant.
3. Policy related
1. K. Bhal kari khyar ni jaan
H. Bhalaa kiya hua bekar nahi jata
E. Doing well to others never goes in vain
2. K. Babe ki kame na suput khon, na kuput
H. Peeta ki kamai na su-putra khata hai na ku-putra kha pata hai
E. The earnings of father is neither eaten by good son nor by a bad son
123
3. K. Beini ghar bhe kukur, sasur ghar jawe kukur
H. Bahan ke ghar bhai kutta, sasur ke gar damad kutta
E. Brother is treated like a dog in sister‟s house; Son-in-law is treated like

a dog in father-in-law‟s house
4. K. Jaik ghar naantin, wik ghar kautik
H. Jiske ghar me bacche honge, uske ghar me mela jaisa laga rahta hai
E. The house in which there are children, there is a surrounding like a fair
in that house.
5. K. Chyal sudhro baba haath, chayeli sudhro mai haath
H. Putra peeta ke haathon sudhrta hai aur putri mata ke haath sudhrti
hai
E. The son is improved by the hand of father and the daughter is

improved by the hand of mother.
6. K. Chyal ke dekhcha chyaalek yaar dekho
H. Ladke ko kya dekhte ho? uske doston ko dekho / Vyakati ki pehchan us

ke doston se hoti hai.
E. What do you see in a boy? See his friends/ a man is recognized by his
friends.
7. K. Myaar yan aale, ke lale? tyaar wan ool ke dele?
H. Mere yahan aayega, kya layega? tere wahan aaunga to kya dega?
E. What will you bring for me when you visit to me? What will you give
me when I will visit to you?
8. K. Raati dhoi mukh, babu thairai bya kabhai kyaad ni jaan
H. Subah ka dhoya muh aur peeta ki tay ki hui shaadi kabhi viphal nahi
hoti ya bekar nahi jati.
E. The washing of face in the morning and the marriage arranged by

father never fails.
124
9. K. Ukhal me khor halan, mussel ke daran?
H. Ukhal me sir dala to musal se kya darna?/ Jab beeda uthaya to darna
kya?
E. Why to fear when you take an oath.
10. K. Dekhi mesh ke dekhan, taapi ghaam ke taapan?
H. Dekha hua aadami kya dekhna, siki hui dhoop kya sekhna/Parkhe
insaan tatha parkhi periesthati ke aadhar per nirnaya lena uchita hi
hai.
E. It is right to take a decision over examined person and sitation.
11. K. Chali ge musal, hare ge kushal
H. Jahan musal chal gayi, wahan kushal shem samapat
E. Where there is a dispute, the end of well wishing?
12. K. Raat ge, baat ge
H. Raat gayi baat gayi/Kisi baat ko tool na dena
E. The end of night the end of dispute.
13. K. Akal aur umarek bhait ni hoon
H. Akal aur umar ki bhait nahi hoti.
E. Wisdom and age never meet.
14. K. Cheli batyun aur madu chalan barabar hoy
H. Ladki ko sasural ko taiyar karna aur ragi ko chananaa barabar hota

hai
E. To make a girl ready for in-law‟s house and sieving of finger millet (raagi) are
same.
4. Destiny related
1. K. Tu jaale van, bhaag jalo kan?
H. Bhagya manushya ke saath saath jata hai.
125
E. The fate goes along with a man.
2. K. Kar katuke, hon utuke
H. Kar kitna hi, ho utna hi/ Parishram se bhi laabh na milna
E. Do as much be so much
3. K. Kunali k dekhan, munal dekhan
H. Kundali kya dekhna, maatha dekhna chahiye/ Bhavishya janam

kundali se nahi, karmo se vidit hota hai.
E. he fate is concerned with action not with astrology.
4. K. in aapun mari swarg ni dekhin
H. Bena apne mare swarg nahi dekha jata/ Purusharth bina such ki
prapti sambhav nahi.
E. Without enthusiasm the achievement of truth is not possible/The

heaven is not seen without self dying.
5. Behaviour related
1. K. Aapun haath maathi be
H. Apna haath sabse upper/Apni baat ko hi sahi manna
E. One thinks right about himself
2. K. Jhaad haali ber jhagad karan
H. Jaan bhoojh kar jhagara paida karaa
E. To start quarrel intentionally.
3. K. Huni chayalak gune nyar
H. Honhaar ke gun hi nyare
E. Talented has his own advantage/plus.
4. K. Jaik jas, tek tas, musek pothil musek jas
H. Jo jaisa, uska waisa, choohe ka baccha chuhe jaisa/Vanshanugat gun

prakat ho hi jaate hain.
126
E. As he as his, Kids of rat like a rat. / Hereditary characters are appeared
5. K. Jaamanei bati kaaman
H. Janam se hi babaali/Bachpan se hi dusht pravriti
E. Notorious since childhood.
6. K. Apun deshk Dhung le pyaar
H. Apne desh ka patthar bhi pyaara hota hai
E. Even a stone of one‟s own village is lovable.
7. K. Phir lei myar baladek teekhe seeng
H. Apni baat pe aade rahena
E. Rigid at one‟s own word.
8. K. Sab karni k hamar le karo, sakar-sakar na to kam –kam karo
H. Sab karte hain to hamara bhi karo, jyada nahi karte to kam-kam karo/
Bhed chal chalna.
E. To be a part of crowd.
6. Laughter and comments related
1. K. Cheli haiye ki jaisi khiseni ke?
H. Kanya janam ki jaisi khisiyahat kya ho rahi hai?
E. Why are you mortified like the birth of a girl baby?
2. K. Dekhnek na chanek, bhiterek na bhayarek
H. Dikhne ka na dikhane ka, Bhitar ke kaam ka na bahar ke kaam ka/

upyogita heen vyakati
E. Neither to see nor to show, neither to interior use nor to exterior use/
useless person.
3. K. Sisunek paat ulta le laagun, sult le
H. Bicchoo ghaas ulti bhi chubhti hai aur seedhi bhi/ Dusht vyakti har
prakar se nuksaan hi karega
127
E. Bichoo grass (local grass) stings erect and inverted/ evil person harms
in every respect.
4. K. Dohruk goru me godan
H. Dusre ki gaay se godan /beena yogdaan ke laabh prapti ka prayash
E. To try to get profit without contribution.
5. K. Gaathik pur, akalek heen
H. Gaanth ka pakaaa, akkal ka heen/ Dhanwaan per murkh
E. Rich but fool.
6. K. Katuk beesi sekar huni ab jaanala
H. Kitne bees ka sekara hota hai, ab janoge/ Vastavikta ka pata lagega.
E. Now you will know the reality.
7. K. Jam hai ber byaaz pyar, chayal hai ber nati pyaar
H. Mool dhan se jayada byaaz pyara hona aur putra se jayada potra
pyara hona
E. A man loves more to the interest than principal and loves more to the
grandson than son.
8. K. Kheti-paati baji ge, lasan me zor
H. Kheti-paati banzar ho gayi, lahsan bo ke kya hoga?
E. The field is barren, what benefit to sow garlic.
9. K. Khute je tayaad bhaya, padiye bhayol chin
H. Jab paanv hi tede hon to gaddhe me girna hi hai/ Kukarmon ki aadat

pad jaye to ek din khamiyaaja bhugata padta hai.
E. When the leg is curved it will fall into trench/ if one are in habit of
wrong doing one day he has to bear the loss of it.
10. K. Laat kei seep shikhe sikhanei re
128
H. Gunge ko akal sikhai sikhta hi raha/ Bevkoofon ke peeche samay

barbad
E. To teach something to dumb is in vain/ behind the foolish time is

wasted
11. K. Nai dage salalaa nei, munav bheje ber baith
H. Nai se salah nahi, sir me paani dal ke baith gaye/Ek pakshiya taiyari
E. No suggestion from new comers, sat down keeping water on his

head/ready one sided.
12. K. Kaho chayalao bya baat.
H. Ghoom phir ke shaadi ki baat pe aana
E. To come around the matter of marriage.
13. K. Aankh phutiyek jei paani
H. Aankh phoote jaisa paani/bekaar vastu
E. Water flown from the eyes/ useless thing
14. K. Kaamek kasyaar, pad tushyar, daad heiber bhoji hosiyar
H. Kaam ke aalsi, upper se oss padi, babe bhai se jyada bhabhi hosiyar
E. Lazy in work, sister in law is more cleaver than elder brother
15. K. Gaar tari, latthi panaa kedi
H. Naala paar hone par laathi faik dena/ swarth sidh hone per vastu ko
chod dena
E. Throw the stick after crossing the stream/ To give up the thing after
completion of work
16. K. Ke khay bajarek bho le, ke khay bhoniyek sau le
H. Kuch bazaar ke baah ne kha liya aur kuch sale ne kha liya
E. Something eaten by market rate and something was eaten by brother-

in-law (wife‟s brother)
129
17. K. Taate kho jal marun
H. Garam khaun apna muh jalaun/ Atyadhik utawalapan hona.
E. Warm food, burn own mouth/ Be over possessive.
18. K. Bho tyar bya, aaj kaisi roon
H. Kal teri shaadi aaj kaise rahun/ Utawalapan hona
E. Tomorrow is your marriage how will I remain today/ To be impatient.
19. K. Matke mutuke be, maav ligaay maav lije ber bhaan masaay
H. Manaa ke upper le gaye, upper le jaa ke bartan manjawaye
E. Took away to upstairs willingly, and makes me wash the utensils
1. K. Kheti mal liber, raja bal liber
H. Kheti khaad se hoti hai, raja shakti se banta hai
E. Agriculture only possible by manure and king possible by power
2. K. Basmati khwar me ya shyar me
H. Basmati chawal bhagya se milti hai ya khet me milti hai.
E. Basmati rice can be found by luck or in farm/field
3. K. Madu fokyal aafi dekhyol
H. Bikhra hua madua/raagi apne aap dikhai dega/ Acche-bure karm apne
aap dikhayi dete hain
E. The spread ragi is seen itself/ The right and wrong action can be seen
itself.
4. K. Sinaluk pinalu, pinaluk papad
H. Aasavdhani se khet bigad jata hai
E. The field becomes useless due to carelessness.
5. K. Barkha li ber ghassyar, aag li ber rassyar
130
H. Ghasiyare ke liye varsha aur rasoiye ke liye aag zaroori hai
E. Rain is necessary for the grass cutter and fire is necessary for the cook
6. K. Megh barsan, rajak hitan kawe ni dekhan
H. Badal ka barasana, raja ka chalna koi nahi dekhta/ Samarth kab kya
karega, koi nahi jaan sakta
E. No one can se the rainfall from cloud and walk of a king
7. K. Hayu himaal, maal barsaal
H. Barf himalaya se, barsa bhavar se aati hai./ har paristhiti ka aadhar
bhinn hota hai
E. Snow comes from Himalaya and rain comes from plains.
8. K. Chaumaas ko jar, raja ko kar
H. Varsa ritu ka bukhar aur raja ka karz dono dukh dete hain
E. Fever of rainy season and loan of king both are painful.
9. K. Jaith jassi kairu, pushe jaisi paalang
H. Jaisth (Garmi) me Kairu (Isthaniya sabji), posh me paalak khub hote

hain.
E. Kairu (local vegetable) in summer and spinach in winter found in

plenty.
8. Animal related
1. K. Hari-hari ke pali ge, yu-yu ke vali ai
H. Kutte ko hat-hat kaha to udahr gaya, yu-yu kaha to idhar aaya
E. The dog will go there by saying hat-hat and come here by saying yu-
yu
2. K. Ati birau mush ni maran
H. Adhik billiyon me chuhe nahi marte/Jayada logon ke hone se kaam

nahi hota
131
E. In more numbers of people work can not be done.
3. K. Gusse ki deli bado, mayar gaas bado
Gusse ka aankh futo, mai chori kari khoon.
H. Kutta kahta hai ki mere malik ki samridhi ho, jisse mera niwalaa bade,
wahin billi kahti hai mere malik ki aankh fute, jisse mai chori karke
kha saku.
E. The pet animal Dog says my owner will be more prosperous by which
he can get more food, and Cat wish that my owner will be blind and by
which she can steal the food.
4. K. Kitol taani-taani mar, syap jatuk ni hoon.
H. Kechuwa chahe jitna bhi tane/faile, saanp nahi ban sakta
E. Earthworm can not be snake by stretching it self.
5. K. Baan baane bald haraan
H. Khet jotate-jotate bailon ka khona/Akashmat vyavadhan utppan hona
E. The loss of oxen while ploughing the field/ The disturbance produces
incidentally
6. K. Kukur k mukh lagayo, mukhein chatan aayo
H. Kutte ko muh lagaya, wah muh chatane aaya/ Neech aadami ko yadi
samman diya jata hai to muh lag jata hai
E. To give the respect to bad one he will understand you timid.
7. K. Goru kei apaan seeng bhaari ni hun
H. Gaay ko apni seng bhaari nahi lagti/Apni santaan k liye kasht sahna
sawabhavik hai.
E. To tolerate pain for the offspring is natural.
8. K. Musek aire gav-gav birau khel
H. Chuhe ki jaan pe bani hai, billi ke liye khel ho raha hai
132
E. The rat is about to die and the cat thinks it a game
9. K. Mari syaanpk aankh khachoran
H. Mare hue saanp ki aankh fodna/Thake-hare aadmi ko paresan

karma/mare hue ko marna
E. To burst the eyes of dead snake/ To give trouble to a disturbed person/

To kill a dead man
10. K. Aapan deli k kukur baali
H. Apne darwaje me kutta bhi sher ban jata hai/ Apne ghar/gaon me apne
ko sabal samajhna
E. Even a dog becomes a lion at its door/ One think stronger in his
village/house
11. K. Ghurad hoon chathein pyaar
H. Ghurad (ek jangli janvaar) ko chattan hi pyaari lagta hai/Apni janam

bhoomi kaisi bhi ho, pyaari hi hoti hai
E. The birth place is lovely for everyone
12. K. Goru charan apun liji, baache charan aapun
H. Gaay ka charanaa apne liye aur bachiya ka charan apne liye.
E. Grazing of cow for herself and so the grazing of calf
13. K. Kaav baakar jais dekhan
H. Kali bakri ki jaise dekhna/ Ghrina ki drishti se dekhana
E. To see with hateful sight
14. K. Kab bhais byaal, kab thori hauli?
H. Kab bhaish bayaaegi kab baccha degi?/ Kab bansi bajegi, kab Radha
nachegi?
E. When the buffalo will be pregnant and give birth to a calf
133
5.2.4 Idioms
According to Oxford Dictionary, Idiom is a group of words whose meaning

is different from the meaning of the individual words or a form of language and
grammar used by particular people at a particular time or place.
Idioms which are popular in Kumaon have been documented and given below
in Kumaoni (K), Hindi (H) and English (E).
1. K. Kaweer karann
H. Gupchup vaartalap/Burai karna
E. To gossip secretely
2. K. Khawar khan
H. Sir khana/ Anayasayak tark karna
E. Unnecessary talk
3. K. Bakol phulan
H. Aadhik matra me hona
E. Be too much
4. K. Khwaar kanyur
H. Bahana banana
E. To excuse
5. K. Sol kathol karan
H. Idhar udahar ki baat karna
E. To talk on useless matter
6. K. Aag haalan
H. Dusre ka nuksaan karnaa
E. To harm others
134
7. K. Kafuk basan
H. Ek paksi ka bolna/ Grishm ritu ka aagman
E. Song of a bird/ Arrival of summer season
8. K. Khwaar tali hun
H. Sharminda hona
E. To be ashamed
9. K. Ghar fukka
H. Ghar barbad karne wala
E. Destroyer of the house
10. K. Chui katan
H. Aapman karna
E. To insult
11. K. Tik peethiya karan
H. Viida karna
E. Farewel
12. K. Dhoo dekhan
H. Tamasha dekhna
E. To see the game
13. K. Nare lagan
H. Yaad aana
E. To miss
14. K. Pind baatan
H. Shraad karnaa
E. To do rituals for the peace of dead person
135
15. K. Mush naachan
H. Bhook ke karan paresan hona
E. Feel trouble due to hunger
16. K. Munal dekhan
H. Maatha/lalaat dekhna
E. To tell the fortune
17. K. Muni jas jaan
H. Vaasi bhoot ho jana
E. Keeping (one‟s) passions under control
18. K. Ladali hun
H. Atyadhik pyaara hona
E. To be affectionate too much
19. K. Vaar-paar chaan
H. Idhar-Udhar dekhna
E. To look around
20. K. Syaaw baasan
H. Ashubh hona
E. To be unfortunate
21. K. Saankh-Ghaat baajan
H. Mangal karya ka aarambh hona
E. Starting of well work
22. K. Haand bhaat todan
H. Kathin parishram karna
E. To do hard labour
136
23. K. Nau naakhar dikhaan
H. Bahane bananaa
E. To pretend
24. K. Chuchyav chaavo
H. Chochale dekho
E. To see the playfulness/archness
25. K. Balbalaat paalan
H. Itranaa
E. To behave with pride
26. K. Fasak maaran
H. Gapp maarna
E. Chatting
27. K. Narai lagan
H. Yaad aana
E. To miss
28. K. Aapun haath jaggannath
H. Apna hath upper karna
E. To do work himself
29. K. Ain men
H. Ek se
E. Same to same
30. K. Khitkhitat paran
H. Attahas karke hasna
E. To laugh loudly
137
5.2.5 Riddles
In Kumaon riddles are known as „aar‟ or „Aahan‟, and asking of these riddles
is known as „aar haalan‟. These riddles are the main source of entertainment for the
people. Riddles in Sanskrit „Aabharak‟, in Punjabi „Aakhara‟, in Gujrati „Ukhaararu‟,
in Rajasthani „Okharo‟ and in Garhwali „Pakhaara‟ etc.
According to Pandey (1977), Kumaoni riddles can be classified in to various

categories. Some important categories are as follows.
1. Food material related
2. Domestic things related
3. Animal related
4. Nature related
5. Organ related
6. General riddles
Riddles which are popular in Kumaon have been documented and given
below in Kumaoni (K), Hindi (H) and English (E). Answers (A) of the riddles have
also been given in Kumaoni (K), Hindi (H) and English (E) languages.
1. Food material related riddles
1. Kumaoni- Gyun pissu maduvek palthan,
dekho jyarja bojyu, jyarja k laksan
Hindi- (Gehu ka aata, madue (raagi) ka palthan, dekho tai ji ke pitaji,

tai ji ke lakshan)
English- flour of wheat, powder (palthan) of raagi, O! Father of paternal aunty,

see the symptoms of aunty.
Answer- Gol/Gola/Coconut
2. K- Bot dharam dhus paat chakiya
dekhan rang-chang, khanek mithaiya
138
H- Mota hai per, chore hain patte,
dekhane me rangila hai, khane me meetha
E- A tree is healthy, which leaves are broad, it looks very bright but in
taste it is sweet.
A- Kyaw/Kela/Banana
3. K- Naani- naani bamai, dhayang mee chanar
H- Choti-choti bramani, jiski pasli me chandan
E- A small brahmini whose ribs have sandalwood
A- Maas/Urd/Black gram
4. K- Naan naan mirgi daas, lukur peiro sau pachaas
H- Chota sa mirgi das, kapre pehne sau-pachaas
E- A small person, who wear fifty to hundred clothes.
A- Pyaaz/ Onion
5. K- Laal baakar paani pee ber aigo, safed baakar paani pin hudi jano
H- Laal bakri paani pee kar aa gayi, safed bakri paani peene jaa rahi hai.
E- Red coloured goat came after drinking water, white goat is going to
drink water
A- Poori/ A deep fried round shaped cake made up of wheat flour
6. K- Laal batu dabal bhari
H- Lal batua, paiso se bhara hua
E- A red purse is full of money
A- March/Mirchi/Chili
K- Theki me theki, beech me bhego pirmu negi
H- Bartan me bartan, beech me baitha pirmu negi
139
E- A utensil is inside another utensil and in between them one person is

sitting there.
A- Junal/Bhutta(Makka)/Maize
2. Domestic Things related
1. K- Naan-naan kayari, sitolul gheri
H- Choti-choti kayari sitolo (local bird) ne gheri
E- Small flower beds are surrounded by the bird (Sitol-local bird)
A- Sagad/aanghethi me aag/ brazier/fire-stand surrounded by the people.
3. K- Ek seengi bald, sar pariwar ko paaloon
H- Ek seeng ka bel, saare pariwar ko palta hai
E- There is one horn bull who brings up the whole family
A- Chakki/Millstone
4. K- Raam juk gudari, bayav siri raate udari
H- Raam ji ka bistara, shaam ko seela gaya, subah udhara gaya
E- Bed of Ram ji stitched in evening and destroyed in morning.
A- Dwaar/Darwaja/Door
5. K- Chamkani bamani ki lamkini dhoti
H- Ek bramin ki lambi dhoti
E- One Brahmin have long dhoti.
A- Sayur-dhaag/Sui-dhaga/Needle-thread
6. K- Tu hit mee aanu
H- Tu chal main aata hoon
E- You go, I am coming
A- Dwaar/Darwaja/Door
140
7. K- Ek mais ratei bayaal sarag che roon
H- Ek aadami subah shaam swarg ki or muh kiye rahta hai
E- A person all the time looking towards heaven.
A- Ukhaav/Ukahaal/ A small wooden or stone mortar
8. K- Apan baabuk chayal choon, laal paani peenu, anyaar kud me roonu
H- Apne baap ka beta hoon, laal paani peeta hoon, andhere kone me
rahta hoon
E- I am son of my father, drink red water and live in a dark corner.
A- Khukri/Choti kataar/ Dagger
9. K- Ghar hoon un te bana huri mukh, ban hoon jaan te gahr huni mukh
H- Ghar aate samay muh jangal ki or, jangal jaate samay much ghar ki
or
E- While going to forest face towards the home and in returning face
towards forest.
A- Kulhar/Kulhari/Hatchet/Axe
10. K. Hit chyala mukot jyol, pet bhar lool, geech amor lool.
H. Chal beta nainihal jate hain, pet bhar late hain, mooh ko mor late
hain.
E. Come on son let‟s go to maternal house, bring something stomach full

and let‟s twist our face from there.
A. Thela leke Chakki aata lane jana/ Bring bag to the mill and come back
with flour.
10. K- Tu gay-gay, myar baladek puchar amor gay
H. Tu gaya to gaya mere bail ki pooch mor gaya
E. No problem you went away but you turned the tail of my ox
A. Tau-chabhi/Taala-chaabi/Lock & Key
141
3. Animal related
1. K- Aahan re aahan, aankhan tyaar tupuk taapuk, munai teri kahan?
H- Aah! aankh teri timtimati hai, sir tera kahan?
E- Aah! Your eyes are blinking but where is your head?
A- Giyaaz/Kekara/Crab
2. K- Sir kot bati ae, nagar kot me maari ge
H- Sir se aaya, nakhuno me mara gaya
E- It comes from Sirkot and dies in Nagar kot.
A- Ju/Louse
4. Nature Related
1. K- Aadu rwat khe ni sak, thai bhar moti gin ni sak,
roi poi bald joti ni sak, chamkan sikor tod ni sak
H. Aadhi roti kha nahi sakte, thanli bhari hui rupye gin nahi sakte
jota hua khet jot nahi sakte, chamkata hua danda tod nahi sakte
E- A Half bread can not be eaten, a plate full of pearls can not be counted
Ploughed field can not plough; A bright stick can not break.
A- Chandrama, aakash, baagh, saanp/ Moon, Sky, Tiger and snake
2. K- Ek phal yes bhe, jek fagal le ni hun, guthal le ni
H- Ek phal aisa, jiski na chilka na guthali
E- One fruit is there which don‟t have the peel and stone.
A- Aol/Aola/Hail
3. K. Ek pakhi chari, haridwar naha jai ro
H. Ek pankh ki chiriya haridwar nahane gayi hai
E. One winged bird went to Haridwar to have a bath
A. Sayut/Cheed ka beej/Seed of pine.
142
5. Organ related
1. K- Paar daan me dwi naul dab daban harin
H- Samne choti me do naule (prakritik jal shrot) bhare hue hain
E- In the mountain two Naule (A natural source of water), which are full
of water.
A. Aankh/Eyes
2. K- Ek baat me dwi dwaar
H- Ek raste me do darwaje
E- A way has two doors
A- Naak/Nose
3. K- Batish kutani, ek samerani
H. Batish kutate hain ek ikhatta karta hai
E. Grinded by thirty two and gathered by one
A. Batish daanth aur jeebh/ 32 Teeth & tounge
6. General riddles
1. K- Ek murgik chaar aan, chaar naram, chaar garam, chaar thand
H- Ek murgi ke chaar ande, chaar naram, chaar garam, chaar thande
E. A hen has four eggs, four eggs are soft, four eggs are hot and four are
cold.
A. Varsh/ Saal/Year
2. K. Dwi mai-cheli hum, dwi mai-cheli tum
teen dana nimbuk, barabar baante hum
H. Do maa-beti hum, do maa-beti tum
teen nimbu, barabar bante hum
143
E. Two mother-daughter we, two mother-daughter you
Three pieces of limes, distribute it equally.
A. Amma, beti, potri/ Maternal grand maa, mother and daughter
3. K- Ek ke bhiter bhe, sab mun kat-mun kat
H- Ek hi ke andar hue, sab ke sab sir Kate
E. We are inside at same place but all are headless.
A. Balli/Wooden pole
4. Aath khut, Nau aankh, dwi puchad, khawaar chaar,
dwi beg, ek syeri, teen ek mee swaar
H. Aath pair hain, nau aankhein hai, do pooch hai, chaar sir hain, do
purus, ek estri, teeno ek me swaar hain
E. Eight legs, nine eyes, two tails, four heads, two male, one female, all
three are riding on the one.
A. Sarpa sahit nandi per swaar Shiv-Parvati/ Lord Shiva with maa
Parvati along with snake riding on nandi (bull).
5. K. Bhaish pad khaav, puchar ge ujaad
H. Bhaish paani me gayi, pooch ujaad gayi
E. Buffalo goes to the water and tail destroyed.
A. Deeya-Batti/ Lamp and wicks
6. K. Chaandi k batu, sunak dor, chal batau desak or
H. Chaandi ka purse, sone ki dor, chal chalein desh ki or
E. Purse of silver and thread of gold lets move towards country.
A. Surya aur surya ki kiranein/ Sun & Sun rays
7. K. Ghaa kato guj-buj, poo bado tuni, jo myar aahan ni batal, uak baab
guni
144
H. Ghaas kato aur us ko badho, per jo meri paheli ka jawab nahi dega us
ke pitaji bandar
E. Cut the grass and binds them, but one who does not give the answer of
my riddles, his father is monkey.
A. Baal aur kainchi/Hair and Scissor
8. K. Aahan re aahan, che khutti bahan, pooth me poochari, munai teri

kahan?
H. Aah! cheh baahan hain, peeth me poonch hai, sir kahanhai?
E. Ash! There are six cords, tail on the back, where is the head?
A. Taraju/ Balance
1. K. Ban jaan bakaht aankh khuli runi, ghar aan bakhat aankh band runi
H. Jangal ko jaate samay aankh khuli rahti hai, ghar aate samay aankh
band rahti hai
E. While going to forest eyes are to be closed and in returning to home

eyes are to be open.
A. Peerulk jaav/Jaal/Net to collect litter.
2. K. Dharti taav be, doodhk loti
H. Dhaarti ke andar, doodh ki loti
E. A milk container inside the earth
A. Mool/Mooli/Reddish
3. K. Att-baat, chat dhon, teen mukh, dus pon
H. Chatpat uttar do, teen sir hain, dus pair
E. Give the quick answer, three heads and ten legs are there
A. Haie aur balduk jor/ Halwaha aur belon ki jori/ Plough man with bulls
145
4. K. Jatuk deecha utuk khaanch, ni le deena neli khaanch
H. Jitna dete ho utna khata hai, nahi bhi dete ho to nahi bhi khata hai
E. The things you give it eats all, if you don‟t give it doesn‟t eat at all.
A. Ghat (Gharat)/Panchakki/Water-mill.
5. K. Naan-naan jhai, jhar-jhar paat, jami ni jai sakan ter bud baap
H. Ek choti si jhari, jis ke patte rukhe se, jis me tere dada ji bhi hi nahi
chad sakte
E. A small bush which leaves are dry, on which even your grand father
cannot climb.
A. Bicchoo ghaas/ A local graa which has spine
6. K. Ranikhetek thadi, aankh dyul gaari, jhugul dayul faadi
H. Ranikhet me khada hai, aankh nikal dunga, kapde faad dunga
E. You are standing in Ranikhet, I will bring out your eyes, tear your
clothes.
A. Junal/Makka/Maize
5.2.6 Theatre-Ramleela
In Kumaon under traditional theatre Ram leela is famous, which organized

during the Dussehra time (in the month of September or October). Only male
members can play the role of the different characters of the Ramayana. Females are
not allowed to play the characters. One month before the Dussehra, people do
rehearsal of the Ramleela. For rehearsal organizers arrange one Harmonium player
(locally known as Ustaad) along with one Tabla player. Ustaad give training to the
people, who are interested to play the role of the different characters. This training is
known as Talim locally.
Ramleela is based on Ramcharitmanas. Ramleela is basically performed in the

doha (a rhyming couplet) and Chaupaai (a quatrain). There is less uses of prose in the
Ramleela. The famous raags of the Ramleela are Maalkaunsh, Khamaaj, Vihaag,
Peelu, Jai-Jaiwanti, Bhairavi and Desh. Kumaoni Ramleela is basically played in
146
147
these raags and dialogues. People gather for ten days during night time, in the
field, where Ramleela is to be staged. Women participation is negligible. For the
participation as an actor, they are not allowed to act in the Ramleela. Women
character(s) in the Ramleela are performed by men only.
During the performance of the scene, one person behind the stage slowly
narrates the dialogue of the related actor. For the Doha and Chuapi actor carries a
small hand diary, which is very small in size, in which actor have written the Doha
and Chaupai of the related scene, by seeing this diary, he sings the Doha and Chaupai.
The first day of the Ramleela, Ram Janam (Birth of Lord Rama) is performed,
on second day Tarika Maran (death of demoness Tarika), on third day Sita
Swayamvar (Marriage of Sita), on fourth day Ram Vanvas (Banishment to forest of
Lord Rama), on fifth day Sumanth Vilap and Kevat Milan (Sumanth grieve and Kevat
union ), on sixth day Surpnakha and Ravan samvaad (Surpnakha and Ravan
conversation), on seventh day Sita haran (Sita kidnapping), on eighth day Angaad-
Ravan Samvaad (Angaad-Ravavna conversations), on ninth day Laxman Skakti and
Meghnaad Vadh (Delirium of Laxmana and slaying of Meghnaad by Laxmana) , and
tenth day Ravan Vadh and Ram Rajyabhisek (Killing of Ravana and coronation of
Lord Rama). After every 12 years interval people also perform Lav-Kush Kand on
eleventh day of Ramleela.
People also give donation to the Ramlela committee and appreciate the actors
by giving the money as appreciation. When there is a gap between the scenes, a
person/anchor use to come to announce the donation given by the people to the
Ramleela committee and actor (s). On the last day, the entire donation collected by
the committee and the actor (s) is announced by the announcer to maintain the
transparency. There are some positions to manage the activities of the Ramleela
committee; these are President, Vice-President, Secretary and other members.
5.2.7 Fasts and Festivals
In daily life festivals play an important role in people‟s life. Festivals are
celebrated in every society; they reflect the customs, dharma-karma, enjoyment and
beliefs etc. of the particular society. Local festivals and folk culture are important part
148
of the life. They are celebrated according to a date, that‟s why they are called
“Tyohaar” (in Hindi).The main festivals celebrated in Kumaon are:
1. Samvatsar-Pratipada: According to Hindu Mythology New Year starts in

the month of Chaitra. First day of Chaitra month starts in Shukla Paksh (the
light half of the month or from new to full moon) and people sow Harela
(people take some seeds of different cereals like Barley, maize, wheat, paddy,
mustard etc.) in small boxes, these small boxes are made of wood or metal.
On this day, Brahmin comes in home and tells the people about their coming
year with the help of Panchang.
2. Ramanvami: In the Chaitra month, people celebrate Ram Navami. People

observe fast on this auspicious day. In some places small fairs are also
organized.
3. Fooldai: This festival mainly celebrated by the young girls only and
celebrated on the first day of the month of Chaitra (mid March). In this
festival young girls go to their neighbours‟ houses with plates consisting of
rice, coconut, jaggery and flowers (Buransh specially, a locally available
flower during this month) and offer their good wishes for the prosperity of the
household. They are also given blessings and presents in return. Children sing
a song while entering in the house of people, which is-
Phool dei, kshama dei, Deri dwar, bhar bhakar,
Meaning: O! Full of flowers door step!, full of forgiveness door step, You bless us
and Please! You fill our food container. (Bhakaar is a kind of big food or cereal
container which is made up of wood).
In the households mother of these girls separate the rice and other things from
their plates and dip the collected rice in water, then grind it and make a cuisine from it
which is called Sai, by adding jaggery or suger in it.
4. Bhitauli: During the month of Chaitra (March-April) brothers send or go to

the house of their married sisters and give presents to them sometimes parents
use to give the presents to their daughters. These offerings/gifts are called
Bhitauli. These gifts could be Saree, Sweets, Cooked things, money etc.
149
5. Bikhoti: In Kumaoni language Bikhoti means Fair. The Syalde fair is one of
the famous fair of Uttarakhand state. it is celebrated annually in Vaishakha
month (Mid of April). This day has special significance of bath. Folk songs
and folk dances can be seen in this fair, like jhoda, sarankar etc.
6. Ganga-Dussehra: Ganga Dusshera is celebrated on the Shukla Dashmi of the

Jyestha (May - June) month. The sacred Ganga is worshipped on this day and
Dusshera posters (dwar patras or dasars), which have various geometric
designs on them, are put up on the doors of houses and temples. These
posters, once hand written by Brahmins, are now printed. On this day people
take bath in the holy rivers. Women make sharbat (Sweet drink). To make
sharbat, take some water add some sugar and pepper powder in it. First ladies
offer this drink to the God-Goddesses and in the evening time give this drink
to the all family members.
7. Harela: On the first day of the Navratris (nine day holy period) of the month
of Chaitra women fill basket or wooden boxes with soil and sow seven types
of grains (Barley, maize, wheat, paddy, mustard, Bhat and Gahat (local
pulses) in them. The grains germinate symbolizing the future harvest. These
yellow leaves, called Harela. Containers have to be kept in dark place and
keep away from sun light. Harela cut on the tenth day and people put them on
their heads and behind their ears.
8. Baisi: In the month of Paush, Sawan, Chaitra village people celebrate or

organize Baisi (Baisi means twenty two days fast) in their local temple or
Gram devta temple. Gram devta can be Har ju, Bholanath ji, Ganganath ji,
Golu ji, Katyur etc. Some people keep Baisi fast in which they have to live in
that Garm devta temple (Away from home), take one time food and three
times bath and also follow Celibacy/ Brahmcharya. These persons called
Bhagat, they have to wear Gerua (kind of orange colour) clothes and bring bag
(Jhola) in which there are some ghungru (small bells) attached in it. In a day
three times worship is performed, first time in the morning, second time in
the noon and third time in evening. At night many villagers gather in the
temple to see the Jagar, in which Dharam Das (Guru of God/Devta) invite the
150
151
9. local Gods by singing Jatra (the ballads) with the help of a big Dhol (Known
as Vijaysar), two – three subordinates help Dharam Das by beating the Damua
and Ransingha etc, musical instruments. The Dharam Das use to be from the
Schedule caste only. He uses to wear white kurta and paijama. He invites the
Gods with lots of enthusiasm and by beating the dhol. The sticks which are
used to beat the Dhol and Damua are made up of Glue tree wood. There is a
small bell (Ghungaru) attached at the end of sticks. Before starting the Jatra,
all bhagats have to stand around the Dhooni of temple of their Gram Devta
(Village God), and then Dharam Das has to beat the Dhol and start the singing
jatra. After some time Damua is started by Dharam Das‟s fellow, in between
Ransingh is also played by other fellow. All the bhagats take the permission
and revolve around the dhooni. Bhagats have to bring their Gerua bag with
them. During this, all the bahagats use to touch the Dhol/Vijaysar and take
permission and blessings from their Guru. In the starting of three rounds there
is little/low noise of dhol but after completion of three rounds of Dhooni,
Dharam Das starts beating dhol with lots of power which create lot of noise.
This Jatra takes near about 30 minutes and after this jatra, God comes in the
body of the bhagatas. Gods namely, Guru Goraknath is the Guru of all the
Gods (Guru Gorakhnath does not dance in Baisi, Dharam Das just say his
name in the baisi), his followers or we can say his Shishya as King Harish
Chadra ji ( Har ju), Bhandari Ji (Bhanar ju, owner of food and God of
weapons), Shem devta (Query God), Laat Ji (owner of cattle, locally known as
Perodi, also commander of Gods and also shoo away the evil spirit), Ujayari
Devta (who keeps Light or Mashal made by woods of Pines), Kholia Devta
(kind of guard of Gods), etc. There is also Two Diwaan known as Seura-Piura
(two brothers, who takes slaughter). When God enters in the body of Bhagats,
they start dancing according the order of Dharam Das, They take Vibhooti/ash
from dhooni and meet/ hug each other, put this holy ash on their body. After
that the Bhandari ji give them their weapons like Chimta, Fawra, Gurja, Timur
ke shote (sticks of timur), Mashal, Kulhari etc. to the respective God. Mashal
and chimta are taken by Ujayari Diwan, Kulhari is taken by Laat ji, etc.
152
After taking the weapons the God have to follow the instructions given by the
Dharam Das. They have to perform action like, taking bath in Har Ki Pauri
(Haridwar), hug each other, walk, dance etc. If any girl have any kind of evil
soul/ghost in her body then she have to come in front of the God in a queue, then all
the Gods show fear to that girl by showing the Mashal and others weapons and put
holy ash to the forehead of the girl and give blessings to that girl.
In between this, turban is offered to Dharam Das by Bhandari ji. Now Dharam
Das have to give permission to the Gods to go back to their native areas. At last
Bhagats/ God have to collect alms/charity (Bhiksha) from the villagers like money
and other things (cereals).
10. Bat Savitri: On this day women worship Savitri and the tree of Bay or banyan
(Ficus benghalensis) and pray to the God for the long life of their husbands. It
is celebrated on the Krishna Amavasya (last day of the dark half of the month)
of Jyestha month.
11. Raksha bandahan or Janyopunyu: The people of Kumaon celebrate Raksha

Bandhan and Janopunyu, the day on which people change their janeu (sacred
thread). Sisters tie Rakhi on the hands of their brothers and pray for their long
life.
12. Ghee - Tyar: This festival is celebrated on the first day of the Bhado month
according to the Hindu calendar. It is during this time that the harvest is lush
and green and vegetables grow in abundance. It is regarded as a very
important festival of the agriculturalists and they celebrate this festival with
much pomp and show. Various agricultural tools are exchanged or purchased
on this day. People put ghee on their foreheads. The belief behind this is that
by putting ghee on forehead the persons will not take birth as snail in next
birth. People consume chapattis made of ghee and stuffed with urad dal (black
gram) and these chapatties are called Bedu locally.
13. Sankat Chaturthi: On this day people worship Lord Ganesha and it is
celebrated on the fourh day (Krishna Paksh-first forth night) of the Bhado
month. People offer doob (Cynodon or Panicum dactylon) grass to Lord
153
Ganeha and observed fast on this day. Peen (A special type of sweet is
prepared by the women, which is made by black sesamum). The procedure of
making peen is, take some clean sesamum seed and then roast them and grind
them on Sheel-batta or in grinder and at last add some jaggery according to
the requirement in it, if required add some amount of water in it.
14. Janamastami: This festival is celebrated in same way as it is being celebrated

in the other parts of India, means it is celebrated in the eight day of the first
fort night of Bhado month. People sow Chhatti (the sixth day after the birth of
a baby boy) Chowk (a flat seat made up of wood) on this day and prepare
Panjiri (prepared by ajawain/bishop‟s weed by roasting it then add other
material like turmeric power, some dry fruits, glue, ghee and other things and
some amount of sugar). During mid night people worship Lord Krishna.
15. Birur: This festival is also known as Birur panchami because it is celebrated
in the fifth day of Bhado month. For this day women dip some grains of the
wheat and gram in water for 4-5 days and also put turmeric rhizome with
some Doob grass (Cynodon or Panicum dactylon) in it to keep it holy. After
4-5 days women clean these soaked grains and cook them by adding some
sugar or salt according to their choice. Women also put these soaked grains on
the head of the family members.
16. Khataruwa: Celebrated in the month of Ashwin which falls in mid-

September. This grand occasion calls for unrestrained merriment and on this
special day people light bonfires around which children dance displaying
multi-hued flags. The peasants take special care of their animals by feeding
them with grass. To ward off the evil influences cucumbers are offered to the
fire of Khatarua. The victory of the monarch of Kumaon is believed to be one
of the major reasons for hosting the festive celebrations. Children use to sing
song related to khataruwa like.
bhelo kahtaruwa, …
kahtaruwe ki haar, gaay ki jeet, etc.
154
The belief behind this is Kumaoni King Gedi defeated Garhwali King
Khataruwa. In Garhwal region people do not celebrat this festival, but after the
making of Uttarakhand Kumaonis also do not celebrat this festival.
17. Shradh Paksha: In the month of Bhado people remember their ancestors and
do shradh for the peace of their ancestors‟ soul. People use to avoid taking
onion and garlic, non-vegetarian food during this time and people prepare
pind (a lump), made up of rice flour on shradh and give this pind to cow.
18. Durga Pooja: It is celebrated as it is being celebrated in the other parts of

India. Kanya Poojan (worship of unmarried girl) is a main thing which is done
by the people.
19. Vijaya Dashmi: Commemorates in the month of Aashwin. People take fasts
for nine days and go to temples and on the ninth day they do havan (a fire
offering). Ramleela is also organized during this period.
20. Kojagar Purnima: On this day people hang “Aakash Diya” (Sky Lamp) out
side of their houses. This festival is celebrated on the fifteenth day of second
fort night of Aashwin month, people also celebrate small Diwali on this day.
The box of Aakash Diya is made up of wood and on it women do aipan
(motifs). In the morning and evening, both time they put diya in it and people
start playing cards from this day.
21. Deepawali: Celebrated as it is being cebrated in other parts of India, in the

month of Kartik. People clean the entire house before Diwali. Women make a
pair of foot (Laxmi pawn) with the paste of rice (biswar) and Geru (red
ochre). Women make Goddess Laxmi with the help of Sugarcane Sticks, by
cutting the stem of sugarcane in three parts, tie sugarcane sticks top with cloth
and prepare a balanced stand and put saree or Lahanga-chunni on it. In the
evening time, all family members worship Goddess Laxmi. Women also make
aipan (religious design) in the house to welcome the Goddess Laxmi.
22. Gowardhan Pooja: Lord Krishna worshiped on this day. A special kind of
flower locally called Ghaniyari flower (a kind of bell shaped flower), milk,
curd and some dishes also offered to him. People worship their cattle and they
155
make a shape of hand on the stomach or back of the cattle, with paste of rice,
which is called biswar locally.
23. Bhaiya Dooj: To celebrate the Bhaiya dooj festival, hilly ladies prepare
Chiwara (rice boiled, pounded and roasted) some day before Diwali by their
own. Sister(s) put teeka/roli (a red powder made principally from turmeric and
lime) on the forehead of their brother and take some chiwara, touch it on their
feet, then knee, then shoulder and finally put it on their head and do worship
of their brothers and Father by saying this song-
Jee raya, Jagi raya

Syal jais Chatur hoya
Bagh jais bali hoya
Agaas jais ocho hoya
Dharti jais chaur hoya
In din, in maas, bhaitene raya….
Meaning - “May God bless you, give you long life, you may be cleaver like fox,
strong like Tiger, big like sky, broad like earth and in same day same month try to
meet me”.
Brothers and father after it, give them some money or other things as gifts. It
is celebrated like Raksha Bandhan festival. People also believe that on this day
Yamraaj also use to go his sisters‟ home and people also believe if a person die on
auspicious day then he directly goes to heaven, without any hurdle that‟s why this day
also called Yam Ditiya.
24. Kartik Poornima: This day is specially meant for Ganga Isnan/bath. On this
day people put last lamp (diya) in Aakash Diya (Sky Lamp) box and next day
people remove the aaksash diya. People also celebrate small Diwali on this
day.
25. Ghughuti or Makar Sankranti: This festival also known as Kale Kauva. It
is celebrated on the first day of Magh month. A sweet dish locally called
Ghughuti (Ghughuti is a deep fried dish made by flour and Jaggery) is
prepared by the women, in the shape of sword, clove and pomegranates etc.
Then women deep fry these shape in the oil. A necklace is made with these,
156
157
26. an orange in the centre along with ground nut, and Makhana (a kind of dry
fruit). Next day in the morning small children wear this neckless and go out
on the roof to call the crows. The mother of these children put some Ghughuti
on a bowl with some cooked rice and other food items. While calling crows
they sing following song
"kale kauva kale, Ghughuti mala khale"
Meaning: O! Black crow, please take the Ghughuti (special dish prepared on this
day).
This song marks the festival of Makar Sankranti in Uttarakhand. This special
day marks the change of season and is considered to be very auspicious. Numerous
religious rites and rituals are observed and the festival ends with a hope that the birds
would come back in the subsequent year.
27. Basant Panchami: Basant panchami is celebrated during Magh (January -

February). Goddess Saraswati worshiped on this day. People use yellow
handkerchiefs or even yellow cloths on this day. . This festival also marks the
beginning of Holi Baithaks (sitting). Earlier one day before of the festival,
people take white cloth made handkerchiefs and put these handkerchiefs in the
turmeric powder water to make them yellow coloured. People also pierce their
girl child‟s nose and ears on this occasion.
28. Shiv Ratri: Celebrated in the month of Falgun. People worship the Lord
Shiva and offer Bel & Bel patra (leaf and fruit of the wood-apple tree), milk
and other things.
29. Holi: Celebrated in the month of Falgun. This festival is famous for Baithki
Holi and the Khari Holi. The former one is celebrated with much vigor in the
temple premises while the latter one is celebrated in the rural areas. In the
month of Falgun, people tie a cloth which is called “Cheer badhana” locally,
after that Holi festival starts in the areas. Villagers go to all the villages and
dance with the rhythm of Holi songs alongwith musical instruments like,
nagara, damua, chimta, ransingh etc. People also bring flag which is known as
nishaan (flag and nagara together called nagar-nishaan).
158
5.2.8 Traditional Fairs
1. Syalde Bikhoti: Syalde Bikhoti is a famous fair of block Dwarahat. It is

celebrated annually in Vaishakha month (Mid of April). This fair starts from
the famous temple of Shiva which is situated in Vimandeshwer. Fair is
divided into two parts, first part is celebrated in Vimandeshwer Shiv temple
on the last day of Chaitra month and second part of fair is celebrated on the
first day of Baisakh month at Dwarahat market. People use to start preparation
of fair one month before and they assemble in village chaupals every night.
They do rehearsal of folk songs and dances like jhoda etc. At the last night of
Chaitra month people collect in three parties also called Allo locally. People
meet on the ways and bring the flags of their villages with them.
Conventional ways are fixed to come and people collect at the Vimandeshwer
temple. In the dark and deep night, villagers from different locations come by
bringing the torches (locally known as Mashal) in their hands. They take bath
in the river and leave for fair and assemble at Dwarahat at predetermined
places to dance. Vishnuvat Sankranti is known as Bikhoti. This day has
special significance of bath. This fair is famous fair of Pali-Pachaun region.
Local people do not know about how old this fair is? As people know that the
villagers were used to come in the temple of Mata Shitala (Goddess of small
pox). They used to pay floral tribute to Goddess Shitala and return to their
respective villages.
Once upon a time, there was a bloody war between two parties. The head of
one party cut the head of another party‟s officer with the help of sword and buried it
and put a stone on it. This stone is known as Oda. This stone can be seen today in
Dwarahat market also. Now this is tradition that after hitting this stone (Oda), people
only move ahead. This tradition is called “Oda bhetana” or stone meeting. During
ancient time, this fair was too big and villagers have to wait for all day for Oda
bhetana (stone meeting). All parties used to come alongwith drums, nagaras, turahi
and ransingh etc. musical instruments.
Now a days, some modifications are made in the fair. Here the villages are
divided into three parties like- All, GARAKH and NAUJU party. The reaching time
159
160
and order is also preset. Each team can be identified differently. Each party
comes in its own style and pay rituals. In All Party, there are six villages namely Talli
Mirai, Malli Mirai, Kiroli, Vijaypur, Pinoli, Talli Mallu. The head of this party use to
be from Malli Mirai. In the GARAKH Party, there are approximately forty villages
like- Salana, Basera, Asagoli, Simalgaon, Bethuli, Pethani, Lotila, Gawar and Bunga
etc. The head of this party is use to be from Salana village. The third NAUJU party
includes Chatina, Vidyapur, Bamanpuri, Salalkhola, Kaula, Ida, Bitholi, Kandde,
Kirolphatak, etc. villages. The head of this party have to be from Dwarahat.
The first day of the fair is lacally known as „Baat-Puje‟ or „Nan-Shayalde‟

(worship of way or small Shayalde). Each year Bat Puje is done by third party, which
is NAUJU Party. They also offer invitaion to Goddess Shitala.
The stone meeting (Oda-bhetana) starts in the noon. The Garakh and Nauju
party/team comes from the old market. All Party used to come from a narrow street of
old market and reaches the decided location. Fair‟s traditional form is still present.
Folk songs and folk dances are also seen in this fair like jhoda, sarankar etc.
Earlier fair was organized only for 3-4 days but now it is organized for 6-7
days. Now the fair is being registered by the Nagar Palika President in the year 2009
and got 2 lakh rupees from the State Govt. Now a days young boys and girls also
organiz the cultural nights in which they perform folk dances and folk songs etc. and
also distribute prizes to boost the morale of participants.
2. Bagwai Kautik of Bagwalipokhar-Bagwali Pokhar is situated on the way of

Kausani-Ranikhet and is 24 km. far away from Ranikhet. The Bagwal
Mela/Bagwai Kautik/Paashaan Yuddh (Stone War) is celebrated on Bhaiya
Dooj. Bagwal (Paashaan Yuddh/Stone War) is now only celebrated at two
places of Kumaon- Devidhura and Bagawalipokhar. Devidhura‟s fair is
celebrated on Rakshabandhan and Bagwalipokhar‟s fair is clebrated on
Bhaiyadooj. Now people do not play with stones in this fair, but at Devidhura
people play with stones. The history of stone war is very old. In earlier days
Bagwals were celebrtaed at twenty places, but now only two Bagwals are in
existence. Now a days people of Bagwalipokhar just meet the
Oodha/Chabutara/Big Stone to start the fair.
161
On the ocassion of Bhaiyadooj old ladies pick the Chiwra, touch these Chiwra
on the foot, knees, shoulders and head of the children and male members of the
family and give them blessings.
Jee raya, jaagi raya

bachi raya, dus dashei,
bees bagwal bhtanei raya
Meaning: In this blessings lady says that, “Live long life, be safe, meet ten Dushehra
and twenty stone wars”.
According to a saying in 17th century, there was a pond, and people of two
parties use to play inside the pond. That‟s why it is also callled Jal Bagwal (Water
War). During water war females use to sing heroic songs or ballads to motivate the
players, but now days this is also not in existance.It is also said that around mid 18th
century, during the water war, around hundred people died in the pond. Due to this
mishappining people of that locality filled that pond with soil and stone. From that
time stone war also stopped. Now only formality of the stone war is done by the
people, to initiate the fair.
In this historical fair, a huge number of people from the nearby areas assemble
to celebrate the fair. People bring musical instruments like Dhol, Damau, Nagara,
Hudka, Ransingha (Turahi) etc., in the fair and sing folk songs and do folk dance with
lot of enthusiasm. People also perform Cholia dance of the Kumaon. In this dance
form, dancers depict the scene of war, bring swords and shields and dancers wear
Churidaar paijama, turban (achkan), coloured strips on the waist etc. Villagers also
bring the white and red coloured flag (Nisaan).
5.2.9 Local musical instruments
From times immemorial, the Uttarakhandis have been using different musical
instruments. According to Petshali (2002), the musical instrumets can be classified
into following four categories.
1. Idiophones
2. Membranophones
162
3. Aerophones
4. Chordophones
1- Idiophones- Binaai, Kaanse ki Thaali, Manjira, Ghana, Ghunghru, Jhaanj,

Ghant, Kartaal, Chimta etc.
2- Membranophone- Hudka, Hudki, Dholki, Dhol, Damaun, Nagaara, Dafli

etc.
3- Aerophones- Muruli, Joya Murli, Bhonkar, Turhi, Ransingh, Nagfani, Sankh,

Urdavmukhi Naad, Masakbean etc.
4- Chordophones- Saarangi, Ektara, Dotara, Gopi yantra etc.
Description of the Musical Instrumets
The main musical instruments which were recorded during present study have
been discussed below.
1. Drum/ Dhol
A drum is the Uttarakhand‟s most popular instrument. It is bigger than dholaki

and made up of vijaysar (a tree) wood. Generally its length is 1.5-2 feet and width is
approximately 1.25 feet. Left head is made up of thin skin of goat and right head is
made up of buffalo‟s thick skin. Such different voices come from both sides of the
drum. Both heads are attached with each other with a strong string, and players can
tighten and loosen these strings according to their need. The person who plays this
dhol is known as „Guru Dharam Das‟and he can play 22 different types of tunes on it.
2. Huduka
It is also an important instrument and is used in jagar, festivals, folk songs and
folk dances etc. Its main part or we can say body is made up of wood which is hollow
inside. The both side of hudka which create sound are made up of membrane of the
stomach of goat and these two heads are attached with a strong thread. Its length is
approximately 1 fit and diameter is 5-6 inches. It is suspended on one side shoulder of
the player. Player of the huddka holds it from middle and second hand is used to beat
to generate the sound. The player who plays this instrument is known as „Hudkiya‟.
163
164
3. Damua /Damauan / Damama / Damo
It is basically played with the drum/ dhol. It is bowl-shaped and made up of

copper. Weight varies between 5 to 6 kg. Diameter of the damua varies from 8 inch to
1 foot. Its head is also made up of buffalo‟s skin. Its string is made up of animals‟
intestines. Player can play it by keeping it on the ground and while walking, hang it
on the shoulders.
4. Nagara/Nagaur
It is like Damua but the shape is bigger than that and is made up of copper.
Earlier it was used by the Kings in wars to generate enthusiasm in the soldiers. Now it
is used in the temples during prayers. Its head is made up of buffalo‟s thick skin and
string is made up of intestines of buffalo. Four year old buffalo‟s skin is best for it.
5. Kaanse ki Thaali (Copper plate)
It is used with hudka. Local people called it „kansuri-thaal‟. It is used in jagar,

as assistant instrument with hudka. It is placed upside down while using it and is
beaten by sticks made by payan (padam, a locally found tree) wood. It is only used by
males in jagar of God & Goddesses.
6. Majira
It is used in bhajan-kirtan and ladies sangeet and is made up of brass and its
shape is like bowl. The diameter of bowl varies between 2” to 5”. There is one hole in
between each bowl. Through these holes the two bowls are tied with each other with a
thin and strong string. The length of this thread is between 1 feet to 1.5 feet.
7. Jhaanj or Jhajari
It is similar to manjira and the difference between Jhaanj and Manjira is the
diameter of bowl of jhaanj, jhaanj diameter varies from 6 inches to 12 inches. It is of
copper, or brass made from two plates. While playing this, player hits these two
plates with each other and generates the sound. It is used in „Choliya dance‟ (folk
dance) with Dhol, Damua etc.
165
166
8. Kartaal
It is locally known as „Khartaal‟. The meaning of kartaal is kar means hand

and taal means Clapping to the rhythm. The certain shape is given to the two pieces
of wood and attach some pieces of metal in between of wood.
9. Chimta
It is made up of iron and length varies from 2-3 feet. In this, on each side of
chimta there are some thin plates knows as „Tinkariyan‟ are attached. These
Tinkariyan make sounds like cham-cham when some person plays the chimata.
10. Dholaki
It is used in bhajan-kiratn, satsang, festivals, Holi, marriage etc. It is made up

of mango wood and both sides of heads are made up of animal skin. One head is thick
and other head is thin. Both heads generate different sound due to its thinness and
thickness. These heads are attached with each other with strong and thin string.
Through the help of this string player can tighten and loosen the dholaki. It is
basically played by the women.
11. Flute or Murulie/Basuri
It is played in festivals, fairs, folk songs and folk dances etc. It is only played
by males. Traditional flute is made up of ringaal (a hilly tree) wood. It is played with
other instruments. Now people use bamboo flute too.
12. Joyan Murali/ Twin Flute
Joyan means Twin. In it two flutes are attached with each other. It is very hard
to play as compared to general flute. It is only played by males.
13. Turahi
It is made up of copper and is played by mouth by filling the air inside the
mouth. During ancient days it was used in wars. It is used with Dhol and Nagara.
Now it is played in Choliya Dance (folk dance) and some other ritual ceremonies. To
play it, it is necessary to make balance between the breaths.
167
168
14. Ransingh
It was also used in wars. It is made up of copper. It was used to generate

braveness in the solders and is played in the ritual ceremonies, marriages, folk dances
and winning etc. It is used with the Dhol/ Nagara. To play it, player should have
sufficient amount of air in his mouth and good control over breath.
15. Sankh/Conch
It is used in the prayer of God & Goddesses. It is found in seas and it is

believed that its sound is auspicious.
16. Masakbean
It is the musical instrument of Scotland which originally arrived in mountains

through English. The main part of Masakbean is made up of leather and its shape
looks like a bag/pouch. By making five holes in this bag, four holes are fitted by
pipes. While playing Masakbean, player holds it onto his under arm and put one pipe
in his mouth, by which the player inflates air in it.
5.2.10 Sound signal and sarrogates
In the case of baby boy birth, after the birth, shell or some time plates are
played by the women to inform the locality.
Earlier Munadi (Proclamation) was used during the Holi and Diwali time by
the sweaper class, but now a day it is just vanished. At that time, one or two persons
played the Dhol and one male who wear sari with long Ghunghat, just to hide his face
performed the dance. They played the Dhol and female used to do dance. They collect
the money from the people of that locality.
5.2.11 Motifs/Traditional designs/Ritual symbols
Aipan or Alpana is an art which has a special place in Kumaon region of

Uttarakhand. The word "Aepan' is a derivative of 'Arpan', a commonly used word for
“Likhai” (writing), although it is a pattern made with the fingers. Aipans are known
by different names and is popular in many parts of India with larger variations. It is
called Alpana in Bengal, Satiya in Gujrat, Rangoli in Maharashtra, Chowk pooran in
UP, Kolam in south India, Madne in Rajasthan, Arichan in Bihar and Bhuggul in
169
Andhra. Ladies use all local and organic colours made of rice powder called Bishwar
and Geru (filtered Red Earth powder) for making Aipan in Kumaon Hills. No
artificial colors are used.
Aipan are popularly drawn at places of worship, houses, main entry doors of
house and in front of courtyard. Aipan are having great social and cultural
significance Some of these artistic creations have great religious importance, it is
used as ritual designs for Pujas, festivals and particular religious ceremonies or
auspicious occasions connected with birth, janeu (the sacred thread ceremony) and
marriage. These aipan are drawn in linear form, geometrical pattern, flowers or
imprints. These are generally drawn for decorative purposes.
Raw Materials required for making Aipan
Ochre (Geru: A red coloured powder) colour and rice paste (locally known as
bishwar, soak the rice in water overnight and grind it on the sheel-batta (made of
stone) or now people are also using mixer to grind rice) are the raw materials required
to draw the aipan. After making paste of rice (biswar), women smear/spread the geru
paste (soak the geru in water and take a small piece of cloth or plastic in it then take
that piece of cloth) on the door step or other place where she has to make aipan. Then
when ochre is near about to dry, by using the last three fingers of hand, women make
design on the place by rice paste (Bishwar). It is mostly women who paint the designs
on the floors and walls of their homes using the last three fingers of their right hand.
Earlier the paint used was made from natural dyes. Today, poster and oil paints both
are used by the women to draw the design.
Types of Aipan
Aipans are drawn depending on the rituals and the requirement ceremony.
Aipan drawn places are considered auspicious and pious for performing the rituals.
Some significant Aipan types are discussed below.
1. Door Steps Aipan
These are beautifully designed decorative aipan with great aesthetic value.
Doorsteps of the house are decorated with this kind of aipan, in combination with
„Vasudhara‟ the vertical lines made by dripping the „biswar‟ (rice paste).
170
171
172
2. Vasudhaara
Pooja Vedika, door steps of house, Place of worship, Tulsi (A structure made
around the Tulsi Plant) etc. are decorated with vasudhara. Without Vasudhara, Aipan
are considered incomplete. These are made by painting the place with „Geru‟ and
thereafter making vertical lines by dripping „Bishwar‟. The dripping of „biswar' is
carried out by Anamika (Ring finger). These are drawn in the blocks, (consisting of
lines in odd numbers like 5, 7, 9 or 11).
3. Swastik
Swastik in Hindu mythology represents all Gods and Goddesses, known or

unknown. Swastik has great significance in Aipan. It is drawn in religious rituals to
represents the creation and progress. If someone does not have the knowledge of the
Aipan to be drawn on a specfic occasion, Swastik is accepted as a substitute.
4. Astadal Kamal
This aipan is drawn at the place where „Havan‟ is performed. It is an

octagonal geometry with lotus petals and a swastik is drawn at the center.
5. Lakshmi Padchinha (Footprints)
These represent the feet of Goddess Lakshmi (Goddess of wealth and

prosperity). On Deepawali day, footprints of Goddess Lakshmi are drawn from main
entrance of the house to place of worship.
6. Lakshmi Peeth
This aipan is drawn at the place of worship where worship of Goddess

Lakshmi, the Goddess of wealth and prosperity, is performed on Diwali day. The
center point of peeth is marked by a dot or flower, which represents the Universe. It is
enclosed in two triangles, which form a star with six points. The upper triangle
represents Shiva and the lower one, Shakti. The triangle is encircled with six or eight
lotuses. There can also be an outer circle of sixteen lotuses. The lotuses represent the
moon, stars, the home and wealth. There are usually other circular designs around the
centerpiece. The circles are surrounded by lines on four sides signifying "doors" is
173
174
called "Bhupur". They symbolize the Earth. The entire painting is adorned at
various points with Lakshmi's footprints.
7. Bhuiyan
Bhuiyan refers to the negative and harmful powers. This is drawn on outer
side of a „Soop‟ (a winnowing basket). It is generally an ugly and bad looking sketch
of a demon. On the inner side of the „soop‟ Lakshmi-Naranyan are drawn. On a
particular day, this „soop‟ is beaten with a sugarcane stick in every room and corner
of the house. This signifies expelling of bad omen, ill fate or negative powers and
welcoming of Lord Vishnu and Goddess Lakshmi, the God/Goddess of happiness and
prosperity.
8. Durga Thapa
The Durga Thapa is painted on paper by the women of Kumaon for two Durga
Pujas held during the year, one in March-April and the other before the festival of
Dussehra. This Thapa or painting is highly complex. Almost all the Gods and
Goddesses, besides several local deities are depicted along with the many-armed
Durga who rides the lion. Ranking her on the left and right are the family deities of
the Thakurs of Kumaon, Kot Kangra Devi and Jwala Devi. She is surrounded by
auspicious symbols such as the conch shen, ben, lamp, tulsi, rice, grain and swastika.
To her left are the Bhuja Bali Gods, Ram and Lakshman. The twin sisters, Anayari
and Ujyari representing light and darkness and the Goddesses worshipped at the hill
temples of Punyagiri and Dunagiri also find representation in this Thapa. On the right
side are the Nav Durgas and the nine headed Chandi Devi, with the temple guards at
the bottom of the hierarchy. The topmost row in the painting features the sun,
Ganesh, who is the remover of obstacles, Riddhi, Lakshmi the Goddess of wealth and
her consort, Vishnu the Preserver, Brahma the Creator and Saraswati the Goddess of
learning; local Gods Gola Nath and Bhola Nath on horseback and Bala Barmi. The
eight-petalled lotus within a circle is of special importance in a Durga Puja.
9. Jyoti Patta
In the hills of Kumaon, among the Brahmin and Sah families there is a
practice of drawing a "Jyoonti" at a wedding or a sacred thread ceremony. In earlier
175
times, "Jyoontis" were murals painted on the walls of rooms where religious
ceremonies took place. These drawings are now made on paper, hardboard or
plywood. Even printed Jyoonti Pattas are available. "Jyoonti" is the local word used
for the Jeev Matrikas - Maha Laxmi, Maha Saraswati and Maha Kali. Worship of the
Matrikas is an ancient tradition in Kumaon. The drawing of the "Jyoonti" or Jyoti
Patta follows a pattern. The first line depicts the Himalayas because it is the practice
to send the first invitation to them. Thereafter there are lines of floral or geometrical
designs. One important panel has two lotuses on both side and a tree which
symbolizes the mythical Kalpavriksha. Brahma, the Creator, and Vishnu, the
Preserver, are said to reside in the roots of the tree, Shiva, the Destroyer, in its trunk
and his consort, Parvati, in the topmost part of the tree. Below the tree, two parrots
are painted for luck. In the center of the panel are Radha-Krishna or Ganesh and
Riddhi' or even the figures of the bride and groom.
The main panel has the three Matrikas attended by Ganesh. On top, are the
two circular faces of Anyari Devi and Ujyari Devi, the presiding deities over Light
and Darkness. Ranking the central panel is an elaborate design of dots and lines
called "Bar Boond". This represents an invocation as well as invitation to the Gods to
attend the wedding and bless the couple.
10. Dikara
The clay idol of Lord Shiva and his family is known as Dikara. These dikara
are worshiped and prepared on harela festival and also worshiped on Shivratri. These
idols are prepared by the girls or the ladies of the family. These dikara are made up of
slimy soil mixed with cotton. Mainly these Gods-Goddesses and their famous sons
Ganesh and Kartikey are depicted.
Procedure of making Dikara : Take soil which should be slimy, beat this
soil with brick or broad wood. Take the sieve and put that soil in it and after sieving
the soil, pour some water and make dough. Afterthat give the shape of lord Ganesha,
Shiv-Parvati and Kartikeya, there is one snake on the neck of Shiv, trishul, rat and a
plate which should be full of ladoo etc. Now put some biswar in these idols to give
them colour. At evening of one day before harela people do some kind of weeding of
the container of harela, offer Halawa to God and Goddesses.
176
177
178
11. Mantra
In the mantra there are depiction of three Goddesses namely Saraswati, Laxmi
and Parvati, Lord Ganesha was also depicted in the mantra. This mantra basically
used in all auspicious ceremonies.
12. Dwar Mantra
Dwar mantra are drawn on door of a house (entry gate or any door). These
mantra are basically used in marriage and sacred thread ceremony. Dwar mantras are
made by drawing criss-cross lines with red/pink colour. Now a days people are
making this dwar mantra on board or papers.
13. Himanchal
Himanchal are mainly used in marriage only. These are circle in shape and
drawn on the doors.
14. Chowkies
Different types of chowkies were also found during data collection, some of
them are as follows.
a. Saraswati Chowki: Saraswati being the Goddess of education. When a child

begins formal education, a puja is held to give him/her an auspicious start.
The main feature of this chowki is a five-pointed star with a swastik flower or
sometimes a diya in the center.
b. Chamunda Hast Chowki: This chowki is made for "havans" or "yagyas”.

Two triangles interspersed with two diagonal lines running across both, with a
5-pointed star in between, enclosed in a circle make the centre piece of this
chowki. The gaps are filled up with floral designs or Lakshmi's feet. The
circle itself is often decorated with 8 petals of the lotus.
c. Nav Durga Chowki: It is used for ritual Devi pujas. The main points here are
nine dots representing the Nav Durgas. A square enclosing these dots with
parallel lines running crisscross and decorate these with lotus petals. A
simpler way is to form Swastik with 9 dots; it is then called Nav Swastik.
179
180
181
d. Shiv or Shivarchan Peeth: Shiv is the reigning God of the people of the
Himalayas. He is worshipped specially in the months of Savan or Magh.
Twenty eight or 108 Parthiv Lings are placed in a copper thali and Shiv or
Shivarchan Peeth is drawn on the ground. This is an eight cornered design
with 12 dots joined by 12 lines. To make it more attractive there is an outside
border of four plus four corners.
e. The Surya Darshan Chowki or Namkarna Chowki: Namkaran or Naming

ceremony of a newborn is held on eleventh day. For eleven days the baby is
kept indoors, on the eleventh day the child is brought outside for Surya
Darshan. This is the first time when the baby is exposed to sun / open
atmosphere (Surya darshan). This chowki is made on the floor where the
priest sits reciting mantras. This alpana is drawn in the courtyard where the
surya darshan is performed.
f. Janeyu Chowki: The chowki is made specially for the sacred thread
ceremony. This drawing has 15 dots in the center. Seven stars within a six-
sided drawing form the main section. The seven stars represent the Sapt
Rishis. Around this floral designs with dots are drawn. It is also drawn at the
place where men change their „janeo‟ on Raksha Bandhan day.
g. Asan Chowki: This is associated with the many kinds of chowkis used for
various pujas. It is a decorated seat for the devotee and his wife for a ritual
puja.
h. Dhuli Arghya Chowki: Twilight in India is called "Godhuli Vela" or the time
when cows return home from the pastures. The dust which rises from their
hooves gives the time its name. For weddings the bridegroom's party also
arrives at the bride's house at this time of evening. In bygone days the
bridegroom's entourage usually walked to the bride‟s place and so they arrived
with dusty feet. Since the groom for this period represents "Narayan", God
himself, so he is greeted with devotion. His dust covered feet are washed
before the puja welcoming him begins. He stands on a "Chowki” or small
stool, on which is painted a tree like figure with three branches coming out on
the top. It also resembles a pitcher with Shiva's Trishul or Trident on the top.
182
183
At the base is Bramha the creator and in the middle Vishnu. On two sides of
this painting, two parrots are painted and at the bottom the lotus as well as the
Swastik. All three denote luck and are good omens.
i. Acharya Chowki: The groom is always accompanied among others by his

own Pandit or Acharya. The Pandit is given more prominence than even the
father of the groom. Acharya, „the kulguru‟ who performs the marriage rituals
from bridegroom‟s side stands on this chawka at the time of dhuliarghya. So a
special chowki is made for him. A Swastik is made on it with red colour. The
lotus and other auspicious symbols such as a bell, a conch shell, and
sometimes even 2 parrots are painted around the Swastik.
j. Vivah Chowki: The vivah chowki is prepared by the bridegrooms‟s party. In

this chowki there are four corners and these corners are like petals of lotus.
This chowki is mainly used during marriage ceremony.
5.3 The nature, theme and extent of use of traditional folk media
5.3.1 Nature of Traditional folk media
Traditional folk media are mostly used during religious or festive occasions.
They are very specific in nature. The nature of traditional knowledge is such that
more of it is transmitted orally than written down. Folk media are often used for
personal as well as group information sharing and discussion and draw their
popularity from their entertaining nature.
Depending on the nature and extent of flexibility the traditional folk media
reveal them selves in three categories (Guha, 2006 and Ranganath, 1990)
1. Rigid (ritual) Media
2. Semi-Rigid or Semi-flexible (traditional) Media
3. Non-Rigid or Totally flexible (folk) Media
1. Rigid Media: Rigid media are those that reject a new massage summarily.
These are ritualistic or intensely religious in form and theme. There content is
hard-core and unchangeable. Songs based on religious scriptures or those in
praise of Gods and Goddesses.
184
2. Semi-Rigid Media: Semi-rigid media are those that provide limited scope for
the new message. While dealing with a classical theme, the medium would
have in-built characters or situations which hold out flexibility. The rural
drama with its gesture, the Katha-Kirtan and the temple based, traditional rod-
puppets are examples of this category.
3. Non-Rigid Media: Non-rigid media are those that absorb new messages
without any reservation to reflect them effectively in the field.
Nature of the traditional folk media was studied and findings have been
presented in the Table: 5.1.12.
Table 5.1.12 Nature of Traditional folk media
S. No. Nature Traditional Folk Media
1. Rigid (ritual) Media Fairs, Festivals, Proverbs/Saying, Idioms,

Jagar (Folk song), Sanskar Song (Folk
Song), Sarankar Dance (Folk dance),
Motifs (Aipan)
2. Semi-Rigid or Semi-flexible Ramleela (Threatre), Jhoda (Folk Dance),

(traditional) Media Hudkiya-Baul (Folk Song),Holi songs
(Folk Song), Sound-Signal and Sarrogates
3. Non-Rigid or Totally flexible Some songs of Holi and Jhoda

(folk) Media
It can be seen from Table: 5.1.12 that under Rigid Media category, a number
of folk media comes like Fairs, Festivals, Proverbs/Saying, Idioms, Jagar (Folk song),
Sanskar Song (Folk Song), Sarankar Dance (Folk dance) and Motifs (Aipan) etc.
Fairs, festivals and Jagar etc. are religious in nature and related to the God and
Goddessess. One can not change these folk media. Proverbs, Idioms, Sanskar Song
(Folk Song), Sarankar Dance (Folk dance) etc. are fixed, as these are passed on from
185
one person to another. Motifs are also comes uder this category, because these are
ocassion specific.
Under Semi-Rigid or Semi-flexible media, Ramleela (Threatre), Jhoda (Folk

Dance), Hudkiya-Baul (Folk Song), Holi songs (Folk Song), Sound-Signal and
Sarrogates etc. comes. As Ramleela, is sacred in nature. There are fixed set of Dohas
and Chaupai in Ramleela, coordinator of the Ramleela can add or delete the scenes or
Doha/Chaupais, according to the condition. Jhoda is participatory and semi-flexible in
nature, involving all possible community groups and contemporary in nature. In
Hudkiya-Baul (Folk Song) and Holi songs (Folk Song), some songs are compulsory
and after performing these songs, singer(s) can sing any song(s) according to the need
or demand. Sound-Signal and Sarrogates are also under semi-rigid media, because
these can be done according to the choice of the person.
Some songs of Holi and Jhoda fall under non-rogid category of the media,
because a person can add, any thing in these songs in between of the performance.
These songs are humorous and contemporary in nature. These songs are also
rhythmic and catchy in nature.
Folk media command an immense variety of forms and themes to suit the
communication requirements of the masses. Themes ranging from myths to current
issues can easily find expression through these forms. The folk media is so flexible
that new themes can be accommodated in them.
On the basis of collected and documented data of the present study and on the
basis of researcher‟s own analysis, the themes of the folk media have been presented
in Table 5.1.13.
186
Table 5.1.13 Themes of Traditional folk media
S.No. Folk Media Themes of Traditional folk media

tnemniatretnE laicoS erutlucirgA Religious Ritual and
tnempoleveD ceremonial
1. Folk tnemniatretnE laicoS erutlucirgA Religious Ritual and
Song tnempoleveD ceremonial
2. Folk Dance tnemniatretnE laicoS Religious

tnempoleveD
3. Proverb tnemniatretnE laicoS erutlucirgA Religious
poleveD
4. Idiom tnemniatretnE
5. Riddle tnemniatretnE erutlucirgA
6. Threatre tnemniatretnE laicoS Religious Ritual and
(Ramleela) tnempoleveD ceremonial
7. Festival tnemniatretnE erutlucirgA Religious Ritual and
ceremonial
8. Traditional tnemniatretnE laicoS Religious Ritual and
Fair tnempoleveD ceremonial
9. Sound-signal Religious Ritual and
& surrogates ceremonial
It can be seen from the Table: 5.1.13 that Folk song has all the themes viz. viz.
entertainment, social development, religious and ritual & ceremonial themes. So it is
clear that some folk songs can be altered on the basis of the requirement of the
situation.
Folk dances have entertainment, social development and religious themes.

Proverbs have entertainment, social development, agriculture and religious themes.
Idioms were only for the entertainment purpose. The themes of riddles were
entertainment and agriculture. The themes of Ramleela (theatre) were entertainment,
social developemnt, religious and Ritual & ceremonial. The themes of festivals were
entertainment, Religious, agriculture and ritual & ceremonila. The themes of
Traditional Fair were entertainment, social development, religious and ritual &
ceremonial and Sound-signal & surrogates have only religious and ritual &
ceremonial themes.
187
It can be concluded from Table: 5.1.13 that most of the Traditional folk media
meant for the entertainment, followed by religious themes, social development, ritual
& ceremonial themes and agriculture theme. For disseminating agricultural messages
development workers can use folk song, riddle, festivals and proverbs.
Traditional folk media as collected were studied with regard to the extent of
use by the respondents. The findings have been presented in Table: 5.1.13.
Folk songs: Table: 5.1.13 reveals that majority of female (62 %) used folk
songs upto very much extent but majority of male respondents (52 %) used folk song
upto somewhat extent. However, folk song was not at all used by 12 % of female and
15 % of male respondents.
Folk dance: It is evident from Table: 5.1.13 that majority of the female
respondents (51%) and male respondents (49 %) used folk dance upto some what
extent. It was used upto very much extent by 39 % of male and 32 % of female
respondents. However, 10 % of female and 12 % of male did not use folk dances at
all.
Table 5.1.13. Extent of use of Traditional folk media
S. No. Traditional folk Extent of use of traditional folk media

media
Very much used Somewhat used Not at all used (%)
(%) (%)
Male Female Male Female Male Female
1. Folk Song 33 62 52 26 15 12
2. Folk Dance 39 32 49 51 12 10
3. Proverb 57 66 43 34 - -
4. Idiom 77 87 23 13 - -
5. Riddle 09 07 35 44 56 49
6. Threatre 63 59 29 37 08 04
7. Festival 71 93 23 07 06 -
8. Traditional Fair 81 77 16 21 03 02
9. Motifs (Aipan) - 89 - 11 - -
10. Sound-signal & 17 51 59 31 24 18

surrogates
188
Proverbs: Proverbs were used upto very much extent by the majority of
female (66%) and male (57 %) respondents. forty three per cent of male and 34 % of
female used proverbs upto some extent. It can be also said that hiily people are using
these proverbs in their daily life.
Idioms: Table: 5.1.13 reveals that 87 per cent of female and 77 per cent of
male used idioms upto very much extent. Only 23 % of male and 13 % of female
respondents used idioms upto some what extent. Idioms are also used by hilly people
in their daily life.
Riddles: Riddles were not at all used by majority of the male respondents (56
%) and female respondents (49 %). Only 09 % of male and 07 % of female were
using riddle upto very much extent. Now a days riddles are not in use, riddles are near
to the extinction from the hilly society.
Theatre: Table: 5.1.13 reveals that majority of male respondents (63 %) and
female respondents (59 %) used theatre upto very much extent. It was used upto some
what extent by 37 % of female and 29 % of male respondents. However, 04 % of the
females and 08 % of the males reported that they did not use at all the theatre.
Festivals: It is evident from Table: 5.1.13 that majority of the female

respondents (93 %) and male respondents (71 %) used festivals upto very much
extent. It was used upto some what extent by 07 % of female and 23 % of male
respondents. However, only six percent of the male did not use it at all. It can be also
concluded that women are more concern to celebrate the festivals of the area.
Traditional fair: It is clear from Table: 5.1.13 that majority of the male (81
%) and female (77 %) respondents used traditional fairs upto very much extent.
Traditional fairs were used upto somewhat extent by 21 % of female and 16 % of the
male. Only, 02 % of the female and 03 % of male did not use it at all.
Motifs: It can be seen from Table: 5.1.13 that motifs were used by only
female. Majority of female respondents (84 %) used motifs upto very much extent
whereas, 11 % female used motifs upto some what extent. Motifs or traditional
designs were mainly made by the female only. Women were more concern to
decorate their home and surroundings by making the motifs and traditional design.
189
Sound-signal and surrogates: It is evident from Table: 5.1.13 that majority

of female (51 %) used sound-signal and surrogates upto very much extent but
majority of male respondents (59 %) used sound-signal and surrogates upto
somewhat extent. However, 24 % of the male and 18 % of the female did not use it at
all.
5.4 Possibilities of entrepreneurship through traditional folk media
Entrepreneurship can be generated through the help of traditional folk media.

People can use folk media for the employment and income generation and upgrade
their living standard and also preserve the folk media for their coming generation.
Some possibilities of entrepreneurship generation through traditional folk media have
been given below. .
5.4.1 In Kumaon region people invite the female Brahmins (ladies) for singing the
song in the auspicious work like marriages, thread ceremony and other
ceremonies. These women can make the groups to sing the song in the
ceremonies and take the charges.
5.4.2 Kumaoni folk dancers can make troops like Rajasthani folk dancers. Kumaoni
dancers can make troops and perform their dance at various occasions, and
can generate money for themselves.
5.4.3 One person can make an organization, like researcher observed in Rajasthan,
that a place called “Swad Ri Dhani” near Ajmer. In Kumaon one can make
that type of place where, tourists can see the folk dances, can hear folk songs,
can eat typical hilly food, can see the typical hilly traditional dresses and can
see the traditional design and motifs. One can feel real environment of the
area. By making this type of organization, a number of people can get
employment and generate a lot of money. Also by selling the dresses, motifs
and other items one can generate employment and earn money. In other words
Agri-tourism can also be started based on traditional folk media.
5.4.4 Musical instruments can be sold in the market or in fairs to generate money.
During study it was noticed that, in the hill region it was difficult to buy the
typical traditional musical instruments. To buy a musical instrument, one
190
needs to give special order to make them. So there is a scope of

manufacturing and marketing such kind of traditional musical instruments.
5.4.5 Traditional designs are made by the women only. So, women can make
groups to make traditional design for the different ceremonies and can make
money from it.
5.4.6 Now a day people are using the stickers of the traditional design, so women
can also make the different type of things on T-Shirts, bags, covers, purse etc.
and generate the employment. Now a day ladies are also preparing wall
hanging from these designs.
5.4.7 People worship God & Goddesses on many ocassions. Different fast and
festivals were observed by the people of Uttarakhand. Flower is must for
offering to God & Goddesses so these traditions can be used by the
functionaries of National Horiculture Mission (NHM) for flower production at
farmers‟ level.
5.5 Strategies for using traditional folk media loaded with developmental
messages
On the basis of present study following strategies are suggested for using
traditional folk media loaded with development messages.
5.5.1 Traditional fair can be used as a platform to serve the rural community of the
area, if researcher talks about the selected area she found two traditional fair
in the research area, and these two fair are Syalde Bhikoti and Bagwali Pokar
mela. Every year ICAR and SAUs are spending a lot of money to organize the
Kisaan Mela (Farmers‟ Fair), they make a platform for the benefit of the
farmers. If they can use these fairs for the dissemination of the technology,
information etc., then they can serve the farming community more efficiently,
without spending the money to organize the successful Kisaan mela.
In the state Uttarakhand there is one agriculture university i.e. G.B. Pant
University of Agriculture and Technology, Pantnagar (U.S.Nagar), one ICAR
Institute VPKAS (Almora) and some KVKs nearby the research area. These
organizations can use these traditional fairs for the benefit of the farming community,
191
by providing information about the latest technology and other information, by

putting up the stalls in these fairs and distributing the reading materials etc.
5.5.2 These Government organizations and ICAR Institutes can make use of the
traditional folk songs loaded with developmental messages with the help of
some experts (who are expert in making folk songs), because before one
month of the fair people gather in their respective areas for the preparation
and rehearsal of these songs. These folk songs and dances are performed by
the villagers in the fair and messages can be easily disseminated to a huge
number of the people.
5.5.3 In marriages, Brahmins (females) are also invited to sing the songs of
marriage. Some marriage songs can be used for family planning, child birth
gap, contraceptives etc.
5.5.4 Agricultural songs like “Hudkiya-Baul” can be loaded with the rate of
fertilizers, new variety of the crops, crop management, harvesting etc. to make
the mass aware about the new technology etc.
5.5.5 Folk theatre Ramleela can be used as a platform for the dissemination of the
information. Where a lot of people gather in night to see the Ramayana based
story. People gather for a long time during night. Gaps between the scenes of
the story/Ramleela can be used for the propagation of the information. In most
of the rural Ramleela these gaps filled by Joker(s), who entertain the people in
the gaps, these joker(s) can be used as channels for the diffusion of the
information.
5.5.6 There is and All India Radio (AIR) stations at Almora and G. B. Pant
University of Agriculture and Technology, Pantnagar has started Community
Radio. These radio stations can broadcast folk song loaded with development
messages.
5.5.7 As discussed in Table. 5.11 television was frequently accessed by the majority
of the respondents, so traditional folk dance loaded with the development
messages can be telecast through television.
192
The Government officials, ICAR Institutions, SAU‟s and Extension Personnel

etc. can use these traditional folk media for the dissemination of the developmental
information.
*****
193
Chapter VI Summary and Conclusion
India is a land of innumerable folk arts. Traditional folk media generally

include the presentation of different types of programmes like folk song and music,
folk dance, yatra, drama and theatres, puppetry and street theatres etc. All
programmes have individual criteria and attraction. The hold of tradition is still
stronger in our country, particularly in the field of agriculture; age old beliefs and
practices have survived to a surprising level. Traditional beliefs, attitudes, values and
folkways materially influence the progress of rural and agricultural development.
Traditional media means the mediums through which the cultural traits passed from
generation to generation. It is born and expressed in the idiom of people‟s culture and
has always seemed to entertain, educate and propagate the existing ideas and
attitudes. Keeping in view their intimacy with the people at the local levels, folk
media channels prove to be powerful tools of communication in the rural society.
Folk media can overcome the difficulty of language, speech, words and other
barriers of communication like interest, understanding, interpretation, attitude,
perception and mood (Parmar, 1975). The environment in which the performances
take place is natural, known and friendly. The messages are also simple; the content
known and the language and idioms are familiar. Unlike other modern media, people
never get tired of them.
It was also noted that most of the traditional media are vanishing and existing
few are also ignored by Government, Non-government as well as contemporary
society. Keeping this background in mind the present study was planned to get an
insight into the state of traditional folk media in Uttarakhand state entitled
“Traditional Folk Media Prevalent in Kumaon Region of Uttarakhand - A
Critical Study” with following specific objectives:
1. To study the personal and socio-economic characteristics of the respondents.
2. To findout and document the folk culture and oral traditions prevalent in
Kumaon sub-culture.
3. To study the nature, theme and extent of use of traditional folk media.
Summary and Conclusion
4. To findout the possibilities of entrepreneurship through traditional folk media,

and
5. To suggest strategy for using traditional folk media loaded with

developmental messages.
The prerequisite of present study was the researcher‟s familiarity with local
language, culture, beliefs and attitudes of the people. Therefore, Dwarahat block of
Almora district of Uttarakhand was purposively selected, as the researcher was well
acquainted with the local language, area, its culture and traditions. In Dwarahat Block
there were 115 gram panchayats (205 revenue villages), out of which twenty villages
were selected randomly for the collection of data. A list of the farmers of each village
was prepared. From each list, five old aged male and female were selected randomly
as respondents. Total one hundred respondents were taken as sample. It clearly
indicates that there were two categories of respondents male and female. Therefore
fifty per cent male and fifty per cent female were selected as respondents. The criteria
of selection were with the purpose that old age people possess detail knowledge about
traditional folk media. Furthermore, there are some of the traditional folk media
which are performed exclusively by the female. Therefore, male and female
respondents were selected. Interview schedule consisting of structured as well as
open-ended questions were developed in Hindi for data collection. Data was collected
using the personal interview technique.
The salient findings of the study
6.1 Personal and socio-economic characteristics of the respondents
 Fifty per cent respondents were female and fifty per cent respondents were
male.
 Maximum numbers of respondents were from General Category (52 %). Out
of which 27 % were male and 25 % were female.
 The majority of the respondents had education up to primary level (32 %)

followed by high school (18 %), middle (12 %), intermediate (03 %) and
graduation (03 %) and above graduation (02 %).
171
 Farming along with service and dairy was the main occupation of majority of
the respondents (35 %).
 Majority of the respondents (36 %) had mixed house, followed by kaccha

house (32 %), pakka house (25 %) and mansion (7 %).
 Fifty four per cent of the respondents were below poverty line and 46 per cent
of respondents were above poverty line.
 Maximum number of respondents were marginal farmers (59 %) followed by

the small farmers (27 %), semi- medium farmers (10 %) and medium farmers
(4 %).
 Majority of the respondents had large family (67 %) followed by small family
(33 %).
 Majority of respondents had joint family (64 %) and 36 per cent of

respondents had nuclear family.
 Fifty per cent of the respondents had no membership, in which 29 % were

female and 21 % were male respondents. Office bearers were 32 % which
comprises of 18 % male and 14 % female.
 Majority of the female respondents i.e. 50 per cent and 38 per cent of the male
respondents accessed radio occasionally.
 Television was frequently accessed by majority of the male respondents (70

%) and female respondents (52 %).
 Majority of the female respondents (74%) never accessed newspaper, whereas

majority of the male respondents (44 %) occasionally accessed newspaper.
 Majority of the female respondents (86%) never accessed magazine and

majority of the male respondents (52 %) occasionally accessed magazine.
 Majority of the female respondents (62%) and male respondents (46%)

accessed film show occasionally.
 Hundred per cent male and female respondents never accessed slide show.
172
 All female respondents and 68 per cent of the male respondents never
accessed folder/leaflet. Twenty per cent of the male respondents occasionally
accessed folder/leaflet.
 Hundred per cent male and female respondents never accessed video.
 All female respondents and 78 per cent of the male respondents never
accessed poster.
6.2 The folk culture and oral traditions prevalent in Kumaon sub-culture
The folk culture and oral traditions which were found during the data
collection and their descriptions are as follows.
 Religious songs: Sanskaar songs (Compulsory song and Special song) and
Jagar song.
 Folk Dances: Chapeli, Jhoda and Sarankar Dance were observed by the
researcher.
 Season and agricultural songs- Hudkiya-Baul was observed during data

collection. Hudkiya- Baul is kind of agricultural song. “Baul” mean labour,
work, effort etc. and “Huduk” is a local musical instrument, so “Hudkiya-
Baul” mean working with the „huduk‟. The person who plays the Hudka is
known as „Hudkiya‟.
 Miscellaneous songs: Holi Song/ Dance were documented. There are various
forms of the Holi in the Kumaon region- a)- Baithki Holi (sitting holi by
males) b)- Khari Holi (standing holi by males) and c)- Mahila Holi (female
gathering). Holi songs were documented in the present study.
 Proverb: A number of proverbs related to women, caste, policy, destiny,

behaviour, laughter and comments, agriculture and animal etc. were
documented.
 Kumaoni idioms were also documented.
 Kumaoni riddles: A number of riddles were found during data collection.

Riddles related to food material, domestic things, animal, nature, organ,
general and agriculture were documented.
173
 In Kumaon under traditional theatre Ram leela is famous, which organized

during the Dussehra time (in the month of September or October).
 The main festivals celebrated in Kumaon are Samvatsar-Pratipada, Fooldai,

Bhitauli, Bikhoti, Harela, Baisi etc. have been observed and documented.
 Syalde Bikhoti is famous fair of block Dwarahat, it is celebrated annually in

Vaishakha month (Mid of April) and Bagwai Kautik of Bagwalipokhar were
two main fairs of the selected area were documented.
 The main musical instruments which were recorded during present study are
Huduka, Damua, Nagara, Copper plate, Turahi, Ransingh, Masakbean etc.
 Under traditional designs and motifs aipan were observed and documented.
6.3 The nature, theme and extent of use of traditional folk media
6.3.1 Nature of traditional folk media
 Under Rigid Media category, a number of folk media comes like Fairs,
Festivals, Proverbs/Saying, Idioms, Jagar (Folk song), Sanskar Song (Folk
Song), Sarankar Dance (Folk dance) and Motifs (Aipan) etc.
 Under Semi-Rigid or Semi-flexible media, Ramleela (Threatre), Jhora (Folk

Dance), Hudkiya-Baul (Folk Song), Holi songs (Folk Song), Sound-Signal
and Sarrogates etc. comes.
 Some songs of Holi and Jhora fall under non-rigid category of the media,
because a person can add, any thing in these songs in between of the
performance.
 Folk song has all the themes viz. entertainment, social development religious
and ritual & ceremonial themes. So it is clear that some folk songs can be
altered on the basis of the requirement of the situation.
 The Traditional folk media meant for the entertainment, followed by religious
themes then social development and ritual & ceremonial themes and
agriculture.
174
 Majority of female (62 %) used folk songs upto very much extent but majority
of male respondents (52 %) used folk song upto somewhat extent.
 Majority of the female respondents (51%) and male respondents (49 %) used
folk dance upto some what extent.
 Proverbs were used upto very much extent by the majority of female (66%)
and male (57 %) respondents.
 Eighty seven per cent of female and 77 per cent of male used idioms upto very
much extent.
 Riddles were not at all used by majority of the male respondents (56 %) and
female respondents (49 %).
 Majority of male respondents (63 %) and female respondents (59 %) used

theatre upto very much extent.
 Majority of the female respondents (93 %) and male respondents (71 %) used
festivals upto very much extent.
 Majority of the male (81 %) and female (77 %) respondents used traditional
fairs upto very much extent.
 Motifs were used by only female. Majority of female respondents (84 %) used
motifs upto very much extent whereas, 11 % female used motifs upto some
what extent.
 Majority of female (51 %) used sound-signal and surrogates upto very much
extent but majority of male respondents (59 %) used sound-signal and
surrogates upto somewhat extent.
6.4. Possibilities of entrepreneurship through traditional folk media
6.4.1 In Kumaon region people invite the female Brahmins (ladies) for singing the
song in the auspicious work like marriages, thread ceremony and other
ceremonies. These women can make the groups to sing the song in the
ceremonies and take the charges.
175
6.4.2 Kumaoni folk dancers can make troops like Rajasthani folk dancers. Kumaoni
dancers can make troops and perform their dance at various occasions, and
can generate money for themselves.
6.4.3 One person can make an organization, like researcher observed in Rajasthan,
that a place called “Swad Ri Dhani” near Ajmer. In Kumaon one can make
that type of place where, tourists can see the folk dances, can hear folk songs,
can eat typical hilly food, can see the typical hilly traditional dresses and can
see the traditional design and motifs. One can feel real environment of the
area. By making this type of organization, a number of people can get
employment and generate a lot of money. Also by selling the dresses, motifs
and other items one can generate employment and earn money.
6.4.4 Musical instruments can be sold in the market or in fairs to generate money.
During study it was noticed that, in the hill region it was difficult to buy the
typical traditional musical instruments. To buy a musical instrument, one
needs to give special order to make them. So there is a scope of
manufacturing and marketing such kind of traditional musical instruments.
6.4.5 Traditional designs are made by the women only. So, women can make
groups to make traditional design for the different ceremonies and can make
money from it.
6.4.6 Now a day people are using the stickers of the traditional design, so women
can also make the different type of things on T-Shirts, bags, covers, purse etc.
and generate the employment. Now a day ladies are also preparing wall
hanging from these designs.
6.5 Strategies for using traditional folk media loaded with developmental
messages
6.5.1 Traditional fair can be used as a platform to serve the rural community of the
area, if researcher talks about the selected area she found two traditional fair
in the research area, and these two fair are Syalde Bhikoti and Bagwali Pokar
mela. Every year ICAR and SAUs are spending a lot of money to organize the
Kisaan Mela (Farmers‟ Fair), they make a platform for the benefit of the
farmers. If they can use these fairs for the dissemination of the technology,
176
information etc., then they can serve the farming community more efficiently,
without spending the money to organize the successful Kisaan mela.
6.5.2 These Government organizations and ICAR Institutes can make use of the
traditional folk songs loaded with developmental messages. These folk songs
and dances are performed by the villagers in the fair and messages can be
easily disseminated to a huge number of the people.
6.5.3 In marriages, Brahmins (females) are also invited to sing the songs of
marriage. Some marriage songs can be used for family planning, child birth
gap, contraceptives etc.
6.5.4 Agricultural songs like “Hudkiya-Baul” can be loaded with the rate of
fertilizers, new variety of the crops, crop management, harvesting etc. to make
the mass aware about the new technology etc.
6.5.5 Folk theatre Ramleela can be used as a platform for the dissemination of the
information. Where a lot of people gather in night to see the Ramayana based
story. Ramleela can be used for the propagation of the information. In most of
the rural Ramleela these gaps filled by Joker(s), who entertain the people in
the gaps, these joker(s) can be used as channels for the diffusion of the
information.
The Government officials, ICAR Institutions, SAU‟s and Extension Personnel

etc. can use these traditional folk media for the dissemination of the developmental
information.
When handled with care and consideration, the traditional folk media have
proved themselves to be meaningful and effective tools of communication of
development. In a developing country like India, Traditional folk media have been
reckoned as successful mass-motivators.
Implications
The findings of the present study hold a great potential in the field of
communication research as well as for planning and dissemination of need based
177
information among rural families. Some of the implications of the present study have
been given below:
 Traditional fairs can be used for the dissemination of the information in a

mass without any expenditure or less expenditure as compare to organizing
farmers‟ fair.
 Developmental messages can be loaded in the form of folk songs and can be
telecasted or broadcasted through T.V. and radio.
 Through traditional folk media we can preserve our culture for the coming
generation.
 Folk theater Ramleela can be used for the propagation of the information in a
large number of audiences.
 Government organization/NGO‟s and other organization related to the

development of rural people, can document the traditional fairs of their
locality and use them to disseminate the new ideas.
 New messages like scientific temperament, eradication of illiteracy and

superstition, family welfare, health and sanitation etc. can be disseminated
through folk media.
Suggestions for the future research
This study has also thrown some light on problems for future research. Some
of these are as follows:
1. It is suggested that similar studies should be carried out in different regions of

India with focus on individual traditional media.
2. An experimental study should be carried out to find out the suitable

communication media in combination with the traditions and customs of
Kumaon region.
3. There is a need to do in-depth case studies of folk artists to know the details of
their problems.
178
4. Comparative study of traditional media with other mass media in order to

judge their relative effectiveness in rural communication can help to build up
strategy for rural communication for development.
5. Study should be planned to find out the role of social functionaries in

disseminating the message.
6. Studies should be carried out to document the ballads, folk stories, culture,
rituals, customs, taboo etc.
7. Studies should be conducted to find out the efficacy of different oral traditions
in order to plan strong communication strategy for agriculture and rural
development.
*****
179
Bibliography
Abrams, T. Folk Theatre in Maharashtrian Social Development Program, Educational

Theatre Journal, 27 (3): 395-407, 1975.
Adjaye, J. K. The technology of the human voice: Oral systems of information

dissemination and retrieval among the Akan of Ghana, The International
Information & Library Review 40: 236-242, 2008.
Anonymous, Communication and the Traditional Media, Paper and Proceeding of

Seminar, IIMC, New Delhi, 1981.
Anonymous, Folk Dances of India, Republic Day Folk Dance Festival-1998,

Organized by Department of Culture and the Zonal Cultural Centres, Ministry
of HRD and Government of India, 1998.
Anonymous, Traditional Media, Mass Media in India 1998, Ministry of I & B:

Government of India, 1978.
Apte, Traditional forms of Mass Media in Maharashtra, Mass Culture Language And
Art In India, Popular Prakashan Private Ltd. Bombay, 1978.
Arya, S. P. Role of Folk-Verse as a Medium of Oral Tradition, Interaction, 7(3): 24-

29, 1989.
Atal, N. Effectiveness of Traditional Media in the Dissemination of Family Planning

Knowledge to the Farm and City Women, Near Udaipur City, M.Sc. Thesis
(Unpublished), Sukhadia University Udaipur (Rajasthan), 1985.
Balaji, N. and Thiagarajan, T. N. Making Waves Stories of Participatory

Communication for Social Chang, A Report to the Rockefeller Foundation,
By Alfonso Gumucio Dagron, New York:193-198, 2001.
Banerjee, S. Media and National Culture, The Indian Perspective, Communicator,

Oct.: 38-45, 1988.
Bevinakatti, M. Saddle (Silence) – A Study of Mylaralinga Epic, Indian Folklore

Research Journal, 1 (3): 41-48, 2003.
Bharadwaza, G. Pagativeshalu: A Folk Theatrical Form, Indian Folklife, Serial No.29

June 2008: 21, 2008.
Bibliography
Bhargava, N. and Khanna, K. Content Analysis of Folk Songs Sung by Rural Women
in A Selected Village, Nangloi 1972, Studies of the Rural Community, TARA
art press, New Delhi:198-203, 1972.
Bhatnagar, S., and Kavitkar, Effectiveness of Puppetry in the Education of Rural

Adult Women, Indian Journal of Adult Education, Sep. 1984.
Bhatt, D. Uttarakhand ki Lok Sahitya Parampara, Shree Almora Book Depot, Almora,
1998.
Binder, K., Transmission and Transformation: Yakshagana of Coastal Karnataka,

Indian Folklife, Serial No. 20 July 2005: 7-11, 2005.
Bruin, Hanne M. de, Challenges to a Folk Theatre in Tamil Nadu, Indian Folklore
Research Journal, 1(3): 1-14, 2003.
Brunswic, E. (ed.), Development of Educational Methods and Techniques Adopted

To Conditions Prevalent In Developing Countries, Division of Methods,
Materials and Techniques, UNESCO, Paris, 1975.
Capila, A. and Katarya, G. Potential of Folk Songs for Socio-Cultural transformation,

Interaction, 11(2): 38-58, 1993.
Chapke, R. and Bhagat, R. Traditional Folk Media in Rural Maharashtra, Indian

Journal of Extension Education, 41(1 & 2): 43-47, 2005.
Chapke, R. and Bhagat, R. Traditional Folk Media: A Potential Effective

Communication Tool in Rural Area, AIAEE (The Association for
International Agricultural and Extension Education), 22nd Annual Conference
Proceedings, Clearwater Beach, Florida, May 14-19: 123-133, 2006.
Chapke, R. and Sontakki, B. S., Traditional Folk Media in Rural Communication,

Journal of Communication Studies, 20 (1): 88-97, 2002.
Chapke, R., Traditional Folk Media in Rural Maharashtra: An analytical study, Ph. D.
Thesis (Unpublished), IARI, New Delhi, 2001.
Chapke, R. and Bhagat, R. Traditional Media for Rural Mass Communication,

International Journal of Extension Education, 5: 65-72, 2009.
Chaudhari, A. K., Traditional Culture and Adoption Behaviour, Kurukshetra, 7(1),

1974.
ii
Bibliography
Chiovoloni, M., The Interactive Power of Local and Traditional Communication

Systems. Ileia Magazine. April 28, 2:1-4, 2004.
Crowder, L. V., Lindley, W., Truelove, W, P., J. Ilboudo and Castello, R. Del.,
Knowledge and Information for Food Security in Africa: From Traditional
Media To The Internet, Mafube Publishing, 91 Central Street, P.O. Box 2185,
Houghton 2041, Johannesburg, South Africa, 1998.
Damale, Y.B. Traditional Folk Media in India, adapted from Geka Books, New Delhi,
1975.
Darras, Jo and Walker, P. The Wan Smolbag Theatre for Development, Making
Waves, Stories of Participatory Communication for Social Chang, A Report
to the Rockefeller Foundation, By Alfonso Gumucio Dagron, New York: 139-
144, 2001.
Das, V. Inculcation of Scientific Temper through Folk Media, Communicator, Oct.:

4-19, 1985.
Daudu, S., Problems and Prospect of Folk Media Usage for Agricultural Extension
Service Delivery in Benue State, Nigeria, Journal of Human Ecology,
25(1):19-24, 2009.
Demel, sj and Pooranam, M. X., People’s Media: An Alternative, Information

Bulletin Cameco 3/1993, 1993.
Deva, I. Folk Lore Studies, A Survey of Research in Sociology and Social

Anthropology, Indian Council Of Social Sciences Research, 3: 205, 1972.
Devdas, R. P. Methods of Teaching Home Science. NCERT publications, New

Delhi,1978.
Dhasmana, V. Health Status of the State of Uttarakhand, In Dhasmana, R.P.,

Dhoundiyal, V. L. (Edited), Uttarakhand , Need For A Comprehensive Eco-
Strategy, South Asian Dialogues on Ecological Democracy, New Delhi: 85-
92, 2009.
Dhawan, A.K. and Sharma, A. Creating Awareness amongst the Farmers towards
Judicious Use of Pesticides: Impact of Dramatization as a Tool, Indian
Journal of Science Communication, 7 (1): 3-5, 2008.
iii
Bibliography
Dimri, A. A Study of Communication Behaviour, Folk Culture and Oral Tradition in

Garhwal Division of Uttar Pradesh, M.Sc. Thesis (Unpublished), Department
of Agricultural Communication, GBPUA&T, Pantnagar, 1986.
Dimri, A. and Sujan, D. K. Folk Culture and oral Tradition in Garhwal Division,
Interaction, 7(3): 62-69, 1989.
Dinampo, E. L. Utilization of Indigenous Communication Media for Agriculture and

Natural Resources technology Transfer, World Agricultural Economics and
Rural Sociology, Abstract. 1714:33:1, 1991.
Dissanayke, W. New Wine in old bottle: can folk media convey modern messages?,
Journal of Communication, Spring:122-124, 1977.
Durga, P.S. Kanaka, Folktales of Andhra Pradesh – What Do They Convey? Indian
Folklife, Serial No.29 June, 2008.
Encycloaedia of Social Seciences Vol. V-VT, Edition MacMillian: 59.
Encyclopaedia of America, International Edition, 10:839, 1976.
Everett M. R. Communication in Development, The ANNALS of the American

Academy of Political and Social Science, 412(1):44-54, 1974.
Fedral Extension Service, U. S. Dept. of Agriculture, Using Visual in Agricultural

Extension Programme ESC-561: 54, 1967.
Fred, Z. Indian Sign and Symbols, A Study of Their Relevance in Present day
Communication and Education. Published by Literary House:79, 1967.
Garlough, C. L. On the Political Uses of Folklore: Performance and Grassroots

Feminist Activism in India, Journal of American Folklore 121:167-191, 2008.
Gaur, P. P. Realizing the Potential of Traditional Media, Communicator, Jan.-March:

32, 1997.
Georges, R.and Dundes, A. Towards a Structural Definition of the Riddle, Journal of

American Folklore, 76: 111-118, 1963.
Golob, P. and Eisendrath, S. E. Training Extension Workers in Food Conservation

Using Drama and Other Information Techniques, World Agricultural
Economics and Rural Sociology, Abstract. 3891:33:1, 1991.
iv
Bibliography
Goswami, A. Traditional Motifs and Ritual Drawing as a Tool for Rural

Development, Souvenier Role of Traditional Media in Rural Development, 9-
10 Dec. 2006, Department of Home Science, M. M. V., B.H.U, and NCDC,
Varanasi, 2006.
Guha, B. Media Development and Management, New Horizons. Kanishka Publishers

Distributors, New Delhi, 2006.
Haq, A. Folk Arts-Role of TV, Interaction, 7(3):30-35, 1989.
Hiemstra, W. B. and Witteveen, W. L. A New Look at Information, ILEIA Magazine,

April 28, 2004:.1-4, 2004.
Höivik, S. and Luger, K.Folk Media for Biodiversity Conservation: A Pilot Project
from the Himalaya-Hindu Kush, International Communication Gazette,
71(4):321-346, 2009.
http://dpuckjoe.wetpaint.com/page/FOLK+ART+KUMAON
http://dpuckjoe.wetpaint.com/page/KUMAONI+SAYINGS
http://kumaon.gov.in
http://www.euttaranchal.com/culture/
http://www.uttarapedia.com/cul.html
Intodia, S. L. and Uppadhyay, R. Puppetry: A Traditional Media for Rural

Communication, Maharashtra Journal of Extension Education, 10(2):191-
195, 1991.
Joshi, M. Communication and Traditional Media: Proceeding of Seminar Held at

Pune, Communicator, July, 1980.
Patel K. Bhavai: Gujarat’s Folk Drama Of Nomads, Indian Folklife, 2(1), 2002.
Kar, I. B. Relevance of Folk Theatres in Modern Times, Orissa Review, May, 2006.
Karunakaran, K. and Bagyalakshmi, R. Use of Traditional Media in Tamil for

Modern Development Themes, Interaction, 7(3):41-48, 1989.
Kashyap, S. K. and Kumar, B. Role of Traditional Media in Conserving Indigenous

Knowledge: A Study of Tharus Tribe of U.P. and Uttaranchal, Souvenier Role
v
Bibliography
of Traditional Media in Rural Development, 9-10 Dec. 2006, Department of

Home Science, M. M. V., B.H.U, and NCDC, Varanasi, 2006.
Katiyar, A.K. A Study on Traditional Folk Media Prevalent in District Kannauj of

Uttar Pradesh, M.Sc. Thesis (Unpublished), Department of Extension
Education, Institute of Agricultural Sciences, BHU, Varanasi, 2005.
Kidd, R. and Martin, B. Folk Media and Development: A Botswana case study.
Paper printed by the Botswana Extension College (cited by Wang and
Dissanayke), 1976.
Kumar, B. and Hansra, B.S. Extension Education for Human Resource Development.
Concept publishing company, New Delhi, 2000.
Kumar, H. Folk Media and Rural Development, Indian Media Studies Journal,
1(1):93-98, 2006.
Kumar, K.J. Mass Communication in India. Jaico publishing house, New Delhi, 1981.
Kyeremeh, A. K, ed. Theory and Application. Accra, Ghana: School of

Communication Studies, University of Ghana, Legon; 1998. Perspectives in
Indigenous Communication in Africa; 1, 1998.
Lalremruati, R. Mizo Folk Songstresses, Indian Folklife, Serial No.34 November:21-

22, 2009.
Lent, J. A. Grassroots Renaissance : The Increasing Importance of Folk Media in

Third World Nations* Paper presented at International Seminar on Folk
Culture, Institute of Oriental and Orissan Studies, Cuttack, Orissa, India,
December:19-23, 1978.
Lomax, A. Folk Song Style and Culture, A Publication of American Association for
the Advancement of Science, Washington, D. C. Publication: 88, 1968.
Maitra, L. Children’s Oral Literature and Modern Mass Media In India With Special
Reference To Gradual Transformation In West Bengal, Indian Folklore
Research Journal,.5(8):55-64, 2008.
Malhani, P. N. Traditional Media for Effective Communication Media, Ministry of I

& B, India: 165-172, 1985.
Malik, M. Traditional Forms of Communication and Mass Media in India,

Communication and Society, UNESCO, Paris: 25-26. 1985.
vi
Bibliography
Mallikarjun C. Leather Puppetry: The Art and Tradition, Indian Folklife, Serial No.29
June:16-17, 2008.
Mande, P.B. Folk Culture, Folk Religion and Oral Tradition in Maharashtra Culture,
Folk Culture Folk Religion and Oral Tradition as a Component in
Maharashtra Culture. Manohar publisher and distributors, New Delhi: 147-
165, 1995.
Manuel, P. Transnational Chowtal: Bhojpuri Folk Song from North India to the
Caribbean, Fiji, and Beyond, Asian Music: Summer/Fall, 2009.
Mao, K. N. Folk Poetry of the Mao Nagas, Indian Folklife, Serial No.27 November:4-
5, 2007.
Markham, J. W. Voices of the Red Giants: Communications in Russia and China.

Ames, Iowa: Iowa State University Press, 1967.
McClelland, D. C. The achieving society, In J. W. Atkinson (ed.) Motives in fantasy

action and society. D. Van Nostrand Publication, Princeton, 1961.
Meertens, E. Young Kattaikkuttu Students and their Development, Indian Folklore

Research Journal, 2(.5):59–67, 2005.
Michael, S. Visible Puppets and Hidden Puppeteers: Indian Gombeyata Puppetry,

Asian Theatre Journal, 18(1), Spring ,2001.
Mishra O.P. and Sah P. Traditional Media and its Importance in Development
Communication, Journal of Communication Studies, 26(1): 88-95, 2008.
Mishra, K. K. Chaupal As Multidimensional Public Space for Civil Society in India,

Paper presented in the International Seminar jointly Organized by Indira
Gandhi National Centre for the Arts, New Delhi and National Folklore
Support Centre, Chennai in Delhi on “Folklore, Public Space and Civil
Society” on October 7-11, 2002.
Mukhopadhyay, D. Let’s Use Folk Arts and Traditional Media for Development, The
Drum Beat, Issue 393 May 7, 2007.
Mundy, P. Indigenous Knowledge and Communication: Current Approaches,

Development, The Journal of the Society for International Development, May
1993
vii
Bibliography
Namdeo, M. Indigenous Communication Systems in a Tribal Village: A Study in

Chhattisgarh, M.Sc. Thesis (Unpublished), Department of Agricultural
Communication, GBPUA&T, Pantnagar, 2004.
Namdeo, M. and Mishra, O.P. Traditional Communication in New Era, Journal of

Communication Studies, June: 99-105, 2005.
Narayan, K. Banana Republics and V. I. Degrees: Rethinking Indian Folklore in a

Postcolonial World, Asian Folklore Studies, 52: 177-204, 1993.
Nicholls, R. W. Music and Dance Associations of the Igede of Nigeria: The

Relevance of Indigenous Communication Learning Systems to Rural
Development Projects. Ph.D. Dissertation, Howard University, 1992.
Nogales, I. Teatro Trono y Comunidad de Productores de Arte (COMPA), Making

Waves Stories of Participatory Communication for Social Chang, A Report to
the Rockefeller Foundation, By Alfonso Gumucio Dagron, New York:133-
137, 2001.
Nooripoor, M., Shahvali, M., and Zarafshani, K. Integration of Communication

Media for Horticultural Sustainability: The Application of Multiple Criteria
Decision Making (MCDM), American-Eurasian J. Agric. & Environ. Sci., 3
(1): 137-147, 2008.
Obinne, C. P. Disseminating Agriculture Information to Rural People-Integrating

Indigenous Knowledge and Communication, Adult Education and
Development. 48: 237-244, 1997.
Pachuau, M. L. Narratives in Mizo Traditional Dances, Indian Folklife, Serial No.34

November:12-14, 2009.
Pahad, A. Folk Media for Development Communication, Communicator, Oct.-Dec. &

Jan.-March:34-34, 2000.
Pandey, G.P. Traditional Media and Development, The Only Effective Way to
Diffuse Messages, Communicator, July-Sep., 1999:35-56, 1999.
Pandey,T. Kumaoni Bhasa aur uska Sahitya. U. P. Hindi Sansthan (Hindi Samiti
Prabhag), Lucknow,1977
Panford, S., Nyaney, M. O, GradDip, Amoah S. O. and Aidoo, N. G. Using Folk

Media in HIV/AIDS Prevention in Rural Ghana, Peer Reviewed, Focus
viii
Bibliography
Commentary, American Journal of Public Health ,October 2001,

91(10):1559-1562, 2001.
Pant, N. Fairs, Festivals, Folk Songs and Dance-drama of Kumaon, Uttarakhand,

Need for a Comprehensive Eco-Strategy, Editor R.P. Dhasmana, Co-Editor
Vijay Laxmi Dhoundiyal, South Asian Dialogues on Ecological Democracy,
New Delhi: 42-46, 2009.
Pant, S., Joshi, Y. and Gahlot, M. Folk art of Kumaun…..a new ray for Women
Entrepreneurs, Compendium of National Seminar on Rural India
Development Alternatives: Sectoral Convergence For Livelihood security,
CIRG, Makhdoom, Mathura, January 16-18, 2009.
Parmar, S. Traditional Folk Media in India. Geka books, New Delhi, 1975.
Patron S. J. Role of Traditional Media and Art Forms in Films. Media Asia, 8
(3):191-195, 1981.
Petshali, J. K. Uttaranchal Ke Lok Vadhya. Takshshila prakasan, New Delhi, 2002.
Pillai, N. N.Traditional Media and National Culture, Communicator, Oct.1988:30-34,

1998.
Pokharel, S. Aarohan Street Theatre, Making Waves, Stories of Participatory

Communication for Social Chang, A Report to the Rockefeller Foundation,
By Alfonso Gumucio Dagron, New York: 109-114, 2001.
Puri, M. Out Lines of Mass Communication. Pragun publication, New Delhi, 2006.
Pushpa, W., W. Manoj and Jinadasa K. The Study of the potentials of Folk-Media
performance as a form of effective communication in community
mobilization. Proceedings of the Annual Research Symposium 2006 - Faculty
of Graduate Studies, University of Kelaniya, 2006.
Rajan, R. V. The Use of Folk Media in Advertising and Developmental

Communication. In AMIC Seminar- Workshop on Using Entertainment and
Advertising for Development Communication: Singapore, Jan 21-24, 1991.
Singapore: Asian Mass Communication Research & Information Centre,
1991.
Ramachandran, B. Ecological References in the Folksongs of the Kurichiyan Tribe of

Kerala, Indian Folklore Research Journal, 1(3):35-40, 2003.
ix
Bibliography
Ramanathan, A. KaaLiyaaTTam: The Life History of a Performer and the

Development of a Performing Art, Asian Folklore Studies, 59(1):23-40, 2000.
Ramanathan, S. and Srinivasan. V. Effectiveness of Traditional Media in Agricultural

Communication, Indian Journal of Extension Education, 24 (1&2), 1988.
Ranganath, H. K. A Probe into the Traditional Media Telling the People Tell
Themselves, Media Asia, 3(1):25, 1976.
Ranganath, H. K. Folk Media and Communication. W.E. Judge Press, Bangalore,

1979.
Ranganath, H. K. Recent Perspectives in Using Traditional/Folk Media In

Development Communication. In AMIC-IDRC Seminar on Development and
Communication in the 1990s: What Needs to be Done? Singapore, April 2-6,
1990. Singapore: Asian Mass Communication Research & Information
Centre, 1990.
Rani, U. N. Puppets of Karnataka as Agents of Communication, Communicator, Oct.-

Dec.:8-10, 1995.
Rathore, O. S. All India Workshop and Communication, IARI, “Traditional Media of

Communication”, 1975.
Rogers, E. M. Communication in Development, The ANNALS of the American

Academy of Political and Social Science, 412(1):44-54, 1974.
Samar D. L. Use of Traditional Media for Communication, Reading In Traditional

Media, 1 IIMC, New Delhi, 1977.
Sarita, S. The Folk Tales of Bihar: Anthropological Perspective, Folklore, 13, May,
2000.
Sasireha, S. Contribution of Traditional Media in Creating Awareness,

Communicator, July- Sep.: 29-31, 1995.
Saxena. R. P. Rural Communication and Perspective, Communicator, Jan-March:22-

25, 1993.
Schumpeter, J. A. The Theory of Economic Development. Harvard University Press,

Mass, 1934.
Selvaraj, A. Genesis of Entrepreneurial Development, The Hindu, Oct. 28, 1993.
x
Bibliography
Singh, V. K. A Study on Traditional Folk Media of Mirzapur District Eastern U.P.,

Extension Education, M.Sc. (Ag.) Thesis (Unpublished), B.H.U., Varanasi,
2004.
Srivastava, S. L. Folk Culture and Oral Tradition. Abhinav publications, New Delhi,
1974.
Srivastava, S. L. Folk culture and oral tradition: A comparative study of regions in

Rajasthan and Eastern U. P. Abhinav publications, 1974.
Srivastava, J.P. and Singh, S.N. Communication Pattern in Tharu Tribe, Souvenier
Role of Traditional Media in Rural Development, 9-10 Dec. 2006,
Department of Home Science, M. M. V., B.H.U, and NCDC, Varanasi, 2006.
Stambler, B. Primal vs. Primitive: Observations on the Ecology of Rain in Gujarati

Folksongs, Indian Folklife, Serial No.28 January :8-10, 2008.
Subramanyam V. and Rama Mohan, K.R. Mass Media and Tribal Life: A Study in
Visakha Agency Area of Andhra Pradesh, Anthropologist, 8(2):75-81, 2006.
Sud, J. T. The Communicative Dimension of Folk Elements In Indian Culture,

Interaction, 7(3):13-23, 1989.
Sudhakarudu, U.N. Burra Katha: A Unique Narrative Folk Art Form, Indian Folklife,
Serial No.29, June:20, 2008.
Sujan, D. K. and Dimari, A. Marriage of Traditional Folk Media with Mass Media for
Rural Women- A System Approach, Souvenir National Seminar on
Communication & Development for Rural Women, Oct. 27-29, 1987,
Organized by Dept. of Home Science Education & Extension, PAU, Ludhiana
& NCDC, Varanasi, 1987.
Sujan, D. K. Traditional Folk Media A Gateway To Rural Development, Lead Paper

on Compendium of National Seminar on Rural India Development
Alternatives: Sectoral Convergence For Livelihood security, CIRG,
Makhdoom, Mathura, January 16-18, 2009.
Sujan, D. K. Traditional Folk Media for Rural Development, in Perspectives on

Development Communication Edited by K Sadanandan Nair and Shirly A
White. Sage publications, New Delhi: 172-176, 1993.
xi
Bibliography
Sujan, D. K. Traditional Folk Media for Rural Development, paper presented in

International Seminar on Development Communication, held at Poona
University, Pune, 1986.
Tagore, R. Swadashi Samaj Speech during Swadashi Movement in Bengal, July,

1904.
Thanmawia, R.L. Heritage of Mizo Traditional Song and Music, Indian Folklife,
Serial No.34 November: 17-20, 2009.
Tiwari, J. Kumaoni Lokgeet tatha Sangeet-Shashtriya Parivesh. Kanishka publishers

distributors, New Delhi, 2002.
UNESCO Report, United Nations Educational, Scientific and Cultural Organization,

Experts Meeting on the Integrated Use of Folk Media and Mass Media in
Family Planning Communication Programmes, London: 20-24 November,
1972.
UNICEF, Micro Planning and Management course in EPI: Users Manual For
Multipurpose Workers Part II UNICEF, Regional Office For South Central
Asia, New Delhi, 1986.
Vaidyanathan, R. A Bridge Between Many Worlds: The Velar Makers of Ritual

Terracotta, Indian Folklife, 1(4), January:10-12, 2001.
Valbuena, V. T. Using Traditional Media in Environmental Communication,

Occasional-paper-Asian-Mass-Communication, Research and Information
Centre, Singapore, 2989, No. (21): 42, 1989.
Valbuena, V. T. Weaving Together Folk Media and Mass Media. Development

Communication Report No. 74, 1991/3. Singapore, 1993.
Varghese, M. Understanding the Socio-cultural Experiences of Pahari Folk: The Jagar

Gathas of Kumaon and Garhwal, Indian Folklore Research Journal,.3(6):93–
103, 2006.
Vijaya, N. Folk Media Interface With Mass Media, Interaction, 7(3):7-12, 1989.
Walia, H. Punjab Fairs and Festivals. Global media publications, Global Punjab
Foundation, Patiala (India), 2009.
Wang, G. Indigenous Communication System in Research and Development, Journal

of Extension System, 4(2): 74-86, 1988.
xii
Bibliography
War, D. Pleasant Dreams, Indian Folklife, Serial No.27, November:5-8, 2007.
Warner, J. Teatro La Fragua, Making Waves Stories of Participatory Communication

for Social Chang, A Report to the Rockefeller Foundation, By Alfonso
Gumucio Dagron, New York, pp 79-84, 2001.
Yadav, L., Jain, V. and Yadav, S. Traditional Media: An Effective Communication

Strategy of Information Dissemination through Child. Interaction, 7(3): 49-
54, 1989.
*****
xiii
APPENDIX-I
साऺात्काय अनस
ु च
ू ी
उत्तयाखॊड के कुभाऊॉ ऺेत्र भें प्रचलरत ऩायॊ ऩरयक रोक भाध्मभ: एक भहत्वऩर्
ू ण
अध्ममन
(अ) व्मक्ततगत lwpuk &

1. नाभ-
2. उम्र-
3. लरॊग- ऩरु
ु ष/भहहरा
4. जातत- साभान्म/ अन्म पऩछडी जातत/अनुसूचचत जातत/अनुसूचचत जनजातत
5. लिऺा- अलिक्षऺत/ प्राइभयी/हाईस्कूर/इॊटयभीडडएट/स्नातक/स्नातकोत्तय/अन्म
6. व्मवसाम- भुख्म व्मवसाम-
सहामक व्मवसाम-
7. आऩके ऩास ककतनी ज़भीन है ? ..........नारी
8. घय- हट/कच्चा/लभतसड/ऩतका/भें सन
9. वापषणक आम- रु. .......
10. ऩरयवाय- एकर/सॊमुतत
11. साभाक्जक बागीदायी-
 ककसी सॊस्था के अचधकायी
 ककसी बी सॊस्था के सदस्म नहीॊ
 एक सॊस्था के सदस्म
 एक से ज्मादा सॊस्था के सदस्म

12. महद सॊस्था के सदस्म हैं तो सॊस्था का नाभ............
13. आऩ की तनम्नलरखखत के साथ ऩहुॉच की डडग्री तमा है ?
क्रभ सॊ. जानकायी के स्त्रोत सभम अॊतयार
अतसय कबी-कबी कबी नहीॊ

1. ये डडओ
2. टी. वी.
3. अख़फाय
4. भैगजीन
5. कपल्भ िो
6. स्राइड िो
7. पोल्डय/रीप रैट
8. पवडडमो िो
9. ऩोस्टय
(फ) ऩायॊ ऩरयक रोक भाध्मभ की जानकायी-
14. तमा आऩ कोई ऩायॊ ऩरयक रोक गीत जानते हैं? हाॉ/नहीॊ
15. महद हाॉ तो, कृऩमा िीषणक/कथानक फताइए-
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
16. ककन ऩरयक्स्थततमों मा अवसयों ऩय मे रोकगीत गामे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
17. तमा आऩ कोई ऩायॊ ऩरयक रोकनत्ृ म जानते हैं? हाॉ/नहीॊ
2
18. महद हाॉ तो, कृऩमा रोकनत्ृ म के फाये भें ऩूयी जानकायी फताइए-
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
19. ककन ऩरयक्स्थततमों मा अवसयों ऩय इन रोकनत्ृ मो का आमोजन ककमा जाता हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
20. तमा आऩ ऩायॊ ऩरयक कहावतें जानते हैं? हाॉ/नहीॊ
21. महद हाॉ तो, कृऩमा फताइए-
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
22. ककन ऩरयक्स्थततमों मा अवसयों ऩय इन कहावतों का प्रमोग ककमा जाता हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
23. तमा आऩ भुहावये जानते हैं? हाॉ/नहीॊ
24. महद हाॉ तो, कृऩमा फताइए-
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
25. मे भुहावयों कफ औय ककन ऩरयक्स्थततमों भें प्रमोग ककमॆ जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
3
26. तमा आऩ आॉहर् (ऩहे लरमाॉ) जानते हैं? हाॉ/नहीॊ
27.महद हाॉ तो, आॉहर् फताइए, साथ भें उत्तय बी फताइए
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
28. आॉहर् कफ प्रमोग ककमे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
29. तमा आऩ के स्थान भें यॊ गभॊच चरता हैं? हाॉ/नहीॊ
30. महद हाॉ तो, यॊ गभॊच के फाये भें पवस्ताय से फताइए
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
31. यॊ गभॊच कफ चरता है ?
32. गाॉव भें कौन-कौन से स्थानीम त्मौहाय भनामे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
4
33. त्मौहाय कफ (ककस भहीने) औय कैसे भनामे जाते हैं औय तमों भनामे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
34. गाॉव भें एवभ आस-ऩास के ऺेत्र भें कौन-कौन से भेरे आमोक्जत ककमे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
35. भेरे कफ (ककस भहीने), सार भें ककतनी फाय एवभ तमों आमोक्जत ककमे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
36. भेरे कफ से (ककतने सारों से) एवभ ककस प्रकाय आमोक्जत ककमे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
37. तमा आऩ स्थानीम वाद्म मन्त्र जानते हैं? हाॉ/नहीॊ
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
5
38. वाद्म मॊत्रों का नाभ फताइए?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
39. मह वाद्म मन्त्र कफ एवभ ककन ऩरयक्स्थततमों भें फजामे जाते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
40. कृऩमा ऐऩन/चौकी (रूऩाॊकनों औय ऩायॊ ऩरयक डडजाइनों ) आहद के फाये भें फताइए-
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
41. तमा आऩ इिायों से/आवाजों से/बावों से सूचना (ध्मान आकपषणत) पवसरयत कयते हैं? हाॉ/नहीॊ
42. महद हाॉ तो, कफ औय कैसे सच

ू ना दे ते हैं?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
(स) ऩायॊ ऩरयक रोक भीडडमा (भाध्मभ) की प्रकृतत, पवषमवस्तु उऩमोग की सीभा
6
43. ऩायॊ ऩरयक रोक भीडडमा (भाध्मभ) की प्रकृतत-
क्रभ सॊ श्रेर्ी ऩायॊ ऩरयक रोक भाध्मभ (भीडडमा)
1. कठोय भाध्मभ
2. अधण ठोस मा अर्द्ण रचीरा
भाध्मभ
3. ऩूयी तयह से रचीरा भाध्मभ
44. ऩायॊ ऩरयक रोक भीडडमा (भाध्मभ) के पवषमवस्तु-
क्रभ ऩायॊ ऩरयक ऩायॊ ऩरयक रोक भीडडमा (भाध्मभ) की पवषमवस्तु

सॊ रोक भीडडमा
(भाध्मभ) भनोयॊ जन साभाक्जक कृपष धालभणक अनुष्ठान
पवकास औय
औऩचारयक
1. १रोक गीत
.
2. २रोक नत्ृ म
.
3. ३कहावतें
.
7
4. ४भह
ु ावये
.
5. ५ऩहे लरमाॉ
.
6. ६ड्राभा
.
7. ७त्मौहाय
.
8. ८भेरे
.
9. ९इिाये /बाव
. बॊचगभा
आहद
45. ऩायॊ ऩरयक रोक भीडडमा (भाध्मभ) के उऩमोग की सीभा
क्रभ सॊ. ऩायॊ ऩरयक रोक भीडडमा उऩमोग की सीभा
फहुत ज्मादा कुछ सीभा तक बफल्कुर बी
उऩमोग उऩमोग उऩमोग नहीॊ
१. रोक गीत
२. रोकनत्ृ म
३. कहावतें
४. भुहावये
५. ऩहे लरमाॉ
६. ड्राभा
७. त्मौहाय
8
८. भेरे
९. डडज़ाइन (रूऩाॊकनों)
१०. इिाये /बाव बॊचगभा आहद
9
Appendix
INTERVIEW SCHEDULE
Traditional Folk Media Prevalent in Kumaon Region of Uttarakhand:

A Critical Study
(A) Personal Information
1. Name-
2. Age-
3. Sex- Male/Female
4. Caste- General/OBC/SC/ST
5. Education- Illiterate/Primary/Intermediate/Graduation/Post
Graduation/Other
6. Occupation-Main occupation
Subsidiary occupation
7. How much land do you have? ..................Nali
8. House type- Hut/Kaccha/Mixed/Pakka/Mension
9. Annual income- Rs.................
10. Type of family- Joint family/Nuclear family
11. Size of family- Large family (>5 members)
Small family (<5 members)
12. Social participation-
Office Bearer
No membership
One membership
More than one membership
13. If you are member of an organization, can you tell me the name of the
organization.......................
14. Mass Media Exposure-
S. No. Mass Media Frequency
Frequently Occasionally Never
1. Radio
2. T.V.
3. Newspaper
4. Magazine
5. Film Show
6. Slide Show
7. Folder/Leadlet
8. Video
9. Poster
B. Traditional folk media which are prevalent in the area-

15. Do you know any folk song? Yes/No
16. If yes, then kindly tell the title of the song
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
17. On which occasion and situation people sing these songs?

………………………………………………………..
………………………………………………………
18. Do you know any folk dance? Yes/No

19. If yes, then kindly tell the details of the dance
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
20. On which occasion and situation these dances are performed?

…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
21. Do you know proverbs? Yes/No
22. If yes, kindly share some proverbs
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
ii
23. When these proverbs are used by you.
…………………………………………….
……………………………………………..
24. Do you know idioms? Yes/No

25. If yes, kindly share some idioms
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
26. When these idioms are used by you.

…………………………………………….
……………………………………………..
27. Do you know riddles? Yes/No

…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
28. If yes, kindly share some with me and also tell the answers.
…………………………………………….
……………………………………………..
29. Is there any theatre prevalent?

…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
30. If yes, then please tell me the details of it.
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
31. When theatre performed?
…………………………………………….
……………………………………………..
32. What are the main festivals which are celebrated in the village?
…………………………………………….
……………………………………………..
iii
…………………………………………….
……………………………………………..
33. When, how and why these festivals are celebrated?
…………………………………………….
……………………………………………..
34. Can you tell me the traditional fairs, which are celebrated in the near by
locality?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
35. When these fairs are organized and how many times in a year they are
celebrated?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
36. From what time these fairs are celebrated by you and how you are
celebrate these fairs?
…………………………………………….
……………………………………………..
37. Do you know the local musical instruments? Yes/No
38. If Yes, kindly tell the names of the musical instruments

…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
39. When and under what situation these musical instruments are used?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
40. Kindly give some details on traditional designs (Aipan) etc.
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
iv
41. Do you disseminate the information through sound, signal and surrogate?
…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
42. If yes, then how and when?

…………………………………………….
……………………………………………..
…………………………………………….
……………………………………………..
C. Nature, Theme and Extent of use of Traditional folk media
43. Nature of Traditional folk media

S. No. Category Name of the Traditional Folk
Media
1. Rigid Media
2. Semi-Rigid or Semi-flexible Media

3. Non-Rigid or Totally flexible Media
44. Themes of Traditional folk media
Themes of Traditional folk media

S. No. Folk Media Social
Entertai- Ritual and
Develop- er-utlucirgA Religious
nment ceremonial
ment
Folk
1.
Song
2. Folk Dance
3. Proverb
4. Idiom
5. Riddle
Theater
6.
(Ramleela)
7. Festival
8. Traditional Fair
Sound-signal &
9.
surrogates
v
45. Extent of use of traditional folk media
S. No. Traditional folk media Extent of use

Very much in Somewhat in Not at all in use
use (%) use (%) (%)
1. Folk Song
2. Folk Dance
3. Proverb
4. Idiom
5. Riddle
6. Threatre
7. Festival
8. Traditional Fair
9. Motifs (Aipan)
10. Sound-Signal and
surrogates
vi

Pooja

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Pooja

Uploaded by

Copyright:

Available Formats

Dedicated to

Table No. Description Page No.

Map No. 1 : Map of India

Map No. 2 : Map of Uttarakhand

Map No. 3 : Map of Almora

Map No. 4 : Map of Dwarahat Block

Figure 5.1 Distribution of respondents based on sex

Figure 5.2 Distribution of respondents based on caste

Figure 5.3 Distribution of respondents based on education

Figure 5.4 Distribution of respondents based on occupation of the family

Figure 5.5 Distribution of the respondents based on the type of house

Figure 5.6 Distribution of respondents based on annual income

Figure 5.7 Distribution of respondents based on land holding

Figure 5.8 distribution of the respondents according to the size of family

Figure 5.9 Distribution of respondents based on family type

Figure 5.10 Distribution of respondents based on their social participation

Mass Media Development in India:

Indian society is often characterized as one having “Unity in Diversity”. In

The advent of independence in August 1947 removed the shackles of the

Television arrived in India on 15 September, 1959 on experimental basis for a

Traditional Folk Media:

“Traditional Folk Media” is a term used to denote “People’s

Role of Traditional Folk Media:

There is a tremendous wealth and variety in traditional folk media in India.

Soon after achieving freedom the National Government started a full-fledged

Types of Traditional Folk Media:

According to Parmar (1975), some of the traditional folk forms of

1. Traditional folk theatres of rural dramatic forms including tribal dance-dramas

3. Oral-cum-musical forms, folk musical styles, ballads, Harikatha, Kabigan,

4. Fairs and festivals including social, ritual and ceremonial gathering.

7. Ritual symbols, Traditional designs and miscellaneous motifs

8. Sound signals and speech surrogates

Advantages of Traditional Folk Media:

2. They command an immense variety of forms and themes to suit the

4. They are easily available to their customers.

5. They are flexible to accommodate new themes.

6. They are enjoyed and approved by all the age groups.

1. To study the personal and socio-economic characteristics of the respondents.

Assumptions of the Study:

An assumption is the supposition that an apparent fact or principle is true in

1. The respondents included in the sample were competent enough to reply

Importance of the Study:

The importance of the study of Traditional Folk Media is to search the

Limitation of the Study:

The study was restricted to Kumaoni culture and therefore, cannot be

The second chapter entitled Theoretical orientation describes the different

Communication is a dynamic process. It happens all the time. Your posture,

Tradition: Tradition is the process of the transmission of age-old values and

Folk media: Folk Media is the creative dissemination of information through

Concept of Folk: „Folk‟ means race of people.

Folk Music: Music passed on from generation to generation. Any music

Traditional Folk Media: In every society there are various forms of

Traditional Folk Media is a term used to denote “Peoples‟ Performances”. It

The folklore phenomenon represents an act of communication by employing

Ballads: Ballad is a comparatively long, impersonal narrative song, which

Fairs: It refers to the community gathering to celebrate and exhibit local

According to The encyclopedia of Americana (1976), fair is “Large

According to the Encyclopedia of Social Sciences, “Fairs came into existence

Festival: A festival is an event, usually and ordinarily staged by a local

Proverb: A proverb is a simple and concrete saying popularly known and

A short, pithy statement of a general truth, one that condenses common

An old and common saying; a phrase which is often repeated; especially, a

Proverbs are terse, didactic and sometimes metaphorical statements containing

Riddle: A riddle is a question or statement intentionally phrased so as to