Rajeshwar Singh Raju
While some nations are desperate to save their old Cultural traditions we are waiting for elimination of our rich cultural traditions without realizing that our traditions tell us about our roots.
If we talk of our own Duggar Pradesh’s rich folk traditions then there are so many that have been dying because of ill response of inhabitants of Duggar Pradesh as well as different organizations meant for survival of the same. Those who were devoted and dedicated to folk traditions are victims of time called _’Age’ and are left with no option rather than to be mute spectators of dying rich traditions.’
If we cast a look at old folk tradition called “Haran” and veterans of the field, then Teg Ram figures prominent He was born in 1927 in a poor family at village Kah Pota, Tehsil Dansal and District Jammu. His father Lt. Kirpa Ram was a farmer and was least interested in his son’s growing interest for the traditional Lok Natya ‘Haran”. But Teg Ram had fascination for it. When ‘Haran’ was staged in his village or adjoining villages, he used to watch it with all keenness. With the passage of time, this interest turned into a passion. As he had been innovative right from his childhood, he decided to establish his own group to play ‘Haran’. When he told his friends about his initiative to play this famous folk play enamoring he was encouraged by them and hence a team was formed named ‘Teg Ram & Party’.
It is pertinent to add here that he had no schooling as there was no school nearby and his father was not in a position to send him to a far away school owing to acute financial problems. Teg Ram had to work in fields and feed animals. Whatever time was left, he used to play local games and at night the dream to play ‘Haran’ as per his own wishes always motivated him. Soon the day came when he along with his party staged it first time. The response was tremendous which inspired him to take it more seriously.
As per his words,” Playing ‘Haran’ is an ancient old tradition of our Duggar pardesh. “Haran” is derived from the Hindi word “Hiran” i.e. Deer. The group that plays it comprises of 10-15 male members who perform different characters and amuse the spectators while delivering very important messages on social and political evils. Two artists act as ‘Hiran’, which is well decorated like a beautiful Deer with ‘Ghungrus’ tied to their feet. Two anchors perform as Lambarddar and Chowkidar whereas others support them as Old Woman, Narad, Sadhu, Patwari, Gujjar, Gujjari, Maskhara etc. The characters may change depending upon the situations He recalls, they used to sing,
“Harna Harna Shaali De
Sutte De Bajali De..
Harna Ditti Latte Di
Choodh Pajji Khatte Di..
Harn Chadeya Shatali Da
Tuppa Mangda Daali Da..
Harna Hira Ho…!!!” etc
The performance of Lok Natya ‘Haran’ starts with all artists praying God and Goddesses wishing for welfare of entire mankind. They start with Devi Stuti,
” Rakhi Leya Sadhi Laaj Deviye,
Lei Lena Mangle Da Vaar Deviye
Bhagat Khade Tere Dwar Deviye,
Chadhan Tugi Phullen De Haar Meri Deviye!!”,
which is followed by Manglacharan as under:
” Avval Kusgi Seviye Te Kohda Leche Naa
Simran Apne Ram Gi , Lakshman Da Leche Naa !!
Simran Bhairo-Jati Gi, Jehda Tode Kulaf-Janjeer
Simran Jati-Hanuman Gi, Jehda Ounda Parvat Cheer!!
Simran Mata Vaishno Gi, Jinne Andar Laya Paar,
Simran Mata Kalka Gi, Jedhi Duniya Di Sardar !!”
The usage of folk instruments like Dhol, Kehal, Narsingha, Kasiyan, Been, Tota, Dandaras de Dande, Chimta, Ghunghru etc. give vibrant color to the productions. The artists make use of comic timing/references in entertaining the public while delivering social messages as well.
Teg Ram recalls that his Party had outstanding performers like Piddo Ram, Shobha Ram, Fisro Ram, Premu, Shanku Ram etc. Piddo Ram performed as Old Woman and enamoured the audience. Shobhar Ram as Chowkidar and Fisro Ram as Sadhu were also outstanding performers.
When he recalls past, a smile creeps on his old face and expressions reveal his joyous feel. But when he casts a look at present, he turns sad and says with distress, “I have two sons and four daughters who are happily married. I wished that at least one of my sons should have followed my footsteps and helped in survival of this rich folk tradition but they are not interested at all. They say that they have so many commitments towards their families but no one is conscious of the fact that there should be some commitment towards own traditions also. If we will not save our dying traditions, who will?”
Teg Ram has a point. Survival of Folk traditions is not accountability of one man or family only. Although one expects that as it had been passing from generation to generation, the trend should go on. But a vacuum is created when one is not interested to carry on the legacy of his elders. Actually, it becomes the responsibility of every one to help in survival of traditions in whatever way, they may.
Ironically, Teg Ram’s father never encouraged him to play ‘Haran’ and he has emerged as a renowned player in this particular art, but when he tried to persuade his sons for the same they were not willing. The harsh fact remains that disinterest shown by his sons can be attributed to a major reason that there is no financial security for folk artists. The days promoters used to help artists financially are gone. Even the institutions established by Government lack funds to boost folk traditions. Now, when there is no financial help, then bringing up a family merely on this art becomes very tough. After all, all performances require investment of time as well as finance for rehearsals and executions.
‘Haran’ is mostly played in those houses which have witnessed happy moments during the year like marriages, births or other related functions. It is played during Lohri Festival, which is celebrated in North India on 12th or 13th of January every year. It also accounts for mixing new grains with honey and milk-Ghee, the symbols of prosperity. In fact ‘Haran’ is also a symbol of peace and prosperity. Teg Ram says, “We were specially invited by all and were treated very well and even were gifted with money too which was used for purchasing necessary tools for ‘Harna’ and rest was distributed among the artists.”
Teg Ram & Party has shown their worth as leading ‘Haran Mandli’ not only in adjoining villages but have proved their potential on different platforms provided by J & K Academy of Art, Culture & Languages, NZCC Patiala and J & K Tourism Department. The main places where he has performed with his group include Bhaderwah, Doda, Reasi, Patnitop, Mansar, Ram Nagar, Jammu etc.
Recognizing his outstanding contribution as a prolific artist in dying folk form ‘Harna’ ,Tega Ram has been honored with annual pension of Rs.6000/=which has been increased to Rs.8000/= recently. Although this pension accounts for merely Rs.667/= PM but he shows gratitude for whatever he gets from the centre. What I would like to add here is that folk artists should be patronized by Ministry of Culture so that they should earn enough money to run their families smoothly. It will generate interest in young generation to save dying rich cultural traditions.
If we talk of Teg Ram, then its inspirational that even at an age of almost 90, he is still very enthusiastic to revive ‘Harna’ to its golden past. But as age proves a big hurdle; he can be a guiding force only. He is ready to guide the aspiring artists but sadly there is no volunteer. Folk Art can and has been surviving with only amateur artists since ages. What matters is that the youths should realize the importance of our own folk arts which are in fact our roots.
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