There had been very thin inequalities between richer and poorer in rural Kumaun and Garhwal before British took over the rule. However, caste inequalities were very much there in rural Garhwal and rural Kumaun. Though in both the areas, due to geographical conditions and need for Shilpkars by upper caste for each work fewer cruelties were recorded from upper class towards Shilpkar or Untouchables. There is no historical record before British Raj about awareness among Shilpkar for getting their right of equality. However, freedom movement and Arya samaj movement brought awareness for social equalities among Shilpkar in rural Kumaun and rural Garhwal. There had been a long movement called ‘Dola Palki’ movement a symbol of getting social equalities for Shilpkar in rural Garhwal and rural Kumaun. Perhaps ‘Janeu dharan ‘by Shilpkar, ‘Dola Palki’ and entry into temple by Shilpkar initiated the class conflict first time in Garhwal and Kumaun.
Notes on Class Conflict about Caste Inequalities in Modern Indian Dramas, Class Conflict about Caste Inequalities in Modern Himalayan Dramas, Class Conflict about Caste Inequalities in Modern Uttarakhandi Dramas, Class Conflict about Caste Inequalities in Modern Garhwali Dramas
The’ Farak ‘drama written by playwright Abodh Bandhu Bahuguna is about class conflict and desire for social class equalities from Shilpkar community. The drama is very straight and less tension is shown in the drama ‘Farak’ which is about Class Conflict about Caste Inequalities. The drama is one sided and tell about how Shilpkar feel /express about the inequalities from upper caste. The drama is expression of Shilpkar’s sentiment about class inequalities. The role of upper caste is at the end when a upper caste boy comes takes tea powder and sugar from richer Shilpkar family; Khimanand Brahman comes takes Pithai, and takes alcohol with Shilpkar with the water brought by Shilpkar family. The dramatist shows that upper caste designs all rule of caste equalities or inequalities as per their own need.
The dram is fine one to show the pain of Caste Inequalities but is totally failure in showing conflicts between two classes. Without having tension of class conflict the drama becomes totally idealistic. However, Abodh Bandhu Bahuguna should be complimented to bring the subject of Caste Inequalities in Modern Garhwali Dramas.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Class Conflict about Caste Inequalities in Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Conflict about Caste Inequalities in Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Class Conflict about Caste Inequalities Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Class conflicts and Caste inequalities in Contemporary Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Cast conflicts and caste inequalities in Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Contemporary Garhwali dramatists or theatres playwrights who showed class Conflict about Caste Inequalities in their dramas)
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna,1986, ‘Chakrchal’ , 16 Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058 (Class Conflict about Caste Inequalities in Modern Garhwali Dramas)
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