Friday, August 6, 2010

A poem of Protest INNOCENT ANARCHIST:

INNOCENT ANARCHIST:

A Poem of Protest



Revivifying a few Vedic motifs, detracting Pauranic Aakhyaans, questioning the verdict of Dharmashtras, enquiring into reasons of exploitation, suppression of uprising protest of masses and finally the domination of long prevailing ‘chaturyogas’, Ashok Aatreya’s ‘Innocent Anarchist’, is a poem of protest.

Belonging to the traditional family of Tantriks, Ashok remains a dissenter since beginning. He, throughout his career, has been a nomad, never settling anywhere. He, in this poem, has an independent vew of does not his tradition, family-value & virtues-

“From the day the golden egg came into existence to this day, I have seen the wheel moving singing a song ‘Charaiveti-Charaiveti’....

“……for the edification of the masses in that relentless ethical war in meaningless struggle/as the duty bound postman delivers letters/as wounded soldier embraces the motherland when falls/… …..‘‘Sorry- I was not a crusader...”…

“My youp was without any association of horse

As I did not intend to sacrifice the poor animal

In the name of Ashwamedha…”

Therefore, Ashok’s Ashvamedtha is without any horse- as he does not intend to sacrifice the poor animal for the yagya.

The panorama of grand tradition could be better visualized by a visionary poet, by dispassionately comprehending an aerial view of parched and green zones-both. The disgraceful vast stretch of poverty, ignorance and sufferings of people has transported the poet away from the pretentious world of poetry. He feels within himself -“not a ritual or a myth for them/ perhaps my angst for words was an act of infringement for them/ my ingenuity was a hoax/ call against their masquerading behavior”…..

The protest of the post-independence English poetry never proved worthy of the expectations, as poet-critic, Kunwar Narayan and Gokak have also accepted. Marxism in 50’s and 60’s had a powerful influence on world literature, its attachment with grassroots realities, on social, economic and political equality, concern for elimination of poverty and exploitation. That a common man’s anguish could be alleviated by effective political and economic action to turn socialism- the great utopian dream, into a reality….

The new Indian poetry in English, as compared to its Hindi counterpart, is not so equipped and smart enough to explore the anguish of the people around. The new poets of post independence era are in direct encounter with stark realities of life: the problems of existence,, perversion , corruption, degeneration, morbidity, insecurity, terror, bloodshed, pain ,agony mockery of idealism- the overall hypocrisy.

an Anthology of protest poetry of 1975-1977 published during Emergency, express poet’s fear of his own cowardice, his cautious sidelong glance of the tyrant; the sardonic smile of the unbowed power, but also mocking the pretension of the established. The poet of Dilip Chitre depicts the trauma of oppression, and detention in poem- ‘‘A patriot beyond question/ For all this/ You might still preferred to be a traitor/among stupid people.’’

Kamla Das –– ‘‘Tomorrow they may bind me with chains, rape me with bayonet, and hang me for my doubts….”

Or the assassination of Rajan, poet Amrit Gangar rises rapidly…

“I am Rajan/Kerala/Where is my burial/why didn’t wail with me/Kerala/when they perpetrated on me.”

In this context, some offshoots of post independence English poetry – produced such sensibilities in poets like Jayant Mahapatra, Nissim Ezekeil , Nag Bhushan Patnayak, Keshav Malik etc.

Thus the post Independence English poetry could advance only a ‘half step’ forward- but after emergency- the so called English protest poetry could not pickup the required strength of apt creativity as compared to Hindi verse Poets like Nagarjun, Muktiboth, Kedarnath Singh, Rajkamal Chaudhury, Chandrakant Devtale, Shamsher Bahadur Singh, Srikant Verma and Raghuvir Sahaya are worth mentioning . The resentment of the regional poets like Malaya Rai Chaudhury, Salman Rashdi and emergence of ‘hungry and Beatnic’ generation have had a greater influence on the post independence literature.

In this context Ashok’s ‘ Innocent Anarchist’ comes out with a prolific promise in creativity, constructing the strong edifice of his own journey of protest.

We can take a note of the world map around 19th & 20th century, when the war of Independence was fought in America against the colonial rule of the British led by Abraham Lincoln & George Washington cutting down the yolk of slavery of hundred of years and establishing the rule of Democracy of native Americans, Negros and Red Indians. Freedom movements from the colonial rule were seen to take place in China and Russia under the leadership of Mao and Lenin and in both the countries the popular revolutionary communist governments were established. In the similar historical perspective India was also successful to liberate from the chains of British colonial rule by a unique way of a non-violence led by Gandhi, Tilak, Nehru and Gokhle etc.

Unfortunately with this political freedom the dreams of people were ruthlessly disowned and shattered by their political leaders.

It was strongly depicted in the poetry of Robert Frost, Walt Whitman in America and Mayakovski, Yevtushenko, Solzhenitsyn, Pasternak etc. in Soviet Russia.

In American poetry Walt Whitman wrote in ‘‘Salute and Monde”-‘‘ You ,who ever you are/You daughter or son of England/ You of the mighty Slavic tribes and Empires! Russ in Russia/ You dim descended blacks/Divine souled African/Large…in equal terms with me.”

On an another occasion Whitman writes-‘‘If I build God or Church/It shall be a church to men and women/If I write hymns they shall be all to men and women/ If I become a devotee it shall be to the men and women.” In the poem ‘‘God 1870’’ the poet squarely declares-‘‘Perfect comrade…be thou my God/The ideal man be thou my God (He might have seen that perfection in his own father.)”

But when the dreams of people are defeated and crushed, the poet’s cry rises alike -‘‘Adieu dear comrade your mission is fulfilled, but I more war like/ Myself and this contentious soul of mine still on our own campaigning bound/ Through untried roads with ambushes opponents lined./Through many a sharp defeat and many a crises often baffled/Here marching ever… marching in a war fight out aye here/To fiercer, weightier battles give expression…...’’

And finally he rebels against the profiteer or the so called leader of the Democracy-‘‘I feel the measureless shame and humiliation of my race it becomes all mine. The utter defeat upon me weighs all lost- the foe victorious.’’

Ashok further entangles himself in speaking images-‘‘I thought about the bed of river dried …about the irregular period of my beloved/Ascendant of my horoscope afflicted in the seventh house” and somewhere Ashok dwells in greater imagery of a Yagya and sacrificed horse, sympathizing-‘‘seems all sensibilities petrified becoming urine of a frightened horse employed for Yagya, therefore he summarizes in these words-‘‘ Good if we don’t epitomize all that/ Good if we look back/Good if we remain silent spectator/

And in the list of other ‘goodies’ the poet further says-‘‘because the call is eternal/ you are in a fresh lease of life…’’

…..‘‘Where Kalam’s thinking hut is destroyed to protect the Imperial grandeur…/ The broken springboard of bicycle hanging over the red petticoat or ‘langot’ making no sense suddenly become alive and meaningful.”

Ashok, as a maverick protest poet, against the ‘feel good factor’ under the tragic situation expresses -‘‘From the point of no return/this is the only spirited moment of a maverick traveler/When the entire crowd is busy with politicians and scrubbers of Democracy/when the scriptures and constitution are used as toilet papers/…..the feel good factor becomes a pittance of a poor man.….A proxy of the people/ even a traitorous activity/The vanguard losing faith of people/”



Under his appropriate expression mixed with phantasmagoria, Ashok ‘‘glides in a jungle surrounded by clouds and hills lost in dust and darkness…by animals birds trees huts houses and hospitals in men and women…I saw such creatures never on earth…that is his Aboojhmaad.’’ Which is almost transformed…/

The poet in Ashok’s long poems intimately feels this transformation in real sense as he writes-‘‘The brass colored beauty nothing to cover on bare bosoms / But a single flower of Mahua pinned/…They come with tags of Ernesto Che and Mao on their hearts”….and so on so forth, ultimately facing the stalk reality when he concludes his poem-‘‘Oh my mother, my son my daughter my wife my comrade/ Why you all were not aware of all this/Still singing songs in admiration/Perhaps you still waiting for the judgment day/Still believing in the stories of fish incarnation/Still assured that lord Shiva would appear again to kill Andhak to bring peace on earth/The Ganges would free sons of Sagar from the curse/’’

‘‘But you believe in truth and also say truth is beyond and beyond/Can not be achieved in one stoke/…then for whom you proudly sing Jan Gan Man...Who ruin you...!” and here the curtain falls of this poem-‘‘Innocent Anarchist.’’….

- PRAKASH PARIMAL








































INNOCENT ANARCHIST:




f rom tthe day the golden egg, the cosmos came into existence

and changed different forms and meanings

From the day the earth was freed saved and settled

By the Boar-God

From the demon Hiranyakhsa

From the day the life and death appeared

From the day the first war was fought between good and bad



And from the day the good begot good and evil begot evil

From the day the human race emerged

From the day the dynasties of Sun and Moon began

And civilizations took roots

From the day nature itself rejoiced and revenged

The auspicious and inauspicious happened

To this day

Today I am seeing the wheel moving

Singing a song ‘ Chareiveti…chareiveti…chareiveti…’



And in the witness and commemoration

I also grounded a pole

For the ‘edification of masses’

Or in crises or in confusion or in absurdity

In that relentless ethical war or worship or meaningless struggle

As a duty bound postman delivers letters

As a wounded soldier embraces the motherland when falls

Priest sermons a psychopath suffers

A poet jewels words or a stalker captures the prey

(Sorry I didn’t know what exactly my identity was at that moment)

(But I knew it very well; I was not a pantheon or a crusader)



The pole was enough for me

A wooden pole

Called in ‘Vedic’ term a Yoop

My yoop was without any association of / with a horse

As I did not intend to sacrifice the poor animal

In the name of ‘Ashwamedh.’



My pole was hollow without any flag or insignias

But it was decorated with innumerable peacock-feathers

Representing a hill God

It was an installation in my drawing room

No act of reliquary



As the place was lonesome cut off from the masses

It only bounced my lonely heart

My mind moved in roaring success



As if some rivulet appeared on my head

But they did not feel or care as it was not a ritual or a myth

Perhaps my angst for words was an act of infringement for them

My ingenuity was a hoax-call against their masquerading behavior

I attempted in distress to meet the long lost beloved the freedom

Declaring I was still alive

Seeking poetic license to embroider a tale of hope



But to my utmost surprise and in reaction soon the world changed

From earth to sky everything was possessed by evil forces

Distorted and displaced Gods –Goddesses in bad shape

Weeping laughing dancing perspiring

Running in the smoky sky covered by bloody rains and crying clouds

Informing of the loots and blood-shed

Throwing flags and war-weapons in surrendering postures

Their heads sunk in distress

NO…NO…NO

WAIT…WAIT…WAIT

Who said it silently?

I don’t know



…Perhaps it all started with my birth

Or with the pole

Not always…some time far away

Was it again a blasphemy?

Or a blandishment

Or a point of no return



I whispered and the play began again

I was surrounded by clouds and hills

Lost in dust light darkness

By animals birds trees houses huts and hospitals

In men and women

I saw such creatures never on earth

An inner jungle opened in me

I closed all doors and windows of cunning passages and corridors of life

A new intimate flow of emotions and intellect

Changed shapes size images memories

All was like a war unending

The geography history the map and the men

The trees and rivers repeating life and its shadows

Murmuring sound of my shoes mixed with the memories of Gods

Gandhi or Godsey or a gorilla

The dead ‘mummy’ show-cased for years

‘Ramayan’ wrapped in red cloth in kabadi market

Gods goddesses leaders patriots temple mosque gurudwara church

In broken glass frame thrown out of window in dustbin

Kalam’s thinking hut destroyed to protect the imperial grandeur

Kite-flying and masturbation running together keeping in view the next door woman

House lizards and pigeons in copulation

tricolor in the hand of a child inverted

The broken spring board of bicycle hanging over the red petticoat or ‘Langoat’

Making no sense

Suddenly become alive and meaningful

In the permutation and combination of words and images

In contrast of colors and spaces

In contingency plan of poetic diction or a story yet unexplored or told



I thought about the age of my grandmother when she died

I thought about the bed of river dried

About the irregular period of my beloved

Ascendant of my horoscope afflicted in the seventh house

I thought about the palmistry and the mound of Venus and the last kiss taken illegally

On the last election day

I thought about the martyrs who gave their lives

I thought again and again about the dead wall cloak the unused Hammer

Three empty bottles of ‘Bhringaraj’ oil and the old and gold gramophone’ Choodibaja’

Left unattended for years

I also thought about the vote-bank the poor folks without any reference

Or frame-work this moment



I Often thought about the dialog between the two individuals: Whether it disturbed me in Purohitji ka katala or in Ravi-studio…whether it excited me with Banarasi baee or provoked me in the company of Tanoo maharaja or in national anthem behind the class mate right palm in the trouser connecting something privately…no clouds





The trousers please! The matter of investigation was a matter related to leisure time theory which I never wanted to understand …no please for god’s sake no words of battle anywhere any more)

I thought about the possibilities of other space or time

About the death of my father or mother or a friend or a terrorist

A godly man or a thief

Whom I should hold responsible for all that is happening?

Whom to connect or disconnect?

ALL born would one day perish



Fire burns their sins

Their attachments their commitments obligations

Until and unless they travel inwards truly

And that is perhaps the most unknown path

May be most obscured

But the only way…they again and again assure

Time is not a roller-cast they say

Time is progressive they say

Time is in circle they say



But time is not life

Absolutely

And my dear friend the trouble is with life

Which never fits in the heavenly attire?

Or in hellish justice

It is for paupers for nou-veau riches both

It meets at any point of time like hackers in cyber space



And in the game of life

I and you and everyone is alone

All strangely sunk

Nobody knows where

All roads eternally closed crowded webbed by murderers’ opium addicts’

Rapists politicians magicians prostitutes and poets

All in one line to be hanged their sinful act disclosed

Everyone to meet the same end

No small or big no good or bad no one in prayer or heinous act saved

If called

No mercy petition no bribe no intelligence no emotion nothing goes with it

But the bare life meaningless

To be taken and buried in the remotest reach



To be hidden and kept in unbroken lock

To be taken or not taken

To be touched or left

To be seen or unseen





To be or not to be

We may only humbly feel the gravely beautiful teeth

That death advance and embrace us all without discrimination

And when everyone is without shelter

The showy silent fleets enter the lonely chamber

And in a bustle take

All lively things away except the swollen existence

All that was hidden for years plundered

All that was epitomized in the name of name and fame in memories in love in hatred In perseverance in perversion in hic-cups of poetry art religion culture in transition

All like shattered dream of a plonker



Nobody is prepared for that game

Everyone wants one minute

But that all proves mere luxury

The soil the water the fire the air the sky the mind the intellect the ego

All pervading

As far as light

As close as darkness

And meaningless

No deity no spirit no installation no formulae no ritual

No mediation no repetition of incantation

No ceremony no language no Mudra no gesture help

All stories told and untold conveyed or not conveyed all the Navarasas

Become poor man’s dream

Giving no clues



Whatever seen heard experienced prayed thought of indicative of future

Arising out of human sensibility

Becoming urine of a frightened horse employed for ‘Yagnya’.

The passing clouds break forth acidic rain inauspicious delivery

Dogs and jackals howl to the right of the ‘Yagnya mandap’.

All temples closing the doors

Declaring death of the main priest

Widows weeping striking against the door

The journey withdrawn

Yes the vigorous fight between the good and bad

End still undecided.

Nobody can win this game by power and thought alone

Or by mercy or grace or hollow rejoice

The lid covered by gold and always in unknown hands

Surrounded by venomous snakes

Call for great sacrifice…



Good if we do not epitomize all that

Good if we look back

Good if we remain silent spectator



Good if we search anything under the Parquet

Good if we forget our follies or parodies

Good if we keep away from universal evil eye and black tongue

Good if we forget sorrows and generate cheerfulness

Good we attempt to open the golden lid



And for that let us search for Adi Ganga flowing unruffled in us

Slow even motionless

Catch hold of it

Becoming free from all baffled despair

Do you know from where it is coming?

Meditate rise and see what is above

She is all pervading

Pervading cosmos

Help help help

Fulfill the dream

Observe but in silence

All bunches of trees of ‘Tamas’ are fallen



The heavy-storm of ego is over

The darkness of hell is diffused

Plunge plunge plunge

Hear sounds of crickets

Hear sound of drum beats rumbling of dark clouds conch shell bell and flute

Touch the nucleus of energy

Feel a fountain opening

The sacred touch of stream

Washing all dirt

Sacrifice sacrifice sacrifice

Take deep dip in the purest water of divinity

And get the blissful embrace and motherly love



But for the god sake don’t be in a hurry

It’s not a call from any market Guru or lady of easy virtue

No management funda no magical solution no absurd slogan no lack lustre subject

Beware my friend of wolves in lamb’s clothing’s

At the time of mortal agony anything can happen

Hence wait wait and wait

Watch like a dog

See like a vulture



Listen like deer

Live like fish in water

Sacrifice selflessly like a moth in the fire.



The call is eternal and it is not for monkey tricks.

Feel you are in a fresh lease of life



But have ghost of a chance

And over and over again surrounded by black foxes and pimps

Seeking opportune time everywhere

Be aware you are your own enemy

Be sure you run a risk of pillage

Be aware if you are in hodgepodge situation and no Coventry to support



No doubt the situation is bitchy

Yet not out of control

Nostalgia is not over

And people are fed-up of unkind and scurrilous gossips

So sooner is better

Let’s start again

Again and again

Against the stream



From the point of no return

This is the only spirited moment of a maverick traveler

When the entire crowd is busy with politicians and scrubbers of democracy

When the scriptures and constitution are being used as toilet papers

When the masses have taken in hands guns in place of scythes

When the pen is dry or used as vibrator to arouse market-whores

When the clerics merchandising sex and power in philandering posture of religion

The saturation point the indicator the call for those has come

Who can take this journey and the challenge thrown to them

In a saunter way…striking again and again

Different heights and valleys

Like a monk revamping the old monastery

Waiting for ultimate laurels

Whispering the lines of Frost-

‘The woods are lovely, dark and deep

But I have promises to keep

And miles to go before I sleep

And miles to go before I sleep.’



And like that of Monk’s mind

Everything seemed hopeful



Everything in good shape

Everybody seemed relieved



But this all feel-good factor

Can come to a tragic end

Can become a pittance of a poor man

A proxy of people

Even a traitorous activity

The vanguard losing faith of people



All ideals becoming vaporous

And the hero proves a Vampire bat

It is all mournful

Ordure of our expectations

Up-setting all



Such Monks often come and go

To reverse the process and progress

In the name of leaders and statesmen

In the name of freedom fighters

Unsung heroes

Product of podiums or procession or prison

Poetry or Art

There are blind followers deaf and dumb crowd

Dirty politics absorb all and after use they are thrown in dust-bin

That is nothing but the game of exorcism loved and played by power brokers

And the victims live it irresolutely

They are thrown in the streets as stray dogs or as used expiry date drugs

Such rag-tag band of party rebels or misfits or unfortunate ‘people’

Become a force of incivility and flushed through the gutters of

Floundering democracy in most heinous manner



Remember Elliot telling us-

‘this is the way the world ends…

This is the way the world ends

Not with a bang but a whimper…’

Whose whisper is all that

What makes you inhuman?

How suddenly some poltergeist becomes active in you

Why can’t you hear the inward inexorable words?

The solemn pronouncement of self realization

Being freed in the infinite

That your soul now seeking new clothes



Think think and think …

Think again

The time is melting in Salvador Dali’s Paintings.

It’s neither in linier nor in circular motion

Then whose time is this?

It’s yours…it’s mine…it’s everybody’s time

Melting like wax melting like life

How more cruel a spring may be?



The discovery of the Pendulum

The electric clocks

The atomic clocks

Reckoning time in naino seconds

Yet the time remains away from the reach of people

They remain backward hungry sick lost in depression

A plunderer still following the seasonal migrations of the reindeer

The tribes uproot themselves

In search of rich grasslands

Never guided by clock

But by life’s remarkable rhythms

The poor-fellows left out of extinction

When blue-eyed grass blooms



There is no regulation still

Except the clocking of nerve impulse

Of uncountable birds animals men-women

For unfathomable creatures of sea

Accept call of the Mother Nature

Oh Albert Einstein, are you still stretching and shrinking time

A paradox for everyone

When the life can roll forward and backward

Anytime like a film in minute camera or a movie

When the brown haired damsel

Comes out of the city beauty parlor

When foliage and flowers express in ingenious and decorative way

The meaning of time

When great poet Kalidas calculates people’s time in love and romance

Clouds like messengers telling tales of beloved lyrical hearts



Then think about fire

The same fire

The ever first stolen by Sisyphus from heaven for which he was cursed

Un-tiring labor toiled on him

Absurd punishment imposed

With a heavy rock on his shoulders

Ascending and descending the hill very high day and night

For his act which saved humanity



Think about fire in horse representing the creator of cosmos

Fire in fish saving entire stock of culture in a pot

Fire in stone saving civilizations till this day

Fire in cow the sacred goddess not an animal



The world around us is made up of Fire and Som the divine drink ‘wouldst thou had’

The world that weaving words through the fire in poets pen

For whom Tagore writes-

‘My poet, is it thy delight to see thy creation through my eyes and to stand

At the portals of my ears

Silently to listen to thine own eternal- harmony’

And most unfortunately that very fire again and again lost

From the singing and dancing shoulders of hills







Answered by the flutes

In the dark summer nights of devils world

When lives become uncomfortable and at high stake

When that divine light become pale

When the lord of the Universe known as ‘Virat purush’

Lord of legends with

Hundred heads hundred eyes hundred arms

Adores this Universe by his grand posture of only ten fingers

Leaves the place

The hills Madia Kingdom also comes to a halt suddenly

The fire clothed virgin earth doesn’t weds the Yogi

Who creates and destroys this wonderful cosmos



It’s a moon-less mid- summer night of sloppy hills and sleepy moot populace

The oldest civilization on earth with ‘woeful agony forced me also to begin the tale’

Remembering Coleridge at this juncture I politely quote:

Since then, at an uncertain hour,

That agony returns: And till my ghastly tale is told,

This heart within me burns.’

Thank you my favorite poet

Thank you for telling the story which is Universal

I pray, for I can not but pray

As prayers sustain me



Come to my rescue O great Lord of the Universe

Let the gates of my inner temple open

Let the fire glitter in the hearts of the same people

Let the jungle wake from the dreadful sleep

Let there be light of thousands of Mashals (Torch)

Let there be tides of peacocks dancing in unison

Let’s see the come back of thousands legs ups and down in rhythm

With the beats of Drums



Let their decorated shoulder horse jump with jubilant orientation

Let the oval shaped ‘Parang’ drums in the vest- line

Dance in tune with the ‘Tirooth’.

Answered by the hills…tadak…tadak



Where all that gone with the venomous air?

The music of Bamboo like thunder bolt

And at the same time someone very close

Whispering your ear-

You also buy a drum and learn how to love.

Love in ‘Ghotul’

That paradise of lovers looking like wild Bison shaped attic

And the mystic attached to that mating point

Is again its roistering but fascinating environment



Created by imaginative presence of reptiles like snakes and alligators

Forming part of its architectural grandeur

Feathers of gorgeous bird Peacock associated with lord Krishna make the roof top

Beauty with utility is the key word of their world



And this all inviting

In the night house made of broad bones of fishes

The entrance decorated with ‘siliyari’ flowers

The floor layered by ‘urad’ pulse

‘Enjoy loving your spouse on the back of crocodile’

How exciting would it all be?

Under the shadows of tall ‘Saal ‘trees

This all is unseen and a fantasy

Angidev inviting you again in the democratic world of love

Intoxicating ‘Mahuwa’ inviting you

Select your life partner your love bird

And go deep into the forest

After formal permission from ‘Belasa’ and ‘Sirdar’

Become ‘Chelic’ and take your ‘Motiyari’ with you.



After the scorching heat the sun is setting

They all start …re…re…loyo…re…re…la…re…re…re…la

Dance is their life

The entire hill dance

Young lovers offer tobacco to each other

Boys give combs as special gifts to their beloved

And again fire plays major role in joining them

In the Ghotul courtyard they enjoy ‘Chaungi’.

The brass colored beauty nothing to cover on bare bosom

But a single flower of Mahuva pinned

Symbol of love and protection

By her bosom friend some time steal the scene



Where you lost where my dear Aboojhamaad…?

I am not a witness of the torture you have lived loathsomely

I am not a witness of the deep wounds of your centuries sufferings

And at the same time your greatness fascinates me as you live



In the profundity in your miseries

From stone - age to the age of Republic

You have lived and let live others hidden in the deep Sal-Saj and Palas forests

Culturally alive behind Vindhya mountains



I could only see you from distance alone in coiled existence

Crying helplessly and not answered by anybody

Sometime in the grave till my neck in the darkness

As light refused to reach you ever from have-not heaven



I was ruined and silent

Feeling for the moment myself Aboojhamaad

Part of Narayanpur.



I being the ‘Vahi of Angadev’

Would make my house outside the forest

Would try to understand myself in terms of their life

Would roam in hot air like a Good Samaritan

With body scratched I would cry



An angry- guerrilla jumping out of my own eyes

Part of the changing time

But every time my effort of promulgation would turn into a fiasco

My eyes my mind my ears my skin my entire body would scream

My dreams burnt death stood above life no one was to mourn

Leaving behind my caravan of hopes again and again all alone



Unfortunately ‘they’ lulled in sleep left starved people pale and worried

In spite of ‘horrid warnings gaped wide’.

And then not suddenly but slowly the world changed

‘‘They’ come with tags of Ernesto che and Mao on their hearts

Rifles on their shoulders declaring guerilla war

From tooth to nail in arms men and women

Targeting Raids and Rescue Missions Police and Peoples Enemies

A new killer ‘daring –do’ instinct replaced hunger deprivation and misery

Still everyone who had taken arm was not a communist



But killing the innocent brothers and sisters in train and buses

Exploding Rail-lines and bridges burning of farmer’s corn fields

Merciless killing robbery and rapes

Was an attempt of coward people not an act of bravery?

Not in culture of the age old free republic



And still unfortunate is the new line of reaction

Plans of so called responsible order

Combing operations thunderbolt search and cordon

The new language of new Millennium

Being spoken and understood in the porous red sand of ‘Iravati’ today



Unfortunate is the forgotten world of seven ascetic ladies

The swings of snakes ‘Lingdev’ becoming

Grandiloquent thought and fantasy

You can trace still Maria and Muria’s in Republic Day Parade in New Delhi

With Bison heads and colored pheasants feathers

Beating independence by their singing foot-steps and hollow hearts

But not in their homes





As now the people are in their peremptory exile with their own demy-god

P…a…h…a…n…k…o…l…a…d…e…v..!

This is only one part of the whole derelict India that is Bharat

Their ‘Incredible –India’ product of five-star op-pop silken beds

Eating drinking and believing in marry-go- round couture

Is no match to what they address cattle class.

They are the fortunate children meeting only in climax

In the so called ‘Gramvasini Bharat Mata’ show



With their unfortunate poor brothers or sisters

Or in their blogs or tweeter

Anyway one has to decide on which side of fence you stand

State or people

Have or have-nots

Exploiter or Exploited

Privileged or un-privileged

Militia or Peace Processors

The game is strange



Sometimes terror tops the ‘Agenda’ sometimes ‘Peace’

Then there are derailing strategies involving both sides and people

Tall claims made that ‘’trust deficit’’ would resolve ‘’outstanding issues’’

And like that talks… talks and talks work… work and no work

Become a process of conciliations not conclusions

From time immortal these round table tricks help in reaching no solution

Only nausea tic notions futile fracas boring boomerangs

Only sugar coated or foul- mouthed words register as chartered language

And then definitely we feel ourselves free forced to fuck the constitution judiciary

Parliament Executive Press and are declared in one word…Terrorists



My dear friend world is not that simple and good as it looks in globe

Or so beautiful from space

Things and situations are really formidable

The water is gone very deep and disappeared

The sky is wounded

The air polluted

The sun the source of all energy is sick like an old man

And we too busy in conferencing theorizing and other ‘Herculean’ tasks





Unfortunately we are not living on land but on map

Unfortunately what we call ‘it’ as constitution is but a simple scrap-book

Unfortunately what we oath as preamble is nothing but a cry of a corpse

Unfortunately what we speak or hear as our fundamental right is a cacophony

Unfortunately what we eat drink smell touch is an attempt of suicide or honor killing

Unfortunately we say we live but we exist only





We know our prayers and poems all cornered

No bliss no safety no assurance no faith no appeal no commitment no wonder

The gods’ one to all left the place or gone far away defeated or forgotten

The Rudra without herds the Lokpal without kings and knights

The Skand and Visakh without Commanders and chiefs

The Vishnu the Vasu the Indra without gods and goddesses

The Ganpati the Vishwakararma without leaders and architects of the Universe

And the deities representing all were slaughtered and raped by the swords of fanatics



You know it I know it we all know it that

Our hills have been sleeping like ‘Kumbhakarna’

Our forests encroached and looted by men and not by Demons

Our lands becoming future burial grounds of humanity

The fire extinguished

The earth becoming odorless

The water the hapless victim of exploitation

The sun inglorious the air scuffling light gods screwed-up looked real ogre

Crusading wars against ‘their’ people

And in this chaos

No place to live or to die peacefully



Oh my mother my son my daughter my wife my comrade

Why you all were not aware of all this

Still singing songs in admiration



Perhaps you still wait for the judgment day

Still believing in the stories of the fish-incarnation

Still assured that the lord Shiva would appear again to kill Andhak

To bring peace on earth

The Ganges would free sons of Sagar from the curse

The Bhagirath would come forward to take the lead

And life would revive and retreat



So like all human creatures you believe in truth

And say the truth is beyond and beyond

And cannot be achieved in one stroke

It is beyond the limbs of body and mind

Are you not innocently anarchists…?

Adoring eternal Vedas Bible or Koran

Proudly singing ‘JAN GAN MAN



After all

For whom?

WHO RUIN YOU !!

Sorry…. my dear sorry…!!!











The End



ABOUT THE POET



Ashok Aaterya



Ashok Aatreya was born on 26th December1944, in Bikaner, in a renowned family of south Indian Andhra-Pundits. Even as a college student, he showed exemplary orientation towards literature and fine arts. As a graduation-student, he started contributing short stories and articles on art and aesthetics in almost all renowned Hindi magazines and newspapers during the sixties and 70s. Soon he established himself as an off-beat short story writer in the literary circles of contemporary Hindi literature.

Mr. Aatreya, because of his familial artistic and literary background, was naturally exposed to contemporary modern trends in Art. He not only wrote sensible criticism on the art activities of Rajasthan for years together and brought into limelight, certain significant trends and potential artists, but also developed his distinct identity as a modern artist cum-art-critic.

As a keen and research oriented cultural Anthropologist, he wrote a column called “ Kesar-Kyari” for more than 15 years on the art, architecture and the culture of Jaipur. Similarly he contributed another historical-cultural column in Daily “Rashtradoot” under the title “Shahar-Sawaya”. Both these series contain more than 2000 exclusive articles on History, Art, Architecture, places and life and people. He has also published his Art- criticism / exhibition-reviews and articles on Indian Art and articles in English in “Times of India” and “Hindustan Times Live”.



He has written a novel- “All the beautiful daughters of Mara” and a long story- “Seven Summer Nights” which are published in the e-literature in “Book-Rix, USA. Both the works are being published shortly by Divine Publications, Ahemdabad



In 1966, 1968, 1974 and 1996, he organized in Bikaner, Jaipur and Delhi his solo/ group shows of paintings done mostly in mixed media. His last show of mixed media paintings was held at a famous art gallery in Sri fort area, at New Delhi, inaugurated by well known modern artist Ms. Arpna Kaur.



Mr. Aatreya has been an active art-organizer too. With the inspiration of his internationally acclaimed artist friend, Mr. Daniel Fillod of Carol (France), he performed a miraculous feat by getting painted a 100 feet long and 12 feet wide canvas at Jaipur in 1994. This large size canvas was painted by 14 eminent Jaipur painters including Mr. Fillod and Mr. Aatreya, and unveiled by the British High Commissioner to India at Jawahar Kala Kendra, Jaipur.



He also has a long experience of working with internationally acclaimed NGOs and social-work institutions like Sewa Mandir, Udaipur, Social work and Research Center Tiloniya, and Ce-Coi DeCon, Jaipur etc.



Mr. Ashok Aatreya has also has shown his creative talent as a film Director and producer of certain art-films, focused on the life and works of renowned modern painters and poets.



Apart from making tally films on Social work institutions, Surat’s Diamond cutting industry, A film on the City of Ajmer for Television, Gujrat Cyclone tragedy followed by rehabilitation -work, he has made a full length documentary film on the most secret Shakti Puja Paddhati of present Shankaracharya of Dwarika (Gujrat).



Lately in 2007-2008, he wrote a series of 13 episodes for Doordarshan (Indian Television) tiled as “Bhartayan”- which consisted of the glimpses of History of glorious Indian Freedom Movement. This series, telecast on National network of Doordarshan has fetched him wide applaud from innumerable Indian TV viewers.



As a modern play writer he wrote, directed and produced his own installation play- “Bhookha Bhookam.....sponsered by WZCC and CZCC, at Lok Kala Mandal and Darpan Sabhagar, Udaipur.



Mr. Ashok Aatreya has had a long innings of working as creative journalist. He was associated with numerous national level newspapers and News agencies in various capabilities as the Chief sub- Editor of “Hindustan Samachar”, Editor of weekly “Akshar Bharat”, Editor of Daily Haryana Patrika, Special Correspondent and Feature Editor- Dainik Bhaskar, and regular cultural-columnist of Daily Navjyoti.



Shri Ashok Aatreya was picked up by a few international publication-houses and broadcasting agencies like “Life- Time Books”, as marketing Officer and “Voice of America” as South Asia stringer-reporter respectively.



Mr. Aatreya has published some collections of modern Hindi short stories, Mere Pita Ki Vijay, monograph Time Fiver (Sahitya Academy Rajasthan), Udaharan ke liye, Vivek Publication, Jaiur Dharti Ka Swarg, Alankar Prakashan Jaipur and a book on Tantrik Tradition of Lalita Archana, a long poem on the social and cultural tribal life of ‘Aboojhmaad’ (Prena Prakashan Jaipur and many books on adult literacy for which he was awarded by ministry of human resource development, New Delhi. Some of his novels written for children, have been awarded by Ministry of Human Resource Development, GoI.



His Permanent postal address is: D 38-39, Dev Nagar, Tonk Road, Jaipur Rajasthan India -302018 Telephone Nos. are 0141-2707555.

He’s reachable on his mobile number- +91-9828402226.





A poem of Protest





Ashok Aatreya’s “Innocent Anarchist”, is a poem of ‘protest from all fronts, revivifying the vedic motifs, detracting Pauranic Akhyans, questioning the judgment of the Dharmashtras and finally the long prevailing chaturyoga’s domination of the imperialistic rule of exploitation of the large section of people and suppression of the uprising mass protest.

Very much belonging to the traditional super-fluent sect of Tantra family Ashok remained a protester since birth. He has moved from one city to another like a nomad never settling anywhere throughout his career and did not cherish any tradition family value & virtue.

“From the day the golden egg came into existence to this day I have seen the wheel moving singing a song Charaiveti-Charaiveti..../for the edification of the masses in that relentless ethical war in meaningless struggle/as the duty bound postman delivers letters/as wounded soldier embraces the motherland when falls/… ‘‘Sorry- I was not a crusader...”.

Ashok is a maverick traveler hoping of a feel good factor but the situation is tragic-‘‘From the point of no return/this is the only spirited moment of a maverick traveler/When the entire crowd is busy with politicians and scrubbers of Democracy/when the scriptures and constitution are used as toilet papers/…..the feel good factor becomes a pittance of a poor man.’’….A proxy of the people/ even a traitorous activity/The vanguard losing faith of people/

The poet in Ashok’s long poems intimately feels this transformation in real sense as he writes-‘‘The brass colored beauty nothing to cover on bare bosoms / But a single flower of Mahua pinned/…They come with tags of Ernesto Che and Mao on their hearts”….and so on so forth, ultimately facing the stalk reality when he concludes his poem-‘‘Oh my mother, my son my daughter my wife my comrade/ Why you all were not aware of all this/Still singing songs in admiration/Perhaps you still waiting for the judgment day/Still believing in the stories of fish incarnation/Still assured that lord Shiva would appear again to kill Andhak to bring peace on earth/The Ganges would free sons of Sagar from the curse/’’.

Monday, October 12, 2009

ARTISTS MAY PLEASE READ THIS:




Dear Artist,
I am planning to bring out a special number of our bilingual quarterly art-journal 'Kala-Prayojan' http://kala-prayojan.blogspot.com/
featuring all known, less-known, unknown,upcoming,budding,aspirant Indian/International Artists (Painters/sculptors) (with their old as well as recent paintings). For this purpose, I am sending you the following questionnaire for consideration and response. Should I hope that you would be kind enough to go through it thoroughly. By replying suitably at your earliest convenience and thus helping our research team to publish significant material about you and your paintings, we sincerely hope to spread the message of global friendship through Art.
Regards,
Hemant Shesh
QUESTIONS FOR ARTISTS
1. Where did your schooling in Art take place? or you have picked up painting on your own. How did you incline towards fine arts?
2. As a student of Art, who were your contemporaries, who later became renowned artists?
3. Who were your teachers during your studies ? Did anyone/some ones did inspire your work at the initial stage as a student artist.
4. What were the major difficulties that you faced during becoming an artist and later while establishing yourself as a visual artist-in your country and then abroad.
5. Can you classify certain important significant landmarks in your long art-journey?
6. Who are the major artists, who have inspired you or your work and why?
7. Your paintings are a blend of inspirations gathered from various sources. Which culture has a greater impact on your art and why?
8. Do you wish to be underlined as a creative artist using 'multi-media' for your various forms of expression. What has to be your central concern when you take up multi-media experimention for your works? What is the significance of being experimental while working multi-media?
10. In many series of paintings some artists have blended the images of the East to those of the West, What should have been the thereof and how it bridges the occidental and oriental sensibilities??
11. Are you aware of the contemporary Art in India? What major difference do you feel between the Indian art scene today as compared to the contemporary art world of West?
12. Taking a global view of modern world-art, how do you rate major Indian artists and their art? Who are the Indian artists whose works you are familiar with?
13. Public-Art as an urbanization trend is picking up gradually in developing countries like India. What should be its aesthetic direction and dimensions? How the modern art can works literate common men's vision towards life and art?
14. What is your assessment about the recent boost in art-market of the world? Has this trend negatively influenced artists or the orientation of contemporary art. Are they becoming more and more 'commercial' insted of being professional?
15. How persons other than art-field have inspired your work and who are the chief personalities of philosophical, intellectual, literary and allied fields who have contributed to the shaping of your creative orientation?
16. What in your opinion is the creative correlation between tradition and modernity? Have some of your works given an evidence of such a co-existence?
17. What is the meaning of being an Indian near you, when for the past so many decades you are staying permanently outside India? Do you sometimes miss India and for what reasons? (This Question is addressed to Non Residential Indian Artists living abroad)
18. What is the latest that you are working on and when is your next solo/group show(s) scheduled and where?
19. Have you to say anything special on governmental patronage of fine arts, especially with reference to art institutions established for protection, Promotion and development of art and artists?
20. Have you to say anything or to show anything significant to your senior/ contemporary/budding / upcoming generation of new artists? please append choisest of your 8 recent works for consideration of publication.

Wednesday, March 18, 2009

रिजवान ज़हीर उस्मान

आगामी कुछ दिनों में अशोक आत्रेय के एक नए नाटक का लोक कला मंडल उदयपुर में मंचन करने जा रहे हैं । उसी नाटक की स्क्रिप्ट का इंतज़ार है जो इन पन्नों पर उपलब्ध हो जाए संभवतः जल्दी ही

Wednesday, March 11, 2009

SWARATI

EK INSTALATION KAVITA YA NATAK
BY ASHOK AATREYA


यह नाटक उदयपुर में रचनाशील नाट्य निर्देशक रिजवान ज़हीर उस्मान द्वारा शीघ्र ही मंचित हो रहा है


GUSTAKHEE MAAPH MERE DOSTO...
APANI EK JID KO AAPAKE SAMANE RAKHANA CHAHATA HOON . MEIN BINA KAAGAJ KALAM KE NAATAK LIKHANA CHAHATA HOON ...BINA MANCH AUR DARSAKON KE NAATAK KHELANA..MEREI KHAYAL SE YAH SAMBHAV HEI. KALPANAON MEIN KEVAL KHAYALI PULAV RACHAKAR YAH SAMBHAV HO SAKATA HEI..YA EK SIRE SE UPASTHIT DARSAKON KO BHI ANUPASTHIT SAMAJHAKAR SWARATI SE EISE KISEE BHI NAATAK KA AANAND UTHAYA JA SAKATA HEI...PHIR AUR BHI AAGE CHALKAR AGAR ABHINETAON KO BHI NATAK SE HATA DIYA JAYE TO SONEI MEIN SUHAAGA...!
EK PAR EK RAKHKAR AGAR DUNIYABHAR KE EKDIN KE AKHABARON MEIN CHHAPEE KEVAL BALATKAR HATYAON GHOTALE AATANK DANGON KI KHABARON KEE SEEDHIYAN BANAYEE JAYEN TO
PAHUNCH SAKATA HOON CHAND PAR
MAGAR DARSAKON KE PASS NAHEEN
ISEELIYE KISI KAVI NEIN THEEK HEE KAHA HEI- BAHUT KATHIN HEI DAGAR PANGHAT KI...SOCHIYE AAP BHI AAKHIR VAH KAUNSEE APARIBHASHIT PYAS HEI JO HAMEIN PANAGHAT TAK JANEI ME BHI ADACHNEIN PEIDA KARATI HEI ? AAP BHI SOCHIYE..
KAHNEI KO TO MEIN GAYARTI MANTRA SE BHI PAHUNCH SAKATA HOON SOORAJ KE PAAR KALPANAON MEIN BHRIGU KE KHSETRA MEIN PAR NAHEEN PAHUNCH PATA
ANDHEI LANGADE LOOLE SABDON KE SAHARE SUDHI DARSAKON KE PASS
CHARON AUR HAHAKAAR
CHARON AUR AAG
CHARON AUR HINJADE
CHARON AUR DEVATA
DARSAK NAHEEN NAATAK KE DARASK NAHEEN
KEVAL DEEVARON SE
LAUTKAR AATI AAVAJEIN
NAATAK MEIN UB MANTRA KAHAAN
NAATAK MEIN UB TANTRA KAHAAN
NAATAK MEIN HEI SHOR SHOR AUR SHOR
CHIDCHIDATE ASANTOSH KI AAG
MANCH NAHEEN NAATAK NAHEEN
MANCH PADE HEIN UB DARSAK VIHEEN UNAKI JAGAH HEIN VAHAAN MEINDHAK AUR CHHIPAKALIYAN AUR JO HEIN AGAR DURGHATANA SE DARSAK BHI TO
UNAKE DIMAG MEIN BHARE HEIN AALOO KE BORE TAMATAR AUR PHAIKANE KE AANDE
UNKE PEECHHE CHHIPE HEIN PAALATOO SADAYANTRI SANVADDAATA SADE HUVE SAMPADAK CHEIN CHEIN CHEIN KARATE CHAMGEEDAD ASANYAM KE DUROOH GARH KILE AUR BADBOODAR BAVADIYAN
VISH BUJHEI SABDON KE TEERANDAJ
NAATAK KE JANAAJE
EISE MEIN KAHAAN KAREIN KEISE AUR KYA KAREIN NATAK KISAKE LIYE AAJ BHI.
KYA GANGA SUINDHU SARASWATI CHA YAMUNA GODAVARI NARVADA KAVERI SARYOO MAHENDRA TANAYA CHRMVATI VEDIKA KHSIPRA VETRAVATI MAHASUR NADI KHYATA CHAYA GANDAKI POORNA-POORN JALAHI SAMUDRA SAHITA KURVANTI NO MANGALAM....IN AAJ KI
PRADOOSIT NADIYON KA NAMAUCHHAR KARATI BHOLI BHALI STRIYON KE LIYE
YA PHIR BRAHMA VISHNU MAHESH KE SAMMAN MEIN JINHEI BANA DIYA SHISHU US EK STREE NEI JISE NAGNA DEKHANE KEE VASANA UNHEIN DHARTI PAR LE AAYEE.KYA HUVA UNAKI PATNION KE SAATH ? KITANA NEECHA DEKHANA PADA HOGA UNHEI APANEI PATION KE NINDANIYA AACHARAN KE KARAN AUR KITANI GAURVANVIT HUEE HONGI VE RISI PATNI KE CHAMATKARI VYAKTITVA SE.
US PRAJAPATI BRAHMHA KO NAATAK KE PHIR PHIR UCHAASAN PAR PRATISTHIT KAREIN JISANEIN KIYA DURACHAAR
MRIG-MRIGI KA MAYAVEE KHEL RACHAKAR
YA BANAEN UNHEIN APANA AADARSA JISANE MOHANI ROOP DHARKAR CHHEEN LIYA CHHAL SE ASURON KE HAATHOUN SE AMRIT PATRA
US DRONACHARYA KO SAR MATHEI BAITHAEN JISANEI MAANG LIYA GURUDAKHSHINA MEIN APANEI SHISYA KA ANGOOTHA
VE GUHYA AANDHERON MEIN RACHATE JARAHE THEI LAGATEAAR
APANA BEHOODA NRASANSHA SANSAAR ATYAACHARON MEIN LIKHI JARAHI THI EK BILKUL NAEE BHYAVAH BHASA SANNATEDAAR GOPANEEYA SANSAR..
GHAR GHAR SADAK SADAK MAHAL KUON BAVADION AUR SAROVARON KE AASPAAS VE PHIL RAHE THEI APANA BHOG BHOGANE..
BHHOKHA PYAS KI AJEEB ATRIPTA ICHHAYEIN LIYE LOOTPAT KE IRADAON KE SAATH VE AAYE THEI HAMARI BASTION MEIN PASULOK MEIN MRITYU LOK MEIN APANA KHATARNAK KHEL KHELANEIN...
LAGAATAR CHHAL RAHE THEI VE HAMEIN
KHASOTNEIN MEIN LAGEI THEI HAMAREI SEDHE SAADHEI SWAPNADARSEE VISWAS...
GHARON KE CHOOLHEI CHAUKE TAK PASAR RAHA THA UNKA AATANK
CHHTI-BADI SABHI BASTIN KHET- KHALIHANAUON MEIN BICHHTE JARAHE THEI VE BARROODI SURANG MRIG-MARICHIKA KA SUNAHARA JAAL
VE GUJAR RAHE THEI UB SAREER RANDHRON SE FOOT RAHI THI UNAKE BEDAUL BADRANG SAREERON SE MAYEE AANDHERON KE LOK PARLOK IHLOK...
UNHAUNEIN CHHALA THA TAPASWIYON KO BHI CHHENA JHAPATI KI THI UNKI MARYADON SE BHI
CHOOR CHOOR KI THI UNKI NISTHAEN BAAJ NAHEEN AAYE THEI VE APANEE JAALSAJI KARTOOTON SE..
UNKI PAVITRA AATMAON KO JANE KITANI KITANI BAAR KUCHAL DAALA THA NIRMAM HOKAR JHOOTI VIJAYEE MUDRAON AUR DAMBHAPOORNA ATTAHASON KE SAATH
TAMAM GRIH VADHUON KO BANADENE KE JAHAREELE SANKALPON SE NAGARVADHU
GHAR KE KHIDAKI DARVAJON KO TABOOT AUR ARTHYAN KYONKI SHAYAD PAL BHAR KE LIYE JHAPAKI THI EESWAR NEI APANI AANKH...
P--A--R--T-----T---W---O---
VE MADYAP SATTA MEIN MADAANDHA
VE KOODRAHE THEI EK KE BAAD EK
VASANAON KI HAHAKAAR KE SATH
APANI ASEEMIT GAHAREE JADON AUR JIDDI VYABHICHAR TANTRA KE SAATH..
SAMMOHAN KA GULABI AANDHERA PHAIL RAHA THAA DOOR DOOR TAK HAR KAHEEN
JAHAN TAHAN HAR KAHEEN LAGE THEI UNAKE DERE TAMBOO
SUEE KI NOUK SE BHI BAHUT SOOKHSAM YUDHA STHAL PAR HO RAHA THA GHAMASAN.
KALI SENA NEELI SENA..HARI SENA BAINGANI SENA AUR BHI JANE KITANE KITANE RANGAUON AUR PARA RANGON KEDHIKANAUON PAR MACHA THA GHAMASAN.
KUKURMUTTON KI TARAH UJADATE JA RAHE THEI GHAR NAGAR AUAR SABHYATAEN
KAHEEN BOLATI BAND THE KAHEENMACHI THEE MARKAAT ANTHEEN CHHEKHA CHILLAHAT
KAHEEN THAHAR GAYA THA SAMPOORNA JAGAT KAHEN RUDRAGATI SE HO RAHI THI BHAGAMBHAG.DISAHEEN
MAARKAAT MEIN MAHASOONYA BHI LAGATA THA VICHLI KALCHAKRA BEDAUL ANIYAMIT.KHOON KHARABE KIBEHISAB FEHRIST ABAS HAUTHON KI KHSANIK SPANDIT MUDRA BAN JATI THI
AANKHO KI VISFARIT VIKRITI HI BATATI THI KUCHHA GHATIT HONEI KI BAA.
AANTARIKHSA KE CANVAS PAR BRAHMAND KI BHOOL BHULEIYA MEIN SAGAR PARVATON KI OONCHAEEYON AUR GAHARAEEYON MEINAAKAR AUR NIRAKAAAR KI KEVAL HOTI THE PULISIYA REPORT DARJA. MAHAKAAL KE KROOR GAS KE AAGE SABHI KUCHHA NAT- MASTAK
JANE KITANI KESAR-KYARIAN KUCHALI THI
AHANKAR KI AANDHI SE KITANI MARYADAEN LAANGHI THI...
UNKI MRIGCHHALAON MEIN BHI CHHIPE THEIASANKHYA JAHAREELE NAAG
KAR DIYA THA ASTAMI KA CHANDRA AMRIT KALASH AUNDHA
NAGAR KE PARKOTE BANE SOOYAMUKHION SE CHEN LEE THI UNAKI POORVI DISHA
UJAALON SE UNAKI JUGUNUON SEE TUKUR-TUKUR..BHANVARON SE UNKE ADRISHYA
PANCH-SAR
DHEERE AUR TEJ
TEJ AUR DHEERE
LAGHU AUR DEERGH
KAEE AAKAR KAEE PRAKAAR
KAEE GANDHA KAEE RANG
KAEE KAEE YOJAN KAEE KAEE PRAKASH VARSON SE AARAHI THI
UNKI KHSUDRA LAPALAPAATI ICHHAON KI SENAEN
APARDARSEE SKHALIT AMARYADIT AANDHI MEIN MEIN
KHEENCHANE AAYE THEI VE SAB KO DEEN HEEN BANAKAR
SARI PAKI- ADHAPAKI SABHYATON KA URK...
AUR JO BANE THEI UNAKE SAARATH UNKA MAADHYAM UNKA AADHAR JINHAUNEIN BICHHAEE THI PALAKEIN UNKE TEERANDAR ICHHAON KE NEECHE
APANI KAAYARTA YA CHALAKI KE KARAN
VE BHI BOORI TARAH SE KARAH RAHE THEI
UNKE JAAL MEIN...
SILSILA BAHUT THA SAAPH
THA BADA HI ADBHUT
JAL MEIN JAAL MEIN JAAL
PHAIL CHUKA THA UNKA JANJAAL SARVATRA
JAISE BADAL GAYA HO EK HI KHSAN MEIN SARA SAMUDRA KHOONI BAADALON KI SHAKLA MEIN SOOKHA KAR KAANTA HO GAEE THI JIJEEVISHA
JAISE AAKASEEYA NAKHSATRA DHARTEE KE KUKURMUTTE
JAISE AAKASH GANGA DEEKAKON KA ANANT DALDAL
JAISE SOORAJ BABA STRAITURE PER LETA KOEE RUGNA VRIDHA DRISTIHEEM
JAISE SWARGA KI APSAREN-DEV-KANYAEN BOODHI KHOOSAT VAISYAEN
KYONKI PAL BHAR KE LIYE JHAPAKI THI SHAYAD EESWAR NEIN APANI AANKH
P--A--R--T----T--H--R--E--E
ATRIPTA BHOG KI SEEMAEN TOD RAHEE THI
VAHAAN SARE DAR-DARWAJE DEVAREN
NANGE HORAHE THEI VRIKHSA AUR PURUSH AUR UNAKI STRIAN
PEELI HAVA GUMSUM AUR LAVARISH DIK-KAAL
ROSHANI KATAGHARON MEIN KAID
SAAMP SOONGHA RAHA THA SABHYATAON KO
VAHAAN KEVAL VE HI THEI KEVAL VE AUR UNKI PAASVIK AJAR AMAR ICHHAEN PHILTI JARAHI THI VISH BALE KEE TARAH
ATRIPTA ICHHAON KE BHEETAR BAAHAR VISAL AUR VISHAL HOTE YONI-DWAR
SISNA KE ANANT AAKAAR SARREE DHARTI AUR AAKASH KO EK TAABEEJ BANAAKAR LE AAYE THEI VE AANVALE KI SHAKLA MEIN
UNKE NAGNA SAREEON MEIN SHOBHIT THA VAHEE AANVALA
PAARDARSEE AANVALA KAEE SAMUDRON KAEE JANGALON VIAT MAHALON KILON AUR BAVADION KI RAKHA SE BANA MAYAVEE TAABEE
SAB KUCHHA STABDHA THA AANVALAKAAR CHAUKANNEPAN KE AAGEI..DARADARA
DOOR DOOR TAK KAHEEN NAHEEN THI VIRODH KI GUNJAYAS
DEVATAON KO BHI YAHAAN JEENA THA PASUVIKATA KE AANDHERON MEIN
UNKE SIDDHA KHEL KE AAGE SAB KUCHHA THA KANTIHEEN
DHOKHA DOKHA AUR DOKHA KHOON KHOON AUR KHOON BALATKAAR BALAATKAAR CHEETKARON PPER CHEETKAR
PHAILA PADA THA DUSWAPNON KE BHEETAR UNTHEEN DUSWAPNON KA SILSILA
GHUPPA AANDHERE KE CHAKOO KAR RAHE THEI CHHERHARAN OOSHAON KA
MANDARA RAHEE THI HAR JAGAH VAASANA VAASANA AUR VASANAON KI NIRVASANAEN
MAANAV AASTHAEN PADEE THEE MOOK PAAP LEHRA RAHA THA LAGAATAR KARVATEIN ANTHEEN VISTAR
P--A--R--T---F--O--U--R--
PHIR BHI JANEI KIS VIDHI KE VIDHAN KE KARAN BANA HUVA THA YAH SARA TRASAD SANGHARSH TAB BHI ANIRNEET.
KAHEEN KOEE CHHIPEE HUVEE THEE EK JANI-PAHACHANI VILAKHSAN PEEDA GHOR UNEENDE KAALCHAKRA KE BHEETAR KAVEE GAHVAR NEECHE ANANT ATAL GAHARAEE MEIN YAKI OONCHE BAHUT OONCHE ASEEM SE BHI PARE KISI AGYAT SHAKTI KI HAJAAR HAJAAR BIJALION KI KAUNDHEA KO BHI KARDETI NISPANDA KISI JHEENGUR KE SWAR MEIN
SRIJAN AUR VISARJAN KI EISEE ANGADAEE KOTI- KOTI ANDHAKASURON KE AHAM KO DHWASTA KARTI JAISE KOEE KILKARI KISEE SHISHU KI
EK CHHOTITITALI TABHI PASARDETI PANKHA KALE GHANE GHAN-GARJAN KE BEECH CHUPCHAAP EK RESHAM KA KEEDA JANE KAHAN SE KOOD PADADATA APANE PARAKRAMI ANDAJ MEIN PHISALTA BUNATA JATA APANI HI MREITYU KISI ABHISAAP MEI KINTU DE JATA DROPADI KE CHEEHARAN KE VIRUDDHA EK DASTAK..DUSHSANON KEE KAMAMNDHTAON KO CHUNAUTI DETA SARI DHARA KI STRIYON KI LAAJ BACHANE KE LIYE KAHEEN BHI NIKAL PADATA APANI DHUN MEIN..ASLEEL ANAVRRATTA KO KARATA AAVRITTA...EK SATARANGI MACHHALI CHAL DETI LIYE SRISTEE KE BEEJ..UTTAL TARANGON KE BEECH..RAKTA KI EK BOOND BHI BAN JAATI AMRIT KA KALASH...ESAI JAISE EK DHAVAL UTSAH..EK JHANKAAR BEEN KI..EK MAA..EK AKHSAR RANG GANDHA DWANI ROOP DHARMA KAVITA EK SARSWAT
SPARSA EK PANCHHEE AAKAS MEI PHAILATA PANKHAEK AATMALEEN AALAP...
EK MANTRA .EK CHHANDA..EK GAHAN VISWAS AALOKMAYA...EK PEEYUS PAAN
EK SPHATIK MUSKAN
EK BHAGIRATH PRAYAAS PHIR PHIR
P--A--R--T---F--I--V----E
NAHEEN NAHEEN ABHI SAMAPTA NAHEEN
DARSAKON MEIN ABHI UTSUKATA.. GUSSA HEI
OOB HEI
DARSAK UTTEJAK HEI
DARSAK PARESHAN HEIN
PREMIKAEN MASIK KI PRATEEKHSA
DESH KAR RAHA HEI ADHADESH KI PRATTEKHSA
PAR ABHI ITANA KARANEI SE BHI KUCHHA NAHEEN HOGA
ADHAMARI AAJADI KI LASH PAR KHADE KHADE THAKE THAKE GIR JAEGA JHANDA
GAENGE LOG MARSIA JAN GAN MAN KI JAGAH
TAB BHI KUCHHA NAHEN HOGA IS SOU KAROD KE DESH MEIN
LOG KHELTE RAHENGE KHATARNAK KHEIL
HANSATE HUVE
ROTEI HUVE
VEEBHATSATA KHUSEE GAM AAVARGI MEI
SUBAKATE HUVE
DAM GHUTATE HUVE
RANGMANCH KE BAAHAR NAATAK KE KAHEEN BHI HONE KA
AUR KYA SABOOT CHAHIYE HAMEIN ?
TO PYARE DARSAKON HUVA AAJ YAH KHEL POORA JO NAHEEN KHELA JAYEGA AAJ KE BAAD KISEE BHI RANGMANCH MEIN
P--A--R--T--
S----I---X
NAHEEN UB HAMARE PASS NAATAK KA BY-PASS CINEMA AUR T.V KEE SABUN BECHANE VALI KAMPANIYON KE LIYE NAHEEN.SOCHO SOCHO AUR SOCHO JAHAAN JAHAAN UG JAYEIN PRASHNA USEE JAGAH MILJAYEGI NAATAK KI JAGAH KITAB KOPIYON ISTAHARON KE PHATE HUVE AKHSARON KE NEECHE AKHSAR MIL JATA HEI ADHOORE NAATAK KA KOEE PRASANG .NADEE AUR NALON KE SANYOG SE HI BAN JATI HEI SURSARI..POOCHHA SAKO TO POOCHHO KYON REHATI HEI SHAREER KE NAV DWARON KE SABASE NICHALE DARVJE PAR EK DEVI EK ADAD STREE JO REHATI HEI SADA AATUR APANE PRIYA- MILAN KE LIYE. JAMAL GHOTA LEKAR SANDAS MEIN JANE SE PAHLE POOCHHO SE SAWA KISI DARSAK SE KAUN BANEGA KARODPATI MEIN AUR KARDO USKI MUTHHI GARAM EK KAROD RUPAYE SE MADHUSAALA FAME KAVI PUTRA AMITABHA BACHHAN
KITANI ACHHI AUR BHAVYA KRIYA HEI GANESH KRIYA..BRAHMA RANDHRA KE BILKUL DIOGONICALLY OPPOSITE CHHIDRA MEIN DHEERE DHEERE ANGULI GHAMAIYE AUR YOG SE SANYOG BHOG SAMBHOG KA PRAYOG KEEJIYE PRARAMBHA ...NAATAK KE RANGMANCH KA HISSA BANAKAR USE AMR HOJAO..PAR SOCHO PHI EK BAAR KAHAAN MILENGE DARSAK KAHAAN MILEGA MANCH KEISE HOGA NAATAK. JAMAL GHOTE MIL JAYEGA TUKADE TUKADE HOTA DESH KA SANVIDHAN BHI PAR EISA DURLABH NAATAK NAHEEN MILEGA SHATABDION TA DEKHANE KO ..KAUN KAREGA VAH NAATAK
NAA MARD KO DARD HEI NAA MARD BACHHE MEIN HEI ITANI HIMMAT KHUDA BHI NAHEEN KAREGA EISE NAATAKON MEIN KOEE MADAD ULTA VAH OONCHI DEEVAR PAR CHADHAKAR YA USKE SAMANE KURSEE LEKKAR BEITHA JAYEGA..CHUKIDAAR THEKEDAR BANKAR..APANA HI DHARMA APANI HI DUNIYA APANE HI USOOL APANI HI THEKEDAARI ..UB KAHAAN SE LAYEN
NAUKAR CHAKAR IS UDAR BAAJAR VYAVASTHA KE UJADANE KE BAAD ?
GHARON KE BAHAR KHULANE VALI KHIDKIYON MEIN STRIYAN
KHIDAKI PAR LATAK JATI THEE
VE UDAS HOJATI THEE UDBHRANT AUR THAKI THAKI..
AALOO KE EK KAROAD BORE
EK KAROD PICHAHATTAR HAJAR BAROOD KI SANDOOKEN
EK KAROD AASMAN TAK JANE VALEE SEEDHIYAN
DAS HAJAR CHHATEIN
PAANCH CHAKOO
AUR EK CEMENT KI BOREE KAFEE THEE NAATAK KO SAMAJHANE KE LIYE
VICHARON KO AAKAR DENE KE LIYE
EK LADAKEE VARSON SE PHANSEE THEE KISEE SURANG KE UNDER
KAAJAL USAKI AANKH KA THAA AAKARSAK
LOG DEKHANA CHAHTE THEI EISEE JANGLE BHAR LADAKIYON KO GARBHAVATI
BAZAR KHULA THAA CHAATI PEETKAR HORAHI THEE NEELAMI EFFEL TOWER TAJ WHITE HOUSE MAHATMA GANDHI KICHAPPALON AUR GHADI KI
KABADI BAZAR MEI CHAL RAHITHEE YOJANA AAYOG RESERVE BANK AUR ELECTIN COMMISSION KEE BAITHAKEIN
SAB KUCHHA CHAL RAHA THAA KAMISSION MEIN
SAB KUCHHA CHUSTA DURSTA TAYASUDA KISEE JASOOSI UPANYAS KI TARAH ROCHAK ROMANCHAK KANFUSION VIVAD KI KISEE BHI GUNJAIS SE DOOR
SARE SANSAR KI GHADION MEIN BAND THEE MUKTA BAAZAR
SARE SANGEET KE SWAR CHEEKHA CHEKHA KAR AALAP RAHETHEI AANE VANEE KHUSAHAALI KUCHHA ADAA ADHYAPAK KUCHHA DALAL KUCHHA BUDHHIJEEVI PAHLVAN FOOTBAAL KE KHILADI BAN CHUKE THEI VISESAGYA UNKE SAATH DAS HAJAR CHABUK
BAJANE WALE TETEES KAROD NIRVASTRAEN CHARSO IKEES SIRPHIRE HATYARE TEEN SAU TETEES SAANSAD AUR ANGINAT TUKADKHOR SADA KARATE RAHATE THEI KADAMTAAL VE JAB CHAHE KHIKHILAKAR HANS DETE THEI KISEE BHI SANDEH KI GUNJAYAS MEIN
KYA YAH KAM THE KISEE BHI MUKTA BAZAAR VYAVASTHA KE LIYE ?
SAMARTHAN MEIN KHADE THEI BHEED MEI MULLE- MAULAVI PANDIT PANDE
DOLLAR KUTABMEENAR SE BHI OONHA THHA BAZAR KA AHAM
DARGAHON SE GAHARI AASTHAEN
KISEEBHI TASALEEMA RASDI AYAAN HIRSI ALI SE HALKEE KOEE BHI RISK
PHILAHAAL SAB LOG EK HEE ANTHEEN PRARTHANA MEIN LAGE THE JO DE USAKA BHI BHALA NA DE USAKA BHI BHALA VE BHIKHREE THEI YA TANASAH TAY KARANA THA BADA HI MUSKIL
VE AAYE
KHULAKAR KHELE
HANSAKAR BEITHEI
BEITHAKAR ROYE
ROKAR SOYE
SOKAR KIYA KASARAT KAPAAL BHTEE ANULOM VILOM
AALUON KI KHAREED
KHAEEDE HAJARON SANGRAHALAYA MURDAGHAR SAINYA THIKANE PARLIAMENTRY HOUSE CHAKALAGHAR VISWAVIDYALAYA
AUR TAANG DEE HAR JAGAH ULTEE PATLOON KARAKE APANI PRATIBADHATAEN
AATMAHATYA KARANE SE PAHALE KHADA THAA SAAND EESWAR KI MUDRA MEIN
HAATH PER HAATH DHARKAR BEITHEI THEI TETEES KAROD DEVATA
AGALE AADESH KI PRATEEKHSA MEIN
AAGALE AADESH KI PRATEEKHSA MEIN KHADI THEE SUSMITA SUNDARIYAN
BAMBAEE KE GOREGAON MEIN BIKANI PAHANE SWARGIYA MORLYN MUNERO
EK THEILE SE BEINGAN KHARED RAHI THEE MADAM MUMATAJ TAJ KE SAMANE
LOG PRATEEKHSA KARATE KARATE THAK GAYE THEI NAHEEN HORAHEE THEE DHOOMKETU KI BRAHASPATI SE TAKKAR
DESH MEIN BAJ RAHA THAA INDIRA BAJA
SUN RAHI THEE SONIYA CHUNAV GANIT THAA GADDAMADDA
CHAANDI KI TAKASAAL SE CHANDANI CHOAK TAK
GANGA SE VOLGA TAK
NAEEDILLE SE NEWYORK TAK
BAITHEE THEE G.B.ROAD KEE APSARAEN
BHADDE ISARE KAR RAHEE THEE MANMOHAN SIGH KO
JINAKI DADHEE MEIN PHANSA HUVA THAA KOEE TINAKA MUKTA BAZAR KA
MERE JEISE HAR NAAK NAKHSA RANGROOP VALE KE SAR PAR SAWAR THEI
DURAGRAHEE DUSWAPNON KE DUKHIYARE PAHAAD
YADEN YADEN YADEN HAVABAAN HARD KI BANJH BANE MARD KI
KADAVE AUR MEETHEI PHARJ KI
BHAYA YA UNMAD KI HAR VAKTA AASANKA JAGATEE
DIMAG KE DARVAJON KO BHADBHADATEE
MAN KE PALLON KO HADAKAATI
DEEVARON MEIN HADKAMP MACHATEE
EENT SE EENT BHIDATEE AAG LAGANE KA SATOONA BANATEE
DAYA MAMATA KEE SABHI GUNJAYASON KO TAAK PAR RAKHATEE
HAR NAE PARANE SOCH KEE DURGATEE BANATEE
SAAT PEEDHION TAK BARBADION KA PARCHAM LAHRATEE
SMRITIYAN UTARTI JATI KISI ANISCHAYA KE GHUPPA KANTEELE AANDHERE MEIN
PEER PEGAMBER BHISTI KHAR IS TARAH SE GAYAB HO JATE JEISE GADHEI KE SAR SE SEENG JEISE NAEE KE USTARE KE SAMANE KHOPADI KE BAAL
SILSILA EK BAR CHALOO HOJATA TO RUKANE KA NAAM NAHEEN LETA
ITANEE KATHOIRTA ITANEE NIRMAMATA
ITANIKAYARTA
ITNIHATASA
ABHISAAP
VIDAMBANA
NIYATI
KYA YAH KOEE CHHAL THAA PRARABDHA KA
KISEE VISWASGHAT KI SAJA
KAUN THAA ISKA TAMASBEEN ?
GARM GARM SHEESHE KA SATRAPTA GHOL KANON MEIN GIRATA RAHA
CHILLAYA MEIN BAAR BAAR
KISANE CHURA LIYE THEI MERE ANGINAT SAPANE ACHANAK ?
MERI NANHEE HATHELION PAR UGE CHAND SITARON KOKAUN LE GAYA UTHHAKAR MUJHEI ABODHA SAMAJHAKAR
KAUN ..KAB..KAHAAN..?
NAHEEN BATAYA KISI KARNA PISACHANI NE BHI UB TAK !
SHAYAD KISEE ADRISHYA KAAGAJ MEIN KISHEE ADRISHYA LIKHAVAT MEI KISEE ADRISHYA ASTITVA KE SAATH
NATTHI KAR DIYA THHAA ADRISHYA LOGON NEIN MERA BHOOT BHAVISYA VARTAMAAN
IS BHAVDAV MEIN AKELA PAD GAYA THAA MEIN
JANE KITANI KITANI AGNIYON NEIN JHULSAYE THEI MERE JIJEEVISHA KE PANKHA
AUR TAB BHI JANEI KEISE SOCH RAHA THA MEIN AAVARGI MEIN
ANHONION KE BAARE MEIN
NAATAK KE BARE MEIN
P--A--R--T--S--E--V--E--N--
HAMARE JEISE AAVARA MASEEHAON KA TO YAHEE HOGA NAATAK.HAM TO RANG MANCH KE CHAND AUR SOORAJ HEIN JO N KABHI UDIT HONGEI AUR NA HI KABHI AST..HAM RAHEINGE MAST APANI MASTI MEIN PHIR CHAHE AAG LAGE BASTI MEIN...
KOEE BHI POOCHHANE VALA NAHEEN ..KAHAAN JARAHE HO BHAEE NAATAK KHELANE..?ISEE TARAH BINA SOCHE SAMAJHE KIYE HUVE HI HOJAYEGA POORA NAATAK BINA DARSAKON AUR BINA MUNCH KE...CHUPCHAP NIKAL JAYEGA JANAJA NAATAK KA KISEE BHUTAHA SHAHAR MEIN HOJAYEGI SHOK-SABHA EK VISHAAL ANAAKAAR BHEED MEIN..NIRGUNIA NAATAK
SWAPNA KI TARAH
SWAPNA DOSHA KI TARAH
PANCHAR TAYAR KI TARAH GHAYAL SHAYAR KI TARAH
NARTAKI KI KHULEE PAAYAL KEE TARAH
EK ADAD PREMIKA KI TARAH
STEPNI KI TARAH
BABA RAMDEV KI BRAMHACHARYA KI PAKKI LANGOT KI TARAH
LALOO KE VOTE KEE TARAH
SONIYA KE SUPPORT KEE TARAH
LOKTANTRA KI HO JAYEGI HATYA DHEEME DHEEME JAHAR SE NAATAK KE BAAHAR AUR AANDER KABHI BHI KAHEEN BHI JEISE JANATA JANARDAN MAJABOORI MEIN NIPAT JATI HEI APANI SAUCH KRIYA SE TEJ AUR DHEEMI RAPHTAR RAIL GADION KE DARSAKON KE SAAMANE
KITANA BHAVYA HOTA HEI VAH DRISHYA NNTAK KI KISI BHI PARIBHASA SE DOOR
DOORDARSAN YA BUDHOOBAKHSE KI TARAH
SHESHNAAG UNDISTURBED ANUSHSHIT POORITARAH PARIBHSHIT HAMMAR RAMLALA KA ANUJ LAXMAN RAHEGA SANYAM MEIN ASAMBHAV HOGA SAMBHAV JAROORAT NAHEEN PADEGI HAMARE KRISHNA KANHEIYA KO TAB TWIST KARANE KI SHESHNAAG KE PHANON PAR!
BAHAJAYEGA THAUDA AUR PAVITRA PAVAN GANGA JAL GAUMUKHA SE GANGASAGAR TAK JAGRIT HOJAENGE NAATAK KE NAYE DARSAK SAGAR PUTRON KI TARAH KISI SHAP SE UNMUKTA LE LENGE INDIRAGANDHI KHULE VISWAVIDYALAYA SE DEGREE PHIR EK BAAR NAEE RAJNEITIK VISHKANYAON KE HAATHON SE YA BAAR KANYAON KEE SWANSO MEIN HOKAR MADAHOSH BACHAENGE DOOBATE VISWAVIDYALAYON KO
AANDOLAN MEIN KHADE HOJAYENGE MEDHAPATEKAR KI TARAH SAARI DUNIYA KO GADHAWAL BANANE KA DUSWAPNA DEKHATE HUVE
YAHEE HOGA ABHISAAP MUKTA DARSAKON KE LIYE NAATAK DEKHANE KA PAHALA DIN EK AGHOSIT AVAKASH KI TARAH LAYEGA KHUSIAN UNAKI RISTVACHEE JINDAGI MEIN
PAR TAB BHI SHIKAYAT DARJ KAREGI BEEBI APANE PATI KE VIRUDHA JABARAN BALAATKAR KA MAMLA BANJAYEGA SATYANASI RANGMANCH MEIN BEEBI KO GHASEETKAR LANE KA...HAJAAR HAJAAR DOOSARE DARSAKON KE BEECH.
PAR MERE BHAEE JAAN ITANI JALDI KAHAAN ?..AAP SAB DEKHA RAHE HEIN RANGMANCH JAS KA TAS VAHEEN PADA HEI DARSAK VAHEEN KHADA HEI LEKHAK VAHEEN ADA HEI..SADE PAAN KI TARAH..ADIYAL GHODE KEE TARAH...TAVE MEIN JALI ROTI KI TARAH..KYON BHEE KYON...SAVAL EK KAROD KO PHIR..JAVAB..KYONKI PHERI NAHEEN GAEE..TO HAAJIR HEI AAPAKE LIYE EK KAROD THLI MEIN BEINGAN KE BHURTE KI TARAH..PREMIKA KE KURTE KI TARAH..KURTE KE BATAN KI TARAH...BATAN KO KHOLANE KI TARAH...KHELANE SE DIKHANE VALE DO GOLARDHON KI TARAH...SEV KE BAGEECHON KI TARAH..PAHALVANON KE DAND PELANE AUR BRAMHACHARYA KI RAKHSA KI ICHHA KI TARAK..NAATYAVATAR NAARAD KI TARAH..HANUMAN KI SANJEEVANI KI TARAH...SANDAS DHONE VALI MEHTRANI KI TARAH...CHOOHEDAANI KI TARAH..ARS SE PHARSA PAR GIRE JHDPHANOOS KI TARAH...NAATA NAATAK NATAK KA PHAILATA MAYAAJAL...
SABOOT MEIN HAJIR POORA KA PORA EK PAGALKHANA
EK NARAK
EK ASEEM MURDAGHAR
EK DHOODHOOKAR JALATA ASPATAAL
EK CHAKALAGHAR HAMARE RAHE SANSKRITIK VAIBHAV KI SHOW-WINDOW
EK HAJJAM YA RASAN KI DOOKAN
EK GHAR YA BIJALI KA KHAMBHA
YA PHIR KUCHHA BHI NAHEEN
KUTTA NAHEEN BILLI NAHEEN GANGA NAHEEN JAMUNA NAHEEN KRISHNA NAHEEN RADHA NAHEEN MANDIR NAHEEN MASJID NAHEEN KOEE BHI BADHA NANAHEEN
RAMAYAN NAHEEN KURAN NAHEEN GITA NAHEEN SANGEETA NAHEEN SHYAMA NAHEEN MAMA NAHEN PENT PAYAJAMA NAHEN
BHANG NAHEEN LUTIYA NAHEEN DOOBANE KO SHARE BAZAR MEIN KHATA NAHEN
KUCHHA NAHEN KUCHHA NAHEEN SACHMUCH KUCHHA BHI NAHEN
NAUN MAN TEL NAHEEN TO RADHA KA NAACH BHI NAHEEN
SAARE KADAVE MEETHEI PRASANG CHHOOMANTAR
MAJBOORI MEIN MATMA GANDHI KI TARAH THALI MEIN TARKARI KI TARAH
JEEVAN MEIN VYABHICHARI KI TARAH
ANDHEREI MEIN MOMBATTI KI TARAH
IMARATON MEIN TAJ KI TARAH
PURANI STRIYON MEIN LAAJ KI TAAH
KAUDH MEIN KHAJ KI TARAH
BHAREE JAVANI MEI SANYAS KI TARAH
KRANTI MEIN KHOON KI TARAH
KHATMEIN KHATMAL KI TARAH
BANDOOK MEIN GOLI KI TARAH
NEELAM MEIN BOLI KI TARAH
LANKA MEIN VANAR TOLI KI TARAH
RANG MEIN HOLI KI TARAH SMASAN MEIN LASH KI TARAH
JAEGHAR MEIN TAASH KI TARAH
GHAR MEIN SANDAS KI TARAH
GALE MEIN PYAS KI TARAH
GHATAGHAR MEIN SAMAYA KI TARAH
NAATAK MEIN DARSAK KI TARAH
SARKAS MEI JOKER KI TARAH
GHAR MEIN NAUKAR KI TARAH
AGAR YAH SAB NAHEEN TO KUCHHA BHI NAHEEN
P--A--R--T--S--E--I--G--H--T
SHAYAD JARI HEI NAATAK UB DARSAK DEERGHA MEIN BHI JARI HEI NATAK KISI PHATAVE KI TARH...SATYAM SHIVAM SUNDARAM CHHAP PHATE BANIYAN AUR RADHA CHHAP CHOLI KE PEECHHE CHHIPE ITMINAN EEMAN BEIEEMAN KEE TARAH...JARI HEI ABHI NAATAK
NANGA
NANGA
NAATAK KE NAAM PAR BHAYANKAR KHEL
BHAYANKAR KHEL
SACHMUCH BHAYANKAR
GHANGHOR GHMASAN ANDHERE MEIN
JALE HUVE SOORYA BIMBOUN KE SAHARE
VE LAGATAAR BICHHATE JA RAHE THEI KAFAN
CHHITARATE THEI JINDAGI KE TUKADE JAGAH JAGAH
CHAL RAHEE THEE LAMBI AAPARADHIK HALCHAL
HO RAHA THA KOEE GUPT OPERATION CHAUDE DHAADE...
SABUN KE JHAG SE UTHATI NAGNA DEH
BAADALON SE UTARATE GANDHARVA
AKHABARI REPORTER
DEVATA APSARAEN
LANGOTDHARI NATYA NIDESAK
POOCHHA SAKATA HEI KOEE BHI SANVAADDATA- KIS CHAKKI KA AATA KHAYA HEI MIYA AAPANEI KIS MAMMEE KA PIYA HEI DOODH ?
AAO PYARELAL CHHODEN YAH SARA JANJAL
CHALO PICASSO KE SAATH COFEE PIYEN
MONALISA KE SAATH KHAEN IDALIDOSA
ILIAT SE OORANG OOTANG TAK
HIMAMDASTE SE HEMAMALINI TAK
MEHSOOS KAREN MARDANAGI KA DARD AUR DABAV
AUR 11 SEPTEMBER KEE DRGHATANA SE PAHALE HI CHALANG LAGAEN AMERIKI TWIN TOWER SE KHELANE KO EK NAATAK DUNIYA KE DARSAKON KE LIYE.
HAR SOORAT MEI HOHA NAATAK SADAK PAR MANCH KEE SEEMAON SE BAAHAR
JANATA KE MANORANJAN MEIN MAAN SAMMAN APAMAN MAEIN
NANGEI HAMAAM MEIN
KLINTON -LEVINKY KE EEMAN MEIN
HOGA HOGA HOGA
SAPHEDPOSHON KI GAVAHEE MEIN SANSAD KI KARVAHEE MEIN
GIRATE BAAZAR KI DUHAEE MEIN
GALE SADE JALE BHUNE GUMSUM LAVARIS AALOCHAKON KI MAARPITAEE DHULEE MEIN HOGA JAROOR HOGA
BECHARE NAATAKKKAR NIDESAK KE DO PAISE KI KAMAEE MEIN
KHELA JAEGA NAATAK BEJ SE BARGAD TAK
PREMI SE PREMIKA TAK
AADAM SE HAVVAA TAK
KISI BHI JAGAH KISI BHI TARAH KAHEEN BHI KAHEEN BHI
UB KAUN PHIKRA KAREGA KAUN JIKRA KAREGA RANGMANCH KA
NEEM CHADHEI KARELE KAUN CHKHEGA SWAD
SOORAJ KE UGANEI YA AST HAUNEI KI KISE HOGI PRATEEKSHA
KISE PADI HOGI AANUVIK DUNIYA MEIN AGALI SARKAR KI PRATEEKHSA
KEVAL KHSAN BHAR KI CHAKACHAUNDH MEIN SIMAT JAEGI NAATAK KI SHATARANJ
COMPUTER MEIN CHIPS KI HALCHAL KI TARAH
SHAYAD CHEEKHANEIN LAGEIN LOG PAGALKHANON MEI
VARSON BAND DARSAK DEERGHAON SE SHAYAD
SHAYAD SOCHANE LAGE HON VE BHI NAEE JADUEE HAVA KE BADALATE MAUSAM KI MAAR MEIN KHABARDAAR
AAHAT MEIN
DARD MEIN PARESHANI
TANAV
DAR
GUSSA
SAMAJHI-NASAMAJHI KI ATAKALON KE BEECH
AANDHERI MEIN
SHOR-SHRABE KE BEECH MADYAPAAN MEI
MASI
HATYA AATMAHATYA BHEED
POSTERS AAG BAADH
TOOPHAN
LADAKA
LADAKI KE NATAK KE BEECH
UTHAKAR NAATAK MEI
BEECH NAATAK MEIN
BHAEE KUCHHA BHI KARO
HAMARA TO MAN HEI NAATAK KHELANE KA
NATAK LIKHANE
NATAK DEKHANE KA
CHINTA NAHEEN DARSAKON KI PATHAKON KI SROTAON KI
JAB NAHEEN THA IS DHARATI PAR MANAV
TAB KYA THA VAHAAN?
KYA PANI PAR TAIRATA KOEE SONE KA UNDA
KYA VISPHOT
YA KUCHHA BHI NAHEN ASTI YA NASTI
YA NAATAK KAISA BHI
HAMARE HONE BANE RAHANE KI SAMBHAVANAON KA NAATAK
KISI MAHASOONYA MEIN PIROYA
MAHAKAAL SE BAHAR AATA KOEE AAKAR KOEE NIRAKAAR
EK AAKAR
EK ANAAKAAR
EK AAKAAR
EK ANAAKAR
...SHAYAD..SHAYAD..SHAYAD !












AN INSTALATION POEM OR PLAY
BY ASHOK AATREYA\\\\\\\////////////
11/MARCH//2008
16-A, BHAT JI KI VADI, UDAIPUR////\\\\\//////\\\\\\\\//////\\\\\\\\\\

Friday, March 6, 2009




दीवार के पीछे रहती है एक लडकी जो आत्रेय की ताजा कहानी है कला प्रयोजन के स्वर्ण जयन्ती अंक में पढिये -