Tuesday, August 31, 2010
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/’’.
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.
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 25, 2009
Wednesday, March 18, 2009
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
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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
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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
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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////\\\\\//////\\\\\\\\//////\\\\\\\\\\
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////\\\\\//////\\\\\\\\//////\\\\\\\\\\
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