Facts of Paudi Gadhwal

Facts of Paudi Garhwal - Uttaranchal
Through the ages, the evolution of human civilization
in the Garhwal Himalayan has been parallel to the rest
of Indian sub-continent. Katyuri was the first
historical dynasty, which rule over unified
Uttarakhand and left some important records in the
form of inscriptions and temples. In later period
after the downfall of Katyuri’s, it is believed that
Garhwal region was fragmented in more than sixty-four
principalities ruled by the Chieftain, one of the
principal Chieftainship was Chandpurgarh, which was
ruled by descendent of Kanakpal. In the mid of 15th
century A.D. Chandpurgarh emerged as a powerful
principality under the rule of Jagatpal (1455 to 1493
A.D.), who was a descendent of Kanakpal. In the fag
end of 15th century Ajaypal enthroned the Chandpurgarh
and succeeded in unifying and consolidating various
principalities on the region with in a Kingdom and his
Kingdom came to known as Garhwal. Subsequently, he had
transferred his capital from Chandpur to Devalgarh
before 1506 and later on to Srinagar during 1506 to
1519 A.D.
King Ajaypal and his
successors ruled the Garhwal for nearly three hundred
years even during this period they had faced a number
of attacks from Kumaon, Mughal, Sikh, Rohilla. An
important event in the history of Garhwal was the
Gorkha invasion. It was marked by extreme brutality
and the word ‘Gorkhyani’ has become synonymous with
massacre and marauding armies. After subjugating Doti
and Kumaon, Gorkhas attacked Garhwal and reached as
far as Langoorgarh despite stiff resistance put up by
the Garhwali forces. But in the meantime, news came of
a Chinese invasion and the Gorkhas were forced to lift
the siege. However, in 1803, they again mounted an
invasion. After capturing Kumaon, they attach Garhwal
in three columns. Five thousand Garhwali soldiers
could not stand the fury of their attack and the King
Pradyumna Shah escaped to Dehradun to organize his
defense. But his forces were no match to the Gorkha
might. Garhwali soldiers suffered heavy casualties and
the King himself was killed
The Gorkhas became the
masters of entire Garhwal in 1804 and ruled the
territory for twelve years.
Gorkha ruled in the Garhwal area ended in 1815 when
the British drove the Gorkhas to the West of Kali
river, despite stiff resistance offered by them. After
defeat of Gorkha army, the Britishers on 21 April
1815, decided to establish their rule over the
eastern, half of the Garhwal region, which lies east
of Alaknanda & Mandakini river, later on, known as
‘British Garhwal’ and Dun of Dehradun. The remaining
part of the Garhwal in the west was restored to King
Sudershan Shah who established his capital at Tehri.
Initially the administration was entrusted to the
commissioner of the Kumaon and Garhwal with his
headquarters at Nainital, but later Garhwal was
separated and formed into a separate district in 1840
A.D. under an assistant commissioner with his
headquarter at Pauri.
At the time of independence, Garhwal, Almora and
Nainital districts were administered through
commissioner of Kumaon division. In early 1960,
Chamoli district was curved out of Garhwal district.
In 1969 Garhwal division was formed with its
headquarter at Pauri. After curving out of seventy-two
villages of Khirsu block of district Pauri Garwhal in
1998 for creation of new district of Rudraprayag, the
district is reached in its present form.

Tourist Places
Khirsu
The snow-covered mountains of Khirsu offer a panoramic
view of the Central Himalayas and attract a large
number of tourists. From here one can get a clear view
of many named & unnamed peaks. Located 19 kms. Away
from Pauri at an altitude of 1,700 mts., khirsu is a
peaceful spot, free from pollution. Only the chirping
of birds breaks the tranquility of the adjoining thick
Oak and Deodar forests and apple orchards. The ancient
temple of Ghandiyal Devta in the vicinity is well
worth a visit. Accommodation is available at the
Tourist Rest House and Forest Rest House.
Doodhatoli situated at an
altitude of 3100 mts., is covered with dense mixed
forest. Thalisain is the last bus terminus (100 kms
from Pauri), from where Doodhatoli is at a distance of
24 kms by trek. One of the most picturesque places, it
commands a panoramic view of the Himalayan ranges and
the surrounding area. The indomitable freedom fighter
of Garhwal, Veer Chandra Singh Garhwali, was enamoured
by the place. As was his last wish, a memorial in his
name has been erected here after his death. A humble
but bold memorial in his name creates a ‘never say
die’ atmosphere under the tall Oak trees.

Binsar
Binsar is situated at an altitude of 2480 m and is at
a distance of 114 kms from Pauri. Set amidst dense
forest of Oak, Deodar and Rhododendron, it is a
celebrated place of worship and natural beauty. The
temple dedicated to Lord Shiva is of archaeological
significance. Thalisain, 100 kms from Pauri, is the
last bus stop. From here a 22 kms bridle path leads to
Binsar.

Adwani
Connected by a well-maintained 17 kms long road from
Pauri, Adwani is an ideal picnic spot, as it is
surrounded by thick forest and devoid of the hustle &
bustle of the town. There is a Forest Rest House where
one can stay.

Tara Kund
Situated at a height of 2,200 m, Tara Kund is a
picturesque spot amidst lofty mountains in the
Chariserh development area. A small lake and an
ancient temple adorn the place. The Teej Festival is
celebrated with great gaiety when the local people
come here to worship and pay homage to God.

Kandoliya
At a distance of 2 kms from Pauri, Kandoliya is a
spectacular spot surrounded by dense forest. The
temple of Kandoliya Devta, the local Bhumi-Devta, is
located here. One can have a panoramic view of
Himalayan peaks and Gangwarsyun valley. A walk along 4
kms long road from Kandoliya to Buwakhal through oak
and pine forest is really refreshing.
Kanvashram
Situated on the bank of river Malini at a distance of
14 kms from Kotdwar, Kanva Rishi Ashram is an
important place from the historical and archaelogical
point of view. It is believed that Sage Vishwamitra
meditated here. Indra, the king of Gods, was scared by
his intense meditation, and sent a beautiful heavenly
damsel named Menka to disturb him. Menka finally
succeeded in diverting Vishwamitra’s attention. After
giving birth to a girl she went back to heaven. This
girl later became Shakuntala who got married to the
prince of Hastinapur and gave birth to Bharat, the
prince after whom our country is called Bharat.
Accommodation is available at Tourist Complex,
Kanvashram.

Bharat Nagar
22 kms away from Kotdwar and at a height of 1,400 m,
Bharat Nagar abounds in immense natural beauty. It is
mentioned in the ancient Hindu texts that once this
place was full of life giving herbs. From here one can
have a beautiful view of the Balawali bridge of Ganga,
Kalagarh dam and Kotdwar town.

Kalagarh
Situated at a distance of 48 kms from Kotdwar,
Kalagarh is an ideal place for nature lovers. The dam
across Ram Ganga River is also worth visiting

Folk dances
The folk songs, music, dances etc. of an area reflects
its traditional cultural richness. As the life of the
people of this District is closely associated with
nature and religion, the folk activities are closely
associated with these features in representation of
the inherent customs and traditions of the people.
Folk Songs
Folk songs of this region reflects a basic simplicity
and uncomplicated emotions, largely derived from the
environment of the peace, tranquility and the open
nature all around. The themes of songs are
understandably linked with various agricultural
activities, their main stay and the great love for the
land. Not unexpectedly, certain socio-economic
problems figure in the songs like floods, droughts and
ill treatment of the people. Some folk songs narrate
stories of bravery and legends.
The tradition of folk songs is much alive in the rural
areas. In villages, women sing these folk songs while
working in the fields or collecting fodder in forest.
There are many styles of group singing, sometimes,
accompanied by rhythmic dances. These include “Jhoda”
and “Thadya”. “Khuded” songs echo the sad feeling of
young bride pinning for their far-away paternal homes.
“Mandals” songs recite on the occasion of marriage,
thread ceremony and other “sanskars”. “Panwaras” songs
are composed to record heroic deeds and sing in praise
of worriers.
Folk Dances
Folk dances of the region are mainly for
entertainment, recreation and praising the local Gods.
Generally, these are performed in groups. Some dances
are accompanied by folk songs and carry the same name.
These folk dances are mainly influenced by the
devotional attachment of the people with “Natraja”,
the God Shiva, and the association of “Pandava” of
Mahabharata to the Garhwal Himalaya. In religious folk
dances, the dance of ‘Pashwa’, a person carrying local
God’s spiritual traces, on the ‘Jagar’ songs are most
common. ‘Jagari’ directs these dances and ‘Pashwa’
(the dancer) dances as per the ‘Varta’ (the story
songs) of the particular God or Goddes
Folk Music
Folk Music
The folk music of this area is generally rhythmic
which is reflected in the dynamic style of folk
dances. Songs related to ‘Sansakaras’ and seasons are
melodious but the rest are musical as they are played
on the rhythm of the musical instruments. The
traditional folk musical instruments of this area are
‘Dhol & Damoun’, ‘Daur & Thali’, ‘Turri’, ‘Ransingha’,
‘Dholki’, ‘Masakbhaja’, ‘Bhankora’ etc. Nowadays,
Harmonium and Tabla are also in use. The traditional
instrumentalists ‘Auji’, ‘Badhi’, ‘Bajgi’ have made a
great contribution in the folk music of this area.
‘Dhol & Damoun’ are played together by ‘Auji’. These
are main folk musical instrument of the area and are
played on most of the occasion. These are played on
the basis of ‘Dhol-Sagar’, a ancient ‘granth’ of
‘Shankar Vedanth’ or ‘swar-sagar’ containing ‘Dhol’
rhythms for each occasion. “Daur & Thali” are played
on the occasion of “Ghandiyala” with ‘jagar’ songs and
dances. “Turri” and “Ransingha” are the instruments of
war. These are made of brass or copper. “Bhankora” is
played only by the upper caste on the occasion of
“Dev-Poojan”. “Dholaki” is generally used by the
traditional instrumentalist “Baghi” or “Dhaki”.