Valmiki National Park



                     Valmiki National Park
Valmiki National Park is located in the West Champaran district of Bihar state, India. The extensive forest area of Valmikinagar was previously owned by the Bettiah Raj and Ramanagar Raj until the early 1950s.Valmiki tiger Reserve (VTR) is one of the nature's virgin recesses in east India is situated in the North West corner of the State of Bihar. The Pristine forest and wilderness of VTR is an excellent example of Himalayan Terai landscape. VTR comprises of the Valmiki National Park and Valmiki Wildlife Sanctuary. The VTR forest area covers 899.38 sqkm which is 17.4% of the total geographical areas of the district West Champaran.
The Valmiki National Park and Wildlife Sanctuary lie in the West Champaran district of Bihar. Name of the district has been derived from two words Champa and Aranya – meaning Forest of Champa trees. Geographically, it is situated between 830 50' and 840 10' E longitude and between 270 10' and 270 03' N latitude. Total forest area comprises of about 900 sq.km., out of which expense of Valmiki Wildlife Sanctuary is 880 sq. km. and spread of the National Park is about 335 sq. km. area. In north, the protected areas are bordered by Nepal while the Indian state Uttar Pradesh bounds the Wildlife Sanctuary from western side.

The Valmiki tract is broken and undulating often showing highly fragile geological formations. As a result, there are steep ravines, knife-edge ridges and precipitous walls formed by land slips and soil erosion.
The great Gandak and the Masan rivers collect all the water from the numerous, tortuous tributaries. These rivers and streams keep changing course from side to side, facilitated by the erosion prone sandy and immature soil of the banks. Seasonal rivers like Panchanad, Manor, Bhapsa and Kapan display peculiar behaviour of erosion at one place and deposition of transported soil at another place.
Hill system is the continuation of Siwalik Range, largely made of imperfectly compacted and ill-formed sandstone dotted with pebbles and boulders. Owing to the fragile nature of parent rock material, the soil produced at the foothill is immature, loose sand and display sheet. The menace is further aggravated by maltreatment of the forests by people in general, frequent fires and heavy grazing.
Census         

Species
1997




Tiger

53

Leopard

54


Forest Types       

Bhabar Dun Sal Forest ,Dry Siwalik Sal Forest ,West Gangetic Moist Mixed Deciduous Forest ,Khair - Sisso Forest ,Cane brakes ,Eastern Wet Alluvial Grassland , Barringtonia Swamp Forest .

Major Flora

Sal (Shorea robusta), Asan, Karama, Semal, Khair, Cane(Calamus tenuis), Jamun, Siccharrum, Mahulan, Piper, Lagun (Peepar)
Main Species
Tiger, Leopard, Fishing Cat, Leopard Cat, Chital, Sambar, Hog Deer, Black Buck, Gaur, Sloth Bear, Langur, Rhesus Monkey .

Archeology       
i) Lauriya Nanadan Garh: There is lion pillar of Ashoka, which is a single block of polished sand stone, 32'-9.5" in height with a diameter of 35.5" at base and 26.2" at the top. The pillar is over 2000 year old and in excellent condition. Nandgarh is a huge mound composed of bricks and is about 80 feet height. According to a authoritative source, it is an Ashok Stupa in which ashes of Buddha's funeral pyre were enshrined.

ii) Bawan Garhi: A name meaning 52 forts. It is also known as Tripan bazar. The remains of 52 forts and Tripan bazar are at Darubari.

iii) Someshwer Fort: Someshwar Fort is situated in Narkatiagani sub-division, near Nepal border, on top of the Someshwar hill at 2884 ft above M.S.L. It is in ruined state but its remains are well defined.

iv) Triveni: A holy place of Hindu. The name is derived from the fact that three rivers (Gandak, Sonha and Pachanad) merge here soon after they emerge from the hills. Triveni is also believed to be the site at which the fight commenced between Lords of Forest and Water (the Elephant and Crocodile).



THE COLORS OF BIHAR


Holi is a festival of colors celebrated all over the country. People celebrate it on the first day of the Hindu Calendar, that is 'Pratham Chairtra Mass' (February-March). In Bihar, a typical style Dhamar of holi song is sung in which the villagers celebrate it in a form of group with full joy and dance with musical instruments like dholak, jhal-manjeera, etc. This dance is related to the mythical story of Bhakt Prahlad and his demon father Hiranyakshipu.

Bihar is the state of fairs and festival related to various religious things. It is the state of much of the ritual communities. All of the communities have their own ritual folk traditions. But some of the folk cultures of Bihar celebrated by the all tribes of the state. One of them is the festival of Holi. Holi is the festival of India. It is the festival of colors, joys, and happiness.
Holi is the festival which celebrated by the people on the first day of New Year of Hindu Calendar which called as ‘Pratham Chaitra Massa’ that is the month of February or March. People of Bihar celebrate this festival with the Holi dance. Holi dance is the sign of joyous of people and the energy level to live the life with new manners. It is so beautiful folk dance in which both male and female participate. There are some of beautiful and rhythmic musical instrument like jhal – manjeera and Dholak make this dance so charm and energetic.
There is a mythological story behind the celebration of this festival and dance. It is said that the festival of holi is celebrated in the remembrance of Bhakt Prahlad. He was a true devotee of lord Vishnu. This is the festival which is not only celebrated in Bihar but also in all over the parts of the country.

Phagu Purnima

Phagu Purnima is another name for Holi where Phagu means the sacred red powder and Purnima or Pune is the full moon day, on which the festival ends.

At some places like Bihar, Holi is also known as Phagwa as it is celebrated in the later part of the month of Phalgun and the early part of Chaitra in the Hindu calendar. This corresponds to the English months of March-April.

The concept of New Year (Samvatsar) varies in the different provinces of our country. In some provinces, the month commences from the 'Krishna-Paksha' on the other hand in some provinces it commences from 'Shukla-Paksha'. For the former, the year ends on 'Purnima' of the month of Phalgun. The new years begins next day - Chaitra, 1st day of the Krishna Paksha. For them on this day the last year has died. For this reason in some provinces like Bihar and UP. Holika dahan is also called 'Samvatsar Dahan'. On this day all the bitterness and evil memories of the last year are burnt in the fire and the New Year is begun with a celebration.

THE VITAL LANGUAGE : BHOJPURI


The Bhojpuri people have a distinct and virile tradition and were famous in the past for their bravery. Bhojpuri is spoken in various forms and its grammatical structure differs in many respects from the other two languages in Bihar. It has peculiarities of declension and conjugation not found elsewhere. On the whole, its grammar is simpler than that of Maithili and Magahi.
The Bhojpuri language of Bihar is the third largest Indian language spoken outside India. The Bhojpuri language covers a large geographic area crossing state boundaries. Other than Bihar, the language is spoken in the North West part of Jharkhand (that was part of Bihar once), the Purvanchal or eastern part of Uttar Pradesh along with the adjoining area of southern plains of Nepal. Outside India, Bhojpuri is spoken in spoken in Guyana, Suriname, Fiji, Trinidad and Tobago and Mauritius. These are the places where the Bihari community migrated in vast numbers during the British rule to work in sugar plantations.

For the first time in the history of the Bhojpuri language it is being noticed. From the coming of popular singers such as Kalpana that has made Bhojpuri almost a household name. Hindi film makers are now considering adding Bhojpuri item songs to attract the vast Bhojpuri speaking community.
In addition, the Indira Gandhi National Open University (IGNOU) has decided to launch a foundation course in the Bhojpuri language. The course was inaugurated by Indian Parliament speaker Meira Kumar (also from Bihar). She added that "Bhojpuri is not only a language but a lifestyle and a culture. Sanskrit and Latin have most precise grammar and vocabulary. Bhojpuri too has a very precise grammar, rich vocabulary and literature". Although the course is aimed at Bihar and Uttar Pradesh, it is thought that the course might be useful to Bhojpuri speakers in places such as Mauritius. Soon the establishment will be starting Certificate and Diploma Courses in
Bhojpuri. 
Bhojpuri is spoken in the western districts of Bihar such as Champa-ran, Saran, Shahabad, Palamau and Ranchi. Although the Ranchi district is mainly populated by Adivasis, the common language of the people is Sadari or Sadani, which is a form of Bhojpuri. Bhojpuri-speakers are also found in north-western Muzaffarpur and the Pirpanti and Golgong police stations of theBhagalpur district. There are more than ten million Bhojpuri-speaking people in Bihar. It is spoken also in the Varanasi and Gorakhpur divisions of Uttar Pradesh. Bhojpuri areas have helped much in the growth of Hindi literature. Although Bhojpuri has no such old written literature as Maithili has, the love with which its speakers cherish it is just as great. Bhojpuri is so called after the language of Bhojpur, a pergana of the Shahabad district.
Except in a few isolated instances, the form of the verb depends only on the subject. Bhojpuri is written in Kaithi, a script ascribed to the Kayasthas, the scribes of India, but this script is nowadays being given up by educated people in favour of Devanagri. A mass of oral literature is extant in Bhojpuri in the form of folk-songs, folk-tales and legends and it abounds in proverbs and riddles. In the works of such saintly poets as Kabir, Dharamdas, Dharnidas, Daryadas, and Lakshmi Sakhi, the influence of Bhojpuri is immense.
In recent times, many collections of folk literature have been published by Grierson, Ram Naresh Tripathi, Krishnadeva Upadhyay, Durga Shankar, Prasad Singh and W. G. Archer, and Sankata Prasad. The famous poem 'Batohia' written by Raghubir Narayan and the play entitled 'Bidesia' by Bhikari Thakur have made history by their popularity. Bhikari Thakur is the people's poet in Bhojpuri and in his poems are reflected the joys and sorrows, the toils and tears of the simple rural folk of his area.

ASHOKA :THE GREAT

King Asoka, the third monarch of the Indian Mauryan dynasty, has come to be regarded as one of the most exemplary rulers in world history. The British historian H.G. Wells has written: "Amidst the tens of thousands of names of monarchs that crowd the columns of history ... the name of Asoka shines, and shines almost alone, a star." Although Buddhist literature preserved the legend of this ruler -- the story of a cruel and ruthless king who converted to Buddhism and thereafter established a reign of virtue -- definitive historical records of his reign were lacking. Then in the nineteenth century there came to light a large number of edicts, in India, Nepal, Pakistan and Afghanistan. These edicts, inscribed on rocks and pillars, proclaim Asoka's reforms and policies and promulgate his advice to his subjects. The present rendering of these edicts, based on earlier translations, offers us insights into a powerful and capable ruler's attempt to establish an empire on the foundation of righteousness, a reign which makes the moral and spiritual welfare of his subjects its primary concern. The Australian bhikkhu Ven. S. Dhammika, the compiler of the present work, is the spiritual director of the Buddha Dhamma Mandala Society in Singapore.

With the rediscovery and translation of Indian literature by European scholars in the 19th century, it was not just the religion and philosophy of Buddhism that came to light, but also its many legendary histories and biographies. Amongst this class of literature, one name that came to be noticed was that of Asoka, a good king who was supposed to have ruled India in the distant past. Stories about this king, similar in outline but differing greatly in details, were found in the Divyavadana, the Asokavadana, the Mahavamsa and several other works. They told of an exceptionally cruel and ruthless prince who had many of his brothers killed in order to seize the throne, who was dramatically converted to Buddhism and who ruled wisely and justly for the rest of his life. None of these stories were taken seriously -- after all many pre-modern cultures had legends about "too good to be true" kings who had ruled righteously in the past and who, people hoped, would rule again soon. Most of these legends had their origins more in popular longing to be rid of the despotic and uncaring kings than in any historical fact. And the numerous stories about Asoka were assumed to be the same.

But in 1837, James Prinsep succeeded in deciphering an ancient inscription on a large stone pillar in Delhi. Several other pillars and rocks with similar inscriptions had been known for some time and had attracted the curiosity of scholars. Prinsep's inscription proved to be a series of edicts issued by a king calling himself "Beloved-of-the-Gods, King Piyadasi." In the following decades, more and more edicts by this same king were discovered and with increasingly accurate decipherment of their language, a more complete picture of this man and his deeds began to emerge. Gradually, it dawned on scholars that the King Piyadasi of the edicts might be the King Asoka so often praised in Buddhist legends. However, it was not until 1915, when another edict actually mentioning the name Asoka was discovered, that the identification was confirmed. Having been forgotten for nearly 700 years, one of the greatest men in history became known to the world once again.

Asoka's edicts are mainly concerned with the reforms he instituted and the moral principles he recommended in his attempt to create a just and humane society. As such, they give us little information about his life, the details of which have to be culled from other sources. Although the exact dates of Asoka's life are a matter of dispute among scholars, he was born in about 304 B.C. and became the third king of the Mauryan dynasty after the death of his father, Bindusara. His given name was Asoka but he assumed the title Devanampiya Piyadasi which means "Beloved-of-the-Gods, He Who Looks On With Affection." There seems to have been a two-year war of succession during which at least one of Asoka's brothers was killed. In 262 B.C., eight years after his coronation, Asoka's armies attacked and conquered Kalinga, a country that roughly corresponds to the modern state of Orissa. The loss of life caused by battle, reprisals, deportations and the turmoil that always exists in the aftermath of war so horrified Asoka that it brought about a complete change in his personality. It seems that Asoka had been calling himself a Buddhist for at least two years prior to the Kalinga war, but his commitment to Buddhism was only lukewarm and perhaps had a political motive behind it. But after the war Asoka dedicated the rest of his life trying to apply Buddhist principles to the administration of his vast empire. He had a crucial part to play in helping Buddhism to spread both throughout India and abroad, and probably built the first major Buddhist monuments. Asoka died in 232 B.C. in the thirty-eighth year of his reign.

Asoka's edicts are to be found scattered in more than thirty places throughout India, Nepal, Pakistan and Afghanistan. Most of them are written in Brahmi script from which all Indian scripts and many of those used in Southeast Asia later developed. The language used in the edicts found in the eastern part of the sub-continent is a type of Magadhi, probably the official language of Asoka's court. The language used in the edicts found in the western part of India is closer to Sanskrit although one bilingual edict in Afghanistan is written in Aramaic and Greek. Asoka's edicts, which comprise the earliest decipherable corpus of written documents from India, have survived throughout the centuries because they are written on rocks and stone pillars. These pillars in particular are testimony to the technological and artistic genius of ancient Indian civilization. Originally, there must have been many of them, although only ten with inscriptions still survive. Averaging between forty and fifty feet in height, and weighing up to fifty tons each, all the pillars were quarried at Chunar, just south of Varanasi and dragged, sometimes hundreds of miles, to where they were erected. Each pillar was originally capped by a capital, sometimes a roaring lion, a noble bull or a spirited horse, and the few capitals that survive are widely recognized as masterpieces of Indian art. Both the pillars and the capitals exhibit a remarkable mirror-like polish that has survived despite centuries of exposure to the elements. The location of the rock edicts is governed by the availability of suitable rocks, but the edicts on pillars are all to be found in very specific places. Some, like the Lumbini pillar, mark the Buddha's birthplace, while its inscriptions commemorate Asoka's pilgrimage to that place. Others are to be found in or near important population centres so that their edicts could be read by as many people as possible.

There is little doubt that Asoka's edicts were written in his own words rather than in the stylistic language in which royal edicts or proclamations in the ancient world were usually written in. Their distinctly personal tone gives us a unique glimpse into the personality of this complex and remarkable man. Asoka's style tends to be somewhat repetitious and plodding as if explaining something to one who has difficulty in understanding. Asoka frequently refers to the good works he has done, although not in a boastful way, but more, it seems, to convince the reader of his sincerity. In fact, an anxiousness to be thought of as a sincere person and a good administrator is present in nearly every edict. Asoka tells his subjects that he looked upon them as his children, that their welfare is his main concern; he apologizes for the Kalinga war and reassures the people beyond the borders of his empire that he has no expansionist intentions towards them. Mixed with this sincerity, there is a definite puritanical streak in Asoka's character suggested by his disapproval of festivals and of religious rituals many of which while being of little value were nonetheless harmless.

It is also very clear that Buddhism was the most influential force in Asoka's life and that he hoped his subjects likewise would adopt his religion. He went on pilgrimages to Lumbini and Bodh Gaya, sent teaching monks to various regions in India and beyond its borders, and he was familiar enough with the sacred texts to recommend some of them to the monastic community. It is also very clear that Asoka saw the reforms he instituted as being a part of his duties as a Buddhist. But, while he was an enthusiastic Buddhist, he was not partisan towards his own religion or intolerant of other religions. He seems to have genuinely hoped to be able to encourage everyone to practice his or her own religion with the same conviction that he practiced his.

Scholars have suggested that because the edicts say nothing about the philosophical aspects of Buddhism, Asoka had a simplistic and naive understanding of the Dhamma. This view does not take into account the fact that the purpose of the edicts was not to expound the truths of Buddhism, but to inform the people of Asoka's reforms and to encourage them to be more generous, kind and moral. This being the case, there was no reason for Asoka to discuss Buddhist philosophy. Asoka emerges from his edicts as an able administrator, an intelligent human being and as a devoted Buddhist, and we could expect him to take as keen an interest in Buddhist philosophy as he did in Buddhist practice.

The contents of Asoka's edicts make it clear that all the legends about his wise and humane rule are more than justified and qualify him to be ranked as one of the greatest rulers. In his edicts, he spoke of what might be called state morality, and private or individual morality. The first was what he based his administration upon and what he hoped would lead to a more just, more spiritually inclined society, while the second was what he recommended and encouraged individuals to practice. Both these types of morality were imbued with the Buddhist values of compassion, moderation, tolerance and respect for all life. The Asokan state gave up the predatory foreign policy that had characterized the Mauryan empire up till then and replaced it with a policy of peaceful co-existence. The judicial system was reformed in order to make it more fair, less harsh and less open to abuse, while those sentenced to death were given a stay of execution to prepare appeals and regular amnesties were given to prisoners. State resources were used for useful public works like the importation and cultivation of medical herbs, the building of rest houses, the digging of wells at regular intervals along main roads and the planting of fruit and shade trees. To ensue that these reforms and projects were carried out, Asoka made himself more accessible to his subjects by going on frequent inspection tours and he expected his district officers to follow his example. To the same end, he gave orders that important state business or petitions were never to be kept from him no matter what he was doing at the time. The state had a responsibility not just to protect and promote the welfare of its people but also its wildlife. Hunting certain species of wild animals was banned, forest and wildlife reserves were established and cruelty to domestic and wild animals was prohibited. The protection of all religions, their promotion and the fostering of harmony between them, was also seen as one of the duties of the state. It even seems that something like a Department of Religious Affairs was established with officers called Dhamma Mahamatras whose job it was to look after the affairs of various religious bodies and to encourage the practice of religion.

The individual morality that Asoka hoped to foster included respect (//susrusa//) towards parents, elders, teachers, friends, servants, ascetics and brahmins -- behavior that accords with the advice given to Sigala by the Buddha (Digha Nikaya, Discourse No. 31). He encouraged generosity (//dana//) to the poor (//kapana valaka//), to ascetics and brahmins, and to friends and relatives. Not surprisingly, Asoka encouraged harmlessness towards all life (//avihisa bhutanam//). In conformity with the Buddha's advice in the Anguttara Nikaya, II:282, he also considered moderation in spending and moderation in saving to be good (//apa vyayata apa bhadata//). Treating people properly (//samya pratipati//), he suggested, was much more important than performing ceremonies that were supposed to bring good luck. Because it helped promote tolerance and mutual respect, Asoka desired that people should be well-learned (//bahu sruta//) in the good doctrines (//kalanagama//) of other people's religions. The qualities of heart that are recommended by Asoka in the edicts indicate his deep spirituality. They include kindness (//daya//), self-examination (//palikhaya//), truthfulness (//sace//), gratitude (//katamnata//), purity of heart (//bhava sudhi//), enthusiasm (//usahena//), strong loyalty (//dadha bhatita//), self-control (//sayame//) and love of the Dhamma (//Dhamma kamata//).

We have no way of knowing how effective Asoka's reforms were or how long they lasted but we do know that monarchs throughout the ancient Buddhist world were encouraged to look to his style of government as an ideal to be followed. King Asoka has to be credited with the first attempt to develop a Buddhist polity. Today, with widespread disillusionment in prevailing ideologies and the search for a political philosophy that goes beyond greed (capitalism), hatred (communism) and delusion (dictatorships led by "infallible" leaders), Asoka's edicts may make a meaningful contribution to the development of a more spiritually based political system.

LOST IN TIME : BIHAR (ANGA)


Anga was a kingdom that flourished on the eastern Indian subcontinent in the 6th century BCE until taken over by Magadha in the same century. Counted among the "sixteen great nations" (solas Mahajanapadas) in Buddhist texts like the Anguttara Nikaya, Anga also finds mention in the Jain Vyakhyaprajnapti’s list of ancient janapadas. Anga  was spread over a large area and consisted of the following districts of Bihar, Jharkhand, and West Bengal states of modern India. Angika is the language spoken in Anga Desh. Angika is a dialectal variant of Maithili language .
The body of Manmadha(Cupid) was burnt as he made Lord Shiva angry. Since his body parts (Angas)were burnt on that area. So that area was called as Anga Desh
Based on Mahabharata evidence, the kingdom of the Angas roughly corresponded to the districts of Bhagalpur, Banka, Purnia, Munger, Katihar and Jamui in Bihar and districts of Deoghar, Godda, and Sahebganj in Jharkhand; later extended to include parts of Bengal. The River Champa (modern Chandan) formed the boundaries between the Magadha in the west and Anga in the east. Anga was bounded by river Koshi on the north. According to the Mahabharata, Duryodhana had named Karna the King of Anga.
Sabhaparava of Mahabharata  mentions Anga and Vanga as forming one country. The Katha-Sarit-Sagara also attests that Vitankapur, a city of Anga was situated on the shores of the sea. Thus the boundaries of Anga may have extended to the sea in the east.
The capital of Anga was Champa (Campā). According to Mahabharata and Harivamsa, Champa was formerly known as Malini . Champa was located on the right bank of river Ganges near its junction with river Champa. It was a very flourishing city and is referred to as one of six principal cities of ancient India (Digha Nikaya). In the Jataka stories, the city of Champa is also referred to as Kala-Champa. Maha-Janaka Jataka states that the city was located about sixty-yojanas (one yojana = 16.4 km) from Mithila (Here Mithila reflects the Mithilapuri i.e. the Capital of Videha kingdome which was later known as Janakpur & the term Videha as a kingdome was replaced by Mithila). Bhagalpur in Bihar, usually identified as the site of Champa, still has two villages called Champa-nagara and Champa-pura.
Champa was noted for its wealth and commerce. It was also a great center of trade and commerce and its merchants regularly sailed to distant Suvarnabhumi for trading purposes. During his pilgrimage there in the end of the 4th century, the Chinese monk Faxan noted the numerous Buddhist temples that still existed in the city, transliterated Chanpo in Chinese (瞻波 pinyin: Zhānbō; Wade–Giles: Chanpo). The kingdom of Anga by then had long ceased to exist; it had been known as Yāng​jiā (鴦伽) in Chinese.
The later kingdom of Champa (in present-day Vietnam) was thought to have originated from this east Indian Champa, although anthropological evidence indicates they are from Borneo on the other side Indochinese Peninsula.
Other important cities of Anga are said to be Assapura and Bhadrika.
Ramayana  narrates the origin of name Anga as the place where Kamadeva was burnt to death by Siva and where his body parts(angas) are scattered.
The earliest mention occurs in the Atharava Veda where they find mention along with the Magadhas, Gandharis and the Mujavatas, all apparently as a despised people.
Puranic texts place the janapadas of the Angas, Kalingas, Vangas, Pundras (or Pundra Kingdom - now some part of Eastern Bihar, West Bengal and Bangladesh), Vidarbhas, and Vindhya-vasis in the Purva-Dakshina division.
The Puranas also list several early kings of Anga. The Mahagovinda Suttanta refers to king Dhatarattha of Anga. Jain texts refer to Dhadhivahana, as a ruler of the Angas. Puranas and Harivamsa represent him as the son and immediate successor of Anga, the eponymous founder of the kingdom. Jain traditions place him at the beginning of sixth century BCE.
Between the Vatsas and the realm of Anga, lived the Magadhas, who initially were comparatively a weak people. A great struggle went on between the Angas and its eastern neighbors. The Vidhura Pandita Jataka describes Rajagriha (the Magadhan Capital) as the city of Anga and Mahabharata also refers to a sacrifice performed by the king of Anga at Mount Vishnupada (at Gaya). This indicates that Anga had initially succeeded in annexing the Magadhas, and thus its borders extended to the kingdom of Matsya country.
This success of Angas did not last long. About the middle of 6th century BC, Bimbisara, the crown prince of Magadha had killed Brahmadatta, the last independent king of Anga and seized Champa. Bimbisara made it as his head-quarters and ruled over it as his father's Viceroy. Thenceforth, Anga became an integral part of growing Magadha empire (1996).

BIHAR : STEPUP FOR BETTER TOMORROW

Pratham-books

India's biggest challenge is "how do we help chidren in this process at an early stage?". The article is about how Bihar is tackling this challenge.

In our country, children are expected to learn to read and comprehend simple text by the end of their first year in school. Textbooks in early school grades require children to read fluently by the end of class two. However, available evidence indicates that a large proportion of school children are still struggling to recognise letters and decode words after 2 or 3 years of formal schooling. This makes helping children learn to read one of the biggest challenges in India today.

The Bihar government came up with an initiative to bridge the gap between children and books and Pratham Books was a part of it. It has been a tiring but exciting three months. And as the mela drew to a close, we were glad to have been able to reach children all across Bihar. The following Hindi article describes this initiative and the need for it. For those of you who cannot read the following Hindi document (written by Rukmini Banerji and Manisha Chaudhry), here is a short summary:

Reading and learning are important aspects of education. If a child is unable to read, any educational programme is of no use to him/her. The more a child reads, the more he wants to keep reading and to facilitate this need, there is a requirement of more books.

Books open up the world of a child as he/she begins to connect what they read or hear with concepts they have encountered earlier. Thus, books and reading them is not just important at the school level, but also for the future of a child as it lays the foundation for his/her success.

Children in over 70,000 government schools in Bihar are now enjoying reading hundreds of colourful, well-written, and well-produced storybooks – thanks to Pratham Books and its novel mission to see “A book in every child’s hand”.

Pratham Books, a children’s book publisher with a difference, is addressing this challenge in style. The organization is a not-for-profit trust that was set up in 2004 with the objective of publishing high quality, low cost books in Indian languages and giving Indian children the opportunity to read interesting books that they can identify with, in their own language.

Last year, the government of Bihar introduced Bodhi Vriksha Karyakram, a programme to improve reading levels in early grades of school. However, for reading skills to actually improve, children need many, many books that stimulate their imagination, expand their minds, and evoke enough interest to keep them reading. In an extremely foresighted move, the Bihar government utilised 2% of the funds provided by Sarva Shiksha Abhiyan to buy storybooks and other such resources for students of standards 1 and 2.

The Government invited publishers including Pratham Books to participate in ‘Pustak Melas’ held in 37 districts of Bihar from November 2008 to January 2009. The schools were encouraged to attend these Melas and buy books for their students. In what could be the biggest investment in India’s history towards making books other than textbooks available to young children, this programme spent Rs. 30 crores, and reached no less than 6 million children! In just 7 weeks, truckloads of books, approximately 400 tons, were distributed across thousands of government primary schools in Bihar.

The Bihar government’s initiative is a simple, efficient model that can be replicated in other states. Efforts like these immensely improve reading levels among young students, and bring us closer to making India a reading country.

You can get more information on Pratham Books at http://www.prathambooks.org/.

GEMS OF BIHAR :NAGARJUN


The legendary poet of people “Baba Nagarjuna”. Born on 30th June 1911 as Vaidya Nath Mishra in the village Satlakha, his mother’s village,he was fondly called baba by his followers. Baba was known for his revolutionary ideas and unconventional lifestyle. His writings inspired generations and he was known for his candid and anti –establishment views.
Nagarjun is a legendary writer of the Hindi literature. He was affectionately called Nagarjun 'Janakavi'- the People's Poet by his contemporaries and admirers. His poems predominantly deal with politics, problems of ordinary people, of the peasantry and of the proletariat.He was born in a lower middle class Brahmin family  in a small village of Tarauni in Darbhanga district of Bihar. He was named Vaidyanath Mishra by his parents but was more popular as Nagarjun in his literary circle. He lost his mother at the tender age of three and his father didn't deliver his responsibilities towards his son seriously. As a result Nagarjun was dependant on his kind-hearted relatives. He was a scholar of the ancient Indian languages like Sanskrit, Prakrit and Pali. He first learned these languages at the rural centers and later in the urban centers of Varanasi and Calcutta. He married Aparajita Devi and had five children with her.
Alongwith his higher studies Nagarjun worked for his livelihood. For many years he studied and was semi-employed in Calcutta and later moved to Saharanpur (U.P.) to work as a full time teacher. His insatiable urge for knowledge especially in the Sanskrit treatises and philosophical discourses, and Buddhist scriptures took him to Sri Lanka where he accepted Buddhism in the monastery of Kelania
Nagarjun actively participated in politics. Nagarjun was influenced by the writings of Marx, Lenin and Stalin. He supported the armed revolt of the peasants of Naxalbari in West Bengal and was later passionately involved in the anti-government agitation in Bihar under the leadership of Jai Prakash Narayan in 1974. During this period he was jailed for eleven months.
Nagarjun's novels like Balchanma, Ratinath Ki Chachi, Baba Batesarnath and Varun Ke Bete are landmarks in Hindi fiction depicting the rural reality in an unparalleled manner. He wrote poems both in Maithili and Hindi. He published two Maithili poems, Boorh Var and Vilap in 1941 in the form of pamphlets and sold them on passenger trains. He wrote two poems in Hindi Shapath and Chana Jor Garam, which were circulated in 1948 and 1952 respectively. His first collection of twenty-eight poems in Maithili, entitled Chitra appeared in 1949. It is considered the first modern classic, which is used as a standard university textbook in the Maithili language.
By 1953, there was a change in the themes of his poems, Nagarjun now shifted from lyrical romanticism, and wrote on the rebellion of Telangana, Mother India and famine. In 1950, he wrote a piece of satire in just ten lines about "the five worthy sons of Mother India". He even wrote a short poem in eight lines on "The Famine and After", the poem deals with famine, hunger, anguish, and apathy. In 1948, his novel Ratinath Ki Chachi (Ratinath's Aunt) was published. This novel consisting of 113 pages is autobiographical and one of the most realistic and feminist Hindi novels. The novel is a harrowing tale of abject poverty and extreme exploitation. His next novel Varun ke Bete was published in 1956, is an unconventional work dealing with the story of the low-caste fishermen, who fights for the fishing rights and tries to form a fishermen's cooperative. He wrote thirteen novels, eleven in Hindi and two in Maithili. Most of his novels center around a social, economic or political theme, set in rural or semi-urban Bihar. His novels mostly narrate the story of the destitute and the exploited, chiefly amongst them are women and children.
Nagarjun unconsciously became the forerunner of the Annchalik Upanyas (the Regional Novel) in Hindi. Apne Khet mein is his last published collection of Hindi poems in 1997, which consists of personal poems like Na Sahi and Aur Phir Dhikai Nahin Di and parodies the artist M.F.Hussain and the political leader Laloo Yadav. Hua Gittiyon Men Ras ka Sanchar is another moving poem on the pathetic life of the rickshaw pullers of Calcutta.
He was awarded the Bharat Bharati Award by the Uttar Pradesh government for his literary contributions in 1983. For his collection of poems Patraheer Nagna Gaachhin in Maithili, he was given the Sahitya Akademi Award in 1968.
He passed away in November 1998 at the age of 87 in Darbhanga.
His Major literary works :
Poetry
  • Yugdharao
  • Satrange Pankhon Wali
  • Talab ki Machhliyan
  • Khichri Viplava Dekha Humne
  • Hazar Hazar Bahon Wali
  • Purani Juliyon Ka Coras
  • Tumne Kaha Tha
  • Akhir Aisa Kya Kah Diya Maine
  • Is Gubare Ki Chhaya Mein.
  • Yhe Danturit Muskan
  • Mein Military Ka Boodha Ghoda
  • Ratnagarbha
  • Aise bhi hum kya
  • Bhool jao purane sapne
  • Apne Khet Mein Chandana
Novels
  • Rati Nath Ki Chachi
  • Balachnama
  • Baba Bateshar Nath
  • Nai Paudh
  • Varun Ke Bete
  • Dukh Mochan
  • Ugratara
  • Jamania Ka Baba
  • Kumbhi Pak
  • Paro and Asman Mein Chanda Tare.
  • Abhinandan
  • Imaratia.
  • Essay collections
    • Ant Hinam Kriyanam.
    • Bum Bholenath
    • Ayodhya ka Raja
    Maithili works
    • Patrahin Nagna Gachh (collection of poems)
    • citra(collection of poems)
    • paro(novel)
    • navturiya(novel)
    • balchnma(novel)
    His work on culture has been published in the form of books entitled Desh Dashkam and Krishak Dashkam.

BIHAR LEGACY : CHANAKYA

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One of the greatest figures of wisdom and knowledge in the Indian history is Chanakya. He is estimated to have lived from 350 - 283 B.C. Chanakya is touted as the "Pioneer Economist of India". Chanakya was the adviser and Prime Minister of Emperor Chandragupta. Chanakya was a professor at the University of Takshila (located in present day Pakistan) and was an expert in commerce, warfare, economics, etc. His famous works include Chanakya Neeti, Arthashastra and Neetishastra. Read this biography of Kautilya that covers his interesting life history.
Chanakya is also known by the name of Kautilya and Vishnugupta as is mentioned in his text. His famous work called Arthashastra is a classic example of statecraft and politics and is read in Europe even today. It basically consists of the principles of politics and how the state works. An able ruler has to be a ruthless leader to make sure that the state works smoothly and efficiently. The legends associated with Chanakya are very interesting and provide a testimony of his greatness. 

Chanakya's works predate Machiavelli's by about 1,800 years.an ancient centre of learning, and was responsible for the creation of Mauryan empire, the first of its kind on the Indian subcontinent. His works were lost near the end of the Gupta dynasty and not rediscovered until 1915.
Chanakya's birthplace is a matter of controversy, and there are multiple theories about his origin. According to some scholars he was born in a family of Brahmin as the son of Acharya Chanak in Patliputra (near present-day Patna), the capital of Magadh. According to Jaina accounts, Chanakya was born in the village of Canaka to Caṇin and Caṇeśvarī, a Brahmin couple. According to the Buddhist text Mahavamsa Tika, his birthplace was Taxila.The Jain scriptures like Adbidhana Chintamani mention his birth place as South India possibly present-day Kerala.
Chanakya enjoyed the best education of the time, in Takshashila. Then he is said to have taught in Takshashila which had established itself as a place of learning. The school had by that time existed for more than five centuries and attracted students from all over the ancient world. The Kingdom of Magadha maintained contact with Takshashila. Chanakya's life was connected to these two cities, Pataliputra and Takshashila.
He was a master of the shrewd act of diplomacy. He believed in four ways—Sama, Dana, Danda, Bheda (treating with Equality, Enticement, Punishment or War and Sowing Dissension.)
In his early years he was tutored extensively in the Vedas - Chanakya memorized them completely at a very early age. He also taught mathematics, geography and science along with dharmic education. Later he traveled to Takshashila, where he became a teacher of politics. Chanakya taught subjects using the best of practical knowledge acquired by the teachers. The age of entering the University was sixteen. The branches of study most sought after around India at that time ranged from law, medicine, warfare and other disciplines. Two of his more famous students were Bhadrabhatta and Purushdutta, who were also disciples of Chanakya.
According to the Kashmiri version of his legend, Chanakya, there is an anecdote which says a thorn had pricked his foot once. After that instead of uprooting the tree, he poured buttermilk (in Hindi called "Mattha" )on the tree so that the ants will gather around tree and finish the tree to its last pieces.
Two books are attributed to Chanakya: Arthashastra and Neetishastra which is also known as Chanakya Niti. The Arthashastra discusses monetary and fiscal policies, welfare, international relations, and war strategies in detail. Neetishastra is a treatise on the ideal way of life, and shows Chanakya's deep study of the Indian way of life. Chanakya also developed Neeti-Sutras (aphorisms - pithy sentences) that tell people how they should behave. Of these well-known 455 sutras, about 216 refer to raaja-neeti (the do's and don'ts of running a kingdom). Apparently, Chanakya used these sutras to groom Chandragupta and other selected disciples in the art of ruling a kingdom.
He also knew vedic astrology. His thoughts about vedic astrology can be found in the text called saravali.
Chanakya was a shrewd observer of nature. Once, it is said that Mauryan forces had to hide in a cave. There was no food, and the soldiers were starving.They could not come out of the cave either, as there was a threat to their lives. Chanakya saw an ant taking a grain of rice, whereas, there was no sign of food or grain anywhere. Moreover, the rice grain was cooked. He ordered the soldiers to search and they found that their enemies had been dining under the cave. Indeed, they were eating at the ground floor. As soon as they saw this, they escaped and were thus saved.]
When Bindusara was in his youth, Chandragupta gave up the throne and followed the Jain saint Bhadrabahu to present day Karnataka and settled in the place of Shravana Belagola. He lived as an ascetic for some years and died of voluntary starvation according to Jain tradition.
Chanakya meanwhile stayed as the administrator of Bindusara. Bindusara also had a minister named Subandhu who did not like Chanakya. One day he told Bindusara that Chanakya was responsible for the murder of his mother. Bindusara asked the nurses who confirmed this story and he became very angry with Chanakya. But, he then came to know why the great soul did so. The real cause of Chanakya's death is unknown and disputed. But it is mentioned at various places that he died out of his own wish(ichamrityu literally- icha meaning wish mrityu meaning death).
According to Legends:
  • When Chanakya was born he had a full set of teeth, which is a sign that he would become a king or an emperor. But since he was born in a Brahmin family, it was considered inappropriate. Thus, his teeth were broken and it was predicted that he would make another person a king and rule through him.
  • Even as a child, Chanakya had the qualities of a born leader. His level of knowledge was beyond children of his age.
  • Chanakya was thrown out of the court of King Nanda as he was a blunt man and spoke his mind clearly. Chanakya swore he would take revenge.
  • Chanakya comes across Chandragupta as a young child. Even at that age, he was a born leader and showed the qualities of an able Emperor. He was the guiding force behind Chandragupta and the vital person who made him an able Emperor.
  • Chanakya adds poison in little amounts daily in Chandragupta's food in order to make him immune to poison, lest some enemy tries to poison him.
  • However Chandragupta was unaware about this and once gave a little food to his wife who was in the ninth month of pregnancy. She didn't survive but Chanakya cut open her belly and took out the baby.
  • This baby grew up to become an able emperor named Bindusara. He had a minister named Subandhu who did not like Chanakya. He told Bindusara that Chanakya had killed his mother.
  • Without assessing facts, Bindusara confronted Chanakya. On knowing the whole story, he felt ashamed at his hasty actions and begged for forgiveness. He asked Subandhu to go and apologize and make Chanakya come back.
  • Subandhu was very cunning and on the pretext of going to apologize to Chanakya, he killed him. Thus, ended the life of a great person like Chanakya just because of political rivalry.

FOLK DANCE OF BIHAR :BIDESIA


Bidesia is the most popular folk dance of Bihar people. The dance is said to have originated in the 20th century. It is a folk theatre form that is prevalent in the Bhojpuri-speaking regions of Bihar.
Bidesia Dance deals with the many social problems prevailing in the society. It is believed that the creator of the dance Bhikari Thakur, who was a barber by profession, used funny and sarcastic comments to bring forth the serious issue and still not hurt the feelings of the people. The stories portrayed are so touching and realistic that they bring back the memories of yesteryears when men were taken away as slaves in distant lands and when used to feel in the pain of separation. They are also used to spread awareness among the masses about poverty, poor status of women in the society. Bidesia is performed in theater style with rhythmic language, soothing songs, and attractive music that makes it the most famous dance of Bihar.
Bidesia is a popular form of dance drama, originated in Bihar ,folk theatre and prevalent in the Bhojpuri-speaking region of Bihar.It is believed that the creator of this plays is Bhikari Thakur, a person barber by profession (from a backward class), left everything in affection of drama. His dramas are dealt with many social issues, contradictory topics & conflict between the traditional and the modern, the urban and rural, and the rich and the poor.
Not only hard hitting but delicate matters & emotional battles are also powered down in through Bidesia e.g. the emotions of birha or pangs of separation find expression in the Bidesia. Women left alone behind by their men who are away for earning a bread & butter in the city, sing through these songs. The train, sometimes represented as the other woman, the weather, the in-laws are all criticized in these songs.
The overall form of Bidesia has been made so effective through the medium of vibrant dances and evoking music and heart-touching stories that paints a realistic picture of olden days. In Bidesia, the female roles are played by the male actor-dancers. Normally, they wear dhoti or shirt trousers and for the appearance of long hair they use artificial means, in case of female roles.
Though there are many new means of communication & entertainment have developed, Bidesia remains the most popular and refreshing relaxation for the Bhojpuris.
In olden days, Bidesia was famous as it gave voice to many social concerned topics like the cause of poor laborers and tried to create awareness about the poor status of women in Bhojpuri society. Casteism and communalism are also handled with due care in the same cultural tunes. Sometimes, the tone of Bidesia is sarcastic in nature.
Bidesia plays and style of theatre is very popular for their rhythmic language, sweet songs and appealing music. These plays are a true reflection of Bhojpuri culture. Bhikari Thakur used satire and light-hearted comments to maximum effect to put forward his views on social ills and other problems plaguing Bhojpuri society.

BIHAR : PLACE OF ENLITENMENT


ENLITENMENT :  Specifically, it’s a perfect understanding of the Four Noble Truths (basically, that suffering is caused by clinging to impermanent things, and that there’s a way to end suffering) and knowledge of karma and one’s past lives such that the cycle of rebirth ends.
Buddha, meaning 'one who is awake' in the sense of having 'woken up to reality' was the title first given to Lord Buddha. It was about 2500 years ago when Prince Siddhartha Gautam left all the worldly pleasures to attain the reality of life, and became the Buddha - the enlightened one. It was a state in which the Buddha gained an insight into the deepest workings of life and therefore into the cause of human suffering, the problem that had set Him on his spiritual quest in the first place.
The Right Path and Immortality
For 45 years, Buddha spread His message of spiritual life to not only His disciples but the common people as well. He gave emphasis on the purification of mind, heart and ultimately, soul by following the Eightfold Path, the Four Noble Truths and the Five Preceptions. This path included the right speech, understanding, determination, deeds, efforts, awareness, thinking and living. As per Buddhism, if one follows these paths, one could overcome desires, which were the reason for all the grieves and miseries.
After spreading His message to the world successfully, Buddha died at the age of 80 years in 483 BCE. at Kushinagar, India. Today, Buddhism has a strong following in various Asian countries and is gradually finding its feet in some of the western countries as well.

Now the magnificent Maha Bodhi temple in Bodhgaya is an architectural amalgamation of many cultures and pilgrimage to many . The temple bears the stamp of the architecture of the Gupta Dynasty and subsequent ages. On the walls of the temple, one sees Buddha carved in different aspects, and in the sanctum sanctorum, a colossal Buddha, is seen touching the ground, which has mythological significance in the Buddhist lores. The temple carries inscriptions recording the visits of pilgrims from Sri Lanka, China and Mayanmar. In the 7th and 10th Centuries AD Hieun Tsang, the Chinese traveler, also visited the temple in the 7th Century. Finally a visit to the Bodhgaya Archaeological Museum is a must for a religious art lover as it initiates one into the age of Buddha’s centered art forms. The Buddhist sculpture collection from 1st Century BC to 11th Century AD is housed here at one place.Reflected through several art forms, it is more like a treasure house of artistic expression.
 enlightenment
Bodhgaya, in the state of Bihar, reckoned as the most important Buddhist pilgrimage center, is the place where Lord Sakyamuni (Gautam Buddha) entered into mediation after being moved by the sufferings ofmankind. The giant Bodhi Tree (Peepal) that we see today is believed to have grown from the original Bodhi Tree under which, sitting on the raised platform, Prince Siddharth mediated and finally attained Nirvana. Monasteries raised here by Burmese, Tibetan, Chinese, Japanese and Thai devotees, in their native architectural styles, are worth visiting. Then there is Chaukramana, the Jewel Walk, where it is believed that the Buddha strolled while in deep thought.
Bodhgaya is 245 kms. from Varanasi and 178 kms. from Patna via Rajgir and Nalanda. A place of religious sanctity for Hindus, Gaya lies 12 kms. from Bodhgaya between Pretshila and Ramshila hills and is washed by the shores of river Phalgu. Gaya has a large number of Buddhist temples also. While Buddha was doing severe penance, he became weak, tired and hungry. He rested under a tree, where he was offered food by a condemned village woman named Sujata. To everybody’s surprise Buddha accepted her offerings. Legend has it that after having consumed the food, Buddha’s countenance assumed a divine glow and he realized the Supreme Truth; that neither extreme self indulgence nor self mortification is ever required. What is needed is to follow the Middle Path (Department of tourism). Sujata Sthan or Durgeshwari Temple stands as a symbol commemorating this event.

THE ANCIENT LANGUAGE OF BIHAR : MAITHILI


Maithili was spoken in the ancient land of Mithila and so it has incurred the name Maithili. Tirhutia is another name for the region so Maithili is also known as Tirhutia. The people in Nepal and North-Eastern Bihar speak in this language. It is a language of Indo-Aryan origin.
The cultural and linguistic centers of Maithili in Bihar are the districts of Madhubani, Supaul, Araria, Darbhanga, Sitamarhi, Saharsa, Begusarai, Muzaffarpur, Sheohar, Samastipur, and Vaishali . Maithili is also spoken in the Terai region of Nepal, mainly in Narayani Zone, Janakpur Zone, Koshi Zone, and Sagarmatha Zone of Nepal.
In Nepal, Maithili is the second state language and is used by 12% of the total population. Here, Maithili was used in the court of the Kings, during Malla period.
Near about 30 million people in the 26 districts of N.E. Bihar speak in Maithili. The Sahitya Akademi, India and P.E.N (an international organization of letters for Poets, Essayists and Novelists) have recognized Maithili.


It ranks 40th among the most spoken languages of the world, while it occupies the 16th position in the list of the most spoken languages in India. Maithilakshar or Tirhuta is its own script, which originated from Brahmi (a script of the 3rd B.C., also found in the Ahokan Inscriptions). At present the Devanagari script has been adopted because of its widespread use.
It is generally believed that the Sidhhacharyas evolved Proto Maithili during the 8th -9th century when they composed Charyapada. Since then the language has progressed steadily. Vidyapati, a very productive writer has used Avahatta, a form of Proto Maithili in his dramas, the Kirtilata and Kirtipataka. He also composed melodious poems depicting the love of Radha-Krishna in his Padavali that is written in the Maithili of medieval period. Vidyapati also influenced Nepali, Bengali, Assamese, Oriya and Manipuri literature during the medieval period.

Linguists have classified Maithili as one of the Indo-Aryan languages. It is an offshoot of the Indo-Aryan languages, which is a branch of the Indo-European languages. Early Indo-Aryan languages (2500 BC to 500 BC) developed from Vedic Samskrit to Laukik Samskrit. Middle Indo-Aryan Languages (500 BC to 1000 AD) developed from Pali (early Prakrit, 500 BC to 100 BC) to Prakrit (middle Prakrit, 100 BC to 500 AD), Apbhramsha (neo Prakrit, 500 AD to 900 AD) and Avhattha (neo regional Prakrit, 900 AD to 1100 AD). From neo Magadhi Prakrit and its Variant Maithil Avahattha came Maithili Language (1000 AD). It is in the category of Modern Indo-Aryan Language (1000 AD to till date). Linguists consider Maithili to be an Eastern Indic language.
The first grammar of Maithili was written in the year 1880–81. A. F. Rudolf Hoernle published a Grammar of the Eastern Hindi from London in 1880 and compared with the other Gaudian Languages. In this Grammar, Dr. Hoernle recognized Maithili as a dialect distinct from Hindi. He was able to give some specimens of its grammatical forms, but no published materials were then available. The mis-classification by early linguists led to language politics in respect of Maithili. Beames (1872/reprint 1966: 84-85) considered Maithili as a dialect of Bengali. Grierson, however, adopted the notional term "Bihari" language for the language used in Bihar; it has since been shown to be a misnomer for Maithili.
Maithili is derived from Avahattha, the Maithil Apabhramsha, which is derived from Magadhi Apbhramsha. Maithili was traditionally written in the Maithili script (also known by the names Tirhuta, i.e., Mithilakshar) and Kaithi script. The ISO of Unicode Technical Committee has approved the encoding of Kaithi and Tirhuta scripts. Nowadays, Devanagari script is most is most commonly used. An effort is underway to preserve the Maithili script and to develop it for use in digital media by encoding the script in the Unicode standard, for which proposals have been submitted by Sh. Anshuman Pandey (now it has been approved by the ISO, the Unicode Technical Committee).
The term Maithili comes from Mithila, which was an independent state in ancient times. Mithila is important in Hindu mythology, since it is regarded as the birth place of Goddess Sita, the daughter of King Janak of Mithila, who eventually gets married to Lord Rama.
The most famous literary figure in Maithili is the poet Vidyapati (1350–1450), who wrote his poems in the language of the people, i.e. Maithili, at a time when state's official language used to be Sanskrit and Sanskrit was still being used as a literary language. The use of Maithili, instead of Sanskrit, in literature became more common after Vidyapti.

INSPIRING AND INNOVATIVE BIHAR :THE TREE PLANTING STORY


An Indian civil servant, SM Raju, has come up with a novel way of providing employment to millions of poor in the eastern state of Bihar.Under the scheme, each family can earn a minimum of 10,200 rupees ($210).tree250x250
The idea is involve families below the poverty line in social forestry and give them employment under this scheme for 100 days
S M Raju, a civil servant in Bihar has done just that. Raju has started a campaign to encourage unemployed village folk to start planting trees. This campaign has been linked with the government’s NREGA (National Rural Employment Guarantee Act) and thus the village people earn money by planting these trees.
His campaign to encourage people to plant trees effectively addresses two burning issues of the world: global warming and shrinking job opportunities. Mr Raju's successfully  organised 300,000 villagers from over 7,500 villages in northern Bihar to engage in a mass tree planting ceremony. In doing so the agriculture graduate from Bangalore has provided "sustainable employment" to people living below the poverty line in Bihar.
What he did was he linked his "social forestry" programme to the central government's National Rural Employment Guarantee Act (NREGA) which is also designed to provide employment to poor people.
He made a blueprint of his idea and got the support of senior state officials and released a comprehensive booklet of "dos and don'ts" and distributed it to village heads and district officials.He told the villagers that they would get 100 days employment in a year simply by planting trees and protecting them
Mr Raju even came close to planting one billion saplings on a single day. The saplings planted are both fruit and non-fruit trees. The non-fruit seedlings have been planted on the banks of the embankment and on state and national highways - while fruit bearing trees are planted inside the villages.
For more insight of the story go to this link 
http://news.bbc.co.uk/2/hi/south_asia/8257563.stm

ARYABHATTA PROFICIENCY :- ASTRONOMY & GEOMETRY

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ASTRONOMY:-
Pataliputra was the birth-place of another very great man, namely, Aryabhata, the father of scientific astronomy and mathematics of the Hindus. He was born in 476 A D. and wrote his Kala-kriya (calculation of time) here at the age of 23 that is, 499 A.D.

The consonants from kato ma are valued at 1 to 25 and the eight vowels i, u, r, e,1, ai, o, ou represent multiples of 100 each. Thus ka is 1, kiis 100, ku is 10,000, kr is 10,00,000, kl is 10,00,00,000, keis 10,00,00,00,000, kai is 10,00,00,00,00,000. This is a modified form of the Greek System. One of Aryabhata's works is called DaSagZtikti from the fact that it consists of ten verses in the Gitika metre which is a modification of the Arya. His other work, the Aryasiddhantika, consists of 108 verses and is divided in three sections Kalakriyapada, Golapada and Ganitapada In these two works the extent of which does not jointly go beyond 118 verses, Aryabhata has explained the whole system of Hindu Astronomy. He is even more concise than the philosophical sutras and is in strange contrast with the astronomical Siddhantas which seem to have been written in prose and are very diffuse.

There seem to have been a conflict of Eras at the time when Aryabhata flourished. There was the Malava Era in Western Malwa, the Gupta Era known in the Gupta Empire, the Saka Era, the Kalacuri Era and soon all local and tribal eras. Not knowing in which to date his works which was meant for universal use among the Hindus he took up the Kaliyuga Era known to all.

But in subsequent ages the Saka Era was adopted by all astronomers in India. The reason is not far to seek for in India astronomy and astrology were, if not exclusively, very generally studied and professed by the Sakadvipi Brahmins or Scythian priesthood the old Magii settled in India from remote ages, or neither the Brahmins or the Buddhists favoured astrologers. Buddha has expressly excluded Astrology from Samyak Ajiva or proper livelihood.

GEOMETRY:-
ARYABHATTA was author of the Arykshiasata (800 couplets) and Dasagi-tica (ten stanzas), known by the numerous quotations of BRAHMEGUPTA, BHAT'TATPALA, and others, who cite both under these respective titles. The laghu Arya-sidd''hanta, as a work of the same author, and, perhaps, one of those above-mentioned, is several times quoted by BHA'SCARA'S commentator MUNIS'WARA. He likewise treated of Algebra, &c. under the distinct heads of Cuttaca, a problem serving for the resolution of indeterminate ones, and Vija principle of computation, or analysis in general.

From the quotations of writers on astronomy, and particularly of BRAHMEGUPTA, who in many instances cites ARYABHAT'TA to controvert his positions, (and is in general contradicted in his censure by his own scholiast PBIT'HUDACA, either correcting his quotations, or vindicating the doctrine of the earlier author), it appears, that ARYABHAT'TA affirmed the diurnal revolution of the earth on its axis; and that he accounted for it by a wind or current of aerial fluid, the extent of which, according to the orbit assigned to it by him, corresponds to an elevation of little more than a hundred miles from the surface of the earth ; that he possessed the true theory of the causes of lunar and solar eclipses, and disregarded the imaginary dark planets of the mythologists and astrologers; affirming the moon and primary planets (and even the stars) to be essentially dark, and only illumined by the sun : that he noticed the motion of the solstitial and equinoctial points, but restricted it to a regular oscillation, of which he assigned the limit and the period : that he ascribed to the epicycles, by which the motion of a planet is represented, a form varying from the circle and nearly elliptic : that he recognised a motion of the nodes and asides of all the primary planets, as well as of the moon; though in this instance, as in some others, his censurer imputes to him variance of doctrine. ‘

The magnitude of the earth, and extent of the encompassing wind, is among the instances wherein he is reproached by BRAHMEGUPTA with versatility, as not having adhered to the same position throughout his writings; but he is vindicated on this, as on most occasions, by the scholiast of his censurer. Particulars of this question, leading to rather curious matter, deserve notice.

Madhubani Paintings


The ceremonial folk paintings - popularly identified as famous Madhubani paintings - are the exclusive monopoly of women artists, passing down for generations from mother to daughter. The girl learns to play with the brush and colours at an early age which finally culminates in the Kohbar (nupital room), which acquires great sanctity in the social life of Mithila. All religious ceremonies relating to the marriage are performed in the Kohbar.The deep (earthen lamp - a symbol of happy conjugal life) is kept burning in all through for four days.
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Madhubani painting originated in a small village, known as Maithili, of the Bihar state of India. Initially, the womenfolk of the village drew the paintings on the walls of their home, as an illustration of their thoughts, hopes and dreams. With time, the paintings started becoming a part of festivities and special events, like marriage. Slowly and gradually, the Madhubani painting of India crossed the traditional boundaries and started reaching connoisseurs of art, both at the national as well as the international level.
The traditional base of freshly plastered mud wall of huts has now been replaced by cloth, handmade paper and canvas. Since the paintings have been confined to a limited geographical range, the themes as well as the style are, more or less, the same. Indian Maithili paintings make use of three-dimensional images and the colors that are used are derived mainly from plants. The themes on which these paintings are based include nature and mythological events. The first reference to the Maithili painting of Bihar dates back to the time of Ramayana, when King Janaka ordered the paintings to be created for his daughter, Sita's, wedding.

Madhubani painting has been handed down from one generation to another. Translated, Madhubani literally means ‘a forest of honey’. The art flourished in the villages around Madhubani in the Mithila region of north Bihar near the Indo-Nepal border. This region has historical and religious importance as Mahavir, Buddha and Lord Rama’s wife Sita, are all believed to have been born here.
Extracting of Natural Colors
The women don’t use camel hair brushes to create their works of art, but use only plain, slatted bamboo sticks with wads of cotton to apply the paint. “The colours are made from vegetable dyes or are of natural origin and are prepared by the women themselves.” explained Anmala Devi, a Madhubani artist herself, who spread out samples of her work for us to photograph. “For example, black is made by mixing soot with cow dung, yellow from turmeric, blue from indigo, red from red sandalwood, green from leaves and white from rice paste. The black outlines are drawn first and then the colour is filled into the spaces. ” Yet, despite the crude implements, the result is a bright and bold image with a character of its own.
In the beginning, home made natural colours were obtained from plant extracts like henna leaves, flower, bougainvillea, neem, etc. These natural juices were mixed with resin from banana leaves and ordinary gum in order to make the paint stick to the painting medium. Home made paints, though cheap, was time consuming and produced less than the requirement. The solution was to switch to the synthetic colours avaibale aplenty in the market. Now colours come in powdered form, which are then mixed with goat’s milk. However, black continues to be obtained from the soot deposits by the flame of diya, dissolved in gum.
The colours are usually deep red, green, blue, black, light yellow, pink and lemon. They created mood and hence played an important role. For instance, energy and passion find expression through the use of red and yellow, as monochrome crashed over large surfaces of the painting. Concentration of energy and the binding force is best reflected in red while green governs the natural leaves and vegetation. The Brahmins prefer the very bright hues while the Kayasthas opt for mutted ones. In another class called the Harijan style of painting, hand made paper is washed in cowdung. Once the paints are ready, two kinds of brushes are used - one for the tiny details made out of bamboo twigs and the other for filling in the space which is prepared from a small piece of cloth attached to a twig.

While this art has been in practice for centuries, it has, for most practical purposes, remained confined within the region. Even now, the women prefer to remain anonymous. Most of them being illiterate, are shy, and have not been outside the confines of their mud-thatched villages.
Unfortunately, it was a tragedy that led to these paintings being exposed, appreciated and collected as ethnic art around the globe. During the period 1966-68, a prolonged drought struck Madhubani and the neighbouring region of Mithila. A new source of non-agricultural income had to be found to keep these people away from the pangs of hunger. The All India Handicrafts Board encouraged the women artists to create their paintings on handmade paper for commercial purposes. For the market, the work is done on handmade paper or cloth treated with cowdung to give it its distinctive look and identity. Ever since, this craft has become a regular source of income. The artists travel far and wide and sell their work through art exhibitions. Their success has inspired even their menfolk to join them in their art to meet the growing demand!

BIHARI CULTURE AND DANCE:- CHHAU DANCE

The simple tribal people of Bihar express their creative joy through the Chhau dance, which was originally a war dance, preformed in order to perfect fighting techniques. It has, over the years, evolved into a narrative ballet.

Chhau dance is a mask dance performed by the male dancers. It is prevalent in Mayurbhanj district in Orissa, Sareikela in Bihar and Purulia district in West Bengal. The dance form was nurtured and developed under different royal patronage. Maharaja Krishana Chandra Bhanj Deo of Mayurbhanj was its greatest patron. Basically, Chhau is a festival dance, performed on the occasion of the sun festival observed according to the Bengali calendar towards the end of the month of Chaitra. Nowadays, Chhau is not only performed on this sun festival but also during many other festivals at other times of the year.


The Chhau dance is indigenous to the eastern part of India. It originated as a martial art and contains vigourous movements and leaps. During the eighteenth and nineteenth centuries, many of the princely rulers of the Orissa region took a keen interest in the development of this art. They maintained troupes that performed on special occasions and festivals.

Some Chhau dances use large stylized masks. The depiction of birds and animals is a distinctive feature. There are also heroic dances with sword, bow or shield, with which dancers demonstrate their dexterity. In keeping with the martial origins of Chhau, some of the themes include the depiction of mythological heroes, such as Parashurama, Mahadev, Indrajit and others, from the Mahabharata and Ramayana epics. Over the course of time, female characters and more diverse themes were added.

There are three recognized schools or styles of Chhau. These are the Seraikella, Purulia and Mayurbhanj varieties. Mayurbhanj Chhau dancers do not wear masks. In recent times, Mayurbhanj Chhau has become popular as a medium of choreography, with its wide range of postures and movements that adapt well to modern as well as traditional treatment.


 Origin of Chhau Dance
It is said that the word `Chhau` is derived from the Sanskrit word `Chhaya`, which means shadow or image. In Oriya `Chhauka` means ability to make a sudden unexpected attack. Chhau dance perhaps originated from the martial dance Phari Khanda Khela (playing with the sword and the shield). Some say the word `Chhau` has been derived from `Chhauni`, which means military barracks. Most of the tribal people performed it in an effort to appease and influence the Sun God. Whatever may be the origin of this folk drama in course of time it has developed its own rules and grammar. Nowadays, Chhau dance is generally performed during the Chaitra Parva. Gradually this dance has shifted from the barracks and has taken a ritualistic turn.

 Theme of Chhau Dance
The Chhau dance is mythological, as it is mainly based on various episodes of the epics Ramayana and Mahabharata. Sometimes certain episodes of the Indian Puranas are also used. The individual dance items of Chhau dance of Mayurbhanj include solo, duet and group performances. Two Rasas are dominant in the performance- Vira and Rudra, and in the end, forces of evil are punished and the righteous triumphs.

Music in Chhau Dance
Most of the tunes for Chhau are traditional and folk which are played on Mahuri and various types of drums. The music appropriately reflects the moods which the dancers so impressively interpret. The use of the drum is an important part of Chhau performance. With the beating of drums an invocation to Lord Ganesha is given and the dance begins. As the singer completes the invocation song, a host of drummers and musicians start beating the Dhol and the Dhamsa. The musical part is an integral prelude to the actual dance performance. After this musical journey, the character of Lord Ganesha appears on the dancing ground followed in quick succession by other characters -gods, demons, animals and birds.

Costumes of Chhau Dance
The costumes of the Chhau performers are of various colours and designs.In Bihar they uses mostly facial expression and legs are mostly use to show the dance. in south of India  they mainly comprises of Pyjamas in deep green or yellow or red shade that is worn by the artistes playing the role of gods; whereas those playing the role of demons have on loose trousers of a deep black shade. Sometimes, stripes of contrasting colours are also used to make the costumes more attractive and different. The costumes for the upper part of the body are full of various designs. The costumes for the character of Goddess Kali are made up of cloth of unrelieved black, and to express the separate and distinct identity, the characters of animals and birds use suitable type of masks and costumes.

Special features About the dance:

As this dance as a part of martial art, earlier only men used to perform this dance including the women character. But now even women have entered the arena and mastered this art.
Due to the dance being physically demanding in nature, the dancers can get exhausted after a short time. Therefore it`s played over brief period except in the Purulia School where they can have nightlong performances.
One of the main and unique characteristics of this dance, is emotions are not depicted by facial expressions but by legs. The dance has very detailed footwork, jumps etc. to convey the emotions of the character.
This highly energetic dance tells the stories from ancient mythologies like Mahabharata, Ramayana and other folklores. It depicts the nature in dance forms like Sagar Nritya and animal kingdom like sarpa, mayura dance. Melody, mood and rhythm all go hand in hand in making Chhau dance a success.