Ajay Singh Chauhan
S. After 1950, there were radical changes in political-social-economical ways around the world. She became aware of the rights that women were deprived of for centuries. Feminist movements flourished in the West to gain those rights. Feminist literature was born out of it. At that time, due to Martin Luther's movement in America, American Negroes also became aware of their rights and their literature began to be published. That is, the centers of social power began to break down and new centers began to emerge. The same thing happened in India. After independence the right to equality given by our constitution resulted in the downtrodden-underprivileged society being educated and aware of their rights. Their centuries-old pains were written in literature; Now the people of that society started giving words to their pains and Dalit literature was born. In most languages of India, including Gujarati, Dalit-feminist literature began as a movement in the seventh-eighth decades. Amidst all this there was a large community of India far removed from the frontiers of literature. That community means forest-tribal community of India. Even in the twenty-first century, the poets-writers of that community started painting their feelings. Love of nature and displacement due to economic reasons is the focus of tribal literature. A tribal cannot exist without forest. Tribal and forest are one and the same. The Indian name for such tribal poetry is Nirmala Putul. Nirmala Putul (1972) was born in Santhal Pargana, Jharkhand. His poetry collections are 'Nagre Ki Tarah Bajte Shabd' and 'Apane Ghar Ki Talash Mein'. Being a tribal poet, his poetry has both tribal and feminine sensibilities. In the medieval Gujarati girl's folk song, 'Dadaji, don't see a tall man, he will break a pipe every day.' Saying that, the father is asked to see the groom of his choice. But look at what a tribal girl says to her father in Nirmala Putul's poem: Muze utni door mat byahna jaha muzse mille jane khatir ghar ki bakriaan bechni pade jungle nadi pahar nahi ho jahan waha mat kar ana mera lagan jo baat-baat mein baat kare lathi -Danda ki nikale arrow-bow, ax jab chahe chala jae Bengal, Assam or Kashmir Aisa var nahi chahie muze aur uske haat mein mat dena mera haat jis ke hato ne kabhi no pad lagaya fasle na ugaai gin hato ne gin hato ne nahi diya kabhi kisi ka saath kisi ka boz did not get up ahead of the folk song Talking about it, the girl says 'Ek Kade Patilio Ne Mukhe Shamaliyo, ae mari sahiero vakhanio' cannot speak directly to the father. But, this is a tribal girl who can tell her father directly about her choice. We can see that such a sensation can only be experienced by a tribal woman. The most serious issue on earth today is the destruction of nature. The solution, if any, is the tribal way of life. Here there is a living relationship with nature but also the pain of displacement associated with the tribal community. Nirmala Putul, in a poem about tribal girls, depicts the innocent, innocent nature of the tribal girl: Upar se kali bhitar se apne chamcate danton ki tarah Shant Dhawal hoti hai ve ve jab hansati hai fenil doodh-si Nischal hansi tab zar-zarakar zarte hai. .. Pahad ki kokh mein mithe pani ke By the way. In 'Budhi Prithvi Ka Dukh' he writes: Kya tumne kabhi suni hai sapon mein chamchiti kulhadiyon ke bhaan se pedon ki chitkar? Kulhadiyon ke var sahte kisi pad ki hilti tahniyon mein dikhai pade hai tumhen bacha ke liye pukarate hazaran-haza haat? The question mark placed in this poem is against the entire mankind. Nirmala Putul presents in seven lines what cannot be talked about even if pages are written or reports are written about deforestation. There is simplicity in his poetry but the consonants behind that simplicity give new meaning to poetry. Gujarati literature still waits for a powerful tribal poet like Nirmala Putul. }
Image Credit: (Divya-Bhaskar): Images/graphics belong to (Divya-Bhaskar).
