Kag Ochav

February 2 was Charan Day in Mahuva. Thirty kilometers away, the village of Majadar, the hometown of poet Dulabhai Bhayabhai Kag, was named Kagdham. The unveiling of the Kagdham platform was done by Morari Bapu Hariyani.

Lectures on the topic 'Folk Literature and Charan' were held from eleven in the morning until three in the afternoon. At 6:30 PM, Morari Bapu unveiled the statue of poet Kag at the chowk near Khadi Gramodyog in Mahuva. Shortly after the public program concluded, at the Gymkhana Ground in Mahuva, with red chundadi shawls tied around their waists, about thirty Charan sons and acharan artists, including Manhar, Pankaj, and Nirmal Upas, performed tribute programs for poet Kag until five in the morning. Morari Bapu adorned the artists with yellow khes.

In Majadar village, with a population of four hundred and a majority of Charans, the small village buzzed with numerous guests. The 'Folk Literature and Charan' discussion included diverse opinions and perspectives, enjoyed thoroughly by about three thousand listeners.

Sant Morari Bapu, litterateur-educator Darshak, humorist Shahbuddin Rathod, and several Charani leaders praised poet Kag and objectively evaluated Charani literature in today’s context.

Sarawatisanman awardee Manubhai Pancholi Darshak said, “I have not come here as a spectator. I have come as the president of the Gujarat Sahitya Akademi to pay tribute to poet Kag. God arranged a gathering of diverse people. But then the question arose: who would keep them in balance? And as a solution, a poet was born.”

Darshak added, “Today, no one pays tribute to poets. In fact, the governor should have walked here today, and that would honor not just the poet but the governor too. Dulabhai’s significance lies in harmonizing refined literature with Charani literature. The era of dhinganas, shooras, satis, and paliyas is gone. Thus, the time for such literature is not coming. Hence, I request Charan sons to create works recognizing the new era. Write poems with new emotions, new zeal, and new duties. This happens in Gujarati, but its extent should increase. Society needs Kalidas, Vyas, Valmiki, Eknath, Tukaram, Kabir, and Rabindranath. Poet Kag is also needed. Dula Kag wrote poems on Gandhi, Ravishankar Maharaj, and Bhoodan. He understood the new era.”

Darshak further noted, “Verbosity should be removed from Charani language. Experiments like the donor Karna or the warrior Arjuna don’t work today. Use the word that fits the context. Only what suits should be used. Poetry is that which has propriety. Rabindranath had propriety. The poet 'Daad' is present here, but a great poet is something else. If I don’t say this as the academy president, I wouldn’t be considered fit for the role.”

On poet Kag’s creations, Darshak said, “I don’t believe it’s necessary that Kag retained old meters. Yet, a poet is free. Literature transforms human subconsciousness, and who has purified the nation’s subconsciousness? A poet is not one whose words you understand when spoken. Folk literature is what people have consented to. It’s not that only Charans have given such literature. Ideas of Brahmin superiority (here read as Charans) should now be abandoned. Since 1947, a citizen named man has emerged, and poetry must be created keeping that in mind.”

Sant Morari Bapu honored Shri Darshak with a sutra knot. Bapu said in his pure style, “Kagdham is a Rishidham. And these rishis are like living dhams. Kagbapu lived in this village, and the village became a dham. This is the dham of a person whose dhi, meaning wisdom and intellect, had blossomed. Whose dhruti, meaning patience, was like Mount Meru. And dharma was ingrained in his life from head to toe.”

Morari Bapu added, “Today, people have wronged dharma by interpreting it narrowly. I have seen Kagbapu as someone in whose form and essence dharma resided. After dhi, dhruti, and dharma comes dhvaj. In the Ramayana, dhvaj means the flag of truth. These four elements have come together here. Kagbapu flowed between the shores of folk and Vedas. Bhagat Bapu was ahara and ajit. His literature was accessible, popular, and so revered that it ascended to the Vyasa gadi.”

Bapu shared his personal experience, saying, “While reciting the Kevat prasang, i have always sung the poem composed by poet Kag, ‘Pag mane dhova dyo Raghu Rai, aaj mane shak padyo manmaay,’ and the composition by poet Daad, ‘Kaalja kero katko,’ when King Janak sends Janaki to her in-laws. People have accepted it as part of the Ramayana to the extent that if its mention is omitted for some reason, people meet me face-to-face to complain. This Charan literature has transcended both the refined and complex to become cherished literature.”

Morari Bapu said, “Many activities validate a saint’s conscience. Today, my conscience tells me that the consciousness of the poet (Kag) roams here. Such gatherings are necessary. This village (timba) must have such a discussion once a year. When the Draupadi named culture is being disrobed, only words will provide the cloth. Who else will provide it?!”

Bapu blessed, saying, “Folk literature is cherished literature. It must be kept alive with life. This literature’s fertile ground needs the seed of Shiv sankalp, the manure of trust, the fence of discipline, and tears shed while singing meters, which will water it for a good harvest. Now remains the matter of protecting it from birds’ attacks. So, I pray to Mother Jagadamba to strike with her gofangoala to save the literature.”

Morari Bapu further said, “One meaning of vipra is Charan. Vipra means free from the world, free from details. A Charan is one with a special kind of discernment, and look at the sisters and daughters of the Charan clan—what discernment they have! All gathered here today are vipras, examining the same truth from different angles. I enjoyed it immensely.”

Bapu said in his unique style, “Saraswati is the daughter of your clan. Adorn her, play with her, and she will make you radiant.”

Mumbai’s Vanikputra Vinubhai Mehta, who organized, managed, and advised the entire event, said, “No one paid tribute to Kagbapu while he was alive. ‘Maadi taari chhabiyun bhittyuma chode, pan maadi taaru kahyu koinu kare.’ That is this society. Poet Kag was brought out of Dhanbai mata’s womb 95 years ago. Twenty years have passed since his demise. This poet was a university in himself. My ignorance is verbose. The masters of words are seated here. I am the black sheep among them. But my intention is 100% pure.”

Vinubhai added, “Charan tastes bitter when chewed, sweet when drunk. The drops of water are also sweet with words. A rugged poet like Kag had the potential to become the Vyas of independent India. In Gujarati literature, I admire two six-letter names. One is Dula Bhaya Kag, and the other is Ramesh Parekh.”

Vinubhai mused, “I have received the flower named Morari Bapu. Introducing Morari Bapu is an insult to him, but two Bapus were born in the Mahuva region. They lived with their heads in the lap of the Ramayana. Kag Bapu and Morari Bapu. Kagbapu herded cows with an open head, open body, and open heart. Why did we wait 21 years after his death to value him?”

Translated from article by Vinod Pandya published in Abhiyaan Magazine on 14th March 1998

Mumbai’s Manubhai Gadhavi described this event as an ochav, occasion, and history. Vinubhai, who writes the 'Charan Chotho Ved' column in Janmabhoomi Pravasi, had been preparing for this event for months and arrived in Mahuva days in advance.

At this occasion, Janmabhumi’s smt Taru Kajariya was also present. Manubhai called Vinubhai the Gangotri of this idea. Manubhai said, “I am a son of Shakti, a son of Saraswati. I am proud to be a Charan. Folk literature and Charan are both riddles, and no one has solved them. We grow mangoes with words and burn green forests. Yet, we remain neglected.”

Yashudan Gadhavi highlighted the similarities between European folklore, Shakespeare, William Blake, and Indian folk literature. He said, “Where there is no aadar (respect) or Maja (joy), there is no Majadar.”

Poet Daadbhai Amarabhai Gadhavi (Kavi Daad) said, “Charani literature and folk literature cannot be separated. They are two sides of the same coin. Folk literature without Charani literature feels like Sheera without ghee. Charans are the singers of Vedic hymns.”

Kavi Dad added, “In Paddhari, Revashankar Shastri used to sing shamas. I met him in his old age. His singing had the tune of a Paraj. That tune was also in poet Kag’s voice.”

Saurashtra’s most popular Charan Bhikhudan Gadhavi said, “This is my first time at the Kag festival. It feels like we have come on a pilgrimage to Majadar Tirth Dham. Kagbapu made folk literature simple with chhappaia, duhas, and meters. But its truth remained the same. The truth didn’t change. Bhikhudan exemplified how poet Kag viewed the incident of Devki being imprisoned by Kansa with Kag’s words: ‘Shri Hari podhyo je udar hun jooni java ked hashe, to e je vichar muke akalavi mane ke biji raiyatana sha haal hashe.’”

Kutch’s former advocate, now a follower of Morari Bapu, Narsangbhai Ayachi, made an impassioned plea. He said, “Bhagatbapu’s words were like drops of dew experienced by people. When it comes to Charan literature, Dula Bhaya Kag is its father.”

Narsangbhai dismissed the accusation of Charans giving praise as baseless. He said, “If Charans gave praise, it was to encourage cowards to fight against Islamic invasions. We stripped the Rajputs’ hides with words. Kagbapu never wrote praise songs. Instead, it turned out that Charans were exploited.”

Narsangbhai introduced Charan identity with a duha: “Kaachdradha kar barsana, manchanga muh mith, ranashoora jagvallabha, so mein virala dith.” (Kaachdradha means strong loins and pure character. Kar barsana means generous, a donor. Manchanga means a pure mind. Muh mith means sweet-tongued. Ranashoora jagvallabha means loved by the whole world and earning everyone’s love.)

Though Narsangbhai took more time than allotted, everyone enjoyed listening to him, especially the Charans, because he presented their pain. He said, “Literature without purpose is not literature. Charans have composed scriptures. A small village like Dhuna can be considered a Gandharva Vidyalaya of folk literature. Literature has no boundaries. Yet, if given ten duhas, I can identify one composed by a Charan. He demanded the establishment of a Charani Literature Academy and the declaration of Charans as a protected community. ‘If wild donkeys are declared protected, what crime have Charans committed?’ he asked, emphasizing the need to encourage Charani literature creation.”

He added, “Spirituality will be found in Charani literature. You’ll find the sweet dialogues of der-bhojai, but not literature with a sick mentality.”

Charani and folk literature expert Jitudan Gadhavi believes, “Charan poetry is inherently higher than the era’s perspective. But Charans must preserve their Charan identity. Only then will society give them what they ask for. Charan is a tradition. It’s folk culture. It’s a collective pulse.”

Dr. Balwant Jani of Saurashtra University said, “It’s perhaps rare globally for a village to be named after a poet and for it to happen at the hands of a yogi and cultural figure. Naming the village after the poet is not love for literature but love for culture.”

Dr. Jani added, “No Gujarati poet’s works have sold as much as Kagvani.”

At the conclusion, Manubhai Gadhavi said, “Refined literature has taken educated steps into the field of spirituality, while Charani literature’s foundation begins with spirituality.”

Manubhai added, “If someone has exploited Charans, so be it. We are still ready to be looted. (In response to Narsangji Ayachi) We are worshippers of Shakti. Giving us jobs won’t solve everything. Time will align accordingly.”

Rajkot’s Takhtdan Rohdiya, an unconventional soul and a Charan, said, “I understood this much: this is a Kagotsav. Believe that the guru speaks the truth. These matters are beyond intellect; here, one lives with trust and understands with faith.”

In the program, Manoj Barot of Ghatkopar said, “Charan is a treasure of consciousness.”

Dr. Niranjan Rajyaguru of Saurashtra University also presented his conclusions.

While unveiling the statue in the evening, Morari Bapu said, “Vinubhai Mehta’s thought-mantra has materialized here. Mahuva is my village, and I sit here as the host. My village’s story is unique. Normally, it’s an honor if our village doesn’t disgrace us.”

Bapu added, “What is a poet? A poet is one who awakens a person. Who resolves their personality and keeps their existence connected. Through such programs, we don’t just lighten our load but lift society’s burden. This is the occasion to lower the evening of this literary figure. Just as a statue is instilled with life, let our lives be instilled with the statue’s essence. Let folk literature be honored. Let Charan literature be honored. Let people’s thoughts and folk culture be honored in our hearts.”

Bapu requested the people of Mahuva, “Circle this statue according to traffic rules, and remember that we are performing a parikrama.”

The night was filled with diaries. Among the Udhās brothers, Shri Pankaj sang the same old Jari Puran song ‘Chithi Aayi Hai.’ Morari Bapu and the listeners stayed awake until morning. It’s evident from listening to Harsur Gadhavi that he can discuss high spiritual matters in a natural and simple language.

Poet Kag had only studied till fifth class, and Manubhai says Harsur Gadhavi is completely uneducated. Bhikhudan bhai still has the ability to make someone cry in one go. What is it about the Charani community that only produces sons of Saraswati? Many, including Manubhai, said it’s the quality of their blood.