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Bihar ke lal..

http://www.associatepublisher.com/e/v/va/vashist_narayan_singh.htm
 Vashishth Narayan Singh currently located at Vasantpur in Ara District.He is considered as mathematical wizard.

http://en.wikipedia.org/wiki/Rajendra_Prasad
As we know that this is a great man and first president of free India.He was born in  3 december
 1884 in Siwan district of Bihar.
He was elected as the President of Indian National Congress during the Bombay session in October 1934. He again became the president when Netaji Subhash Chandra Bose resigned in 1939.In 1962, after twelve years as the president, he announced his decision to retire. He was subsequently awarded the Bharat Ratna, the nation's highest civilian award.
Rajendra Prasad died on 28 February 1963^.

http://www.vandemataram.com/biographies/patriots/kunwarsingh.htm   
                                                          (click on the link)

Kunwar Singh belonged to the Parmar branch of Rajputs. Originally belonging to he Ujjain area, they had migrated eastwards in the fourteenth century and settled at different places in Bihar-Dawa, Matila, Bhojpur and Jagdishpur (all in Shahbad district). They were locally known as Ujjainya Rajputs because of the place of their origin. Kunwar Singh belonged to the Jagdishpur branch of the family. He was the eldest son of Sahabzada Singh and was born probably in 1778. Spirited and adventurous by nature, Kunwar Singh was more inclined to strenuous, martial sports and to outdoor life than to education. Kunwar Singh married the daughter of Raja Fatah Narain Singh of Deo, a wealthy zamindar of Gaya district. He had a son named Dalbhajan Singh, who predeceased him. He fought  against of British when he was 80 years old. Paying a tribute to Kunwar Singh, a contemporary English writer described him as a man “who at eighty years old…inflicted on us a defeat complete and tragical; who exacted from the unruly mutineers as obedience which they paid to none other; who led his force in person to Lucknow and took a leading part in the struggle which decided the destines of India,” and expressed relief over the fact that “ it was uncommonly lucky for us that Coer Singh was not forty years younger” (George O. Trevelyan -‘Competition Wallah’, 1866).

                                                  http://en.wikipedia.org/wiki/Aryabhata                                                              (click on the link)
Aryabhata (IAST: Āryabhaṭa; Sanskrit: आर्यभटः) (476–550 CE) was the first in the line of great mathematician-astronomers from the classical age of Indian mathematics and Indian astronomy. His most famous works are the Aryabhatiya (499 CE, when he was 23 years old) and the Arya-siddhanta.Aryabhata mentions in the Aryabhatiya that it was composed 3,600 years into the Kali Yuga, when he was 23 years old. This corresponds to 499 CE, and implies that he was born in 476 CE^.

Work

It is fairly certain that, at some point, he went to Kusumapura for advanced studies and that he lived there for some time.^[4] Both Hindu and Buddhist tradition, as well as Bhāskara I (CE 629), identify Kusumapura as Pāṭaliputra, modern Patna.^[1] A verse mentions that Aryabhata was the head of an institution (kulapa) at Kusumapura, and, because the university of Nalanda was in Pataliputra at the time and had an astronomical observatory, it is speculated that Aryabhata might have been the head of the Nalanda university as well.^[1] Aryabhata is also reputed to have set up an observatory at the Sun temple in Taregana, Bihar^.

Mathematics

Place value system and zero

The place-value system, first seen in the 3rd century Bakhshali Manuscript, was clearly in place in his work. While he did not use a symbol for zero, the French mathematician Georges Ifrah argues that knowledge of zero was implicit in Aryabhata's place-value system as a place holder for the powers of ten with null coefficients.

उस्ताद बिस्मिल्लाह खान (Ustad Bismillah Khan)

http://www.bhojpuria.com/v2/culture/our-people/186--ustad-bismillah-k

Ustad Bismillah Khan was the third classical musician after Pt Ravi Shankar and Smt M S Subbulakshmi to be awarded Bharat Rathna, the highest civilian honour in India.

The gentle genius of Bismillah Khan was  perhaps single handedly responsible for making Shehnai a famous classical instrument. Traditionally used to play music during marriages, Shehnai is the counterpart of south indian nadaswaram. It is also used to play music in temples. 

Simplicity was the way of life for Ustad, It retains the old world charm of a Benaras life... his chief mode of transport was a cycle-rikshaw, even after he became one of the most respected musician !

The legendary shehani maestro, a man of tenderness, a man who believed in remaining private and who believed that musicians are supposed to be heard and not seen. Bismillah Khan was born on March 21, 1916 at Bhirung Raut Ki Gali, in Dumraon as the second son of Paigambar Khan and Mitthan. He was named as Qamaruddin to rhyme with Shamsuddin, their first son. His grandfather, Rasool Baksh Khan uttered "Bismillah" after looking at the newborn, thus he was named Bismillah Khan.

His ancestors were court musicians in the princely state of Dumraon in Bihar and he was trained under his uncle, the late Ali Bux `Vilayatu’, a shehnai player attached to Varanasi’s Vishwanath Temple. He brought Shehnai to the center stage of indian music with his concert in the calcutta All India Music Conference in 1937. There was no looking back. It was Khan Sahib who poured his heart out into Raga Kafi from Red Fort on the eve of India’s first Republic Day ceremony.

Khan had the rare honor of performing at Delhi's Red Fort on the eve of India's Independence in 1947. He also performed Raga Kafi from the Red Fort on the eve of India’s first Republic Day ceremony, on January 26, 1950. His recital had almost become a cultural part of the Independence Day Celebrations telecast on Doordarshan every year on August 15th. After the Prime Minister's speech from Lal Qila (Red Fort) in Old Delhi, Doordarshan would broadcast live performance by the shehnai maestro. And this tradition had been going on since the days of Pandit Nehru.

Where others see conflict and contradiction between his music and his religion, Bismillah Khan had seen only a divine unity. Music, sur, namaaz is the same thing. His namaaz was the seven shuddh and five komal surs. Even as a devout Shia, Khan Sahib was also a staunch devotee of Saraswati, the Hindu goddess of music.

His honorary doctorate from the Benares Hindu University and Shantiniketan bespeaks of his fame. He was bequeathed with the Sangeet Natak Academi Award, the Tansen Award of the Madhya Pradesh government and also the prestigious Padma Vibhushan.

On August 17, 2006, Khan was taken ill and admitted to the Heritage Hospital, Varanasi for treatment. He died after four days on August 21, 2006 due to a cardiac arrest. He was ninety years old. He is survived by five sons, three daughters and a large number of grandchildren and great-grandchildren.

The Government of India declared one day of national mourning on his death. His body was buried at Fatemain burial ground of old Varanasi under a neem tree with 21-gun salute from Indian Army.

He played in Afghanistan, Europe, Iran, Iraq, Canada, West Africa, USA, USSR, Japan, Hong Kong and almost every capital city across the world.

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• गंगा-जमुनी तहजीब के आगे दुनिया की सारी दौलत फीकी लगी उस्ताद को     

भिखारी ठाकुर (Bhikari Thakur)

14 August 2009 Sudhir Kumar

Bhikari Thakur, popularly known as "Shakespear of Bhojpuri" was born in a barber-family on 18th December,1887 at Kutubpur ( Diyara) Village in Saran District. Name of his father and mother was Dal Singar Thakur and Shivkali Devi respectively. He had a younger brother named Bahor Thakur.

He went Kharagpur to earn livelihood. He had earned much and but not satisfied with the job. Ramlila had impressed him. He went Jagannath Puri. till the time, he has been converted to another person.

He established Dance Party in the native village and began to play Ram Lila, sing songs and took interest in Social-works. Now he writes dramas, songs and books etc. Language of the books was simple and attracted many. Books were published from Varanasi , Chhapra nad Howrah.

His literary creations including Dramas ( Bidesiya, Beti-Bechawa,Bidhawa Bilaap etc.) and songs are praised and used to sing even today. He died in the age of 84 years on 10th July,1971.

Bhikari Thakur - The Shakespeare of Bihar
Bhikari Thakur is best known for the creation of the twentieth century theatre form Bidesia. Bhikari Thakur was a barber (a backward Caste) who abandoned home and hearth to form a group of actors who dealt with issues of confrontation: between the traditional and the modern, between urban and rural, between the haves and the have-nots. Appreciative native Bhojpuri audiences consider Bhikari Thakur as the incomparable founder father, propagator and exponent par excellence of this form. He was a folk poet, a folk singer, a folk dancer and actor.

The narrative of Bidesia has been made so effective through the medium of vibrant dances and pleasing music and based on such life-like stories that it presents a realistic picture of the poor joint families of the region.

The Bhojpuri taste is so theatrically inclined that it will not hesitate even to undertake long journeys to witness a performance. Like in many other folk forms, the female roles in Bidesia are played by the male actor-dancers. Normally they wear dhoti or shirt trousers but they sport long hair and make it and ornament it like women's hair. Dance forms an integral part of this form, in fact it’s the essence of the performance, which starts with dance in order to attract a large audience. Once this is done the Bidesia starts. The actors, besides dancing take on female roles in different dramatic contexts. Inspite of the advent of various other modes of entertainment, Bidesia remains the most popular and refreshing relaxation for the Bhojpuris. Through his plays, he gave voice to the cause of poor laborers and tried to create awareness about the poor situation of women in bhojpuri society. He always stood and spoke against casteism and communalism in the same cultural tunes. People from this region are very fond of and feel proud of his contribution to the local cultural traditions. His plays and his style of theatre are very popular for their rhythmic language, sweet songs and appealing music. His plays are a true reflection of bhojpuri culture. Almost all of his works focused on the day-to-day problems of lower castes/classes. He used satire and light-hearted comments to maximum effect to put forward his views on social ills and other problems plaguing Bhojpuri society.

He was born on December 18, 1887 at the village of Kutubpur in the district of Saran, Bihar. His mother’s name was Shivakali Devi and father was Dalsingar Thakur. He belonged to a naai (barber) caste, one of the most backward castes in Indian society. The traditional work of his caste was cutting hairs and assisting brahmins in marriage as well as in death ceremonies. They were also used by dikus to send and distribute ceremonial (in cases of marriages and deaths) and other messages in the village and nearby areas. They acted like postal workers in the traditional-feudal village setup.

In one of his works he says: “Jati Hazzam more Kutubpur mokam… Jati-pesha bate, bidya naheen bate babujee”. In this he speaks about his own caste and regrets that his caste people are distributing letters to all without knowing the importance of the letter, or the alphabets. He clearly understood the power of education and continuously chided his people for being illiterate and bounded by jajmani (patron-client) relations with the dikus.

Among the masses of Bihar and other Bhojpuri-speaking areas, he needs no introduction. But the so-called mainstream ‘culture’, like always, has conspired to keep mum about his contribution, actively avoiding even mentioning his name. Hence, there are no serious documented accounts of his works till now. He is greatest flag bearer of Bhojpuri language and culture. Bhojpuri is widely spoken in major parts of Bihar including Jharkhand, some parts of eastern UP and Bengal. He is not only popular in this linguistic belt but also in the cities where Bihari workers migrated for their livelihood. Many criticized him for upholding feudal and Brahminical values, which to some extent may be true. Despite the support and legitimation of few brahminical and feudal values in his works, he always pioneered the vision of a just and egalitarian society and this is the difference we have to understand. No vision of egalitarian and subaltern society can be even imagined under these idiotic and nonsensical shadows of Brahminical values.



He has written as well as directed and performed ten major works; beginning with a non-serious vasant-bahar based on the dhobi-dhobin dance he saw somewhere.

After Thakur’s death in 1971, his theatre style and use of bhojpuri language are continually being abused by the music industry in producing bhojpuri songs and plays replete with sexual innuendo. This is like a counter-revolution of the brahmin-bania combine against all the ideals that Bhikari Thakur propagated through his art. The dikus have no relations based on social reality and always aim to get maximum monetary profits on the basis of cultural vulgarity. This market forced a shift from Bhikari Thakur’s socio-economic oriented plays to mere sexual fantasy and cheap entertainment. This reflects the creative bankruptcy of dikus against which we dalit-bahujans should come forward and play a vital role to safe guard our anti-diku legacy in which Bhikari Thakur is one of the big stars in the galaxy of Dalit-bahujan revolutionary artistes.

His major productions include: - Bidesia, Bhai- Birodh, Beti-Viyog or Beti Bechba (seller of daughter), Kalyuga Prema (Love in Kalyuga), Radheshyam Behar (based on krisna- radha love), Ganga-asnan (ceremonial bath in ganga), Bidhwa- vilap, Putrabadh (killing of son), Gabar- Bichar (based on an illegitimate child), and Nanad Bhojai.

1. Bhai-Virodh (opposition from brother)

This play deals with the theme of joint family, which is a very prominent feature of Bihar’s rural society. Three brothers are separated due to lack of confidence and respect for each other on the instigation of a person outside their family. However, at the end they realize the importance of living together but not before a lot of harm had actually taken place.

2. Beti-Viyog or Beti- Bechwa (seller of daughter)

This play is considered a very progressive play. Bhikari Thakur through this play criticizes the wide-spread custom of selling young girls in marriage to much older men. This custom prevailed in Bhojpuri-speaking areas until recently. The protagonist is a young girl whose father sells her to an older person.

3. Kalyuga- Prem

Through this play Bhikari Thakur talks about the bad effects of drinking. The lone wage earner of the family is a drunkard and often visits prostitutes. This extravagance soon leads to the pauperization of his family. His whole family including his wife and son suffers tremendously because of the bad habits of the head of the family. Later in the play the wife and son decide to confront him but to no avail. Later being fed up with his father’s immoral ways, the son runs away from the family and goes to Calcutta to earn money to eventually return and rescue his mother.

4. Ganga-Asnan

Malechu is from a village. His wife wants to go to bathe in the Ganga but his mother is too old to do so. The wife finally prevails and they set out but not after loading much luggage for his old mother to carry on the way. Before they reach the Ganga a quarrel ensues and Malechu beats up his mother. At the banks of the Ganga, his mother gets lost in a fair. In the same fair, his wife is seduced by a sadhu with the promise of giving her a son. Malechu finds her in the nick of time and epiphany dawns on the both of them who then find the mother and beg her forgiveness. The story is a critique both of the distance between parents and their children in a situation where old parents are completely dependent on their children and also of the tantric culture of sadhus who most often are conmen.

5. Vidhwa-Vilap (The weeping widow)

The story is about how widows are treated within their homes. It is seen as an extension of Beti-bechwa for more often than not young girls married to old men; spend most of their lives as widows. The story reflects the hatred and seclusion a widow has to suffer in brahminical society for no fault of her own.

6. Gabar-Dichor

It the story of an illegitimate son of Garbari and Galij’s wife. Galij returns from the town to find the village gossiping about his son’s parentage. He wants to take Dichor back to Calcutta with him. But both Galij’s wife and Garbari intervene. A quarrel ensues as each of them claims Dichor as their own. The panchayat is called and they decide that Dichor be divided into three pieces. A man comes and maps Dichors body and agrees to do the job for four annas a piece. The mother relents refusing to pay and giving up all claim on the son. The panchayat sees the light and Dichor is allowed to stay with his mother. Almost all his plays took their themes from society but were molded in Bhikari’s new progressive and revolutionary style. When asked why he took to theatre, Bhikari answered, “I used to watch Ramlila and Raslila. When in Ramlila, Vyasji gave sermons to people; I also thought I could also give sermons to my people”. This dream came true and till his last day he served his people through his sermons, which unlike diku sermons were based on real life. But our legendary cultural figure is no more among us. He breathed his last on July 10, 1971 after giving us a new lease of life.

कबीर (Kabir) 

 http://www.bhojpuria.com/v2/culture/our-people/717-kabir

10 October 2009 News Desk

Kabir (1440 - 1518) (also known as Kabira) was an Indian mystic who preached an ideal of seeing all of humanity as one. He was known to be a weaver and later became famed for scorning religious affiliation, seen as a threat to both Muslim and Hindu elite. His monist philosophies and ideas of loving devotion to God are expressed in metaphor and language from both the Hindu Vedanta and Bhakti streams and Muslim Sufi ideals. Kabir is also considered to be the father of the Sant Mat tradition. His Guru was Ramananda.