By Kiran Badoni
In this article, the author reflects on the significance of 2 September, the 24th anniversary of Uttarakhand’s formation. She sees the Shaheed Smarak Bhawan in Jhulaghar, Mussoorie, which houses sculptures of those who dedicated their lives to the Uttarakhand Andolan. Thus, these sculptures are not merely artworks; they symbolise the state’s journey toward its formations.
She recalls two key events—the Khatima Goli Kand and the Rampur Tiraha incident in Muzaffarnagar—both instrumental in shaping today’s Uttarakhand.
Today, the young generation might be tempted by modern and Western culture. However, they should understand Uttarakhand’s unique status. It has emerged through the blood and sacrifice of its residents, where both men and women sacrificed their lives with their aspirations for statehood. The demand for a separate state from Uttar Pradesh involved several peaceful protests, persistent demands and violent confrontations.
The demand for a separate state dates back to the Indian National Congress special session in Srinagar on 5–6 May 1938. This appeal gained momentum over the years, culminating in a mass movement by 1994. The Uttarakhand movement gained momentum on 8 August 1994, when Jeet Bahadur Gurung became the first martyr in Pauri. Uttarakhand finally gained official recognition as India’s 27th state on 9 November 2000, a significant win in the region’s struggle for autonomy.
The people’s strong cultural and historical desires were represented in the creation of Uttarakhand. In contrast to Jharkhand, which was established on 15 November 2000, and Chhattisgarh 1 November 2000, mainly as a result of economic inequality, Uttarakhand’s campaign for statehood was firmly anchored in the aspiration for cultural and identity validation.
Not economic concerns but a desire for cultural recognition propelled the movement. The areas now comprising Uttarakhand—Kumaon and Garhwal—have distinct identities separate from the rest of Uttar Pradesh.
Historically, Kumaon and Garhwal were autonomous entities ruled by local dynasties such as the Panwar, Chand, Sah and Katyur. Even during the Mughal era, these regions retained their autonomy. Under British rule, while they were administratively incorporated into the Northern Province, Tehri Garhwal remained a princely state until India’s independence.
On 1 September, 1994, in Khatima, Udham Singh Nagar, a peaceful protest against government actions turned violent when the police fired on the crowd without warning. The protest began at Ramlila Maidan and involved around 10,000 people, including women carrying traditional sickles and veterans with licenced weapons. As the procession passed the police station, stones were thrown from nearby houses, prompting the police to open fire for over an hour. Eight people were killed, and hundreds were injured.
The police attempted to conceal the incident by hiding four bodies and later dumping them in the Sharda River. They justified the shooting by claiming the protesters had fired first, citing the presence of sickles and guns, although no evidence of violence from the protesters was found. The incident is remembered as a significant act of suppression in the history of the Uttarakhand statehood movement. The martyred agitators were Pratap Singh, Salim Ahmed, Bhagwan Singh, Dharmanand Bhatt, Gopichand, Paramjit Singh, Rampal, and Bhuvan Singh.
Violence and repression plagued the Uttarakhand movement, particularly after the Mussoorie incident on 2 September 1994. Stones were thrown at the demonstrators during a peaceful march calling for statehood, violently upsetting them and sparking a deadly altercation with the police. Deputy Superintendent of Police Umakant Tripathi, who was renowned for his dedication to justice and equity, was sadly slain in the police firing. He lost his life as a result of the brutality of the police response, which included shooting a police officer. He has permanently damaged the communal memory of the area.
His sacrifice became a symbol of the struggle and continues to be remembered with profound respect by the people of Uttarakhand. Despite the violence and subsequent legal battles, the movement continued, driven by the unyielding resolve of its leaders and supporters.
Later that night, the police chief of Mussoorie was replaced. The area around the Joint Struggle Committee office at ‘Jhula ghar’ was surrounded by Provincial Armed Constabulary (PAC) and police personnel, who began firing indiscriminately. The Uttarakhand statehood movement was proceeding as usual on that day. Protesters at the Joint Struggle Committee office near ‘Jhula ghar’ in Mussoorie were on a hunger strike protesting the shooting incident in Khatima. During this time, the PAC and police started firing on the protesters without any prior warning. Martyrs of the shooting incident included Balbir Singh Negi, Dhanpat Singh, Rai Singh Bangari, Madan Mohan Mamgai, Belmati Chauhan and Hansa Dhanai.
Following the incident, the police began arresting protesters, causing chaos throughout the city. Five protesters on a hunger strike were detained by the evening of September 1 and were sent to the police lines in Dehradun, then transferred to Bareilly Central Jail. Many protesters faced legal battles with the Central Bureau of India (CBI) for years.
This incident ended with the Rampur Tiraha incident of Muzaffarnagar on 2 October 1994, where the administration wreaked havoc on the protesters from Garhwal and Kumaon going to Delhi to protest for a separate state at Jantar Mantar in Delhi. The slogan ‘Koda-Jhangora Khayenge, Uttarakhand Banayenge’ floated in the air. Everyone was involved in some way or another in the movement for a separate state. Pradeep Kukreti, District President, Uttarakhand State Aandolankari Manch, said that 28 years ago, on 2 October, in large numbers, the agitators moved ahead and reached Rampur Tiraha in Muzaffarnagar, where firing, atrocities on the helpless, lathi-charge, and stone pelting took place. Children and women were treated rudely, which can never be forgotten.
The writer has referenced ‘Teri Saun,’ a 2003 Uttarakhandi film, from her childhood memories. Teri Saun means “Teri Saugandh” in Hindi. The film is based on the Uttarakhand movement. Teri Saun was written, produced and directed by Anuj Joshi, a Mumbai-based TV programme director. A significant part of the movie, 70%, was in Hindi. Still, two other versions of the film were released in Kumaoni and Garhwali languages to bring in the originality of both state regions.
The soundtrack sold 35,000 copies in the first fortnight of the film’s release, significantly higher than a record for any Kumaoni or Garhwali film.
The film stars seasoned actors and actresses of Uttarakhand Cultural Front, such as Ramendra Kotnala, Durga Kukreti, Roshan Dhasmana, Rajini Dukal, Kaulana Ghansyal, Girish Sundriyal, Vineet Gairola, Gokul Panwar and others. Meanwhile, the hero Manav and heroine Mansi are played by Saksham Juyal and Pooja Rawat, respectively.
The film intertwines the characters’ fictional lives with the actual events of 1994. A beautiful love story set against the backdrop of the movement is also a part of Teri Saun. While the hero and heroine meet in the film’s first half, the Rampur Tiraha, Muzaffarnagar incident’s misdeeds lead the characters on a more depressing path. Eventually, the love of the hero’s family, teachers, and relatives convinces him to abandon the path of violence, and he continues the Uttarakhand struggle peacefully and democratically.
Madan Duklan, the editor of Chithi-Patri, who wrote the songs for the film, and Alok Malsi, the music composer, have profoundly impacted the people of Uttarakhand. The film’s songs became quite popular—the heart-touching song, “Meri Janambhoomi Mero Pahad” (My birthplace is my mountains) awakens love among lakhs of Pahadi people living in Uttarakhand’s mountains. The writer tells how, in her childhood, buying Garhwali and Kumaouni films and song cassettes was so familiar. At that time, everyone would listen to these songs in the morning or evening. While remembering those days, the writer hums this song from the film ‘Teri Saun’… (written in Garhwali dialect with the Hindi language). This represents the deep love that each Pahadi resident holds for Uttarakhand.
मेरी जन्मभूमि मेरो पहाड़।
गंगा जमुना यखी बद्री केदार।
मेरी जन्मभूमि मेरो पहाड़।
फूल खिलंदी फूलों की घाटी
रॉस जगान्दी हिंवांली काठी।।
फूल खिलंदी फूलों की घाटी।
रॉस जगान्दी हिंवांली काठी।।
नंदा की छाया
जागेश्वर धाम
पंच प्रयाग यखी , हेमकुंड साहब
औली गौमुख यखी, हरी हरिद्वार।
मेरी जन्मभूमि मेरो पहाड़।
The Garhwali song “मेरी जन्मभूमि मेरो पहाड़” (Meri Janmabhoomi Mero Pahad) is a heartfelt tribute to the singer’s homeland, the mountainous region of Uttarakhand. The song reflects deep love and pride for the land’s natural beauty, cultural heritage, and spiritual significance. The first line, Meri Janmabhoomi Mero Pahad, signifies, “My birthplace is my mountains.” Ganga Jamuna Yakhi … Badri Kedar means “Here flow the Ganga and Yamuna rivers… Badrinath and Kedarnath.” The mention of the sacred rivers Ganga and Yamuna, along with the revered temples of Badrinath and Kedarnath, highlights the spiritual significance of the region. These places are central to Uttarakhand’s spiritual, cultural and religious identity. Phool Khilandi… Phoolon Ki Ghati. “Flowers bloom… in the Valley of Flowers” (is a famous and picturesque national park in Uttarakhand known for its vibrant meadows filled with endemic flora. This line celebrates the region’s natural beauty. Raas Jagandi … Himwali Kaathi) “The night awakens on the snow-capped peaks.” This imagery evokes the serene and majestic environment of Uttarakhand’s snow-covered mountains, often called the “Himalayan peaks”. Nanda Ki Chhaya, “In the shade of Nanda Devi…” is one of India’s highest peaks and holds great cultural and religious significance in Uttarakhand. This line suggests a sense of protection and reverence under the shadow of this sacred mountain.
Jageshwar Dham, “The holy place of Jageshwar”, a group of ancient temples in Uttarakhand dedicated to Lord Shiva. It’s a significant pilgrimage site. Panch Prayag Yakhi, Hemkund Sahib refers to five sacred river confluences in Uttarakhand, and “Hemkund Sahib” is a revered Sikh pilgrimage site. These references further emphasise the spiritual richness of the land. Auli Gaumukh Yakhi, Hari Haridwar, Auli, is known for its scenic beauty and skiing slopes. Gaumukh is the source of the Ganga River, and Haridwar is a major pilgrimage city. The line pays homage to these iconic locations, highlighting the diversity and sanctity of Uttarakhand. Meri Janmabhoomi Mero Pahad. Repeating the refrain, the song reinforces the deep emotional attachment to the mountains of Uttarakhand.
The author brought back all those memories by stating that the creation of Uttarakhand was a political achievement and evidence of the people’s tenacity and resolve. It acknowledged the distinct cultural identity of the Pahari people and resolved long-standing complaints about representation and administration.
It is important to remember those who lost their lives defending the cause when thinking about the events that led to the creation of Uttarakhand. Through defending their legacy and fighting for their rights, the people of Uttarakhand ensured their identity was acknowledged, and their voice was heard. Uttarakhand is a modern-day model of cultural pride and resiliency, embodying the spirit of a people who refused to let history define them.
(The author is a Research Scholar, Department of Economics, Central University of Karnataka, Karnataka, and IPE-ICSSR Doctoral Fellow at Department of Management, Institute of Public Enterprise, Hyderabad, Telangana.)
