Veteran artists and community members are reviving the forgotten art of Bhand Pather in Kashmir. Through collaboration, melodies, and tales, this cherished folk tradition is experiencing a renaissance, igniting valleys with enchantment. From preserving legacy to fostering pride, Bhand Pather symbolizes resilience and cultural richness in Kashmiri hearts.
By Tauheed Ahmad
Amid the fading away of the once-thrived art, a revival unfolds, reigniting the forgotten art of Bhand Pather. Once hidden in the valley, this cherished folk tradition awaited revival, drawing a committed collective—veteran artists and community members—to resurrect its fading essence. Melodies and tales echoed anew through the valleys as musicians, storytellers, and performers collaborated, rekindling Bhand Pather’s enchantment.
Beyond performances, they aimed to deepen community ties, celebrating it not just as art but as a vessel of shared heritage and values. Their dedication aimed to preserve this legacy for generations, ensuring Bhand Pather’s vibrancy in Kashmiri hearts. Amidst the echoes, it stood as a testament to Kashmir’s resilience and cultural richness—a beacon of revived heritage and communal pride.
Manzoor ul Haq, a Bhand artist and a national award winner of Ustad Bismillah Khan Yuva Puraskar, hails from Hanjigund Wathoora in Budgam the son of the late Ghulam Ali Bhat, affectionately known as Majboor, laid the groundwork for the National Bhand Pather. Manzoor passionately spoke about this art form’s legacy, emphasizing that Bhand Pather is not merely a performance; it’s an inheritance passed down through generations. Like many others involved in this art, Manzoor inherited its nuances from his father and had the privilege of learning from esteemed artists within Kashmir’s valleys.
Bhand Pather boasts the distinction of being the oldest art form in the Kashmir Valley, embodying the essence of folk theatre. Manzoor emphasized its deep-rooted connection with the community, earning the title of ‘folk theatre.’ He underscored its historical significance as an integral part of societal structure—a vital means for people to voice concerns to the government and vice versa. Bhand Pather served as a form of communication, akin to a medium of media, effectively shedding light on prevalent social issues.
Manzoor vividly recounted the historical narrative, highlighting Mohammad Subhan Baghat’s (1927-1993) pivotal role from Akingam Anantnag in shaping post-Independence folk theatre. He credited Baghat’s tireless efforts in revitalizing and sustaining the art form. Baghat’s multifaceted contributions, both as a director, writer, and performer, and through his literary work, notably the book “Taqdeer, Kasher Lukka and Deevai Rang,” provided a blueprint for rejuvenating this traditional form of expression.
In the present era, Manzoor lamented the gradual decline of this once-prominent art form, attributing its fading eminence to several factors. He noted a decline in the general public’s interest, resulting in a shrinking audience base over time. Additionally, performers, essential to the vitality of this art, exhibit reluctance due to financial constraints. “The pivotal role of financial stability, acknowledging that financial considerations often motivate artists, emphasizing the necessity for artists to sustain their livelihoods and support their families”, he said.
Despite the government’s effort to provide stipends for artists, Manzoor highlighted a significant shortfall. He expressed concern that the limited resources allocated by the UT’s academy are insufficient to meet the financial needs of artists adequately.
“This inadequacy leaves artists feeling demotivated, often compelling them to contemplate transitioning to alternative professions for sustaining their livelihoods. The responsibility lies with the government to intervene and implement essential measures to preserve and nurture this dwindling art form”, he stressed.
Underscoring the inherent significance of this art, Manzoor emphasized its unique ability to communicate profound messages through satire and cynicism.
“I firmly believe in its resilience, Bhand Pather possesses the full capacity to endure even in contemporary times. When the audience shares a cultural connection, this art form can deliver its messages in the most authentic and impactful manner, resonating deeply within the community”, he said.
Talking on a strategic approach to revive and ensure the sustainability of Bhand Pather. He emphasized the crucial need for this art to be integrated into school curricula. Manzoor highlighted the importance of introducing children to the rich history of the Kashmir Valley during their early school years.
“The absence of cultural education among children, even within our community, results in limited awareness of the significance of Bhand Pather. Cultural education often remains limited to occasional functions and carnivals, it demands a more holistic and systematic approach within the educational system.”
Acknowledged the government’s efforts in promoting Kashmiri culture on various platforms, both nationally and internationally, however, he highlighted a critical missing element—the necessity for cultural education to be incorporated directly into the school and college syllabi.
“It’s imperative to integrate Kashmiri culture, especially Bhand Pather, into the curriculum at these educational levels. This incorporation of cultural education into formal learning will ensure our future generations gain a comprehensive understanding and a heartfelt appreciation of our heritage and traditions”, Manzoor stressed.
Manzoor urged cultural education integration into schools and colleges, foreseeing contributions from enthusiasts through research and academic publications. Remembering a time when Bhand Pather thrived with many figures, he lamented its confinement to a few families now, stressing the need for wider exposure and educational integration for its revival.
Manzoor emphasized the shortcomings in local music and fine arts colleges regarding Bhand Pather preservation. Acknowledging their valuable contributions to music education, he pointedly noted the absence: “There’s a significant neglect in teaching the Shehnai, a crucial component of Bhand Pather performances.”
”While basic Indian classical music is part of the curriculum, it’s crucial to infuse elements holding cultural significance. We need comprehensive courses that encompass the array of musical instruments native to Kashmir. Proper educational programs should be established to honor and safeguard the musical heritage of our region”, he pointed out.
Emphasizing the need to preserve the wealth of experienced artists, whom he regarded as Living Legends, he suggested utilizing these esteemed individuals as invaluable resources to pass down their knowledge to upcoming generations.
“I am deeply concerned that the experiences of most of our prominent figures exist solely in written records, with only a few of them still among us today,” Manzoor articulated. “It is crucial to involve these remaining artists in educational institutions while they are alive, acknowledging their expertise as a valuable asset that could be passed on to future generations for the preservation and continuity of our cultural legacy.”
Manzoor reflected on the challenges faced in today’s materialistic world, highlighting the caution necessary when encouraging new apprentices to pursue this art form. He stressed the critical consideration of whether learning this art would sufficiently fulfill their financial needs. He urged policymakers to address this issue, ensuring arrangements are made to prevent new apprentices from becoming demotivated and to facilitate the revival of this fading art.
Manzoor underscored the vital link between the revival of an art form and the livelihood of its artists, stating, “If an artist can’t adequately support their family, it leads to demotivation and may result in a shift in their profession. In the past, this art flourished when artists could sustain themselves and their families, generating a positive impact within our communities. However, due to contemporary financial constraints, artists may feel demotivated, diminishing their impact within our communities”.
Manzoor acknowledged the social stigma linked to being called a ‘Baand’ within their community but personally embraced this identity, stating, “Being a ‘Baand’ is integral to my identity, and earning immense respect through my artistic pursuits. It has afforded me opportunities, including representing my culture through travel to places otherwise unattainable”.
He recognized similar stigmas worldwide, urging individuals not to be demotivated by societal perceptions but to take pride in their identity, believing it could serve as a foundation for remarkable achievements and societal contributions.
He recognized similar stigmas worldwide, urging individuals not to be demotivated by societal perceptions but to take pride in their identity, believing it could serve as a foundation for remarkable achievements and societal contributions.
According to Mohammad Rafiq, a postgraduate in History from Sheikhpora village in the Wathoora area, “Nowadays, folk performances are limited to events and festivals only. Previously, we used to witness folk theatre more frequently, especially the captivating performances at our local shrine of Moin Shah, a revered saint. These artistic expressions used to address certain societal issues. Sadly, our new generation lacks an understanding of what folk truly represents”.
Rafiq noted that social media’s dominance has significantly impacted traditional art forms, suggesting that folk art needs to adapt and incorporate modern elements to thrive in this evolving world.
Rayees Rashid, also known as Rayees Wathori, a folk theatre artist, emphasized the enduring relevance of folk art in modern times, citing the persistent existence of social issues throughout history and into the future. “I advocate for the adaptation of scripts to reflect contemporary societal needs. I firmly believe in the unparalleled potential of theatre to positively influence people. Its interactive nature and lasting impact far surpass the capabilities of social media.”
Rayees emphasized financial constraints as a significant demotivator hindering participation in this art form. “Financial stability is crucial in today’s world, essential for survival,” he stressed. To facilitate the revival of folk theatre, he urged the government to create supportive policies for artists, suggesting the incorporation of folk theatre as an educational subject and proposing specific reservations for artists, similar to those in sports.
Expressing his belief in the paramount importance of culture and highlighting Kashmir’s rich cultural heritage. He emphasized, “Kashmir possesses a rich cultural heritage, boasting diverse arts within the valley, each with its unique instruments and performance techniques.” Rayees echoed the sentiment that “culture represents the identity of a nation and should be prioritized accordingly.”
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