From a schoolboy performance in Dangiwacha to becoming one of Kashmir’s most celebrated folk artists, Hamal-e-Bulbul’s journey is a song of resilience, talent, and cultural pride.
By Manzoor Akash
Renowned for its sweeping vistas and breathtaking natural beauty, Rafiabad in north Kashmir’s Baramulla district has, for generations, captured hearts. But beyond its fertile fields and rolling hills, it has also produced some of the Valley’s finest minds—intellectuals, authors, artists, poets, orators, educationists, and administrators who have left their mark on Kashmir’s cultural landscape. Nestled on the western edge of Dangiwacha town lies Batsuma, a small village of artists that gave birth to one of Kashmir’s most beloved and enduring cultural figures—Ghulam Nabi Shah, better known as Hamal-e-Bulbul. For decades, he has been a versatile performer, equally at home in singing, music, dance, comedy, and acting, captivating audiences with his unmatched stage presence.
The story of Hamal-e-Bulbul began in the early 1960s, during the tenure of then Jammu and Kashmir Prime Minister Bakshi Ghulam Mohammad. At the time, the government launched the famed Jashn-e-Kashmir cultural programs, encouraging schools across the Valley to showcase their talent. One such event brought Education Minister Shri Sham Lal Saraf to a government school in Dangiwacha. The school staff decided to present a “Bucha Kout” — a lively, talented boy known for entertaining his classmates. That boy was young Ghulam Nabi Shah. Singing and dancing to the folk tune Kral Koor, he left the audience spellbound. It was the moment his journey as an artist truly began, earning him fame across Kashmir as a gifted child performer. Soon, his reputation spread far beyond Rafiabad, and invitations poured in from across the country.
His stage name came a few years later. During his third Jashn-e-Kashmir performance in Chogal, Handwara, Bakshi Sahib rechristened him Hamal-e-Bulbul. The “Hamal” part was a nod to Rafiabad’s former name. As the story goes, during an earlier visit to Dangiwacha, Bakshi Sahib overheard someone exclaim in Kashmiri, “Bakshi Sahib has come to Hamal,” which sounded awkwardly like, “Bakshi is pregnant.” Amused yet slightly embarrassed, Bakshi promptly ordered the name changed to Rafiabad, in honor of Indian politician Rafi Ahmad Kidwai, whose birth anniversary fell that day—October 24. But the original name stuck with Ghulam Nabi Shah, paired with Bulbul, the nightingale, a fitting tribute to his melodious voice.
Born in 1949, Bulbul grew up in a village steeped in music. Batsuma had already given Kashmir legendary musicians such as Khazir Mohammad Shah, the grandmaster of the rabab, and his disciples Gulzar Ahmad Ganai, Manzoor Ahmad Shah, and Abdul Rashid Shah. Even so, his choice of career was not without opposition from his family. Yet, his passion was unshakable. From Bakshi Sahib’s tenure onward, he became a regular at cultural events, charming audiences wherever he went.
Bulbul’s artistry was shaped under the guidance of veteran performers, but his creativity was entirely his own. One of his trademark acts involved balancing a glass of water on his head while dancing, thrilling audiences and earning him standing ovations. At the Samapa Festival, his performance was so graceful that even the legendary music maestro Bhajan Sopori openly admired his skill—remarkable praise for an artist well into his later years.
His voice was as memorable as his dance. Known for his soulful delivery, Bulbul brought to life folk treasures like Tresh Cheta Shah Kule Ha Lu Lu…, Tchae Kar Surma Cheshmou Nazr Ya Muhammad (SAW)…, and Kryouth Pyum Yaar Doud…, songs that continue to resonate in Kashmiri homes. Listening to him was like hearing the pulse of Kashmir itself—tender, nostalgic, and deeply rooted in tradition.
“He is a gifted and reputed artist with no parallel, his compositions deeply woven into Kashmir’s folk history,” said Dr. Rafeeq Masoodi, former Secretary of the J&K Academy of Art, Culture, and Languages and Additional Director General of Doordarshan, who has known Bulbul for decades. “He is selective in his poetry, never choosing a song at random. He understands the power of words and picks them with care for his audience.”
Hamal-e-Bulbul’s versatility is legendary. The 2012 State Awardee is a master of instruments—harmonium, violin, sarangi, tumbakhnari, dholak, and more. His distinctive style of playing the sarangi has earned him a devoted following among music lovers. Over his career, he has graced the stages of the Cultural Academy, Sangeet Natak Akademi, All India Radio, and Doordarshan, bringing pride not just to Rafiabad but to all of Kashmir. “He is not just an artist; he is an institution,” said Basharat Mehraj, Chairman of the Civil Society Rafiabad.
Now in his 80s, Bulbul remains a living repository of Kashmiri cultural heritage. His career is dotted with stories that speak to his dedication—like the time during a live Doordarshan performance when he was injured on stage, blood pooling at his feet. Unfazed, he continued dancing, unwilling to disappoint the waiting audience.
Artists like Hamal-e-Bulbul are rare, their work not just performance but preservation—keeping alive the rhythms, lyrics, and stories of a place that lives as much in its art as in its landscapes. In a time when folk traditions risk being drowned out by modern noise, his life stands as a reminder of the resilience and beauty of Kashmiri culture. Art, as they say, never dies, and in Bulbul’s songs and dances, it still soars.
The views expressed in this article are solely those of the author and do not necessarily reflect the opinions or views of this Magazine. The author can be reached at [email protected]
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