Free Essays-Art and Culture-Rejuvenation of a Lost Tradition in Kashmir

Rejuvenation of a Lost Tradition

            The valley of Kashmir has culturally a glorious past and its myriad forms of art have been acknowledged world over. Equally turbulent, however, have been the political overtures that left their imprint upon the cultural activities in the course of time. Many turns of the history found their place in the contemporary art forms and went by as a living account for posterity. The plunder of foreign rulers, evil social practices, atrocities by cunning jagirdars and the suffering of the innocent seeped into various art forms for centuries together that was rendered into a treasure for valley- dwellers.

            Among the exemplary art forms that have flourished in the valley for the last eight hundred years, Bhande Pather is one that remained a cherished educating entertainment for the people. Despite facing many odds at the hands of ruling class, Bhande Pather evolved progressively absorbing contemporary changes in the political arena and social scenario in its fold not at the expense of its essence. It received royal patronage during the reign of Zainul Abideen (1420-70).

            Devoid of any religious leaning, it is absolutely secular in nature. Another distinctive feature of Bhande Pather is the males playing the role of females. Bhand is an actor or a jester and Pather means drama. So Bhand Pather means a drama (usually sarcastically comic) played by jesters. Bhande Pather has three components: Beating (Vayun in Kashmiri), Dancing (Natchun) and Acting (Pather charun). The musical instruments employed are flute (surnai), dholki and nagar (a semi circular dholki). Some parties were using Sazi Kashmir but it was later discarded. Every Pather is accorded a peculiar tune to differentiate it from others, not only in content but in music also. Bhands display their art by playing to different tunes. Bhande Pather has a particular technique traversing which it reaches to its climax.

            There are thirteen stages through which Pather passes before reaching to reach its climax. These are Kaer, Surnai, Tchok, Natchun, Maskharee, Kurae, Baans, Gevan Huir, Boli, Mazaq, Adakari, Kasi walin and Duae Khair. The pather starts with Duae Khair and ends with the same.

            Kaer means to assemble the audience through beating drum and then make them sit in a circle. Kaerdar is the same as Sutrdar of Sanskrit dramas. Playing Surnai, an instrument that bears resemblance to Shehnaie, is the second part of pather. The artists enter the circle of audience and start playing different tunes while standing to a side to the accompaniment of Dholki and Nagar. The different tunes played include Salaem, Thhuir, Dubaj, Nopat and Saelgah. While the Surnai is being played, the jesters make their way in the circle wearing the costumes suitable for the Pather to be played. The next step is the Tchok, which is considered to be the mainstay of the pather. It is a collection of dances in which every dance is done according to a particular tune and rhythm. Tchok is usually played in the dusk. Several forms of Tchok include Baed Aari (big circles), lokiet Aari (small circles), Yikvati Natchun (joint saltation), Byun Byun Natchun (individual saltation), Thhurao, Sael and Roosh.

            Natchun or saltation is the unique style of crude dance that has been there in the Bhande Pather ever since it came into being. The make believe gestures while performing Natchun is its essence and identification as well. The rhythmic tunes that accompany the Natchun are considered of the highest quality. While this part of the Pather is on, audience stands up and starts cheering. The Magun or chief Bhand starts supplication and all the audience complement him with a serious mood. After this all the people go out for the dinner and it signifies a break in between the stages of Pather.

            After a refreshing break, audience regains the enthusiasm and so do the tired Bhands. The musicians take their positions and start blowing the Surnai. Audience sits forming a circle and the Pather carry on. Maskhar or the jester has a special place in the whole of Pather. And his arrival in the circle tickles the spectators under the ribs as he is dressed ridiculously and his countenance wears a satirical look. Sporting a multi-colored cap with ribbons of cloth hanging from it, the jester wears a skirt and jogs like a monkey from one place to another. He imitates the misfortunes of some spectator and makes the people around laugh heartily. He even satires the main character of the Pather and is seen often receiving lashes from him.

            Kurae is the lash, which is used to punish the Maskhar. Baans has become so famous that it has become a simile now. It is a stick broken vertically into a bunch of branches and it is used to attract the attention of yawning spectators by striking Baans at their heads. Bolae or dialects form the spice of Pather as different words from other languages are interwoven in Kashmiri sentences, which result in uncontrolled laughters on the part of spectators. Mazakh or joking is also an important part of Pather and jesters crack jokes upon audience as well as themselves. Adakari or acting that Bhands display is unmatchable. It seems as if they are born actors and even slightest slip is unthinkable.

            Duae Khair is the concluding part of the Pather and it has Bhande Duae Khair has become a cliché now. Earlier Pather used to start in the first part of the night and would go till dawn but with the passage of time, the Pather started resuming at dusk.

            With the onset of militancy in the State, however, Bhande Pather was almost lost for the younger generation, as there were no shows of it anymore.           With a total population of 10,000, Bhands reside in 72 villages throughout the Kashmir valley. Bhands took other occupations to earn their livelihood. Some started weaving Kangris and some even were left with no option but to beg for loaves.

            The current century dawned with renewed hopes for the Bhands as there is a sort of normalcy as far as the attacks on artists are concerned. It paved way for Bhands to organize their ranks and seize the opportunity at the very first moment. Marriage ceremonies, which used to be felt incomplete without Bhande Pather in eighties, are the first venue of Pather.

            During current year, for example, the Bhagat Theatre has displayed its artistic skills in more than twenty-five private public shows and more important is the fact that people turn around in great numbers. Though the State government tried to provide security to Bhands, they refused the same saying that they are among their own people and security arrangements would become a barrier between artists and audience.

            And if the trend picks up, better days are in the offing for Bhands and above that, for the folk theatre in Kashmir.