Author: Vinayak Razdan

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Habba Khatoon’s “Cholhama Roshay” by Rishab Raino | Music Video 

A SearchKashmir production. 15th in the series.

A love song of Habba seen as a play of nafs

video link: Habba Khatoon’s “Cholhama Roshay”

Lyrics: Habba Khatoon

Singer | Music: Rishab Raino

Backing Vocals: Yasir Bashir

Mix and Master: Rishab Raino

Recorded at MIM Studio

D.O.P: Sameer Malik

Video Editing: Rishab Raino

Video Colouring & Grading: Basit Ali Rajput

Video Director: Rishab Raino

Cast: Rishab Raino, Tahir Qureshi, Shujah Maqbool, Azhar

Story: Rishab Raino & Sameer Akhon

Screenplay and Storyboard: Rishab Raino

Costume Designer: Shahid Rashid

Casting Director: Ayaaz Nishaat

Production Manager: Reography

Line Production: Dark House Production

Producer: SearchKashmir

Special Thanks: Jhelum Restaurant & Team

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Lyrics and translation:

Walvay gachavai handey,
Come, let us gather Dandelions,
Laanyum nyai kati andey,
It was fate, not meant to be
Loo’ka’ ma’ti ka’dnas randey,
All that people now offer is abjection.
Walo myaani poshey madano!
Come back my flower, my God, my Love!
cholhama
He is gone
roshey
enraged
madano
My Love
cholhama
He is gone
Walvay gachavai babrey,
Come my friends, let us gather Basil,
Chhokh me’ loinam tabrey,
My beauty he threw to axe, it went to pieces,
kahsa sooj nam na khabrey,
No one he sent to enquire of me
Walo myaani poshey madano!
Come back my flower, my God, my Love!
cholhama
He is gone
roshey, madano, cholhama
enraged , My Love, He is gone
Walvay gachavai aabas,
Come my friends, let us go to the river,
aabas
to the river
Dunya chhu nendri ti khaabas,
While the world is still asleep and dreaming,
khaabas
dreaming
Praaran tahindey jawaabas,
I await, I wait your answer
Walo myaani poshey madano!
Come back my flower, my God, my Love!
cholhama
He is gone
roshey, madano, cholhama
enraged , My Love, He is gone

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Pushkar Bhan Interview

Video interview of Radio Kashmir legend Pushkar Bhan (1926- 2008) in “Bulaye na bane” for DDKashmir broadcast in late 90s. From personal collection of his son Ashok Bhan. Shared by Pratush Koul.

Some interesting bits on how the famous radio plays produced by Pushkar Bhan came into being.

video link
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Dinanath Nadim, Video Interview, 1987

The only surviving video interview of great Kashmiri Poet Dinanath Nadim (1916–1988) . Produced by Bashir Ahmed (?) for Doordarshan Kendra Kashmir and broadcast in 1987. This is a VHS copy made available by Ahinsa Kaul, son of Dinanath Nadim. Special thanks to Pratush Koul for reaching out to poet’s family. The family had asked their Muslim neighbour to record the interview at the time of broadcast as they had a VCR. Nadim never saw the video and the family kept the recording, digitalising it more than a decade back, but revisited and shared now.

video link

Nadim remembers his childhood, his Bhagat Singh days, his early political and ideological influences, him finding his voice, he recites some of his famous works that enriched Kashmiri language with a verve that was uniquely Nadim.

It is 87. He has just been given a life time reward. There is an undercurrent of violence brimming in society. Maybe he knows what is coming. He breaks down reciting “peace”.

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Yaad Aam Yaad Aam

A SearchKashmir production. 14th in the series.

A new version of Mahmood Gami classic. The brief for this one was simple: shoot on a tonga.

video link

Singer: Rahul Wanchoo

Music: San J Saini

Edit/ Color Grade : Umar Hamid

Drone : Music Dabaav

Video : Umar Hamid, Anu Anaf

Poster: Sakib Rather

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Lyrics and translation:

Vesiye Su Gulfam Yaad Aam Yaad Aam

Friend, that beautiful one, I remember, I remember

Khoshrukh Khosh Andam Yaad Aam Yad Aam

That body beautiful, that beautiful face, I remember, I remember

Shahbad Achbal rozum tas tchiz kal

On my mind at Shahbad, Achabal

Lolaab Sagaam

Lolab and Sogam

Yaad Aam Yaad Aam

I remember, I remember

daren dareechan baladaren pyeth

on windows and pavilions

darkhaiyn parwaan

maker’s chisel fell in love

Yaad Aam Yaad Aam

I remember, I remember

Az Waadi dith tem karnas faramosh

You promised and then forgot

Az subhu ta shaam

from morning till night

Yaad Aam Yaad Aam

I remember, I remember

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‘Tanga Ride’ from the book ‘Kashmir’ by Shinya Fujiwara, 1978.
The inspiration. Had seen this in the book back in 2013.

The audio version is based on the old original version sung by Khemlata Dhar for Radio Kashmir composed by and additional lyrics by Rasa Javedani. [via: Jaya Parimoo..music director was one sabherwal of Delhi working for Radio Kashmir. Check the version here ]
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Balmarayo | Animated Music Video

A SearchKashmir production. 13th in the series.

A new audio-visual interpretation of Rasul Mir’s classic qalaam. The visuals are spin on works of Dali. The story is a bit of Adam-Eve, some elements of Joseph, and Dante. And then of course there is Kashmir. The Ka of water, the Ka of Kashyap the Kachua, the Ka of Kashmir.

video link

Lyrics and translation

ba ti na yi durer chon zaray

This separation from you

I can no longer bear

bal marayo

surely I will die young

kyah karai thovtham zara zaray

bal marayo

cut to pieces, what to do?

surely I will die young

shahmar zulf nal wolnam

rood afsanay

Your snake tresses entangled me

all that remained was a tale

wyon wantam kem afsaan paray

Tell me, what other tales should I tell

bal marayo

surely I will die young

sharmanda karthas aftabo

kandharich zoon

I, moon of Kandahar was put to shame

by you, the brilliant sun

kaji chani gajisay lajisa daray

awaiting your hour, dissolved in your memory

bal marayo

surely I will die young

anyi gatti vaninam nani kathay

am lal faroshan

in darkness he revealed the naked truth

that dealer of precious stones

kani manz neyran jawharay

a stone split, a gem was revealed

bal marayo

surely I will die young

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Audio credits:

Singer / Composer – Kartik Koul

Lyrics – Rasul Mir

Music produced and live harmonium by Akash Sage

Additionally Music Produced by Kartik Koul and Ssameer

Music Arranged by Kartik Koul and Ssameer

Live Guitar performed by Ssameer Mix

Master – Ssameer

Video credits: Made using the talent from Bakarmax

Direction, Story: Vinayak Razdan

Animation Director: Subin Philip

Animation: Subin Philip, Anis Talpade

Backgrounds: Aditi Dixit

Character keys: Anis Talpade

Storyboard: Subin Philip

Compositing: Subin Philip

Bakarmax team: Rachit Verma and Sumit Kumar

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Census Numbers 1981 and crunching KP Killings 1990

In 1981 census there were about 124,078 Hindus in valley, bulk of them KP. Just 3.96 % of whole Kashmir valley population of about 31 Lakh. Down from 5 % pre-47 [In 1941 only about 85000 KPs were living in valley]. In 1981, 59449 Hindus were in Srinagar of total population of 708328. Thus about 8.39 % of Srinagar was Hindu down from 10.02% of 1971 [56,566/564,314]. In 1981, additional 0.96 of Srinagar was non-Muslim [bulk of them about 6,334 Sikhs].

Breakup of Hindus in other districts of valley.

Anantnag 24,731/656,351 = 3.76%

Pulwama 10,096/404,078 = 2.49%

Badgam 9,642/367,262. = 2.62 %

Baramula 13,513/670,142. = 2.01% [ Additional 9,806 Sikhs, this being the district with their highest presence]

Kupwara 6,647/328,743. = 2%

According to South Asia Terrorism Portal, based on media reports, in 1990 about 862 civilians were killed [According to MEA, 461 civilians killed in 1990. FIR in not more than 30+ cases] Of these about 177 were Hindu; a disproportionate 20%.

J&K State govt. figure for killed KPs in 3 decades is 216. Kashmir based KP body now gives the number as 670. Bulk of these are from year 1990. A KP civil organization in early 90s gives names, location of killed Hindus, mostly KPs. 298 killed in 1990. Of them 127 in Srinagar. Between 1987- March 1990, only 10 KPs assassinated. Yet, friends and foes alike warn of the doom impending. March onward KPs start leaving from valley. Killings start. April there is almost 1 KP killed each day. Bulk of KP leave by April. In summer 1990 genocide launched on few remaining KPs and those staying to work, May-June-July, 2 KPs killed each day. And this when bulk of 1 Lakh+ KPs had already left. By end of September 1990 KP genocide complete with change in demography of valley as only handful KPs remain who spend next few decades as nothing more than hostages.

The demographic profile of KPs tells us if KPs had stayed on and killings continued in same pattern (as later mass massacres in valley showed rate would have been much worse and no one would have been bothered), the community did not have the no. to sustain a healthy population and would have been annihilated.

In 1981, KP ethnic group had the highest no. of elderly per 100 among all the communities in entire state. It also has the lowest children per 100 among all the communities[ 0-14 years (28 percent)]. They had more old people and lesser children than any community percentage wise. It is profile of a community that on surface looks healthy but a community that is shrinking in a hostile environment but optimizing for survival by the only way it knows, adapting to modern ways. This progressive community after 100 years of struggle now had the best ratio of men to women working in state. For every 2 working men there was 1 woman. 86.6 percent women. 86.6 percent women were educated as compared to 84.5 men.

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Ref:

A Demographic Profile of the People of Jammu and Kashmir. M.K. Bhasin and Shampa Nag. J. Hum. Ecol., 13 (1-2): 1-55 (2002)

1981 Census Report

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124,078 KP may seem a small number. But, you just have to compare with right figure.

In 1981, 68376 was population of buddhists in Leh + Kargil. In 1941, the total population of the region now known as Union territory of Ladakh was about 40000 [compare with 85000 KPs in valley in 41 ]. In 1947-48, it is this Ladakh that also Pakistani forces tried to annihilate and claim. In 2011, Ladakh’s total population grew to about 274000 (H+M+Oth). And they are now a union territory. Free. By that account, it is very convincing to believe that since 1947 about 6 Lakh KPs are now floating internally displaced persons with no territory. Numbers hostage to fractions and percentage of whole valley. That should help people understand what has actually happened to Kashmiri pandits. Today there are about 6000 KPs in Kashmir.

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Surprise in Amarnath Mughal Painting

When the Mughals arrived in Kashmir in 16th century, in their early writings we see them looking at it as a mythical land where the locals tell of many miraculous tales surrounding various sites riddled all across the valley as manifestations of God’s existence. They tell of miraculous springs whose waters appear, disappear, boil at will, they tell of caves with no end, they tell of mountain passes that bow to command of holy men, streams that were commanded into existence by saints and they talk about ice pole in a cave based on movement of moon. Kashmir was the land of “Hairat”/surprise.

Abu’l Fazl (1551–1602) in Akbar’s time writes in his Ain-e-Akbari about Amarnath:

Between Great Tibet and the above-mentioned parganah [Dachchhinparah,the territory along the right bank of the Liddar river] is a cave in which is an image in ice called Amar Nat. It is considered a shrine of great sanctity. When the new moon rises from her throne of rays, a bubble as it were of ice is formed in the cave which daily increases little by little for fifteen days till it is somewhat higher than two yards, of the measure of the yard determined by His Majesty [about 4.8 feet]; with the waning moon, the image likewise begins to decrease, till no trace of it remains when the moon disappears. They believe it to be the image of Mahadeva and regard it as a means (through supplication) of the fulment of their desires. Near the cave is a rill called Amraoti, the clay of which is extremely white. They account it auspicious and smear themselves with it. The snows of this mountainous tract nowhere melt, and from the extreme cold, the straitness of the defiles and the rough inequalities of the road, they are surmounted with great toil.

(Ain-i-Akbari of Abul Fazl Vol . II , p . 360)

In a Mughal painting [with Aga Khan Museum, tagged MUGHAL MEN ADMIRING THE MIRACULOUS ICE LINGAM AT AMARNATH”] from around 1600 (or later) painted in Agra we see a visual depiction of Abul Fazl’s text.

While we can see the expression of surprise on the faces on men, oddly, here the moon is replaced by sun. In the note to the painting at Aga Khan museum it is assumed the sun is meant to alude the summers when the pilgrimage to shrine begins (in fact it starts in the rainy season at end of summer). I believe the sun in this painting (and the absence of cave) is an attempt by the unknown painter to provide a “rational” explanation for the phenomena. In that sense, the painting essentially has the same function as the footnote to Amarnath section in English translation by Jarrett of Fazl’s work. There the modern reader is told in note that the ice lingam – “The ice bubble was doubtless a stalacite”. [The translator was making a guess. We now know that it is infact a stalagmite, as it grows from floor and not the roof.] Just like the english translator had the need to explain the miracle, perhaps the Mughal painter too was reading the text and trying to explain how the ice bubble could decrease in size. His explanation: the sun was melting the ice while the people just looked at miracle with awe and surprise.

Surprise and its relation with Amarnath can be seen in another painting centuries apart drawn in Kashmiri school of painting. By this time Hairat – Surpise, had come part of local lore of Herath as Shivratri (when infact Herath the festival is Hararatri)

Devotees in the Amarnath cave temple
Jammu, Pahari, mid 19th century
Collection: National Museum, New Delhi

Came across this painting at a miniature art exhibition in Jammu in 2011.
There is a lot going on this painting: Gossains(?) drinking water (amrit) dripping from the ceiling of the cave; women devotees, one of them even carrying a child in her arms. On closer look one can see a Dejhoor dangling from this woman’s ear, a good indication that the lady depicted here is a Kashmiri Pandit woman in Pheran. And then outside all this delirious scene, one can see the Muslim Shepherds, one of them looking amused, and one of them looking outside the frame.

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“A Muslim Pilgrim Learns a Lesson in Piety from a Brahman”, Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi 1597–98. Here, a Muslim pilgrim to Mecca meets a Brahman who travels to a Hindu temple by inching his way in a series of prostrations. Impressed by this religious zeal, the Muslim removes his own shoes and continues on his way barefoot. [metmuseum]

An early exploration on theme of meeting of two different forms of “faithfuls” in Akbar era painting. The Hindu way was still strange, but it was being understood and even adopted in part. A Sufi with a dog. A brahmin on way to Somnath [which had already been destroyed and rebult, destroyed again and rebuilt again by 13th century in which lived Khusrau]. By painter Basawan. The story of Brahmin pilgrim also occurs in an early version of Laila Majnu.

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Thar Thar Cham | Kartik Koul | Lyrics: Rasul Mir

A SearchKashmir production. 12th in the series

Kartik Koul presents a fresh composition for a Rasul Mir classic.

video link

Singer, Composer, Music Director: Kartik Koul

Ft.: Bismah Meer

Lyrics: Rasul Mir Music

Programming, Arrangement, Live Guitar: Akash Sage

Additional Music Programming: Ujwal Raina

Story, Concept: Vinayak Razdan

DOP, Edit, Grade, Direction: Akash Dogra

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Lyrics and translation

Thar Thar Cham
I shiver and tremble
Marr Bhe Shayad
think I will die
Shar Mye Jigruk Drav Nye
the longing in my heart remains
Khoshvun Nundbon Vesiye
listen friend, that beautiful lover of mine
Myon Dilbar Aav nye
he never came
Waad Kormut Yaad Cheyno
Promises you don’t remember?
Saad Keychha Zaenthas
A Simpleton you think of me
Aad-na-ad kona thovuth
why then didn’t you
Myon Yi Dil Samblavnye
keep this heart of mine with you?
Thar Thar Cham Marr Bhe Shayad
I shiver and tremble, think I will die
Shar Mye Jigruk Drav Nye
the longing in my heart remains
Khoshvun Nundbon Vesiye
listen friend, that beautiful lover of mine
Myon Dilbar Aav nye
he never came
Chhay ruzith Zay Karthas
You stayed in shadows, I withered away
Kyaz tche Mathiyo Mai myani
Why you forgot your love for me?
Telli tChe Pheri Na Mye wantam
Will you have regrets, tell me
Yelli Mye metchi tal Saavnye
when they put me to sleep under the ground
Thar Thar Cham Marr Bhe Shayad
I shiver and tremble, think I will die
Shar Mye Jigruk Drav Nye
the longing in my heart remains
Khoshvun Nundbon Vesiye
listen friend, that beautiful lover of mine
Myon Dilbar Aav nye
he never came
Suy mein Roothum aash Yam sinz
turned away has the only hope of my life
sath me aesam yath dilas
the only succor of my heart
Rasliya wanto kas che ruthuk
Hey Rasul [the poet]!, with whom are you angry?
wan kamo mann naavnye
Who will come to please you?

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Osh Wasaan | Rishab Raino

A SearchKashmir production. 11th in the series

Rishab Raino joins us from Srinagar to bring alive an original song with jazzy/blues feel. The idea was to try out something new.

video link

Singer & Music : Rishab Raino

Lyrics & Composition : Rishab raino

Cast : Rishab Raino & Syed Nargis

Mix & Mastered : Rishab Raino

DOP : Gufran Sheikh

Edit & Grade : Gufran Sheikh

Make up : Manu Bebo

Story, Screenplay & Directions : Rishab Raino

Special Thanks : Bilal Baghat, Shishant Chaku, Ayaz Music, Hotel Saffron & Arfaat.

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Lyrics and translation

Osh Wasaan Kam Sitam Sitamgaara
 tears they fall, cruel, o cruel one

rudukh ma che seeith                          
you were not by my side

Kas be bawai                                          
 who do I tell

Keman  be Hawai
who do I show

Kas be bawai                                          
 who do I tell

Keman  be Hawai
who do I show

yem zakham                                        
 these wounds

Jaaneja yu na rooth kay tu jaa            
  Love, don’t you leave

Dil main wo sabhi                                  
   they are all in my heart

Woh saare waade  all those promises

woh saari Kasme                                          
   all those pledges

Woh saare waade wo saari Kasme

all those promises, all those pledge

Wo saari baaten bhi                                  
  all those sweet talks too

Osh Wasaan Kam Sitam Sitamgaara
 tears they fall, cruel, o cruel one

Achan Be lagai chane sorme              
   your eyes i shall paint with kohl

Dapan che osui pasand                        
    they say you used to love it

Khayale chani che maran                    
   thoughts of you, they kill me

Kapair bhi samkhai chay wain            
     how do I meet you now

Achan Be lagai chane sorme              
   your eyes i shall paint with kohl

Dapan che osui pasand                        
    they say you used to love it

Khayale chani che maran                    
   thoughts of you, they kill me

Kapair bhi samkhai chay wain            
     how do I meet you now

Ye daadyan kus be peer t’chandai
which healer shall i now find for this sickness

Main Zahar pyalai pai chon          

I shall have to drink the goblet of poison 

Osh Wasaan Kam Sitam Sitamgaara
 tears they fall, cruel, o cruel one

rudukh ma che seeith                          
you were not by my side

Kas be bawai                                          
 who do I tell

Keman  be Hawai
who do I show

Kas be bawai                                          
 who do I tell

Keman  be Hawai
who do I show

yem zakham                                        
 these wounds

Jaaneja yu na rooth kay tu jaa            
  Love, don’t you leave

Muntazar hu dekh azar main kesay lipta betha                                                
    see how, crawled up in pain, i await

bedastoor aj bhi dekh gunah yai karte sajda                                                          out of turn, today too they kneel, these crimes

Humnafa kya they mere gunay akay boal main behra                                                 my friend, tell me my crimes, i can’t hear 

Mukhabil akay dekh andheri raaten dengi pehra                                          
  come face up and watch the dark nights stand guard

Mukhabil akay dekh andheri raaten dengi pehra                                          
  come face up and watch the dark nights stand guard

Mukhabil akay dekh andheri raaten dengi pehra                                          
  come face up and watch the dark nights stand guard

Osh Wasaan Kam Sitam Sitamgaara
 tears they fall, cruel, o cruel one

rudukh ma che seeith                          
you were not by my side

kas be bawai keman be hawai     

who do I tell, who do I show

kas be bawai keman be hawai           

who do I tell, who do I show

yem zakham                                        
 these wounds

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