Another account of Cow Bridge Killings

Gow Kadal. 1950s.

Based on an account I heard in 2013 from a cousin of my father. The family lost a member in the violence that erupted in 1990 and is now what would be considered right wing in political outlook. And yet, this is the account I got…

January 21st

The house was on Nai Sadak. From the main window of the house you could see the bridge that connected the locality to Maisuma Bazaar, the place that was going to be the epicenter of violence in 1990, the bastion of JKLF. This is the bridge known as Gaw Kadal or the Cow Bridge. The line of sight from the house was such that if someone was standing on the center of bridge, you could see him completely, but further down, the other side only partially visible.

That day inmates of the house were glued to the window as they tried to fathom the sounds. They could see a large sloganeering crowd on the other side of the bridge, approaching their side. On this side, they could see a picket of about twelve CRPF men blocking their way. The city was under a curfew. These men were issuing orders warning the people disperse and move back to their houses. The people were protesting exactly against such orders. The inmates of the house thought maybe the security men were worried about their security. There were a couple of Pandit households in this vulnerable area. The men watching the procession from the window were a bit anxious. But this was Kashmir, even this was normal. They had seen may such processions in their lives. The people in the crowd had probably taken part in too many processions in their life. It was just another average Kashmiri day. The neighbourhood mosque which was under JKLF control was time and again advising the crowd over the loudspeaker to not touch the Pandits and their houses, to maintain peace and to march forward. The crowd continued to move forward.

Suddenly, without a rhyme, shots rang out. At first a tickle of loud bursts. From the window you could see a figure taking position, a quick thinking uniformed sikh man who hinged his semi-automatic gun to the railing of the bridge, and squeezed his finger to unleash death. In the later news reports, this action came to be described as ‘indiscriminate firing’. The inmates of the house, with reflex of a cornered animal, ducked and lay flat on the floor. The wooden walls of the house it seemed had been blown away, it was as if the fire was directed at them. And the firing just wouldn’t stop. It was like rain, like a thunder storm, even maybe like a cloud burst. Ashok Ji, a neighbour, another watcher in the house next door, was a bit slow in deciphering the scene. A bullet flew past him and glazed his ear. The reports were to say that the firing on the crowd was carried out from both ends of the bridge. People were caught in the middle. Initial official reports said about thirty people were killed. Over the years, as the stories grew, the number grew to about two hundred. Out of blood came accounts of people jumping into river and drowning, injured executed at point plank range, people chased and shot dead. The man blamed for ordering fire was given a name: Allah Bakhsh, SSP of J&K Police, with family ties to all the high and mighty of Kashmir state bureaucracy.

When it was over, the entire neighbourhood was drowned in sound of wailing. Up until now, a Pandit was still expected to join his neighbours in grief. And most of them did join. But not after that day. Bloodletting of that day, changed the core of the people. When an inmate of the house showed up at a neighbour’s house to offer condolence, he was chased away.  ‘Battov, ye korov telephone‘, ‘Pandits, you telephoned them!’, was intermixed with the wailing sound. People swore revenge. The Pandits were suspects. The rumor blamed the pandits for calling the security men and somehow ordering the massacre. Over the next few days a new phenomena was observed in the city, people climbed up the telephone poles and pulled apart the wires. City was now plunged into a blackout of another kind. Every family was marooned, on its own and drifting in an unending nightmare in which monsters of all kind took life. Monsters that were to haunt Kashmir for a long time to come.

-0-

Das Gerücht, “The Rumor,” (1953) by German artist A. Paul Weber.
Perhaps the person best to understand nature of propaganda, having produced quite a bit.
An ambiguous figure who produced anti-Semitic and war mongering illustrations in his love for Germany and
was imprisoned for opposing Nazis and Hitler.

-0-

Human Welcome of Kashmiris by Achille Beltrame, 1925

Kashmir cover of Italian weekly newspaper newspaper ‘La Domenica Del Corriere’, 11 January, 1925. Illustration by Achille Beltrame.
Kashmir cover of Italian weekly newspaper newspaper 'La Domenica Del Corriere', 11 January, 1925. Illustration by Achille Beltrame.

The original photograph on which the illustration is based:

Another inspired illustration:

An illustration from ‘Rhamon a boy of Kashmir by Heluiz Washburne, pictured by Roger Duvoisin’ (1939).

Postcards from Kashmir


A photo presentation on vintage postcards of Kashmir shared generously by Michael Thomas of Pipal Press from his personal collection. These were collected by his wife Jean Thomas.

Music courtesy of RaviMech Studio

-0-
Although I have added captions to the video, here’s the listing details of 36 images provided by Michael Thomas.

1
00:00:05,000 –> 00:00:09,000
Srinagar, Kashmir – writing on side. 1903.
2
00:00:10,000 –> 04:06:40,000
Shepherdess, Kashmir. [Also, known as ‘the shepherd’s daughter”, from the book ‘The Charm of Kashmir’ (1920)]
3
00:00:29,400 –> 00:00:40,000
Mur Canal. Nalla-e-Mar.
4
00:00:46,000 –> 00:00:50,000
Nautch Girl
5
00:00:58,000 –> 00:01:04,000
A Kashmir Boat Girl
6
00:01:07,000 –> 00:01:20,000
A Boatman
7
00:01:22,000 –> 00:01:26,000
Kashmir Dungas
8
00:01:28,000 –> 00:01:34,000
Kashmir Woman Spinning
9
00:01:35,000 –> 00:01:45,000
A Peasant Girl, Kashmir
10
00:01:50,000 –> 00:01:54,000
Srinagar Above 7th Bridge, Kashmir
11
00:01:55,000 –> 00:01:59,000
Srinagar, River View from bridge
12
00:02:00,000 –> 00:02:11,000
Mar Canal
13
00:02:12,000 –> 00:02:16,000
Srinagar and bridge of Shops
14
00:02:18,000 –> 00:02:24,000
City and the third Bridge
15
00:02:26,000 –> 00:02:34,000
Shalamar Gardens
16
00:02:36,000 –> 00:02:42,000
Nishat Bagh
17
00:02:45,000 –> 00:02:47,000
Bara Mola (Baramulla/Varmul)
18
00:02:48,000 –> 00:02:53,000
A houseboat at Baramulla
19
00:02:55,000 –> 00:03:00,000
Town of Baramulla (Wrong caption, actually view of Srinagar)
20
00:03:03,000 –> 00:03:12,000
Dal Lake
21
00:03:16,000 –> 00:03:21,000
Crossing Woolar Lake
22
00:03:23,000 –> 00:03:30,000
Kashmir in Winter
23
00:03:34,000 –> 00:03:40,000
Srinagar, The Palace
24
00:03:43,000 –> 00:03:48,000
A Dungar or Kashmir Boat
25
00:03:50,000 –> 00:03:53,000
Lotus Lilies, Dhal Lake
26
00:03:56,000 –> 00:03:58,000
Photograph of Dal Lake. 1946.
27
00:04:01,000 –> 00:04:06,000
Boatman, Dall Lake
28
00:04:09,000 –> 00:04:14,000
Kashmir, Moonshee, Bach, Commissioner’s Boat
29
00:04:17,000 –> 00:04:23,000
Dall Lake. 1930
30
00:04:27,000 –> 00:04:31,000
The Presidency, Srinagar
31
00:04:33,000 –> 00:04:40,000
Srinagar, Another Bridge [Probably, Baramulla Bridge ]
32
00:04:43,000 –> 00:04:50,000
Gulmarg
33
00:04:54,000 –> 00:04:58,000
Pastoral View, Sind Valley
34
00:05:00,000 –> 00:05:03,000
Ladakhis and Yaks, Sind Valley

-0-
Maybe, sometime soon I will make another presentation on the postcards in my collection.

On a side note, I wish more Kashmiris would start using captions for their video, especially on music video. 

View-Master Kashmir, 1952

An interesting addition to the archive.
A View-Master Reel of Kashmir from 1952. There are seven images (14 for 3d effect) shot on full color Kodachrome film.

Right now, I don’t have the viewer for it so spent the day hacking up a basic viewer out of a card box.

The result….an experiment in color and sound.

Update: 16th Jan 2014

Finally got a viewer.
 

Flute Player, 1922

Kashmiri Pundit Playing the Flute
Every Note in Kashmiri Music is overlaid with Grave Notes, to give brilliance to the performance
Photograph by Pandit Vishinath Kampassi

“The melodies belonging to the lakes and rivers are of course unlike those of the mountains. Never shall I forget the charm of being paddled in our shikara, one beautiful moonlight night on the Dal Lake in Kashmir, with our crew singing softly a well-known boatman’s song punctuated by the rhythemic stroke of the paddles. An equally idyllic memory springs to my mind of the fine forests on the mountainous sides of the Lolab valley, and, seated beneath the shade of a lofty pine, a slender stripling playing plaintively upon his simple wooden flageolet. This mournful melody was called “The Parrot” and its theme was a tale of a lady taken captive to Kashmir, who released her favourite parrot to carry a chenar leaf in its beak as a message to her lover. “

“Shikara” on the Dal Lake with Kashmiri Fluting
A Shikara Ride on the Dal Lake, on a Beautiful Moonlight Night, with the Crew Singling Softly a Boatman’s
Song Punctuated by the Rhythmic Stroke of the Paddles, Leaves an Idyllic Memory
Photograph by Pandit Vishinath Kampassi

From ‘Asia : journal of the American Asiatic Association (Volume v.22, November 1922)’, ‘Echoes of Himalayan Flutes’ by Muriel Percy Brown (1874-1943), daughter of Sir Adelbert Talbot, Resident of Kashmir from 1896 to 1900, and wife of art historian Percy Brown. She is more famous for  here book, ‘Chenar Leaves: Poems of Kashmir’ (1921)
-0-

Child’s Play: Child Marriages



Kings, Queens, Poets, Muses and Commons. They all were married as a child. 

“The Boy on the horse is a Bridegroom off for his wedding to a girl nine years old.
He looked scared to death as we passed.”

Photograph: ‘Random Ramblings in India’ (1928) by William H. Danforth.

Kashmiri Pandit Child marriage
(probably) 1920s

Photograph: ‘Fifty years against the stream: The story of a school in Kashmir, 1880-1930’ by E.D. Tyndale-Biscoe

“The young Kashmir girl in her best clothes, standing besides her grandfather, was being prepared for her betrothal. They wait in one of Srinagar’s narrow alleys”

Photograph: ‘Of Sea and Land’ (1945) by Tom Lakeman

-0-

My grandmother was well on way to becoming an exception. Kashmir was changing. She was studying in fifth standard. Her father was a teacher. But she too was married at the age of around fourteen to a man recently out of his teens. The tribal attack of 1947 made people anxious and girls were married off in a hurry. Her education was complete.

She taught me how to spell ‘धन्यवाद’.

-0-

A strange wedding song, 1877

Kashmiri Dancing Girl
by V. C. Prinsep

An extract from Imperial India; an artist’s journals’ (1879) by V. C. Prinsep, who visited Kashmir around 1877.

One evening I went to a wedding. I was not allowed to join in the ceremony, but viewed the proceedings from an upper window. Seven days the tomasha had lasted, and day and night were women howling congratulatory verses to the bridegroom who sat feasting with his intimates the while. On a certain day rings are put into the bride’s ears and nose; on another her hands are marked with henna, and so on. She lived in a house hard by, where the happy man was allowed to see her for a short time each day, being conducted to and fro with mush ceremony and many torches stinking and reeking, as I found to my cost. I have taken down many of the distiches sung on the occasion, and am trying to get them translated, when, if they are worth it, I will add them to my diary. The continued howling of the women becomes very irksome after a time, and although the sight was curious, I was glad to get away after a couple of hours. The bride was nine years old.
The following is a translation of the songs sung at a Kashmirree wedding [by Major Henderson, C.S.I., the political officer in Kashmir]: –
Mother of the Bridegroom to the Bridegroom.
Urge on thy steed in every direction.
I will prepare thy seat in the garden pavilion:
On thy right the Koran, on thy left the necklace.
Thou art worthy to be called Lalla Gopal!

The Lalla Gopal in the verse needed some explanation. A note in the book adds, ‘Lalla Gopal, one of the names of Krishna, who was supposed to have been the type of loveliness. Curious, this, when sung by a Mohammedan!’
Prinsep further explains:

The song is a good picture of the manners of the country, and the way that the Moslem and hindoo customs have acted on each other. Whilst at Sreenugger I have painted two or three nautch girls, and it was through them that I got to this wedding, as they were amongst the singers. now these girls, like most nautch girls in India, were all Moslemehs, yet had they all the caste feeling of Hindoo. Of moral sentiment they were entirely innocent, but they would never permit any one to drink out of their cup or smoke from their hookah, and they always went about these two utensils, for smoke and tea are the two things necessary to a Kashmiree. So in this song a Kashmiree Moslem is made to say “beautiful as Krishna.”

There is another interesting line given in that song:

Singing women to the Bride and Bridegroom.
The parrot of Lahore and the Mainah of Kashmir!
How did you both become mutually acquainted?

-0-
Update August 4, 2017

Two readers (Indu Kilam and Sushma Kaul) at FB managed to recall Kashmiri lyrics for a similar sounding song. 


Gare hai drayus bazaar kune yae, 
wati samkheum bab papune yao, 
dachin kene thovnam koran parvunei, 
khover kene thovnam shama dazuevoneu
lut lut hutamas auush traviniye, 
dapunam kuri ye chu tchaluniye

here shama is lamp.