Migrants

The Kashmir section of 15th Anniversary issue of India Today published in 1990 ends with a photograph  shot by Prashant Panjair.  It’s a Migrant camp. Other than the evocative footnote photograph, there is no mention of the migration in the reports that trace the origin and consequences of what must have been back then a disturbance. Maybe no one thought it possible, something like this almost never happens, certainly not to people who have possessions, migration must have seemed like a temporary situation, so these desolate people were referred as Refugees, people who may not need refuge anymore someday. Or that the situation threw some uncomfortable questions that were best ignored for greater good. So all we have is a photograph of a camp which in this case, from the looks of it, for the looks of its walls and floor, was probably the Dharamshala next to a temple whose courtyard  in old city of Jammu seldom saw sunlight, the coolest camp which soon with the coming of monsoon proved to be the dampest. A place that now  reminds me only of paracetamol and phenol, sleep and steel trunks, .

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tsogh to nail

Student of University of Madras. Preparations for exams (working hard, they tie hair to nail in wall to prevent falling into sleep)

From V.M. Doroshevich’s 1905 book ‘East and War’ (Востокъ и война).

And I thought my father was kidding me when he used to suggest that I ought get a tsogh and then tie it to a nail, ‘like your ancestors’, to keep awake while trying to study at night.

vyoog

Shared by Man Mohan Munshi Ji from his collection. 

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A pair of moths circling the lamp
Bride and bridegroom on a ceremonial vyoog
Having mud-washed her kitchen clean, Tekabatini
Out of the window into tree-shade leaned

~  a few lines of  Dina Nath Nadim translated as ‘Sugar Candy and Wormwood’ by GL Labru.

‘Habba Khatoon’ of Basheer Badgami, 70s

After Doordarshan Centre was established in Srinagar in 1972, a number of tele-films were made.  These first few films were about things that all Kashmiris used to cherish, mytho-memories and words of their Habba Khatoons, Rasul Mirs and Badshahs. Among these tele-films Habba Khatoon by Basheer Badgami was probably the most popular and famous. The film had Reeta Razdan as heroine in the role of  poet-queen of Kashmir and Ghani Khan as King Yusuf Chak. The songs were sung by Shamima Dev (who later went on to be Azad [previously]).
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This much I know from ‘A History of Kashmiri Literature’ by Trilokinath Raina. But till recently I hadn’t see any of these films ( who knew a few of them were shown in Kashmir Film festival organised by Indira Gandhi National Centre for the Arts in 2009 [.pdf of Films Schedule]).

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This morning [thanks to Mrinal Kaul] I came across the famous Habba Khatoon.

Uploaded to Youtube by 44x4x4x [who given his profile picture there, a painting called ‘A Beauty of the Valley’ by G. Hadenfeldt, found in ‘The Charm of Kashmir’ (1920) by V.C. Scott O’connor‘ , is probably already a reader of this blog or someone who somehow found a part of it. I big thanks to the uploader for sharing].

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Epilogue

The beloved listens or not
I address him for it gives me relief
in proximity of saffron land
I own a vegetable shop
Hoping that a customer may
Flavour my vegetable with saffron

~ Zinda Kaul

From biography of the poet by A.N.Raina for ‘Makers of Indian Literature’ series. 

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On the Dal lake
Can I confine the limitless with limits,
Does at all mercury offer its lap,
For a while of restful lull,
To easy loving pleasure-hunters,
For their luxurious enjoyment,
In houseboats and shikaras.
Does the fire of vanity and valour
Contain the fatigue of cowardice.

~ select lines from ‘The River’ by Abdul Ahad Azad.
Translation from biography of the poet by G.N. Gauhar for ‘Makers of Indian Literature’ series.

DIrI dIrI honyo

DIrI dIrI honyo, yati kyo yat kya:h,
Yati chi: DevIta:h, HalmatI yAgnya:h,
Achin su:r dandan syakh, payyiyo honaya:h,
du:r tsal Kutta:h

I came across these lines in ‘Kashmir Hindu Sanskars (Rituals, Rites and Customs): A study’ by S.N. Pandit. The lines were sung in response to the wailing dogs.


Go away; go away dog, what is here? Who is here?
Here are the gods; here we perform a Yajnya of god Ganesha,
Oh dog! Let ashes be in your eyes and sand be under your teeth,
Oh dog go away – go away.

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