From Jammu Housefulls to a Nationwide Release: Experience ‘Batt Koch’ This Weekend!

Batt Koch movie poster announcing nationwide multi-city screening in Jammu, Delhi NCR, Punjab, and Hyderabad.

It started as a deeply personal story we needed to tell. Today, it has become a shared journey for our entire community.

This weekend marks a massive milestone for Batt Koch and for independent Kashmiri cinema. After witnessing an overwhelming response and packed theatres, we are taking the film to multiple cities across India, allowing families to watch our story unfold on the big screen together.

The Jammu Phenomenon: By Public Demand

The love we received during our initial screenings in Jammu has been nothing short of magical. Seeing the raw emotion, the tears, and the resounding applause from a housefull audience validated everything our team at VR SearchKashmir Films worked so hard for.

Because the demand has been so high, and so many people missed out on the earlier sold-out shows, Batt Koch is still running in Jammu this weekend:

  • Venue: Indira Theatre, Canal Road, Jammu
  • Date: Sunday, March 8th
  • Time: 3:30 PM

A Nationwide Wave: Delhi NCR, Punjab, & Hyderabad Join In

Jammu started the wave, but the rest of the country is catching up fast! For the first time, Batt Koch will be screening simultaneously across multiple major cities, in multiple PVRs.

We are thrilled to announce that this weekend, halls are already filling up fast in:

  • Punjab (Zirakpur) * Hyderabad * Delhi NCR (Noida, Gurgaon, Faridabad, Saket, Dwarka)

A special shoutout to Zirakpur, Hyderabad, and Noida—the community in these cities is taking the lead, and tickets are selling out rapidly!

More Than Just a Movie

Batt Koch is more than just a cinematic experience; it is a bridge to our roots. It is a chance for the older generation to revisit their memories and for the younger generation to see their story brought to life in their language.

We want to see the halls turn into community gatherings. Bring your parents, your grandparents, and your children.

How to Book Your Tickets

Don’t wait until the last minute, as seats are limited and filling up quickly across all locations.

🎟️ Tickets for Delhi-NCR

https://in.bookmyshow.com/movies/national-capital-region-ncr/batt-koch/ET00489940

🎟️ Tickets for Jammu are exclusively available on the Distrct App (by Zomato). 👉

https://www.district.in/events/batt-koch-kashmiri-film-screening-feb4-2026-buy-tickets?

To our patrons in Jammu: We also have a limited flash offer running for ₹199 tickets, as well as a few sponsored tickets for those in need. Please reach out to us on our social media channels for details.

Thank you for believing in independent cinema and for championing our stories. We will see you at the movies this weekend!

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Next weekend we will be trying for more cities.

And in April Batt Koch will reach US shore via Avanti Foundation

https://www.eventbrite.com/e/us-premiere-of-movie-batt-koch-tickets-1983746004701

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Kashmiri Song from the Movie

Awtar Kaul: A Shooting Star from Kashmir Who Pioneered Indian New Wave Cinema”

3–5 minutes

A personal look at Awtar Kaul’s life and legacy, this guest post is by his nephew, Vinod Kaul, a writer and former Executive Director of Rajya Sabha TV.

Early Life in Kashmir and Journey to Filmmaking

Awtar Kaul was born on September 27, 1939, in Srinagar’s Fatehkadal to the Daftari family with no connections to film or theatre. He was one of six siblings. Awtar Kaul’s early childhood was a haven of love and warmth, spent in the nurturing environment of his Matamaal in Safakadal. Kaul’s early education took place at National High School in Srinagar and later in Delhi. Before moving to the United States in 1960, he worked in British Information Services, New York, after completing a Bachelor’s degree in Film from City University of New York. Upon returning to India, Kaul joined Merchant Ivory Productions as an Assistant Director for “Bombay Talkie.”

A very young Awtar Kaul (front row, extreme left, wearing a black coat) with siblings in his Maatamal at Safa Kadal, Srinagar, where he was raised by his grandparents. 1940s.
Awtar Kaul’s maternal grandparents, Vidya Dhar (Gaash Bab) and Raajrani (Taat), who raised him at their home in Safakadal, Srinagar.
Awtar Krishan Kaul as a young man.
In Title credit of Bombay Talkie (1970)

’27 Down’: A Cinematic Masterpiece

Shooting of 27 Down

‘27 Down’ was Awtar Kaul’s directorial debut and unfortunately his only film. Upon its completion in 1974, it was tremendously received and secured two prestigious National Film Awards 1974 – ‘Best Feature Film in Hindi’ and ‘Best Cinematography’. The film has made a lasting impact on Indian cinema and has received international acclaim for the treatment and depiction of emotions of urban alienation. It garnered two international distinguished awards in 1974: The Ecumenical Prize at the Locarno Film Festival and the Film Dukaten Award at IFFMH Munich, Germany, solidifying its position as a masterpiece of Indian cinema. Awtar Krishna Kaul was at the forefront of the New Wave Indian Cinema. This was the time of Shyam Benegal’s Ankur and MS Sathyu’s Garam Hawa. In 70’s, the FFC (now NFDC) helped Mrinal Sen produce Bhuvan Shome, Basu Chatterjee with Sara Aakash, Mani Kaul with Uski Roti and Awtar Kaul with 27 Down. 27 Down was a marked departure from the mould of mainstream Indian films. It was deliberately shot in black and white to create contrasts and shadows alluding to the ups and downs of life. Even after 50 years, this film remains ageless in its treatment, having not resorted to melodrama.

M.K. Raina and Rakhee in “27 Down”

Enduring Legacy and Global Recognition

27 Down has continued to captivate audiences worldwide. In 2013, under the theme of ‘100 years of Indian cinema’, 27 Down was screened at the Festival des 3 Continents, France. To mark the film’s 50th year, 27 Down was screened specially at IFFI Goa 2024. Another recent premiere at ‘The Festival of Singular Films’ on September 23, 2024, at GES-2, Moscow, as part of ‘The Retrospective Program, celebrated the film’s enduring heritage’. In October of 2024, in Barbican in UK, under the banner of ‘Rewriting the Rules: Pioneering Indian Cinema after 1970’, curated by Dr Omar Ahmed, 27 Down was screened as an exemplary film. These accolades have solidified its position as a masterpiece of Indian cinema.

Entry in Sight and Sound Magazine for Locarna film festival of 1974. The film was titled “27 Down Bombay – Varanasi Express”

A Tragic Loss and Unfinished Dreams

Tragically, Kaul’s life was cut short in a fatal accident in Bombay at just 35 years old, ironically on the same day his National Awards were announced. He never got to witness the accolades his film received, leaving behind a poignant legacy in the world of cinema. His brief career, however, is a testament to original and outstanding work in films. He came from a humble family that had no connections to film or theatre and he built his lens and work on his own. Despite having been dealt societal roles and responsibilities, he dared to continue to pursue big dreams. Film 27 Down explores urban alienation, something no Hindi film had done before. Awtar Kaul’s passing has created an unbridgeable chasm, leaving Indian Cinema to ponder the what-ifs of his unfinished works.

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Born in a valley untouched by railways, Awtar Kaul ironically or not so ironically crafted one of Indian cinema’s finest films, ’27 Down,’ using the very essence of trains to weave a human tale.

“Batt Koch” Kashmiri Film Trailer

Announcing SearchKashmir production: “Batt Koch”, a Kashmiri film.

The full film will be out after March and doing rounds of various film festivals. Will keep you all posted on screening dates.

Batt Koch, a film on Kashmiri Pandits, trailer link

“A place name. A wish. A wish for belonging. Through letters and memories, the film explores the enduring connection to a homeland that remains in the heart. Between lost houses and found connections, expect a few detours and a dose of Kashmiri whimsy. A film by the people who remember.”

PRIMARY CAST:
MK RAINA, KUSUM DHAR, ANIL KOUL CHINGARI, KUSUM TICKOO, SAKSHI BHAT, RAVIN BHAT

SECONDARY CAST:
DELIP PANDITA, ASHRAF FAYAZ, GULZAR DAR, MEHWISH LONE, UZAIR ITOO, VASHISHT MATTOO, SUDANSHU KOUL

PRODUCED BY:
VINAYAK RAZDAN

WRITER:
SIDDARTH KOUL

IDEATION AND CREATIVES:
ANKIT WALI

DOP:
ANANT JAIN

EDITOR:
AKANKSHA ZADOO

SCRIPT SUPERVISOR:
ANMOL CHOWDHURY

DIRECTOR OF SYNC SOUND:
SATYA NARAYAN

COSTUME DESIGNER:
VASHUNDHRA MAWA

PRODUCTION DESIGNER:
AKANKSHA ZADOO

MUSIC:
SAURABH ZADOO

ADDITIONAL MUSIC ARRANGEMENTS:
SARANG AHUJA

MIX MASTERED:
MANOJ SIKKA

RABAB ARTIST:
ABDUL RASHID SHAH

SARANGI ARTIST:
GOWHAR YASEEN

SOUND DESIGNER:
SATYA NARAYAN, JEETU

DI COLORIST:
ANMOL KACHROO

STILLS:
ANMOL KACHRO0

SUBTITLES:
ANMOL CHOWDHURY

HAIR AND MAKEUP:
AINA PANDITA

ASSISTANT HAIR STYLIST:
SHALANI CHAND

1ST ASSISTANT CAMERAMAN:
ANMOL KACHROO, VASHISHT MATTOO

CAMERA TEAM:
ROHIT, SUKHVEER SINGH, JASS

BOOM MAN:
MANOJ JANE

LIGHT TEAM:
GAJENDRA SIKARWAR,RAM CHAWAN, PANKAJ CHOURASIA, SONU

PRODUCTION TEAM:
PIYUSH WALI, AYUSHMAN KOUL, NEERAJ CHANDRA, AADESH GOSWAMI

ON SET ELECTRICIANS:
BALMESH, SAHIL SHARMA

SPOT TEAM:
PURNIMA, PAWAN, MAHESH

How the “camp life” was brought to screen in Shikara

Guest post by Nitin Dhar on how the “camp life” was brought to screen in Shikara (2020). How the sets were not just movie sets but more than that. 

I was born in 1993, three years after my family like all other Kashmiri Pandit (Hindu) families were forced out of our homeland, Kashmir by the radical Islamist terror outfits and separatist groups for their aim of ‘Aazaad Kashmir’ to cut Kashmir off India and make it an Islamic state. Selective targeting of renowned Hindus in Kashmir began from mid 1989, followed by gang rapes of Hindu women, abductions, loots, burning of our houses and desecration of temples. It was a massacre and an ethnic cleansing on religious basis on the soil of independent democratic India.


My family lived in the refugee camps in tents where my parents got married. Like Shiv and Shanti in ‘Shikara’, the only thing they had was love and hope through all these years of exile. I was born in Jammu and lived in refugee camp called Purkhoo Camp till the age of 14. The only thing that all parents in the camp focussed on was educating their children and not letting their religious persecution sow seeds of hate or revenge. It truly was our resilience and belief in education, love and peace that made us stand on our own feet. We did not pick up stones or guns. We chose pens, peace and hope. And here we are prospering, even in exile.


Almost three decades after the the Kashmiri Pandits’ ethnic cleansing, I got the opportunity to work on ‘Shikara’. It was an extraordinary learning for me, like thousands of those young Kashmiri Pandits who participated in the film and portrayed themselves in it, to witness the tragedies our families went through before our birth.

Ever since I started pursuing photography and filmmaking as my career, I used to think many times that I would definitely have photographed our life in the camps had I been a photographer then, to record images of our tragedy for the world to know.

My grandfather passed away in 1997 due to PTSD (Post Traumatic Stress Disorder). During the early years of us living in the Purkhoo Refugee Camp in the isolated outskirts of Jammu, he would wear his pheran (long woolen coat) in the scorching heat and run away from the quarter thinking he going back to Kashmir. In less than a kilometre he would faint and fall on the road. People who recognised him would bring him home on their shoulders. He would then take a while to recover. This repeated several times. I will never forget him bringing pieces of bricks and wood to build a small house model and tell me that’s how we would make our house again, a house that we could call home in Kashmir. He was not alone, there were thousands of old men and women who went through PTSD and succumbed to it. Such PTSD is also visible in obsession about news on Kashmir and watching DD Kashir no matter where we live in exile. Besides that, hundreds died because of snake bites, scorpion bites, sun strokes, brain tumour, cardiac arrests etc. For me, every death in exile is martyrdom. It was not just the Kalashnikovs in the hands of Islamic Jehadists in Kashmir that made the Jhelum weep of the Hindu blood, but also the deaths in exile due to the direct consequences of the forced displacement, lest we forget.

On the sets of Shikara, I met many such fellow Kashmiri Pandit refugees who suffer from PTSD. Who wept looking at the recreated camps and who’s chins shivered during scenes that haunt them in their dreams even today.

People who lived in the extreme cold climate of Kashmir, had to suddenly suffer temperature above 48°C, face scarcity of drinking water, electricity and no sanitation or health care. It takes unimaginable courage to look forward and build prosperous lives despite being brutalised and persecuted by one’s own neighbours, and being failed by one’s own state and fellow citizens.
Nevertheless, we stand united in our belief in unity, education, justice and non-violence, come what may.

The refugee masses in ‘Shikara’ are not actors. They are real Kashmiri Pandit refugees who still live in Jagti Refugee Camp in the outskirts of Jammu. This film is the first of its kind.


When the tent camps were being recreated, I remember, Vinod Sir asking me to walk with him during our multiple recces to make sure of authenticity. He even asked me if I had things that the govt. might have provided when my family was in tents, and coincidentally I remembered that we still had an Usha table fan and a couple of blankets that were provided by NGOs and govt. I got them the next day and we put them in Shiv and Shanti’s tent. Another short incident that I will never forget is when we got the refugees from Jagti Camp to the tent camp set, I overhead a little girl sitting in the lap of her mother inside one of the tents. As her mother was emotional and nostalgic, the little girl asked her, “Mumma, aap itne saare log itne chote se tent mein kaise rehte the”? There was silence. I bit my lower lip and walked away to hide tears swelling in my eyes as the mother gave her child a teary smile and a big hug. There are many such examples and stories from the sets of Shikara of how the realism of the sets reflected in the moist eyes and wistful smiles.

Sonal ma’am [Sonal Sawant], who was our production designer made everything look so real. I was myself always surprised as to how she would make the texture of the mud, aging of the tents and the tiles in the narrow lanes of pucca quarters resembles the ones I had in my memory.
Ranga Sir [Rangarajan Rambadran], who was our cinematographer and my HOD did a magician’s job with his imagery, giving us first set of pictures that represent our painful past with so much authenticity.

I can never forget my chats with Rahul Pandita about our exodus and the great event of this film finally being shot. He and his extraordinary book Our Moon Has Blood Clots, have been the source of inspiration for this film and for me in many many ways. He’s our hero. Our real life Shiv.
Here are some more pictures that I present from the sets of Shikara. Hope these images will reach hearts and pull out some kindness. It’s never too late for solidarity and support.

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You can catch the full set of pics and stories at instagram of Nitin Dhar [@wordslivelonger] where the whole series is available there.

Mani Kaul’s Before my Eyes (1989)

video link
Mani Kaul’s Before my Eyes (1989). The film was produced by J&K tourism department but the end product by the legendary filmmaker left them so confused that the film was never properly showcased by them. It was supposed to be a tourism film but Mani Kaul made it without showcasing the usual sights of Kashmir. Most people would miss the genius of this film, but those who understand cinema would know what Kaul managed to achieve with the film.
With minimalistic human presence and a deliberate brooding consciousness of the geography of the place, the film like some dream of a child, traces the flight of a soul in paradise, there are sights and some sounds, it rises till the beauty materializes before your eyes and you realize it is not a dream, or is it.
The Hot air balloon works like a metaphor for dream in the film. Director hints at it when you see some people asleep in a Hotel room while a balloon rises from the window. You know you are dreaming because the western music mixes up with the local sights from a houseboat.There are vast mountains, greens, whites, wild brooks and broad rivers. You see a child running free. A man galloping on a horse while the moon rises. There is a garden, the (only) famous garden. You are alone in all this space.

Abhinavagupta on last word


Bollywood is a fantastic flytrap that captures all kind of wonderful cultural specimens. It does so intentionally or unintentionally.

In Masala Bollywood movies, there was a favorite formula involving a dying muslim. The rule was: if the film has a do-gooder muslim character, and if the character is dying, his last dying words are going to be “Laa ilaaha ill-Allaah”. In his last moments the guy has to remember God. The formula is repeated in countless movies, repeated often enough for us to know that if the character dies without completing the sentence, the hero will close the eye lids of the dead man and complete the line for him and then continue with decimation of the villain.

The dying words. It’s an interesting concept. The Muslim tradition comes from Hadiths. A good muslim is to die remembering God and be assured of a place in heaven. Even Kafirs may be given this option so that they may face less trouble in hell.

Meanwhile, we have the (fanciful) stories of Gandhi dying with “Hey Ram” on his lips. Where does the “holiness” of this idea come from? Why did it matter what his last words were? As a kid, I remember reading those booklets by “Hare-Rama-Hare-Krishna” people. There were chapters dedicated to the subject of death. A good Hindu is to remember God in his dying moments. And just like in case of Muslim, not just remember, but God’s name is supposed to be the last word uttered so that one may be assured of a place in Vaikuntha.

The idea comes from Gita which goes even further, the last thought, the last word, it lingers and has consequences. If your last words are of anger, you might get stuck in angry state. It is like dying last wish. According to Gita, in the last dying moments whatever the mind seeks, it gets. A teenage mind wanders, even back then the idea sounded frightful. What if someone dies in sleep, dreaming of dinosaurs? Or, worse still if one dies of diarrhea and shit is all one can think of? What if dying man dreams of Kashmir? Should everyone die dreaming of Kashmir? Is that what is happening?

Again in Bollywood, the concept is put to hilarious use in a little know film called “Bollywood Diaries” (2016) (by K.D. Satyam, writer of Anurag Kashyap’s Mukkabaaz). In the film a terminally ill guy who wanted all his life to be an actors comes up with the simplest plan to have his wish fulfilled. In his last days he surrounds himself with posters of films actors. In his last moment he remembers Amitabh Bachchan.

A religious text has propounded this theory. And the theory has obvious flaws which put a believer in awkward position, that too at the last defining moment of his believing life. If someone is dying, he should not be worried about these things. Even among Muslims, the flaw in the idea was obvious, so later commentators do say do remind the dying but don’t force the guy into saying “Laa ilaaha ill-Allaah” lest the poor guy gets irritated and ends up saying something worse like “Laa ilaaha Laa ilaaha”, and yet just make sure that his last words are “Laa ilaaha ill-Allaah” even if he previously said “Laa ilaaha Laa ilaaha”. The exact last words matter.

In most medieval commentaries on Gita, the importance of last word is emphasised. However, the flaw in this thinking was explored by Kashmiri Shaivite philosopher Abhinavagupta (c. 950 – 1016 AD). In his commentary on Gita, Abhinavagupta also asked the same questions: ” The moment of death can be devoid of happiness, sorrow or delusion/ What if the the man dies in sudden accident and has not time to think of anything? What if the man remembers cold sweet water of the village river? What if in dying moments the man thinks of his wife? Does the wife also die instantly and he gets to be with her forever? Or does his sole become one with his wife? “

These are doubts he had and these are questions he sought to answer.

Abhinavagupta’s answer: “At that very last moment (one who had been remembering God throughout his life) will remember God as a result of the impression created through continuous meditation and will be united with Parmaesvara. This is because he becomes free from the binding influence of time.”

Basically, Abhinavagupta believes that for a man who spent his life remembering God, the last critical moment is immaterial because time is a relative term. This answer to these queries may or may not matter sound rational. But, the fact that he sough to answer these questions means that people even back then could be rational about religious texts.It is amazing that people have spent so many centuries pondering over these issues borne of divine speech and texts.

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Reading the English translation of Abhinavagupta’s Gitartha Samgraha by Boris Marjanovic

Jashn-e-Intifada

When Sanjak Kak’s Jashan e Azadi (2007) came out hyper-nationalist were infuriated and asked for banning. I remember asking people to watch it. Only if you watch it, can you have an opinion on it. Only then you can understand why ultra-left would color Jihad as Intifada. Here’s the intro to the word “Intifada” in the film, the screen rolls in archival footage from 1992 showing Mujahideen giving gun salute to fallen comrades as common non-combatant local Kashmiris raise slogans, the narrator tells us :
“In the beginning of 1990, memories of old repression sought inspiration from Pakistan, Afghanistan; even Palestine and Iran. In those days, around 35000 rebels ( Kashmiris called them ‘Mujahideen’) were fighting the Indian army of 3.5 Lakh. The rebellion would be known as “Kashmiri Intifada”.

Mention of numbers, the maths, is of course to remind the viewers that the Mujahids were fighting a brave war against heavier odd. No mention of the fact that exactly from 1992 onwards the number of foreign Mujahids kept increasingly sneaking into Kashmir. However, this post is not about sneaky Mujahid with guns but an inquiry into how the word “Intifada” is sneaked into the left narrative. The director is honest enough and true to his principles claiming rebellion “would be” known as Kashmiri Intifada, he doesn’t claim it was back then known as Kashmiri Intifada. To the people on ground it was and it is Jihad, a religious duty. When the director says “would be known as”, it is just a wish that the director of the narrative has. It is like sugar coating a bitter pill of religious fanaticism with ideological romanticism. It is an attempt by Left to reclaim future without looking at its past failures.

The left has a special love for term Intifada. After all it is supposed to mean “resistance”. But, there is more to that love.


Most people now know the word thanks to the conflict industry setup around Palestine. But, the word in the sense it is used now, first came to be employed in Arab world of 1950s when the left was making great strides in attaining power. In Iraq, Iraqi Communist Party successfully used it against monarchy, the power of course later went to Army, and eventually to Iraqi “Ba’ath Party” (the words means “resurrection”) which spent no time burying communists. The original socialist Ba’ath Party before its split was founded in Syria by people who believed in pan Arab state. The left politics had a bigger impact on Syrian politics. At the time Syria was under military dictatorship of Adib Shishakli, a man who had earlier fought in Palestine in 1948. Communism had a mass following and was blooming.Historian Maxime Rodinson explains the significance of it as:
“In September 1954, in the first elections after Shishakli’s downfall, 22 Baathist were elected to the Parliament, together with the communist leader Khaled Begdash. This was the Left’s first great success in the Arab world.”

As later history tells us, this man too was hounded out.
Using such a powerful word in case of Kashmir, of course draws immediate connect from western audience which is well acquainted with Arab conflicts and its relation of the word “Intifada”to word colonialism. Even the left intelligentsia in India, has heavily invested in Palestinian conflict, so they too are able to see Kashmir with a certain lens when the word Intifada is used. It becomes easier to pass off Kashmir as a colony of India. India was a brute force.


And it has other benefits too:

When Hezbollah supports Intifada and when Arundhati Roy supports Intifada, both are essentially on same page and yet few would question Roy, “How can you be on same page as Hezbollah?”
Replace Hezbollah with Hizbul Mujahideen. You get the picture. If violent religious ideology of Hezbollah can be overlooked, Hizbul Mujahideen too can be sanitised and sold as “resistance movement” and broadcast on youtube as Electronic Resistance.

All that is fine. But, why this desperate attempt to plagiarize this history of Syria, Iraq, Palestine and Hezbollah, roll it into a bitter-sweet pill and pop it into “would be” conflict test lab of Kashmir. Why keep selling the condescending thought that when Muslims get repressed, they only rebel as violent religious organisations and the world has to accept it? Why not tell them about history of left led rebellion in Arab world? It’s success and failures. Similar success and failure of left in Kashmir. The assassinations of left leaders by the “rebels” in “Kashmir Intifada” of 1990s.

If nothing else, at least, come up with a Kashmiri word for Intifada.
What did Intifada do for Palestine?
Before the rise of religion driven movements and intifadas in Arab world, French Marxist historian Maxime Rodinson had these lines to offer as advise to his fellow Marxist in 1968. 
/“Yet false and over-schematised conceptions of Israel’s membership of and dependence on Western world must be rejected. Such conceptions are very widely held among the Arabs and elsewhere, and are furthermore frequently linked to Marxism. These notions are of the type which are fashionable in the most vulgar ideological Marxism of the Stalin era. The capitalist imperialist enemy of the people’s longings for liberty and equality is represented as a kind of legendary monster, with a single head and brain controlling a host of tentacles which unhesitatingly obey the orders of the master mind. The brain is situated somewhere between the Pentagon and wall Street, and none of the tentacles has any will of its own.
[…]
If the consequences of pressing a just claim are liable to be calamitous and unjust, and too fraught with practical difficulties, there may be grounds for suggesting that it be renounced. The wrong done to the Arabs by the Israelis is very real. However, it is only too common throughout history. Innumerable violations of rights of this nature have taken place since the beginnings of human society. Sometimes one side, sometimes the other has been the ultimate beneficiary. The Arabs, in their history, have made conquests on an infinitely greater scale and wronged many other nation. Some still behave in an entirely reprehensible manner – towards the Kurds for instance, and the negroes of South Sudan. The conquests of the past have been shrouded by the moral prescript of forgetfulness. The colonists are not monsters in human form, but people responding to reflexes which are unfortunately only too characteristic of social man. No one can without hypocrisy judge himself or his community to be free from such reflexes.”
Rodinson had the courage to say it after the end of 6 day war of 1967. Replace India with Israel and change Arabs with Kashmir, it won’t be difficult to do for some of you. If you go “…but India is no colonist” or “…but Kashmiris did no wrongs”, or “let’s get to the beginning”…you are either a hypocrite or ignorant or a mix of both.

It is easy to pass around quotes of Edward Said on Palestine and fit them to Kashmir. Be like Said, pick a stone and throw it around. But, is that honest.

“To make matters worse, the Palestinian Islamists have played into Israel’s relentless propaganda mills and its ever ready military by occasional bursts of wantonly barbaric suicide bombings that finally forced Arafat, in mid-December, to turn his crippled security forces against Hamas and Islamic Jihad, arresting militants, closing offices and occasionally firing at and killing demonstrators.[…]

A closer look at the Palestinian reality tells a somewhat more encouraging story. Recent polls have shown that between them, Arafat and his Islamist opponents (who refer to themselves unjustly as ‘the resistance’) get somewhere between 40 and 45 percent popular approval. This means that a silent majority of Palestinians is neither for the Authority’s misplaced trust in Oslo (or for its lawless regime of corruption and repression) nor for Hamas’s violence.”

 Edward Said wrote this in 2002 on the “new” Palestinian intifada, on how most Palestinians stood for neither Arafat nor Islamists, and how these people were the “silent majority”.

Needless to say, the intifada factory in India hasn’t yet reached a stage where such nuances matter. An Islamist terrorist is wrapped in sugar syrupy shroud weaved using “see-as-fit” words of Edward Said and presented as “The Resistance”, just because they, the Indian Palestinian experts, will have every one believe the most Kashmiris stand for Islamists and any body interesting in a future of Kashmir, has to get used to the idea. And it is all because of brutality. So, justified. So many are dying, so justified.

All the while failing to explain why even in face of Israeli brutalities, Palestinians were able reject Islamists?

The answer is because the Palestinians resistance is native while in Kashmir it is all an import. The guns and the ideology is imported from across the border while the lens used to analyse the Kashmir is imported from Indian intelligentsia that has long studied Palestine. These people who bendover backward to make Hizbul Mujahideen look like another run of the mill radical yet benign socialist party, are the people who would ensure that Kashmir will never see a truly secular future, or any future while Palestine still has a chance. Kashmir will only continue to churn out Indian experts who will put their sloppy Palestinan theories into action in Kashmir.

Now, recall history of Kashmir where unlike Palestine the violent bloodletting is only, on historic scale, recent, just 26 years old. If you see people peddling the failed vulgar variants of Marxist ideologies in case of Kashmir. It is no coincidence the new cry of Kashmiris is “Bharat ki Barbadi tak”. You know how things would turn out. Kashmir still has a chance. All stake holders just need to count their losses of past, present and future.

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Pic 1: Screengrab from the film showing Mujahideens giving gun salute to fallen comrades.
Pic 2: “Have mercy on us, because we are small and frightened and ignorant” ~ “dance macabre”, end scene from “The Seventh Seal” (1957) by Ingmar Bergman.

Kashmiri Film: Arnimaal (1977)


Extracts from television film “Arnimaal” by Siraj Qureshi shown in 1977 (1982 according to some sources). It was based on the popular folklore surrounding the poet Arnimal (Mrs. Bhawani Dass, circa 1738 – 1778). Story, Screenplay and dialogues by poet Prof. Sattar Ahmad Shahid (b.1931). The film was uploaded in parts by Dara Nazeer.

I have compiled them together sequentially as they should have been in the movie. Also, adjusted the video and audio quality a bit.

video link

The story goes that Arnimal was married to rich boy from Srinagar Bhawani Dass who was a good poet. Arnimal (played by Reeta Jalali) is also gifted at weaving words. There is much love between them. Bhawani Dass becomes a high officer in Afghan court and slowly starts drifting away from Arnimal and instead spending time with the courtesans. Out of her grief Arnimal becomes a great poet while Bhawani Dass has a reverse of fortune. Today no one remembers Persian poet Bhawani Das but Kashmiri poet Arnimal is still sung. The film gives a beautiful glimpse into the culture and way of life of Kashmiri Pandits. The Pooza scene and the wedding scene particularly stands out for freezing the memory of that fading culture. Another notable thing is a casual scene in which the recipe of Kashmiri Sheera (a kind of syrup…Arabic ‘sharab’) is given (Raisins + Melon seeds).

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Sound recording was done by Ashok Koul, trained at FTII Pune.

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Deepak Marhatta shared SearchKashmir‘s video.
January 11 at 5:14pm ·

Some portion of this film has been shot at Dewan Khan (an ancient ornamental building housing the Mahant)of Mata UMA BHAGWATI temple Umanagri where a learned Brahman Lt Sh Naranjan Nath pandit(Nera Kak) is performing the puja.

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Bharti Raina [Rita Jalai, the actress] She is happily married, and Live’s Himachal Pradesh ,( Mandi )

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info. via Aasha Khosa: My maternal grandmother is figuring in this film. This is Shobawati Bhat, w/o Vaid Lal Bhat of village Nagam, Budgam district.



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Another one



veteran Kashmiri actor Sudhama Ji Kaul.

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Paanch Azaan


video link

1:19 min. Made over two years.

Act 1
Manasbal
 […crowds of worshippers used to fall down and rise at prayers, imitating the high waves…]
~ Dvitīyā Rājataraṅginī, Jonaraja describing Muslims at prayer.
Act 2
Nagin Lake
the man said there are now so many mosques in his area, new Ahle Hadees, competing Barelvi, then the older ones and many more. But, inside empty. Only loudspeakers. It gives him headaches. He then left for his Namaaz.
Act 3
Silent prayer.
Act 4
Village Tullamulla
She said there’s a hawan going on somewhere nearby. Some one is praying. Indrakshi Stotram. Let’s go. A CRPF guy standing next to a pile of stones corrects her, “Namaaz”. It is Friday. He is waiting for stone pelters.
“When he (Jayapida) was appropriating (the land of) Tulamulya, he heard, while on the bank of the Candrabhaga, that a hundred Brahmans less one had sought death in the water of that (stream).”
And with their magic prayers they broke 9th century King Jayapida’s head and caused his death. So say’s Kalhana.
Act 5
Pampore
February 20, 2016
Two terrorists take over a JKEDI building shoddily built atop the 11th Century AD King Jayasimha’s Simhapora, burying history under concrete. [link]
While the gun battle starts, in nearby village, the priest in the mosque asks people to answer the call of Muslim blood.
Army diverts the cars to take an alternate route to reach Srinagar.
We are stuck in a car near village Kunmoh, the birth place of 11th-century Kashmiri poet Bilhana.

I ask her if she is afraid.

She answers, “No.”

I ask her, “why?”

“I don’t know, “she replies.

Even now, knowing death is quickly closing in, 
my thought leaves the gods and is drawn to her in awe.
What can I do? My thought is obsessed: “She is my love!”
~ Bilhana.
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