Safeguards of Ladakhs Cultural Heritage

"Natural and Cultural heritage of Ladakh taught us how to live in love, harmony and friendship with all..."

The arid land of Ladakh truly reflects the age old beliefs of Buddhism evident through the mesmerising colourful Prayer Flags fluttering over the vast expanse of otherwise bland snow desert. It is a land of rich culture, traditional knowledge and natural wonders. The strength of locals to tolerate the geographical and climatic extremities often leaves the visitors flabbergasted. Ladakhis are the proud possessors of a hypnotising heritage.

Ironically, a Ladakhi, instead of feeling proud, is more likely to be saddened, rejecting any discussion on Ladakhi heritage as yet another vacant promotional effort. For the tourism industry has, over the years, adversely affected the pristine land of Ladakh. Mass tourism has acted as a powerful catalyst for change that is extremely challenging, unsustainable and seemingly irrevocable. Ladakh has received an overflow of appreciation and only a handful of criticism. To a sensitive onlooker, this raises an alarm about the future; many fear that the coming years will be plagued by pollution and a crumbling traditional society, overrun by the intrusion of foreign culture.

In the past few years, this unique culture has suffered great losses and the indigenous communities, intentionally or unintentionally, have included themselves in the fold of unchecked globalisation, further damaging their cultural wealth. The damage, however, is not irreversible and the local communities themselves have taken a step forward to restore what has been lost and save what is vulnerable at the moment.

The most crucial role in managing the change to protect the traditional wisdom and environment heritage of Ladakh is presently being played by the alarmed older generation. Young Ladakhis, the elders stoically maintain, are easily influenced by the glamour of the alien culture that overpowers the austerity of their own culture. The elders understand the significance of the cultural as well as the natural heritage and thus make sure that they pass on the wisdom to the young lot.

Initially, they would present and perform folk dances only on some occasions. The startling rise in the number of travellers increased the worries of the Ladakhis, leading to more frequent organising of such cultural gatherings. Along with the traditional forms of songs and dances, they chose theatre as a medium to reflect their issues. This caught the imagination of the young generation. It gave the youngsters a platform not only to understand and appreciate their deep rooted culture but to put forth their own ideas, thus developing a better understanding within the community.

It is really commendable to see how wisely, the culturally aware citizens in the region have found new and interesting ways to create an engaging space where people can share their experiences, keeping culture, tradition and nature as the background. One such trend, seen during the festive seasons, is where people from remote locations come to participate in the ethnic programmes organised in the town and perform diverse rituals. One gets to see an amalgamation of various local cultures of Ladakh which also depicts the unity in diversity. This undoubtedly fascinates as well as helps develop a sense of responsibility among the community members to preserve this diversity.

The enthralled groups visit the Gompas and other heritage sites together and organise discussions later on how to maintain the serenity of these places. "We explore the hidden aspects of our historical places. Walking down the lanes of our ancestral villages along with our grandparents and their friends, helps us understand how things have changed since their youthful days. This, at times, makes us feel ashamed of how we have ignored our heritage, both cultural and natural," says Stanzing Kunzang Angmo, a young Ladakhi studying in Jammu, who took inspiration from the initiatives and is determined to play her role in safeguarding the legacy of her people.

The task of the local communities in conserving their heritage is not limited to imparting knowledge; they have, in fact, designed a sustainable framework wherein they focus on strengthening the leadership quality in select members of the community who have it in them to take on the onerous task of protecting their common wealth.

Sustainable growth demands mutual exchange of ideas and this makes this community effort more influential. The elderly are open to new ideas and ventures. They accept feasible points and try to inculcate them in their traditional ideology, thus maintaining the unusual combination of the old and the new in their ancient heritage.

The tourism industry is crucial for Ladakh as a source of livelihood. At the same time, it is posing a colossal threat to its cultural and environment legacy. One cannot entirely reject the importance of tourism industry in the economic stability of the region, nor can the natural and cultural ethnicity be compromised with. The situation demands a balanced solution. The answer to this lies in the warm hospitality offered by Ladakhis. A balance can be maintained by creating a healthy foundation based on humanity; it is the responsibility of everyone involved with the tourism sector to make tourists aware of how valuable - and special - the local heritage really is. For those who love - and visit - Ladakh for the peace it offers, being sensitive to its importance in the lives of the people is the least they can do in return.

No government or non government organisation can contribute to the conservation of the society without the participation of the local communities. They know their land, its strengths and weaknesses. More than anything else, they know that they owe their lives to this barren land. This alone is reason enough for the community initiatives to be strengthened by locals and visitors alike.

Cultural Academy of Jammu Kashmir

Status & Mandate: One of the few constitutional bodies in the State like Universities and Public Service Commission, the Jammu and Kashmir Academy of Art, Culture and Languages was set up by the Government in the year 1958 by proviso to Section 146 of the Constitution of Jammu and Kashmir for a specific purpose of to foster and co-ordinate activities in the spheres of letters and languages, visual and plastic arts, music, dance and drama and of culture generally. It was declared as an autonomous corporate body, vide SRO No-340 of 1963.

Having jurisdiction over the entire State, the Academy combines in itself the functions of: a) Sahitya Akademi (Akademi of Letters)b) Sangeet Natak Akademi (Akademi of Music, Dance & Drama)c) Lalit Kala Akademi (Akademi of Visual and Plastic Arts). Other than its headquarters at Srinagar, which moves to Jammu during winter in camp, it has also set up regional offices at Srinagar and Jammu and sub- offices at Leh, Kargil, Doda and Rajouri. In Jammu the Academy has its office.

Governing Authorities: With the Governor as ex-officio Patron, Chief Minister, as the ex-officio President, the Secretary is the principal executive of the Academy. The supreme authorities that exercise entire administrative and financial control over the Academy are a General Council and Central Committee.

Achievements: The pioneer institution now popularly known as Cultural Academy, having the fortune of flourishing under stewardship of luminaries like Jail Lal Kaul and Mohammad Yusuf Taing and others as Secretaries, has made a seminal contribution in preserving folk arts and promoting developing languages and cultural expressions in all the three regions of the State through a number of novel schemes and initiatives.

Languages & Literature: Various schemes operated by the Academy for the promotion of languages and literature which have yielded fruitful results include publication of ‘Sheeraza’, a literary journal in all languages of the State, annual anthologies, books in regional languages. So far more than 300 books bave been published by Academy in Kashmiri, Urdu, Persian, Dogri, Hindi, Punjabi, Ladakhi, Gojari, Pahari, English and on Fine arts and Music.

Cultural Academy has done a yeoman’s service in Preservation of Folklore and Music by way of collecting and documenting in book form folk songs and folk tales, folk proverbs, in all the major regional languages of the State. Other initiative of the Academy is the on-going projects of publication of Dictionaries and Encyclopedia. So far multi-volume dictionaries in Kashmiri, Dogri, Gojri and Urdu- Kashmiri Farhang, have been published while the work on Ladakhi, Pahari & Dogri- Hindi Dictionaries is in progress. Encyclopedia Kashmiriana’s four fully illustrated volumes have been published and cover areas like Kashmir Archaeology & Architecture, coins, handicrafts, language and literature. While the fifth volume on Folklore of Kashmir is in process. Academy has also started the project of Encyclopedia Dogriana.

Other measures to encourage writers in the Sate include, ‘Subsidy to Authors’, ‘Best Book Awards’ holding of Mushairas, Seminars, Literary Conferences, Sham-i-Afsanas, Sham-i- Ghazals and Literary Get-togethers, All State Writers Camps, Play Script Competitions, Meet the Eminent Contemporary programmes. The following Eminent Contemporaries have participated in these programmes till date are Sarva Shri Amin Kamil, Rehman Rahi, Hamidi Kashmiri, Dina Nath Nadim, Ram Nath Shastri, Jagan Nath Azad, B.P. Sharma, Ved Ghai, Padma Sachdeva, Sukhdev Singh Charak, Mohd.Yousuf Taing, Nishat Kishatwari, Madan Mohan Sharma, Dinu Bhai Pant, K.S. Madhukar, Yash Sharma etc.

Performing Arts: With reference to development of Music, Dance and Drama, Academy in its role of Sangeet Natak Akademi, has been working for revival of Bhagat Theatre in Kashmir. Today the dying tradition stands revived and here are more than 32 theatre groups, which are committed to the upliftment and development of this most cherished folk form of Bhand Pather.

Theatre: The vibrant modern theatre movement in the State today that has brought J&K theatre on national scene is due to the policies of the Academy which included sponsoring scholars to National School of Drama, New Delhi for training in dramatics, and holding of ‘Theatre Festivals’.

Music: Academy has been organizing Classical Music and Dance Concerts from time to time. Almost all the top-notch vocalists, instrumentalists and dancers of the day have performed in these concerts.

Academy is regularly organizing Folk Festivals with a view to encourage the folk performers and keep their interest alive in this field. The results have been encouraging as is evident from the revival of ‘Bhand Pather’, ‘Daastan’, ‘Chakkari’ and ‘Dhamali Dance’ forms from Kashmir likewise ‘Haran’, ‘Masadhe’ and ‘Geetru’ etc. from Jammu region.

Academy’s the Inter State Cultural Exchange programmes in form of sponsoring organizing visits of local cultural troupes to various States of the country have contributed in promotion cultural understanding between the State of J&K with rest of the country.

To encourage various age groups from among school and college going children, Academy has been organizing On-the-Spot Children’s Music Competitions, Summer Training Camps are also organized by the Academy to introduce children to the dramatics and dance. 

Academy in collaboration with Indian Council for Cultural Relations, New Delhi, had sponsored the visits of State Cultural Troupes to Germany, Venezuela, Trinidad and Tobago, Thailand, France, Malaysia, U.A.E and erstwhile U.S.S.R. etc.

Visual Arts: In the field of visual arts Academy was first in the country to hold All India Artists/ Sculptors Camps from in 1968 in order to introduce local artists to the works of senior artists of the country. At present the Academy collection includes nearly 385 paintings and 118 sculptures. Great Artists of our time like M.F. Hussain, G.R. Santosh, Luxman Pai, N.S. Bendre, J. Swaminathan, B.C. Sanyal, Jatin Dass, Manu Parekh, Sukumar Bhattacharjee, Paritosh Sen, Tyub Mehta, Amba Dass, Robin David, Vidya Rattan Khajuria and a galaxy of other artists’/ sculptors’ works form the Academy’s most valuable collection of modern art.

Holding Annual Art Exhibitions launched in 1960 have since become a yardstick for acknowledging individual excellence in the field. To provide encouragement to the artists, Awards were also instituted. The scheme of giving subsidy to artists has been facilitating in holding of one-man and group shows both within and outside the State. 

Academy also confers Robes of Honour and Fellowships on the towering personalities of the respective fields. The State Academy Award of Rs 1.00 lac for the life, to the outstanding, significant contribution in the field of literature and art was instituted in 1997.

Reference Libraries: The regional libraries in offices at Srinagar, Jammu, Leh and Kargil have collection of rare and reference books, which are made available to scholars for consultation.

To keep the age-old tradition of Urdu Calligraphy alive in the State, Academy is running a calligraphy class. The students are also paid scholarships.

Financial Assistance/Recognition is being given by the Academy to the voluntary organizations engaged in the promotion of languages and literature, performing arts etc. Presently the Academy is providing financial assistance to more than 100 cultural and literary institutions. Academy provides financial assistance at the uniform rate of Rs.300/- per month to the writers and artists who are in indigent circumstances and who leave their families unprovided for. Kitab Ghar: Academy has set up outlets in the cities of Jammu, Srinagar and Leh for the sale of its own publications and audiocassettes besides other books. Books of local authors, Sahitya Akademi, New Delhi and many other agencies are also being sold through the following Kitab Ghars.

Issue of Autonomy: In the light of fast changing scenario in Jammu and Kashmir where boundaries of politics and culture are getting blurred day-by-day, there is an urgent need to strengthen the functional as well as financial autonomy of the institutions like Cultural Academy.

The delay in appointment of Academy’s permanent Secretary, despite the recommendation of the Selection Committee formed for the purpose, lying in its Chief Minster office since more than three months, has again raised question in the minds of community of littérateurs, regarding the seriousness of the highest political authority towards the affairs of the Academy.

Make the General Council functional:

In a blatant violation Academy’s Constitution, there has been no meeting of the General Council, the so-called supreme authority of Academy, since 1989. Despite the fact that after every five years, the official term of one General Council, the process of the nomination of the members has regularly been taking place. But term of each of such Council was allowed to lapse without holding any single meeting.

This much-needed step to correct blatant violation of Academy’s Constitution will not only restore the democratic functioning of the Academy but also address one of the major grievances of intellectual community.

Trifurcation of the Academy: In the light new forms and products that are redefining present day practices of arts, it is time to consider the reorganization of the Cultural Academy into three separate academies on the national pattern that is also being followed in many other states of the country. That is the Sahitya Academy, Sangeet Natak Academy and the Lalit Kala Academy. This demand of trifurcation of the Academy which is being raised by J&K writers and artists since last few decades, needs to be taken up seriously so as to provide equitable opportunities for promotion and development Arts of Letters, Performing and Visual Arts in the State.

In the light of the above it is also felt by writers and artists that instead of more infrastructure like the proposed plan to open sub-offices at Kishtwar, Bhadarwah, Kathua, Udhampur, Pulwama, Kupwara, Shopian, Baramulla and Budgam districts of the State, it is important to update and modernize existing schemes, facilities and infrastructure like the proper cataloguing and conservation of art collection and books, digitization of libraries, display and presentation at Kitab Garhs etc.

Kashmir Theatre Festival 2011

'Myon Shoosh'-My Love- Whisper the majestic Kashmir Mountains to me, opening their tessellated imposing arms, in a bear hug. I immerse into their beauty. The prickly needles of emerald hued conifers outlining their conical bodies, hurt me no more, they bring tickles at first, a smile and then a rolling laugh.  It has been a quarter of a century since I last set foot in this wondrous land. 'Maayi  Barut Istaqbaal' - Warm Welcome, 'Khush Aamdeed' - Happy Tidings, they murmur softly in my ear.

I raise my hand in a silent salute to the Jammu Kashmir Film Makers and Artists Co-operative Ltd (JKFMAC), the organizers who have brought the 10-day 'Kashmir Comedy Theatre Festival -2011' to this paradisiacal valley in the throes of tumult, as Shabbir Haider the Secretary General and CEO of JKFMAC puts it, "Where smiles come at a premium and laughter is in danger of growing extinct".

A whole generation of Kashmiris turning old at 23 years, growing up in lurking fear and a daily call of attending dirges along with their elders, are completely cut off from what 'normal' childhood, adolescence and teenage years meant for others in India. For this generation it is so special to feel the emotion of hilarity, few have encountered or tasted in their lifetimes.

I feel there could be no better time. The 'Amarnath Yatra' is in full bloom albeit 'under the shadow of the gun', that provides pre-set security cover for the 'laughter challenge'.  

Serene, languid, doppling and dancing Dal Lake in Srinagar shows no sign of any fracas, smoothly letting the 'shikaras' or oblong romantic boats, slide on its beautiful belly, poked off and on by the paddle and rippling in mirth...

At Jammu and Srinagar airports, the almost embarrassing body search, the feel of metal detectors and human hands (even though female) feel like an amorous encroachment of privacy, not once, as at most airports, but three tier and times. Add to that, is the quick pick of a lady's 'tampon' by a security guard and askance expression of suspicion followed by giggles when explained.

Strange, but some emotions of glee are traceable everywhere. I brush aside realms of media reports on turmoil and blood-baths to a 'fake sting operation' feeling some conspiracies lurking beneath the surface to bring disrepute to this virtual heaven on earth.

The grandeur of the inaugural ceremony on June 25th can hardly be gauged from the periphery of the venue of Sher-i-Kashmir International Convention Complex (SKICC) with gun-toting, quick response teams and armoured vehicles lined up, outlined with camouflaged-capped sharp shooters.

Inside, however, the cyan hued 'pedicured' lawns and lofty elusive Chinar trees are busy spreading their enchanted halcyon beauty to the surroundings, where guzzling laughter and fragrances of colors will rule for more than a week.

Ravinder Kaul, globally renowned theatre critic, has a wonderful take on comedy and satire in theatre. He puts it thus, "The man who slug out the first 'abuse' has done a great service to humanity. He has inadvertently given an alternative to human kind to vent out anger other than to invite the rival for a 'bloody-duel' to end the argument. His displeasure therefore has shed no blood or caused no bodily harm to anyone".

And continues, "In theatre, especially in 'satire', an alternate way lends itself to vent out pent-up anger against the government policies, inadequacies of administration, all pervasive corruption, excesses of armed forces and of dogged militants with their quirky logic; creating havoc, deeply affecting and attacking the lives and vital ethos of Kashmiris".

"Kashmiri-a peace loving community, is facing a whole gamut of daily life-threatening situations, robbing them of their privacy, peace and progress. The massive extent of corruption deprives and saps their 'celebrated strengths' and relegates their development in multiple spheres, to a mere trickle. For them, comedy and satire has come as a whiff of fresh mountain wind to air their grievances."

The ceremony of the book release "Theatre Akh Tarruf", authored by veteran theatre personality and  Additional Director General, Doordarshan, Ashok Jailkhani is equally 'theatrical', albeit in the positive sense. Seeds of 'Issbad' are touched upon the heads and shoulders of the author, the chief guest and others at this auspicious occasion, as a tradition practiced by both Hindu and Muslim Kashmiris, and then thrown over the simmering coals in a 'Kangri' or a traditional vessel kept burning for warmth in the winter chill. A 'pious' fragrance emanates from the burning seeds and envelopes the surroundings, warding off evil spirits.

Thereafter, the Governor of this beauteous state Mr. NN Vohra unties the ribbon on the book, declares the Festival open with lighting of the ceremonial lamp to the flash of festoons and a swirl of colors of rainbow 'phirans'- a typical Kashmiri garment, and matching swinging jewellery, classically Kashmiri.

It is 'Bumbro, Bumbro' time, a melody, as ten lovely lasses of Kashmir roll their 'mehandied'-henna patterned  hands-and lift themselves to melt into a frenzy of dance, bringing the audiences in close clasp of what one could say 'befikri'-unmindful of worries.

Jammu girls match their Kashmiri counterparts in obvious competition with gusto on a Dogri dance and song and steep the audience into an untamed, full-blooded frolic.

'Local Taxes Extra'- the opening play releases the first choking veil of curtains restricting the overenthusiastic actors waiting to showcase their talent for the Comedy Festival.

Written by Dr Sohan Lal Koul and directed by Ayash Arif of the Kalidas Theater Group, the play revolves on social issues facing a Kashmiri Pandit couple Bhushan Lal and Usha Rani who fall on the mercy of a quirky landlord out to take advantage of their plight in a series of hilarious situations wherein the servant Gash Ram too develops a taste for intrigues to create misunderstandings between the couple.

That the play in Kashmiri language sustains the attention of the State Governor, one known to have just a formal flavor of the Kashmiri language and constrained for time as dignitaries are wont to say for effect, speaks volumes about the histrionic prowess of the actors on stage. Of more significance, however, is a largely Kashmiri 'Muslim' audience glued to their seats watching the play with all Kashmiri Pandit characters. It seems to me, to be the true bearing or 'icing' of the lurking agony of separation of these two ethnic communities both of whom claim Kashmir as their rightful home and hearth.

It is this spirit of communal harmony and a composite culture that truly spells the values of the lush valley wherefrom many a Bollywood movie scripts have taken their first cues of unbridled love.

Kashmiri Pandits have been pushed, evacuated and left to fend for themselves due to hatred of alien mercenaries in cahoots with some local hawks and hardliners. Their Muslim brethren still hold them dear in unconditional love, that is what the attendance and attention at this Festival reinforces.

The Festival continues for the next ten days, bringing in fun and tears of joyous laughter. The themes revolve around overall corruption in high places and at the grassroots level. Even state run 'Doordarshan' is not spared to bring in guffaws while a play by tiny-tots takes the audiences to matchless taste of twists and turns in the 'kiddy' world.

Artistes include Bhands from Akingaam and Wathoora, the Akingaam Bhands' group being in existence for many centuries, having been elaborately mentioned in Sir Walter Lawrence's seminal book 'The Valley of Kashmir' (1895).  As it began, the Festival ends with another hilarious tale revolving around a Kashmiri Pandit family. 'Dastaar', the play, has already become a part of the popular folklore of Kashmir with legendary actor Hriday Nath Gurtoo's inimitable dialogue 'Dastaaras karizam raachh' -'Protect My Turban'-albeit 'Honour'; on the tip of everyone's tongue.

That Gurtoo died in a miserable condition in a migrant camp in Udhampur soon after being forced to migrate from his happy dwellings in Kashmir, in the early 1990s, has in no way dimmed his creation but rather highlighted the plight of some of the 'Jewels of Kashmir' being ostracized from their beloved land and perishing in misery.

The Festival comes to an end, the armored vehicles and sharp shooters leave the venue, but it has successfully scattered the seeds of tangible merriment in the entire valley.

My eyes scan the picturesque landscape and rivulets flow down my cheeks, I feel a tug, as if a dear one says 'Maty'e Rozu Dama Roz Dariyam Chany'e Lol Re'! 'My love, stay a while longer'. However agony of separation from Kashmir is lesser than the wish that Almighty may shower His choicest blessings and cheer to this Land of the Gods.

In their forlorn imploration, asking me to return to the valley blooming with spring flowers 'Rosh wala myani dilbaro, poshan bahaar aav, yoori walo'-- I peer to look for smiles down from the window of the plane. The arc that begins at one mountain top and, after covering the flat valley, ends at another mountain top, seems like a broad smiley like smile. Today, even the sun has been veiled by clouds on the top to spread the huge glowing smiley that I look for in the crinkly as well as  reddish lips of Kashmiris blessed with unsurpassed beauty and as I place my hand on my heart it leaps and cheers 'Aall izzz well'!

By RASHMI TALWAR