No Laughing matter: Ancient Kashmir satire ‘Bhand pather’ struggles against modern silence

Akingam (Anantnag), Feb 14: In the quaint village of Akingam, nestled in south Kashmir’s Anantnag district, 65-year-old Ghulam Rasool Baghat eagerly awaits the annual rituals at Sufi shrines, where he plays the flute as part of the Kashmiri traditional folk art, Bhand Pather.

“I am the 14th generation in my family performing the Bhand Pather,” Rasool says with pride. “I learned to play the Sornai (a traditional wind instrument) as a child, and I continue to be a Bhand artist.”

Although Rasool’s children have taken up different professions to sustain themselves, they have not abandoned the art.

His two sons, Tariq Ahmad and Zakir Ahmad, accompany him at performances whenever possible.

“We don’t earn anything from this, but we are determined to keep this integral part of our culture alive,” says Rasool who heads Kashmir Folk Theatre Akingam.

Bhand Pather, an integral part of Kashmir’s cultural identity, blends drama, dance, music, and satire to reflect the region’s traditions, resilience, and communal harmony.

Bhand refers to a jester, while Pather means performance or play.

Traditionally, the stories revolve around mythological, historical, or social themes, blending spirituality with entertainment.

The art form evolved through different eras - from the Sanskrit period to the Afghan, Sikh, and Dogra periods and incorporated various musical instruments.

It has long served as a means for social critique, with performances satirising rulers, tax collectors, village heads, and moneylenders.

Historically, Bhand Pather was a respected art form that enjoyed royal patronage, and artists were often exempt from taxes and forced labour (Begar).

Despite its historical significance, Bhand Pather is now on the verge of extinction.

The advent of television led to a sharp decline in its popularity, and the lack of government patronage and social support further pushed the art form towards obscurity.

However, despite these challenges, Akingam has remained a bastion of this rich tradition and a symbol of resilience, striving to protect a fading legacy.

Rasool, who has been performing for 50 years, continues to play the Sornai at various Sufi shrines, including the shrine of Zain-ud-Din Wali (RA) in Aishmuqam and the shrine of Baba Naseem-ud-Din Ghazi (RA) in Bijbehara.

The Baghats of Akingam have a deep-rooted history in Bhand Pather.

The village has produced renowned artists like Subhan Baghat, a recipient of the Sahitya Akademi Award.

Today, around 50 families in Akingam, once deeply associated with this folk art, still volunteer to perform on different occasions.

Rasool laments the absence of government support.

“The authorities have forgotten us. Rarely do they invite us to official functions, and independent platforms are non-existent,” he says.

Rasool believes that a little financial assistance and recognition could go a long way in ensuring the survival of this art form.

His son, Zakir, 28, an Arts graduate who is now in business, echoes his father’s concerns.

“The younger generation is reluctant to take up the art because it offers no future or financial security,” he says.

Despite social stigmas and challenges, the family remains committed to preserving the tradition.

The once-thriving Baghat Theatre, which was taken over by the Tourism Department in 2009, now lies defunct. “Rarely are training programmes or workshops conducted here,” Zakir says.

Abdul Salam Bhat, 50, who inherited the art from his father Ghulam Nabi Bhat desires to carry forward the legacy.

However, he says that the younger generation was hesitant to pursue it without government patronage.

According to a folk researcher, Muhammad Younis Malik, Bhand Pather was once a revered part of Kashmir’s cultural heritage.

“During the Maharaja’s era, they were given special concessions and even exempted from taxes and Begar (bonded labour),” he says.

Former Jammu and Kashmir Prime Minister Bakshi Ghulam Muhammad later extended patronage to this folk art, leading to the establishment of several folk theatres.

“These artists represented different perspectives and served as social critics through satire,” Malik says.

During the Pathan era, Bhand artists incorporated Persian terms into their performances, using their plays as a form of social commentary.

“The Bhands had their own ragas, distinct from Sufi music and used clowns and humour to critique society,” he said.

There are 12 different types of Bhands and well-organised folk theatre communities exist in Akingam Anantnag, Wathoora Budgam, Imam Sahab Shopian, Rehmoo Pulwama, Karihama Kupwara, Chrar-e-Sharief, and Sopore.

Their performances are enhanced by special instruments like Saz-e-Kashmir, Dhol, Nagara, and Sornai, with unique musical compositions accompanying each play.

Bhand Pather dates back to the 12th century and was once a staple of royal courts, with its golden age lasting nearly 150 years.

Its two principal characters, Magun, a multirole thespian, and Maskher, a clown, are central to the tradition, providing humour, satire, and cultural critique.

Some of the most famous Bhand Pather performances include Raji Pather, Darzi Pather, Bakerwal Pather, and Angrez Pather, each reflecting different aspects of Kashmiri society.

“The earliest mention of Bhand Pather is found in the shruks (sayings) of Sheikh-ul-Alam, a 14th-century mystic of Kashmir,” Malik says.

Despite odds, the artists of Akingam remain steadfast in their commitment to Bhand Pather.

“We are proud of our identity and want to keep this art alive,” Rasool says.

However, without institutional support, the survival of Kashmir’s centuries-old folk art remains uncertain.