Music has always been an important pillar of human civilisations, with a dualistic nature: both as a reflection of society and as a medium to shape identity. From the dawn of civilisation, music has played a pivotal role in expressing collective memories, pain, and sorrow, while also helping to rejuvenate ecstasies and revitalise sublime hope. It has played a significant role in connecting broken souls and hearts amidst distress and hope.
In today’s world of heavy commodification and globalisation, new cultural innovations and musical genres repeatedly emerge with the help of new techno-spaces such as Facebook, Instagram, Twitter, and TikTok. Some vintage (classical) musical notes and ambience have faded away, while new modern genres and threads have come into existence.
Edward Bulwer-Lytton, in his famous novel “The Last Days of Pompeii”, highlighted the important role of music in the emotional and cultural life of every society. One famous excerpt attributed to him about music is, “Music, once admitted to the soul, becomes a sort of spirit and never dies.” Music knows no language or barriers and has joined cultural threads together.
Kashmir has been a cradle of poetry, music, art, and performances. The roots of traditional Kashmiri music can be traced alongside the contours of its socio-historicity. It carries the mixed echoes of Persian, Hindi, and Urdu, with significant influence from Kashmir’s ancient routes, known as the Silk Routes.
For Kashmir, the Silk Route was more than just a trade path; it was a cultural runway and an abode of civilisational touch, facilitating cultural exchanges and diffusion. Music, dance, Band Pather, and Ladishah are critical aspects of Kashmiri identity, reflecting its historical trajectories and emotional expressions. Despite political challenges and underlying hindrances, these spaces (music) have amicably highlighted the Kashmiris and their everyday life.
Kashmiri music is not merely entertainment; it is a strong emotional expression and spiritual feast that resonates with the poetic soul of the Kashmiri people. Kosher Kashmiri music is recognised by its different tunes and genres, which include Rouf, Chakri, and Sufiyana Mousiqi, transmitted through generations and preserving the essence of Kashmir’s old musical legacy.
Forms of Music
Folk music in Kashmir is a vibrant expression, often linked to social customs and local traditions. From the energetic music of Rouf to soulful Sufiyana melodies, Koshur music reflects the region’s diverse cultural tapestry, often accompanied by traditional dances celebrating themes of love, laughter, and belongingness.
Chakri music, which is primarily based on local narratives, folktales, and storytelling such as “Yousuf-Zulaikha” and “Laila-Majnun”, as well as love and spirituality, is one of the most popular native traditional forms. It holds a significant place in Kashmir’s musical ethos.
The local Kashmiri instruments, such as the harmonium, rubab, sarangi, nout, geger, tumbaknaer, and chimta, make it unique among Kashmiri musical genres. Chakri ends with the Rouf, which, although a dance form, is also represented by the distinct ending notes of Chakri played differently and at a faster tempo. Rouf is an integral part of the Henna Night (Ma’enzi Raat) during weddings.
Kashmiri Sufiyana music (classical) is usually known as “Sufiyana Kalam”. Sufiyana music/Kalam is the amalgamation of mystic poetry with a local touch. Sufi music is deeply embedded in Kashmiri musical structures and plays a significant role in expressing cosmic devotion, connecting the profane with the sacred, and fostering communal and individual transcendence.
This form of music is performed with a deep sense of passion, often drawing inspiration from the lyrical poetry of mystics such as Shams Fakir, Wahab Khar, Lal Argami, Mahmud Ghami, and Habba Khatoon, whose poetry and lyrics speak of divine love and the search for metaphysical satisfaction.
Band Pather, as a space for the collective gathering of the folk artist community, features Bhands (groups of artists) dressed in colourful attire and carrying instruments, including the dhol, nagara, and surnai, with the intention of reflecting the artistic and socio-cultural aspects of Kashmiri society.
Ladishah, a local storytelling musical form of Kashmir, is coded and embedded with Kashmiri humour and satire. It was a powerful artistic representation to criticise the government for negligence and weak governance. However, with the emergence of new technology, this art form is losing its essence.
The instruments used in Kashmiri classical music are distinct, each contributing to the overall harmony and texture. The “santur” (a hammered dulcimer) is vital to Kashmiri folk and Sufiyana music. The “Kashmiri Setar (Sehtar)” usually played by folk artists, has a long body and seven strings. The interplay between lyrics and instruments creates a nostalgic, transcendental experience unique to Kashmiri music.
Despite the heavy influences of Bollywood and modern reel culture, Kashmiri music has continued to flourish and evolve. The establishment of Radio Kashmir and television gave many musicians the opportunity to bring their music to a broader audience.
In present times, Kashmiri classical and folk musicians perform at national and international levels, diffusing Kashmiri musical traits to diverse audiences.
Modern Trends
Moreover, young Kashmiri musicians have started blending traditional Kashmiri music with modern genres, creating a fusion that reflects the dynamic spirit of contemporary Kashmir. Kashmiri music has undergone a series of shifts, from assimilation to accommodation and confrontation. However, traditional native singers, who remain stitched to the organic musical ethos, continue to preserve their Kosher roots.
Kashmir’s rich musical heritage is deeply intertwined with its history, culture, and environment. The evolution of Kashmiri music is a testament to the resilience and adaptability of its practitioners through the ages.
In the modern era, Kashmiri music has experienced a renaissance, with contemporary artists blending traditional elements with global influences to create innovative and boundary-pushing works of art.
Despite many tribulations, Kashmiri music has been preserved and passed down through generations of master musicians such as Ghulam Ahmad Sufi (Shah-i-Kalam), Abdul Rashid Hafiz, Muhammad Abdullah Tibat Baqal, Muhammad Sultan Pandit, and Ghulam Nabi Sheikh. Each has added its unique creativity and adornment to its timeless musical catalogue.
Music evokes emotions and shared experiences, bringing communities together during social celebrations and rituals. Traditional folk songs and communal singing strengthen ties within groups by reinforcing common stories and values.
One such performance I remember is Ismal Mir’s “Dastaan”, which embodies the cultural and historical narratives of Kashmir. Songs such as “Walo Ha Bagbaano” play a crucial role in maintaining Kashmiri cultural identity, especially in times of social or political upheaval. These songs are symbolic expressions of shared values, history, and aspirations, helping to forge a sense of belonging among Kashmiris.
In today’s world of crises, music offers catharsis and fosters resilience, particularly for communities such as Kashmir, which have witnessed violence, historical trauma, and marginalisation.
Music has played a significant role in healing wounds marked by cycles of violence. In Kashmiri society, music has always served as a therapy, articulating everyday struggles, embodying hope, symbolising resilience, and reflecting strength and courage in times of distress.
Music plays a central role in religious ceremonies (Eid Rouf), weddings (Ma’enzi Raat-Khander), and other significant life events. What beautifies Kashmiri music is its emotional and spiritual appeal, which makes it meaningful and memorable. Songs by Habba Khatoon always foster strength and hope in the face of patriarchy and domestic violence.
Apart from this, Kashmiri music and performances are also a source of livelihood for many local artists, who perform at various social, political, and government occasions.
(Dr Suheel Rasool Mir’s extensive work, ‘Cultural Encyclopedia of the Dard Tribe: Journey Through Gurez and Ladakh’ is a sociological and anthropological resource on Dards)
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