Bhand Pather, Kashmir’s indigenous theatre, which has thrived on pungent social and political satire, is an endangered tradition. MK Raina spoke to Prerna Sharma about revisiting it
The word bhand is sometimes used as slang for a dancer. The term also forms the first part of a dance-drama in Kashmir, called Bhand Pather. Theatre director MK Raina took the initiative to revive the form, through a recently concluded three-day festival called Revisiting Bhand Pather.
The dance is famous in Kashmir. But over the years, many aspects have been lost, and others have undergone a dramatic change. The festival saw stage performance of three Bhand Pather plays at IGNCA’s amphitheatre–Gosain Pather, Shikargah Pather and Badshah Pather. The first is about realising Ultimate Truth. The second, about conflict involving tree dwellers. The last is loosely based on King lear. The dramas were performed by traditional Kashmiri artists. “This event is not only about the plays, but provides an opportunity to scholars and performing artists, to experience academic, historical and cultural perspectives of this endangered form,” said Raina, who worked extensively in Jammu and Kashmir, focusing on empowering the youth and connecting them to their rich traditions. There were also discussions to suggest the means of preserving Bhand Pather. The plays are termed as ‘pather,’ a word that seems to have derived from ‘patra’, or dramatic character. Bhand comes from bhaana, a satirical and realistic drama. Bhand Pather is a social drama, incorporating mythological legends and contemporary social satire.
“Kashmiris are willing to take this tradition forward, but it is not economically sustainable. So they opt for weaving basket work kangris, woollen blankets and carpets,” commented Raina. The village of Akingam in Anantnag district of Kashmir, 45 kilometers from Srinagar, is home to a community of Bhands, traditional performers of the Valley. Spread over several villages at the foothills of an endless mountain range, these people move from place to place with an extensive repertoire.
The tradition is handed down through generations from father to son. A Bhand has to train to be a skillful actor, dancer, acrobat and musician. Bhands dance to a specified mukam, (the composition played).
The orchestra includes swarnai, dhol, nagara and thalij. “The swarnai is larger in size than a shehnai, with a strong, metallic sound that has arresting impact”. Raina ended, “Actors use dance, music, clowning, buffoonery, and mimicry to create powerful satires on shared social concerns, incorporating elements from Sanskrit theatre and traditional Indian folk forms. The humour is rustic satire, with attention to costumes and make-up.”
