THUS FLOWS THE VITASTA
BY
MAHARAJ KRISHAN SHAH
THUS FLOWS THE VITASTA
PrefaceVibrations
First published 2017
© Maharaj Krishan Shah
All rights reserved. No part of this publication can be
reproduced or transmitted, in any form or by any means,
without prior permission of the authors and the publisher.
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MAHARAJ KRISHAN SHAH
The original is written in Hindi and translated into English
by Prof. Shafi Shauq.
Cover Design by Sandeep and Shraya
BOOK REVIEW: And Thus Flows the Vitasta
Title: And Thus Flows the Vitasta
ISBN: 9789352682980
Writer:- Maharaj Krishan Shah
Translator:-Prof. Shafi Shauq
Publisher: Sangarmall Foundation
Place of Publication: New Delhi
For many, the brutal, unforgiving forge of a contentious geopolitical flashpoint – that has occupied centre-stage in South Asian politics for more than a few decades now – is the last place imaginable to harbor the blossoming flower of human creativity, the mighty tree-trunk of unflinching human will, and the milk of human kindness. Yet, the people of Jammu and Kashmir have, on multiple occasions, exhibited a valiant tendency to rise above the storms of violence, the tides of parochialism and the cyclones of hatred, and manifested a divine consciousness, a steely determination and a tolerant, syncretic outlook that represent the best humanity has to offer. Ashok Jailkhani is one such name.
It has been a pleasure – and an eye opening experience – reviewing Prof. Shafi Shauq’s English translation of Thus Flows the Vitasta, a text originally written in Hindi by Maharaj Krishan Shah. This translation is “neither a sketch of life, nor a work of fiction, but a combination of the two”, as Dr. GS Raina succinctly states in the preface. And Thus Flows the Vitasta provides vignettes and insights into the life of Ashok Jailkhani – and the times which contoured him. The ‘biography’ is detailed, meticulously researched, and written in a cogent, fast-paced manner that manages to keep the reader interested. The narrative – which begins with Ashok Jailkhani’s khandaan (and the independence of India in 1947), and ends with his postings at the apex levels of Doordarshan – not only traces the personal and professional growth of an individual, but also how the wheel of time shapes the things to come, and how individuals in turn affect the passage of time.
And Thus Flows the Vitasta makes the readers flow with the arts and culture scene in Srinagar, touching upon variegated themes such as communal harmony, extremism, dramatics, the rise of theatre companies (such as Vasant Theatre, with which Jailkhani himself was associated), and Kashmiri life, in general. Specific episodes from the life of Ashok Jailkhani, the historicity of such politicized times, and interviews with people associated with him over the course of his life lend further credence to the authenticity of the biography.
The text creates a lattice framework comprising history, aesthetics and politics of a particular age, perhaps even its sociology, and places the life and times of one individual within this rubric. What emerges isn’t only the achievements of one single man, but also the times in which these accolades were made possible, and the historicity of a region that usually has different, darker connotations in contemporary popular imagination.
While the book, like any other, has its faults, such as a slight imbalance between the specific and the general vis-à-vis the narrative techniques, and a compressed, almost rushed ending, however, these minute technicalities apart, it manages to deliver its message, and the aim of this book strikes home. Chronicling the history of a free-spirited, passionate and talented actor, producer, director, isn’t as easy task, one who, despite adverse circumstances, climbed the pinnacle of his field through sheer will, competence and hard work. Maharaj Krishan Shah has done a commendable job in tying multiple strands of Ashok Jailkhani’s life into a Gestalt, where the whole is bigger than the sum of its parts, and Prof. Shafi Shauq has succeeded in translating the text from Hindi to English in an efficient and effective manner.
All in all, And Thus Flows the Vitasta is recommended for all those who not only want to read about the life and times of Ashok Jailkhani, but also who might be interested in how Ashok Jailkhani was influenced by the times, and how he, in turn, through the dint of sheer hard work and brilliance, shaped the things to come – whether via acting, programme administration, production or just through being a good human being.
About the reviewer: Dr. Sami Ahmad Khan is an award-winning novelist, academic and documentary producer. He has taught at IIT Delhi, JNU, JGU and Iowa (USA), and presently teaches at GGS Indraprastha University, New Delhi. He is the author of ‘Red Jihad’ and ‘Aliens in Delhi’.
bratio
About Writer
Maharaj Krishan Shah is well noted and well decorated
Hindi/English writer. Has won accolades for writing Hindi
poetry, prose and many articles. He has contributed many
articles in many leading English online Journals. Born in
Kashmir at Mattan (Martand) a very known pilgrim place of
Hindus all over world, known for famous Martand (temple)
ruins, Maharaj Krishan Shah completed his formal education
as Post Graduate in Hindi from Kashmir University. From
the days of his student career he had well established himself
as Hindi Writer from a Non Hindi State.
Besides being a noted writer from J&K, Maharaj
Krishan Shah has been very active in field of Theatre and
Television Programme Productions. He has worked as Actor,
Writer, Director and Producer of many TV programmes for
Doordarshan India.
Maharaj Shah worked in ETV Rajasthan as Programming
Head for nearly a year and half and was actively involved
in its launching process. In 2001 he formed his own TV
Programme Production house by the name of India News
Feature which was empaneled for making Doordarshan
Commissioned Programs.
From 2011 to 2014 Maharaj Krishan Shah worked as
regular faculty in IP University affiliated college “MAIMS”
of Delhi. Since then he is active in academic field too.
Maharaj Shah (Maharaj Krishan Shah) is awarded Bhartendu Harishchandera award in the year 2008 by Ministry of
Information and Broadcasting for excellence in Journalism and Mass Communication for his book Television Programme Production and Journalism. Hindi Sansthan Lucknow bestowed him with "Suhard Saman" in 2015 for excellence in creative Hindi Writing. Sant Tugdoge Academic
Society Pune, Martand Sanman Kashmir, is also earned by him.
CONTENTS
Foreword by Gowri Shanker Raina
Thus Flows the Vitasta
The Beginning
Period of Crisis
The Era of Modernization
The New Path
Mistrust or Truth?
The Era of Transformation
At the Threshold of Theatre
Treason Defeated and Fraternity Wins
The Journey Towards Within
Towards the Theatre
Experiments in Theatre
Advent of Spring
New Horizons
Kashmiri Theatre Federation
Common Roof
The Bell of Alarm
The Gory Vista
7
11
13
21
25
47
63
71
77
85
95
105
117
131
141
159
163
193
197
Vibrations
PREFACE
Life is a symphony; recording its rhythm and music is
not an easy task. To write about a person who has risen high
to touch the colours of a rainbow is all the more a hazardous
task. Nevertheless, when association with such a person is
abiding, and is known and tested in many trying situations,
it becomes a little easy to write about him.
And Thus Flows the Vitasta is neither a sketch of life nor
a work of ction, but a combination of the two. As many
tributaries of a river meet, so do various disciplines like
history, tradition, values and streams of humanism coalesce
to ow together.; side by side with the Vitasta.
The story of course begins with the Jailkhani family,
known for high values of life and education; but how Ashok
Jailkhani born in that family contributed to the legacy of this
dynasty is the subject of this book.
Kashmir was passing through turbulent political
conditions, but depersonalisation had not started then. During
the times trials, a mother on the basis of her courage, desires
to see her son like a newly risen bright star. The history takes
unexpected turns, but those who have the resolution to live
meaningfully, make their own history. This is how the story
of a self-sufficient and independent person comes into being.
The strength of theatre is undeniable. Since Ashok as a
child embraced this world of emotions and feelings, he never
thought of turning back. He whole heartedly got engrossed
in the art of colours and action and with the advent of his
youth became known as a highly talented actor and director;
all were taken aback. Having shown extraordinary talent
in representing emotions of a variety of emotions, Ashok
got wide recognition and in the capacity of a director, too,
he showed remarkable success in communicating with the audience through a wide spectrum of actors. He established
a new trend of theatre by presenting such successful
performances as “Evam Indrajit”, “Panchi Aise Aate
Hain”,“Kisi Ek Phool Ka Naam Lo”, “Chinar”, “Gidhade”
and many other plays.
During that time, in the decade of seventies, the theatre
groups of Srinagar presented mostly plays in Kashmiri and
were the theatrical versions of popular plays broadcast from
Radio;“teentykor”, “ropyinad”, “chapaath” “machama”
are examples. In such circumstances, presenting a play like
“Evam Indrajit” was an adventurous enterprise. But the
director of the time undertook this enterprise, and exhibited
his talent. For such plays that were off the rut, a new type
of audience was created. The actors and actresses of those
days were not ready to play roles in such plays. It was
therefore essential to train actors for this kind of theatre;
not in any school of theatre or university but at the level of
individual exercise. They were taught, for instance, how to
use the movements of face and body in acting. It was also
necessary to teach them how to include subtle gestures so
that the audiences were involved and moved both at the level
of physical presentation and deeper in nuances.
The responsibility of a committed director is the most
arduous job. In order to bring the nuances of dialogues to the
surface and helping the spectators to appreciate it, one has
to work endlessly to get mastery. He has to determine the
movements and make the actors deliver their dialogues. He
performs all these functions in the capacity of a critic so that
there is no incongruity. How to resolve the issues regarding
the stage design of the play, what should be the costume, and
how to make all other arrangements for the performance, he
has to be totally involved in all these activities. The youthful
stage director then became a celebrated personality of the
world of television. He carved a special niche in the field of presenting dramas through the medium of television.
Within a few years after joining television, he started a tele-
serial which was produced from the Doordarshan Kendra of
Srinagar; this happened even before the telecast of the tele-
serial Hum Log. This was followed by series of very popular
TV serials. After this significant production he worked in
various other television centres in various capacities. How
he could accomplish all these responsibilities? The answer
lies in Maharaj Krishan Shah’s book “Thus Flows the
Vitasta”
The pages of this book not only present the life story of
a famous person, but simultaneously the times in which he
lived. There are many dark, and bright terrains in the heart of
time, and a threshold is needed to enter it.
Dr. Gouri Shanker Raina
CHAPTER 1
THUS FLOWS THE VITASTA
The country achieved freedom. In 1947, the British left
India. The conditions in Kashmir were however uncertain.
The dilemma of Maharaja Hari Singh was intense, but
more intense was the dilemma of over seven and a half lakh
Hindus living in Kashmir; they are called Kashmiri Pandits.
At the time of the division of India, the princely state had the
right to choose either India or Pakistan for accession. The
Maharaja’s relations with Pakistan were in a state of stand
still, yet Pakistan imposed ban on the export of food items,
salt, and petrol to Kashmir. There was a sort of famine in
Kashmir. To add to the misery of the people Pakistan sent
war-mongering tribal invaders, and her army to launch a
full-scale aggression on Kashmir. The aggressors, initially
in civil dress, carrying sophisticated weapons in entered into Kashmir through the mountainous routes of Ponch,
Rankoat, and Sialkot. They set Mohara power station on fire, and Srinagar city was drowned in darkness. Muzaffarabad,
Kupwara, Gurez, and Baramullah were invaded.
Pakistan had sent tribal invaders to vanquish Kashmir, the helpless
king of a Muslim dominated state signed the document of
accession with India. Kashmiri Pandits heaved a sigh of
relief. But Pakistan had till then usurped a considerable area
of the State. The sacred shrine of Sharda was taken away,
but Srinagar, Baramullah, Kupwarah, and Gurez were saved.
Mount Baton was approached by the Maharaja in
unequivocal terms that he wanted to appoint Sheikh
Mohammad Abdullah as his Prime Minister. This means
that the government would be essentially in the hands of the
Maharajah until free elections were held. However, soon after
signing the treaty of Accession, the Maharaja was side-lined,
and his son Karan Singh was nominated as the Governor of
Kashmir. Maharaja Hari Singh remained aggrieved with his
son till he breathed his last.
CHAPTER 2
THE BEGINNING
In 1951-52, Kashmir was again in a state of turmoil.
Sher-I Kashmir passed a resolution in the Legislative
Assembly to abolish landlord system in Kashmir and handed
over the possession of the agricultural land to the tillers; the
Sheikh was inspired by the revolutions in France and Russia.
He, at the same time, was inspired by American democracy.
In the very first session of the Assembly, he put Kashmiri
Pandits into insecurity. Most of the Pandits living in Srinagar
city were engaged in the management of the land estates
of agricultural land. Most of them possessed huge estates,
and their livelihood depended on it. Since feudalism was
abolished, the educated Kashmiri Pandits preferred to join government jobs. All those who were against getting their
daughters educated and work in offices, had to face many
hardships in life. This resulted in one desire for government jobs and
a sense of pride of being government employees began to
spread among them. Education became the first priority for
them, and Kashmiri Pandits saw the hope of an honourable
living only in reading and writing. They understood the
necessity of the time, and all the social reformers emphasised
that they should work hard to make their progeny attain
high education. --- Kunti Jailkhani and Mohan Lal Jailkhani
became one of the champions of this new campaign.
The constant rivalry between the former Maharaja, Hari
Singh, and Sheikh Mohammad Abdullah, made the Prime
Minister of India Jawaharlal Nehru diminish the authority
of Maharaja Hari Singh. The Maharajah knew that it was he
who had signed the Agreement of Accession, and as such
he was still the sole authority. On the other hand the Sheikh
asserted that autocracy had ended in Kashmir, and democratic
government had replaced it. Sheikh Abdullah was the only
individual who, being the sole elected representative of
the people of the state was the right person to function as
the Prime Minister of the State. This antagonism forced
Maharajah Hari Singh to leave the State. His queen went
back to her maternal house in Kangrah; their son in his early
youth was made the Sadri Riyast or the President and later Governor of the State.
The former Maharaja of the state had no option but to live
in despondence as a lonely person in his bungalow at Peddar
Road of Mumbai. All these happenings left a profound impact
on the politics of Kashmir. Kashmir became a battleground of
political conspiracies and a new era of hooliganism, treason,
and turmoil started. The Kashmiri Pandits were now mainly
concerned with the safety of their lives. The traditional feuds
between the “Shers” and “Bakras” was rampant everywhere.
This deplorable political scenario was seen in its crescent form in the mohalla of the city where the family of the
Jailkhanis lived. Many types of daily disputes encircled the
Mohalla of the city. All the members of the family used to
assemble in their courtyards and discuss the political events
and the changed conditions in Kashmir. Inspite of this, there
was no visible kind of bias or friction against Kashmiri Pandits. In addition to Jailkhani Mohalla, the Pandits, Muslims and Sikhs of Nawa Kadal, Nawhatta,
Jama Masjid, and the fort of Hari Parbat, the shrine at the
bottom of the hill, Chatti Padshahi of the Sikhs, and the
Sharika temple at the top of the hill, used to visit even barefooted from every street of the city. The spiritual chants of Aarti, Nimaz, Daruud and Akhand path got intermingled like
the seven tunes of music, and filled the soul with umpteen devotional feelings. People’s love for God, faith in the
absolute reality got manifested by this sacred symphony.
The morning-time prayers were such a situation as cannot
be described in words. All were deeply interested in each
other’s joys and sorrow, enquired about each other’s well-
being bowed to their God and prayed for the happiness of
all. Thus the atmosphere was replete with the feelings of
fraternity. In comparison to this fraternity, all the political
propaganda was insignificant and meaningless. The folks
even castigated their politicians and made fun of them.
Srinagar is a city that is found on both banks of the
Jhelum; it is an old and historical city which was founded by
a king named Praversenna in the sixth century AD. The city
stands witness to all those numerous calamities, rise and fall,
construction and destruction, tyranny, suppression in which
humanity nourished, persevered with an amazing resilience.
On the river Jhelum there are seven bridges which includes
Ali Kadal were at dynasty comprising of 10 to 12 families
called Jailkhanis lived in a lane called Budgair. Most of the
Pandits of this colony are well-read, and appointed on various
major and minor position in Government service. Mohanlal
Jailkhani had got married over one and a half years ago. His
younger brother Chunilal is a school teacher in a government
school, and is respected as one of the best teachers of
English Language. He has deep interest in English literature.
The spouse of Mohanlal Jailkhani is still in her early teens.
Mohanlal Jailkhani is himself quite young and has passed his
twelfth standard. His wife Kunti is educated up to the ninth
class and aspires for further studies. But the times are hard;
the father’s point of view is quite progressive, but helpless, for he has three more daughters to marry. So he is eager to
settle his responsibilities as soon as he can. He has two sons
also and has to manage their upbringing and education. Kunti's father named Dinnanath Kaul is well read and had passed
his graduation from Lahore University, thus he has very
progressive views and wants that all his daughters should be
well educated. Though in those times girl education was still a
taboo. Despite his best intentions he had decided to get his
daughters married at earliest because of financial constraints
After his marriage with Kunti, Mohanlal ji left the valley
to seek his future in mainland India. Having lived there from
1941 to 1951, as he returned home, he found that Kunti had
devoted all her time and energy in completing her education.
She stayed back with her parents for over eight years after her
marriage. She got tutored by teachers like Prof. P.N. Ganjoo,
and Prof. Fida Hussain and Prof. P.N.Gurtu and succeeded
in qualifying B.A.B.T and eventually got appointed as a
teacher.
Mohanlal Jailkhani got employed in the central office of
the Accountant General and his wife got the job of a teacher.
Thus second generation of Jailkhani family was educated
and appointed in government service. There was a feeling
of financial ease in the family, yet there was a lot to be done.
They not only had to preserve what they had acquired, but
also to rise up the stairs of progress. Mohanlal Jailkhani’s
wife Kunti Devi is exceedingly pretty and cultured. This is
the time when the women have almost no share in education
and employment. People are satis ed in getting their
daughters married at an early age and send them away to
their in-laws. It is in this atmosphere that Kunti Jailkhani
is working as a school teacher. The families living in the
locality consider it the means of attaining happiness. They
are getting inspiration from her, yet most of the women are following the traditional way of life. They think that
Mohanlalji’s mother was unfortunate for she is not lucky
to have the joys of having a daughter-in-law in her house
to serve her as she is to go from one village to another in
connection with her job. “See, what a weird times we are
living in!” They thus jibe. “She does not hesitate in working
outdoors while rubbing her shoulders with men folk. She
is unabashed.” But jibes like these do not discourage Kunti
Devi. She knows it well that what sort of family life and
personal life she has chosen for herself.
Mohan Lal’s mother is apprehensive about the education
of her daughter-in-law. Some of the women make strange
enactment of happenings how an educated daughter-in-law
gets up late in the morning and she has to serve her tea and
attend to all the chores of the household. “Are you to keep
serving her for all your life? Are you not in your proper
wits? Is a serving daughter-in-law to serve you or serve
in her office? Mohanlal ji is ill-fated. He shall keep pining
for moments of bliss in his house. “All such taunts apart,
there were gossips about moral demeanour of a working
lady. These comments did not affect Mohanlal ji as he was
very emancipated with modern ideas. Similarly Mohanlal ji’s
brother Chunnilal had very modern views about woman’s
education and their rights. He also convinced his mother that
she should get an educated daughter in law.
Kashmiri masses too were deeply in influenced by Indian
Freedom Struggle, particularly in the sphere of culture.
Amidst a silent revolutionary struggle in Kashmir the theatre
activists and folk artists started organising themselves. Under
the in influence of All India People’s Theatre Association or
IPTA many young men established a theatre in the city; the
theatre was initially under the in influence of Parsi Theatre,
and then started performances on various social issues.
Many intellectuals of the time remained associated with this
theatre group. Thus a new movement of social reforms or
social transformation ensued. Master Zinda Koul, Dinanath Nadim and others
supported education for Kashmiri women and their working
as government employees. Moreover, they propagated it for
the enlightenment of Kashmiri people.
Mohanlal Jailkhani’s marriage was one of the exemplary
marriages in milieu of social reformation and transformations-
--it was a fresh resolve to embrace the changing times. Today
when we impart education to our children even at the age of
30-32 years and see them settled in life as late as the age
of 40, the story was quite different in those days: parents
got worried about the marriage of their daughter even before
their menstrual stage started, and explored possibilities of
nding proper matches for them, and even got them wedded.
It was a time when daughters were kept hidden under veils.
When an unmarried girl attained youth, her parents lost all
peace of mind. It was a time when many girls remained
un-married for their whole life. Thus a new wave of social
transformation started among the Hindu community of
Kashmir. The revolution taught them shacking off the age old
shackles for acquiring education and getting independent in
life. This very time at the political level a slogan for “Naya
Kashmir” was given.
This period of transition from the 19th century milieu
to that of the 20th century assumed the shape of a radical
revolution. On the basis of this revolution, the resolve for
going forward got strengthened--- Azad, Mehjoor and
Rasool Mir’s poetry had sown seeds of introspection and
change and the masses rendered their songs into music.
The gnosis of Saints and Su s of the valley had already
emphasised appreciation of the meaning of life, but the confusing political programs made life complicated instead
of supporting the ideas of change. However, in the beginning
Sheikh Abdullah had presented a glorious image of Naya
Kashmir, and Jawaharlal Nehru had further strengthened it;
the vision of Naya Kashmir was gradually getting covered
by dark clouds.
CHAPTER 3
THE PERIOD OF CRISIS
The strength of Sheikh Abdullah and his tremendous
popularity became his enemy. Yuvraj Karan Singh also was
getting perturbed by the anxieties that had irked Maharajah
Hari Singh. But Jawaharlal was supporting Karan Singh
quite efficiently, and the latter started understanding the
mind of Sheikh Abdullah. A section of politicians was
much agitated to see their leader Sheikh Sahib working as
a dictator. He had no consideration for for even the central
government of Nehru. Bakhshi Ghulam Mohammad,
D.P.Dhar, Ghulam Mohammad Sadiq and many other
leaders supported progressive ideas and were against Sheikh
Abdullah. The candidates selected by Sheikh Abdullah for
election were generally declared elected without any contest
and the application forms of the opposition were rejected.
This type of autocratic demeanour of Sheikh Sahib was an
alarming bell for the Central Government. However, the way
Sheikh Sahib’s legislative Assembly ended the autocratic
rule, and the way he explained in his maiden speech why
they preferred accession with India, rather than Pakistan
in spite of being a Muslim majority state, his position was
not dubious. In his speech he unequivocally said that for
defeating the slavery of several centuries, inequality and
poverty it was inevitable that the masses had to stand free
from the fetter of religious prejudices, and embrace the
programme of secularism, socialism and democracy. It was in the same speech he, however, made a proclamation
that aggrieved the Pandit community when he abolished
feudalism and landlordism and distributed land to the tillers.
August 9, 1953 was a terrific and consequential day in the
history of Kashmir: Sheikh Sahib was imprisoned and the
whole city felt as if a devastating thunderbolt had hit them.
There were large scale feuds. ...He was arrested for hatching
conspiracy of sedition. Eventually a section of the political
party under the leadership of Prime Minister Bakhshi
Ghulam Mohammad assumed power. The cabinet of Sheikh
Abdullah was removed from power by passing no confedence
vote against them. Sheikh Mohammad Abdullah was not
given opportunity to prove his majority in the Assembly and
he was detained for sedition against the sovereignty of the
nation. As soon as this news spread, the whole of Kashmir
was overtaken by agitation and turmoil by the supporters
of Sheikh Mohammad Abdullah, thus the state was in
complete chaos. Nevertheless, Bakhshi Sahib seemed to
be already prepared for dealing with this kind of situation.
He immediately ordered the government machinery and his
supporters to deal with the crises with full force and bring
the state under control. But people did not behave as Sheikh
Sahib had envisaged, no people’s movement started and the
masses began living their routine life.
Never the less, the popularity of Sheikh Mohammad
Abdullah did not abate even after this event. The Muslim
section of Kashmir society that earlier supported the policies
of Muslim Conference, had a grudge against the Sheikh and
began to question him. The mainstream political elements
that were known for their pro-India stance, claimed to
unveil the hidden agenda of the Sheikh. Sheikh Abdullah,
who claimed to be the hero of secularism and democracy,
aspired to be an unchallenged autocrat of a Muslim country; he did not even have a remote connection with the ideas of
secularism, democracy and socialism, but tried to mislead
his people by such slogans. On the other hand, in order to
expose such arguments, Sheikh Abdullah’s flamboyant
speeches were amazing even the common masses. They
could not understand that who till yesterday was not tired
of enumerating the advantages of joining Indian union, why
all of a sudden, within one night he changed and started
advocating for right of self-determination, plebiscite or
Rajshumari, Islamic society that suited Pakistan.
Thus the politics of Kashmir suffered a very deep wound,
which is yet to heal up. At the surface everything seemed
to be tranquil, but under the surface everything was getting
shaken because of the commotion under the layers. Bakhshi
Ghulam Mohammad succeeded in turning all the hooligans,
mischief mongers, and looters in his favour. By keeping
their mouths shut, the turmoil seemed to abate. The masses
got absorbed in their day-to-day work, while Bakshi, having
obtained assistance from the Centre, propagated his idea of
Naya Kashmir (New Kashmir). In order to give boost to his
popularity, Bakhsi began to strengthen his image of being
a public leader. He made a wide show of his being lesser-
educated but being just like a common man. He tried to gain
support of the folk artists, artisans, peasants, and labourers
by behaving as they behaved. It appeared that all Kashmiris
all of a sudden had forgotten Sheikh Abdullah.
In 1953, Bakhshi Ghulam Mohammad was appointed
as the Prime Minister of the State and soon started an
extended programme of economic reforms, and progressive
programmes. This programme included free education
from the primary level up to the university level in all the
educational institutions; this innovative step turned to be
an important milestone in the development of Kashmiri people. The end of feudalism and taxing agriculture also
was in fact started by Bakshi Ghulam Mohammad. He also
provided electricity, transport, water supply, rations on very
cheap rates to the public. A programme of spreading a huge
network of roads, and electricity in the rural areas was also
started. All these programmes augmented great fervour
among the common masses. Kashmiri youth especially
participated with zeal and zest in all these programmes of
modernisation. Bakhshi Sahib also infused new vitality in
the cultural life of the people. The measures re-invigorated
the sections of society associated with folk entertainment,
music and theatre. Radio Kashmir Srinagar, which was
started in Polo Ground by erecting a few temporary booths,
was then established at a very romantic site near the Zero
Bridge. A large section comprising artists and intellectuals
got associated with Radio Kashmir and thus it emerged as
an integral part of public life. Since the rural people could
not afford to purchase radio sets, radio sets were allotted
to the Panchayats which became the centres for enjoying
the programmes broadcast from Radio Kashmir. All these
measures played a signi cant role in modernising Kashmiri
society and ushering in a revolutionary transformation.
CHAPTER 4
THE ERA OF MODERNIZATION
And then in August 1953, God blessed Mohanlal Jailkhani
and Kunti Jailkhani with a son. His name was suggested by
their family Guru, namely, Pandit Radha- Krishan who lived
at Ali Kadal on the ninth day on the occasion of ‘Kahnyethar’.
On behalf of Kunti’s parental house, all her kin like her
parents, brothers and sisters, thronged in and there was much
festivity in the house. Sweets were distributed in the locality
and the house was visited by relatives and family friends.
It was widely talked about that a son is born to the family
and many names were suggested. Uncle, Chuni Lal, nally
suggested in one sentence, “Ashok”. What do you think
of Ashok Guru Maharaj?” The Guru and the kith and kin
approved of the name. The horoscope of the child“Ashoka the
Great’ was already prepared by the Guru. He called Mohan
Lal and told him, “You are very fortunate that by the blessing
of Bhagwaan Shiva, a very talented baby is born to you. Yes,
of course he shall not shine much during early schooling,
but there is no need to worry, he shall keep progressing on
a post in Government service, and remember, he shall be
much fond of pictures and meditation and re ection.”
“Guruji, is he going to be a painter?” Mohan Lal said in
reply. “Then what is wrong in being a painter?” Chuni Lal was
there to make his brother understand. Guruji! In fact my
brother wants to know if his son is going to shine in life.”
The Guru smiled and said, “He is the master of Prabal
Grahas/ He shall never let you know when he completes his
education and nd out his own path. Yes I advise you not to
take him away from his family for the first 10 to 12 years. He
can of course enjoy staying with his grandparents. Mohanji,
be happy. He is going to precede his brothers only.”
Chuni Lal smiled, which annoyed Radha Krishen. “Why
don’t you trust me? If this foretelling of mine does not prove
true, I shall be ready to do whatever you suggest me to do.”
This staunch belief of Panditji was not easy to understand.
Chunni Lal was an emancipated person. He had a rational
mind and had a lot of worldly experience. He knew it well that
the nature rather than the predictions of a Pundit, determine
the gender of the offspring. But in order to make the Pandit
happy, he said to him, “How can we ordinary people have
this much of knowledge? You have the knowledge to know
the past as well as the future of a person.”
“Mohanji, keep it written as a record. This is
Radhakrishan’s proclamation. Your next issue too will be a
male child.” Chunni Lal was a little annoyed, “Maharaj, what if I
have a daughter rather than a son?” “Who says there is anything wrong in having daughters?”
Said Radhakrishen. “A family in which Saraswati or
Lakashmi is not born is no happy family. Without a daughter,
there is no peace and joy even if you have abundance of gold
and silver. Body and soul are integral. If this foundation is
not there, a family is no family.”
“Chuni Lal said, “Now it is alright. I too am a disciple of
yours henceforth.” “There shall be no decrease in my weight even if you are
not. But be sure, you would certainly lose something. Life is an ongoing circle my son, it is there in whatever way you
like to look at it. If you have thirst, water is elixir for you.
Or if you like to get drowned in it, there shall be a calamity.
Om Namah Shivaya!...”
All of a sudden there was complete silence; the Guruji
made the atmosphere very grim. Discerning the quiet, he
started chanting mantras, and kindled a lame in the replace.
Thus the ritual of kahnethar began. When the women of the house started singing, there
was a festival-like ambience in the house; all participated
in Mohanlal’s joy. MohanLal is god-fearing ; he never talks
to anyone in loud voice. He respects the elders and loves the
young ones. It is for these qualities that all his colleagues in
the of office are his admirers. His wife Kunti Devi, too, is much
amiable. She has maintained relations with her seniors and
juniors according to the values of the family. Most of her time
passes in the school and then at her in-laws. Nevertheless, an
anxiety always burdened her mind: in view of the scarcity of
female teachers, the available teachers are transferred to the
far- flung villages. Sooner or later, Kunti Devi too shall have
her turn. If this happens, what shall she do of Ashok?Ashok
is now fondly being called Kaka by all, and Kaka is really
being a very handsome lad. He bears close resemblance both
to his mother and father. However, his eyes are much like
that of his mother, and his nose like that of his father. Kaka
might be four or five, but there is no one to understand his
mother’s apprehensions. He could be sent to some boarding
school, but there is none. Mohanlal is absolutely unaware
of his wife’s anxieties; he has his tidily arrayed world. He
has his parents, brother, and then his office people; all these
people are around him all the time. He foots the distance
from his home to his office; he covers the distance from
Ali Kadal to his office in no time. Sometimes he goes to Gawkadal or Habba Kadal by a horse driven tanga and then
returns on foot to his house. He exchanges greetings with all
while walking through alleys. His in-laws’ house is on the
way to his office, but there was no question of his visiting
them without being invited; he did not go there even when
his wife was there. He knew it well that she would be back
within a day or two.
When Kaka was born, the husband and wife were
always absorbed in the thoughts of imparting their child
good education. They decided not to send their child to
a government school because teaching started very late
there. And then the ways of teaching were traditional. They
knew that teaching of English started only after the sixth
standard in the government schools. The teachers too were
not hardworking. The children too came from a variety of
backgrounds. They thought that their loving child might
incur some bad habits. Thus after much reaction, both his
parents were of the opinion to send their child to the best
English medium school of the city, namely, Tyndale Biscoe
School.
There was a guy called Badrinath who lived in the
locality of the Jailkhani’s, he worked as a teacher at Tyndale
Biscoe School. Mohanji knew him well, for he was in his
kinship, though remotely. But Badrinath was a very stern
man, and lived a disciplined life much like the English men.
Mohanlal never visited Badrinath’s house to get information
about method of admission and fees in the school; there was
no need to do so. He would occasionally have a chat with
Badrinath when he met him some shop, or while going to
the ghat.
It was Sunday. Mohanji never got any of ce work to
his home. Thus without informing anybody he paid a visit
to Bandrinath’s house. While talking randomly on various routine issues, he acquired much information about the famous school.
Badrinath’s house had two doors; and in both the doors
Badrinath’s family lived. He had four sons and a daughter.
Badrinath was sharp enough to understand the purpose of
Mohanji’s visit, and gave faint smile. He wondered why he
was so eager for the admission as the child could remain
happy with his childhood pranks for five to six years. It
would have been proper for him to go to the school after he
was physically strong enough. In this respect too Mohanji
was much like the English. “Catch them young.” Badrinath
was engrossed in hearing what Mohanji said to him, but
inwardly he was in some deep commotion. He thought
that Mohanji as well as his wife worked as government
employees, while he himself had to share the burden of his
children single handedly and could never think of getting his
children admitted to such a costly school.
“Mohanji ... Yes it is a good idea... this is what being a
prudent person means...It is good that one thinks of future
well ahead... Tyndale Biscoe School is not only an established
school but it is a complete organisation... Children get
ample opportunities to excel there... Beside education, there
are ample avenues of shining in games also ... How amazing
is children’s bringing up there! We cannot even think of this!
Children of the lucky families have the chance to study there.
Yes we must think like that. Only the rich and the affluent
bureaucrats can afford to send their children there. Our
poor children generally develop sense of deprivation there.
This might lead them to bad results instead of excellence.
However, our Government schools are not bad. Government
spends so much of money on education which is free right
from the primary level to the University degrees. You are not
to spend even a rupee of your own. How can I explain it to you, for you know well. There are two teachers in your own
house. ...Did you seek counsel from Chunilal on this issue?
...He is himself a government teacher...”
“Yes. He too is of the opinion that one should send kids
to the “Convent” only... Since what you said that a child
might develop sense of inferiority there...I am in a dilemma.
However, there is suf cient time still to go...I came here
only to seek information from you. Let it be an excuse to
have met.”
Badrinath’s wife was there with tea and bakirkhani
(bread), while pouring tea into the khos (old Kashmiri cup),
she greeted the guest for having a child. She told him not to
pay any attention to what her husband said. “Kunti is quite
wise and intelligent. You should do what she says. ...You
might not be knowing, I have been her classmate up to the
fifth grade...Then all of a sudden my parents thought that I
was too big to go to the school, and thus I was deprived of
schooling. All is determined by God, Yet I advise you not to
do what he asks you to do.”
Mohan Lal saw for the first time that a wife could
criticise her husband in his presence. He felt pity on his
friend Badrinath. “Is Badrinath’s spouse having no respect
for her husband!” He thought. But in a Kashmiri Pundit
society, though very meticulous in matters of modesty and
values, could not remain unaffected by the ideas of women’s
freedom. In an orthodox family the standard of individual
demeanour was like that, and Badrinath’s wife had imbibed
the idea that one should not be scared in speaking the truth.
Badrinath knew it well, and in fact he admired her merely
for this undaunted nature in truthfulness. In order to respect
Mohanji’s sentiments, Badrinath thought it better to support
what his wife said.
“Shobha” is perfectly right. This is the advantage of
having a wise spouse as your advisor. You must leave
the decision to your wife and your brother. ...Shoba is
nevertheless right, but one must have a thorough assessment
of one’s limited income before sending ones children to such
expensive schools. Your case is quite different; you belong to
the double-income group of people. Remember when your
son attains the age of going to school, I shall let you meet
the Principal of the school. Yes, you should remember that
a child once admitted to the school has to take a test, and he
should pass the test. So when your son is three year old, he
should be thoroughly prepared so that he ‘coups up’ easily
in the school.”
Kashyap Bandhu, Premnath Bazaz and other Kashmiri
Pundits supported Sheikh Mohammad Abdullah, and played
their role in convincing the Maharaja that independence of
Kashmir was the best option. They had also played their
role in making education compulsory and free for all and
in establishing a progressive society in Kashmir. These
social reformers had infuenced Kashmiri Pundits. They also
supported the idea of ending dowry system and extravagance
in weeding ceremonies.
Among the young generation of the time, Chunilal
Jailkhani and Mohanlal Jailkhani of the family were
profoundly influenced by the modern ideas of social reform.
They had made such ideas the leading principles of their life.
Thus progressive ideology found a solid basis in the family. In
spite of various impediments, this family remained engaged
in the hard struggle of life. Kunti Jailkhani had made it the
purpose of her life that all women be imparted education
and she worked towards the fulfilment of this ideal. This
was essentially a unique way of disseminating modernity in
the society. Thus paying visits to the schools in numerous villages started. By providing the common masses with the
avenues of progress, the basic idea was to relieve the people
from the centuries’ old slavery, ignorance and poverty, and
encourage them to send their children to schools for modern
education.
Thus by partaking in various revolutionary programmes,
while understanding her role, Kunti Devi began to be the
role-model of many household women. She was shocked
to have rst-hand observation of the widespread poverty,
haplessness and exploitation of the women folk. She was
convinced that education was the only effective weapon to
ght away the social backwardness, and redeem women
from ignorance, misery, and exploitation.
Chunilal Jailkhani devoted his entire life to the education
department. He was an ardent reader of daily newspaper,
various magazine and literature. He was profoundly
interested in understanding the situation of his country and
the contemporary world. He reaected on various subtle issues
of Kashmir and whatever he saw or understood, he scribed in
his diaries so that he could avail himself of this knowledge.
He knew that only after understanding his environment
and traditions could he do something worthwhile to augur
changes in society. He respected the courage of his sister-in-
law, Kunti Devi. He brought up her son with much love and
care. Thus Ashok Jailakhani’s upbringing took place more
under the guidance of his uncle than his own father.
The city of Srinagar is visible from the summit of the
Shankeracharya Mountain. The whole city looks like a
bowl. There we have ascents as well as descents. At many
places we observe depths. The people have preferred to dwell
on the raised mounds above the level of the Vitasta River.
The river flows through the middle of the city as its life-
line. There are numerous houseboats near its banks. The house boats are the houses of those people who provide the
inhabitants of the city with all kinds of daily essentials. The
boats are used to get the things or take the things. Thus the
river is no less than the wind-pipe of the city. They have
access to every ghat of the Vyath ‘Vitasta’. They connect the
people of the two halves of the city on the two banks. The
time of motor-vehicles, that we have today, is yet to come.
People rely mainly on boats and barges to move from one
place to another. In order to go from Jailkhani Mohalla to
Bhana Mohalla, one prefers to have a boat trip. The boat
owners’ families too live in the same floating houses in
the Vyath. They have their own traditions and way of life;
they respect the thoughts and beliefs of Kashmiri Pandits.
There is a world of difference between the two sections of
the people, nevertheless neither of them can think of having
life without the other. Their mutual understanding and trust has
stood every test in every era. They keep all the necessities of
life readily available at the door-steps of Kashmiri Pandits,
while the pandits in return provide them the other necessary
things needed by them. Both have their well-defined boundaries,
value system and texture of faith. In the town stretching
from Nowhatta to the downtown life is thriving on a daily
struggle. All the artisans, labourers, and craftsmen have their
small or large colonies. The artefact of the artisans of this
area have reached all other people of the world, the Mughals,
the English, the Germans, and made them the admirers of
Kashmiri craft. The showrooms in the main markets at
Amirakadal and the Residency Road are replete with the
charming handicraft goods of Kashmiri artisans. All the
main shops are still owned and run by Kashmiri Pandits.
However, in spite of the unparalleled beauty of the goods
made by Kashmiri artisans, their life is still languishing in
a never-ending cycle of exploitation. The exploitation is the root cause of the misery, hunger and abject poverty of
Kashmiri skilled class including embroiders, wood-carving
artisans, shawl makers, carpet-weavers and other artisans.
They work day in and day out but do not prosper because
the middlemen, traders, and factory owners have kept them
under their claws. Concealed in their seemingly tranquil life,
there is a pent up revolt against oppression. However, their
religious faith keeps the heat of their revolt tampered and
as such they are contented with their lot. However, some
of their youngsters, having had schooling upto the eighth
or tenth class have joined government service as teachers,
clerks, and orderlies. Chunilal Jailkhani is also employed as
a teacher of English. He has close association with Ghulam
Muhammad of Nwakadal. Ghulam Mohammad having
passed his eighth class examination, tried his best to be a
teacher, but the school had xed tenth class as the minimum
qualification for the post of teacher. Before passing the tenth
class examination it was wise to work at least as an orderly
in the school, he thought. It could at least save him from
the hardships of carpet weaving. He thought that the carpets
woven by the artisans decorated the houses of the rich, but
they ll the life of the artisan with gloom. He considered
his family vocation of carpet weaving wastage of time. He
has the fervour to get educated like his idol Sheikh Abdullah
and lead his people. He gradually unveils his ambitions to
Chunilal Jailkhani who had an entirely different vision and
concept of life. He never reacted to how many women have
used their delicate fingers and energy to give shape to those
artefacts. He knew that the workers were being exploited,
and there was no change in their lot. Ghulam Mohammad
took him several times to his locality, and showed him the
household factories. Having had such a close observation
of exploitation, Chunilal’s mind was filled with deep pain and sorrow. He wrote in his diary, “Should this misery continue even after
freedom? Was transfer of ownership of land the only social
issue? Is there no way to end this social exploitation? If
this is not stopped, the unemployment shall go on increasing
among the Muslim population. They are sure to give some
other form to their sense of deprivation; perhaps that form
might not be in their interest.” Away from such worries
every Kashmiri during Bakhshi’s rule was trying to take
advantage of Bakhshi’s benevolence and trying to evince
that he was perfect in his profession and skill. The ministers
and the police gave birth to such a vicious circle as was
based on complete surrender, sycophancy, and corruption.
Thus people still having faith in traditional values grew
disillusioned and their minds were filled with dismay. They
grew anxious that the social and economic factors might
once again lead the people to slavery and subjugation.
Chunilal Jailkhani believed that the solution of these
problems lay in change in the character of the individual and
the value system. He was convinced that if every individual
is resolute, all the social and economic problems could be
solved. All the reforms have to start from within. Honesty
depends upon the moral integration of the individual human
being. Chunilal Jailkhani was deeply infuenced by the
thoughts of Swami Vivekananda. On the one hand he opposed
the orthodox religious beliefs, and on the other emphasised
the religious integrity of the individual. He considered
truthfulness of the individual the road to salvation. He had
thoroughly read the works of the Swami and the story of
his life. He made it the fundamental principle to visit Nitya
Ashram, perform Yoga, and teach Yoga. After making a
comparative study of all the right-wing and left-wing ideas,
he had reached the conclusion that man by nature was a
violent animal, and only religion and culture could make him a human being. Social life deprives the individual of many
forms of freedom, but at the same time bestows completion
of individuality on him. Freedom that was essentially self-
destructive was of no avail. Man acquires self-confidence
and power by nature; such qualities should get expression
both at the individual and social level. ...All these ideas and
values of Chunilal Jailkhani had an indelible impact on the
character of Ashok. These ideals were more effective than
the teachings imparted by his mother and father to him.
His father was all the time busy in the office work at The
Accountant General’s office.
Ghulam Mohammad admired Chunilal for his individual
traits, but he was of the firm belief that one’s character and
also was determined both by the individual’s character,
but also by the social system, place of birth, education and
training and surroundings. He often used to say to Chunilal,
“A seed attains the stature of a fruitful tree only when it gets
proper soil, manure and climate, but a similar seed, deprived
of all such favourable condition, does not thrive.” Chunilal
on the contrary wished to make seeds thrive in stony soil,
forests, and deserts so that they yielded delicious fruit, and
luxuriant foliage, which was in the hands of nature only.
This discussion would continue for hours, but each of them
was adamant about his conviction. Without bothering about
results, this intellectual exercise gave them much joy.
Time was drifting, and like the waters of the Vyath;
many a time it swelled and then receded. The Vyath is not
just the life line of the city but the symbol of the continuity
of culture of the Valley. The river functions as a necklace to
unite various sections of Kashmiri society like the Hindus,
the Muslims and the Sikhs. Today Ashok has to visits his
maternal house and as such he is adorned and well-attired.
He is to be escorted in a boat, and this is his first acquaintance with the Vyath. Yesterday it was Ashok’s birthday, and today
Kuntiji’s parents have invited him to their house. Mohanji is
not with him today, as he does not want to take leave from
his office unless there is some emergency. In the evening
when the office is closed as usual, he too shall join them
there. It shall be for the first time that he shall have dinner at
his in-law’s; he might stay there for the night. Tomorrow is
Sunday and he shall have rest at his home.
Kuntuji’s family is a traditional highly respected Pundit
family. Her father Dinanath Koul is double-graduate from the
Punjab University of Lahore. He has thorough knowledge of
English and Persian and this is the reason that he educated
his five daughters and two sons to the level of graduation.
This looks quite a trivial matter now, but we must remember
that in those times these were opportunities of development,
and the Government spends billions of rupees on expansion
of education, such opportunities were limited in the days of
the Maharaja’s rule; girls’ education was not so popular as
it is now. Dinanath Koul and his wife Aranadati’s life might
have been very hard and trying. They brought up their ve
daughters with such love and care as enabled all of them to
attain high positions, and they too in their turn made it their
ideal to get their offsprings educated in the best possible
way. They are truly the replicas of their parents and they
have the adequate strength to face all manner of hardships
in their lives. Ashok is a precocious child. He has given up
his mother’s lap even being just one year old; crawls on the
ground and moves on his own strength. The boat is moving at
the centre of the river. There are many other boats moving to
and fro in the river.
The spring is in its full swing in Kashmir. After many months of chill, the folks have ventured to open the windows of their houses and, sitting at the window sills, all are watching with joy the ceaseless movement of all types of boats in the river. The cold wind of the spring season is not very harsh, and it has to arouse the world from its slumber and fill it with vivacity. Among the natives there are many tourists seen enjoying trips in the boats. A foreign couple is keenly watching Kuntiji and her little baby. They get their boat nearer, take out their camera and asked in English “can we take the baby’s picture Yes Of course” Kuntiji replied, “You can have the picture If you like the baby”. Hearing a Kashmiri women speaking in fluent English, the tourists were filled with joy. They took pictures of both the child and the mother. They also arranged to have their own pictures beside them. They noted the address of Kuntiji, and when they were back to London, they sent the pictures to her through post.
The spring is in its full swing in Kashmir. After many months of chill, the folks have ventured to open the windows of their houses and, sitting at the window sills, all are watching with joy the ceaseless movement of all types of boats in the river. The cold wind of the spring season is not very harsh, and it has to arouse the world from its slumber and fill it with vivacity. Among the natives there are many tourists seen enjoying trips in the boats. A foreign couple is keenly watching Kuntiji and her little baby. They get their boat nearer, take out their camera and asked in English “can we take the baby’s picture Yes Of course” Kuntiji replied, “You can have the picture If you like the baby”. Hearing a Kashmiri women speaking in fluent English, the tourists were filled with joy. They took pictures of both the child and the mother. They also arranged to have their own pictures beside them. They noted the address of Kuntiji, and when they were back to London, they sent the pictures to her through post.
The boat stops in front of the ghat at Bana Muhalla.
Kuntiji for the rst time is to enter her parents’ house along
with her darling child. Her sister, brothers, and parents have
been waiting for them since morning. Dinanathji, Kuntis
father, paid many visits to the ghat to see if his darling
daughter has come. Then he advised Gaffara the boatman to
inform him as soon as she arrives. The moment Gaffara saw
Kuntiji andher baby approaching the ghat, he went running
to her parents’ house to herald her coming. He romped like
a calf as he himself was ecstatic to see her after a long time.
And Dinanathji also walked fast toward the ghat to receive
his daughter and her baby. Dinanath Koul held the baby close
to his breast, and he was out of bounds with joy. He warmly
welcomed his daughter and led her to the house. All were
eagerly waiting to see her and her child. The whole house
was filled with festivity and rapture. Each of the members of
the house had already made preparations for this auspicious
moment. The aunts of Kaka (Ashok) were especially in
ecstasy and they showed their respect to her sister. Her two brothers, though younger than her, were thrilled to see their
little nephew. Both were in their early boyhood; the younger
one, Indu Bhushan, fondly called Indu was just two to three
years older than Kaka.
Dinanath Koul, Kaka’s grandfather, is a well-read man
and possesses an awe-inspiring personality. In a house there
is usually every type of formality and customs observed according to
the values of the family. The family is enjoying all joys of
life. The moment Kuntiji entered the house, the house was filled with rapture and all were eager to take Kaka in their
hands and love him. It is difficult to say if the event has left
any imprint on Kaka’s mind, but this is abundantly clear that
the child received overwhelming love at his maternal house.
Pandit Dinanath and his wife Aranadhati never let their love
for the little Kaka lessen. Kaka’s grandmother’s brother Pt.
Satlal Sapru was a celebrity in the Community. He was the
head of a local police station and was known for his honesty
and strictness. All lawbreakers in their vicinity were mortally
afraid of him. But at heart he was very soft and showered all
love and affection on the child. He along with his wife had
also come to receive them and he gave many toys to the
young Ashok.
Kunti was much tired. The festivity in the house-continued
for the whole day. In the evening she desired to return to her
own house, but her wearied body did not permit her even
walk a step. But she had told his husband that she would be
back in the evening before the sunset.She sought permission
to leave from her sisters, brothers, aunts and everyone there.
He mother was annoyed and said, “Then why did you think
it necessary to come here? Is this the way of visiting your
parents? We are yet to see Kaka closely and you start going
back...”
Chuniji, Kunti’s younger sister, too was much angry
with her insistence of going back. “We know that a girl once
married,” she said, “is a stranger to her own people. But you
can afford to stay with your parents for a day or two after
every six months or a year.”
Dinanath, however, silenced all. Lifting Kunti’s bag, he
said to her, “Let us walk away, my dear. If you have promised
your people to be back by the evening, then it is getting late.
You can get their permission again and stay here for a week
or so next time.” All kept quiet. His word is always the final
word in the house. No one can dare to argue with him. Lifting
her little Kaka in her arms, Kunti started leaving.
Dinanath said to Kunti, “Remember, next time you must
get your husband along. He does not come anywhere even
when invited. Is he so busy?”
“No father,” Kunti said, “if you send him an invitation,
he shall certainly come. He however, does not believe in
formalities.”
“He is a little obstinate, but who knows why he does not
come here?” Dinanath said further.
“It is not true father. He is always ready to come here,
I in fact advise him that a married man must not visit his
in-laws unless invited. One must savour good dishes at the
hovur (in-laws house) only after a proper invitation.”
“I think he is always following your word of advice.”
“Why not?” Kunti said with a smile on her lips. “I too
follow every word of his. “
“That is nice of you, daughter.” Dinanath said. “I know
all of my daughters are quite wise. This is what a father needs.
The daughters must always respect their father’s turban.”
Kashmiri Pandits, even in the changed times, were
wary about the honour of their turban. Time is very quick to
change. Till yesterday, Jammu and Kashmir was ruled by a Hindu king. In spite of the fact that the valley of Kashmir was
Muslim dominated, the Hindus felt secure for the state had a
special status. They always gave the credit of this safety to
their Muslim brethren. The Muslims of the Valley knew that
only a hundred years ago their ancestors were Hindus; they
believed in leading a peaceful and honest life and always
distance away from religious frenzy. But the politics of using
religion as a shield or as a weapon had started in 1931 when
the Muslims demanded that the Maharaja should abdicate
his kingship. Since then Kashmiri Hindus were inwardly
sceptic about the political changes after the arrest of Sheikh
Sahib as the fundamentalists and communal forces had
overwhelmed all aspects of life. They continued stoking the ire of communal hatred. The whole Kashmir was buzzing
with rumours. Though Bakhshi Ghulam Mohammad had
silenced the voices of the people by using coercion as well as
cleverness, but Sheikh Abdullah was roaring like a real lion
for he had tremendous popularity.
The Prime Minister of India Jawaharlal Nehru was much worried as to how keep to keep Sheikh Mohammad Abdullah behind the bars without having any solid evidence against him. India claimed to be an independent, democratic and secular country, keeping Sheikh Sahib behind the bars was having adverse reaction both at the national and international level.
The Prime Minister of India Jawaharlal Nehru was much worried as to how keep to keep Sheikh Mohammad Abdullah behind the bars without having any solid evidence against him. India claimed to be an independent, democratic and secular country, keeping Sheikh Sahib behind the bars was having adverse reaction both at the national and international level.
In a situation like this, mistrust, scepticism, and fears
in the Hindu community were natural. They could no more
dare to visit Hariparbat temple all alone. Some Muslim
youth even enjoyed hurling taunts and abuses on the Hindu
devotees who visited the temple. They could hear slangs and
teasing remarks, and they felt tormented. They deliberately
talked loud about the prosperity of the Muslims of Pakistan.
They also exaggerated the baseless news broadcast from
Azad Kashmir Radio. (POK)
Some distinguished Pandits complained about their
grievance to Bakhshi Sahib and as a result of this Bakhsi
Sahib summoned various influential Muslims, Moulvis and
representatives of Muslims. He entrusted the responsibility
of maintaining peace and security of the minority Hindus to
them. All the Muslims in unison convinced Bakhshi Sahib
of their full support and promised him that they would
curb all anti-social elements without any discrimination of
political allegiance. Peace Committees and Hindu-Muslim
Coordination Committees were established. They succeeded
in curtailing all those elements who for various reasons used
to create lawlessness in the state. This measure proved
much effective in strengthening communal harmony. But
the real problem was the poison of communalism which was
encouraged on the excuse of the imprisonment of Sheikh
Mohammad Abdullah.
Amid the dramatic changes in the politics of Kashmir,
the common masses continued living their routine life.
Whenever, there was any Hindu festival, Muslims generally
participated in them and waited eagerly for their advent. On
Shivratri in particular, a potter (Muslim) would get all the
earthenware anew; they included vessels used for cooking
and big pitchers to contain water. The potter used to carry
all the delicate earthen vessels in huge baskets that they
carried piggyback. The Hindus would welcome him in their
traditional way and showed him Aalath (welcome ceremony) . It was only after the
performance of the ritual that he would enter the house to
keep the pots there. He was adequately compensated for his
labour in terms of cash, rice, ghee and salt. On the occasion
of Shivratri, the Bhands (roaming street theatre groups comprising
mostly Muslim artists) would come from some distant
village and the whole city would resound with the melody
of the Shahnai (reed ute) and drums. Shivratri was generally celebrated in late February or the first or second week of
March, and thus it would augur end of winter and beginning
of spring. Snowfall was considered essential for the full
pleasure of this festival. In every Hindu Family worship of
‘Shiva’ continued till late night. The vials brought by the
potter were divided into two types: the bigger ones for Shiva
and the smaller ones for Parvati. A small bowl was meant
for Nakhshtra God, and one broad-mouthed open vial was
meant for Bhairava. One small pot was used to worship
Sivlinga, the worship started in day light and continued till
late hours in the night. The houses reverberated with the
blowing sounds of conches. People thronged in the temples
in early hours of morning. This was especially meant for the
un-married women. They had to cleanse the house and give
it a pure mud-wash. They did it with merriment for it was
a way to celebrate the anniversary of Siva’s marriage. The
parents of the married women sent very special dishes on the
fith day after Shivratri to the in-laws of their daughters; the
dishes included walnuts, baked bread, and sometimes cooked
meat. This festival usually coincided with the end of winter
vacations and reopening of the schools. Kunti was posted in
National Girls School of Nawakadal, and she used to foot
the distance in about ten minutes, but the household chores
had made her tired and she wished that the winter vacations
lasted longer. On the contrary, Chunilal was getting bored
to have con ned himself to the four walls of his house. He
desired that the schools were reopened as early as possible.
He in fact loved his profession and was fond of children.
He did not attach any serious importance to any aspect of
life, not even marriages, except teaching and reading books.
He had resolved to live the life of celibacy for whole life.
He devoted all his time to yoga, social work, and religious
books. He spent most of his time in reading Vivekananda’ books. Nevertheless, he remained closely associated with
society, but he did not let himself get swayed by any particular
ideology. He loved to watch all aspects of life while sitting
on a fence. May the cause of his dispassionate attitude was
the fast change in his life. He thought how he was brought
up by his maternal uncle and how he was made to believe
that he was his real son. Chunilal thus became Chunilal
Jailkhani. He generally contemplated on such issues. Behind
the façade of life he could discern a triangle, and then circle
and also a square; and there were moments when he saw
an in nitely long straight line; it was not possible to know
whether it was drawn from the left to the right or the right
to the left.
Mohanlalji, on the contrary was much like a common
man. God had bestowed all that upon him that he had not
even conceived of--- a position in government service, pretty
and highly educated wife, and a ower-like pretty child.
While coming or going to his of ce he would always stop
a while at Ganpatyar Temple to salute Bhagwan Gnaesha.
And pray for just one thing that he should never fail in his
duty and responsibilities and that he lived a carefree life. His
highest ideal in life was to serve his parents and keep his
family happy.
Though a few month beforeAshok’s birth, and after
that the sky of Kashmir was overcast by dark clouds of
disturbances and uncertainty, but this situation assumed
frightful proportion only after some political mishap made
the Hindu minority bear the brunt. This situation obtained
in Kashmir around the time when Ashok was born.When on
August 16, Jawaharlal Nehru, after several parleys with the
Prime Minister of Pakistan Mohammad Ali Jinnah issued
a detailed statement, all were taken aback in Kashmir and
drowned the Pundit community in despondence. Baksh Sahib felt that all his efforts and all the social and economic
reforms washed away. Being annoyed, he kept protesting
against Nehruji’s dilemma. ‘If plebiscite was to be held in
the State, then why was Sheikh Sahib kept behind the bars.
What shall people think of me?’ He used to say. And Kashmiri
Pundits knew that their future was ruined. They knew that
the result of plebiscite was sure to be Pakistan. What does
Nehruji think of this? India had, however, emphasised that
the two countries should resolve all the unresolved issues
mutually without any interference. But time went on, neither
that mutual understanding was ever arrived at, nor was there
any intention of doing so. On the contrary Pakistan, signed a
treaty with America, which opened the eyes of Nehruji, and
then he did not trust Pakistani anymore.
CHAPTER 5
THE NEW PATH
In the meantime Bakhshi Ghulam Muhammad took steps
to integrate the state of Jammu and Kashmir with India. On
May 14, 1954, the President of India promulgated other
legislations on Jammu and Kashmir. And here in Kashmir the peace loving people felt re-
assured and enlivened. Bakshi Sahib initiated a series of
festivals celebrating the day of victory. Delegates from both
the country and foreign countries visited Kashmir to hold
conferences. On December 21-22, 1955, Russian president
Bulgarian and later Khrushchev visited Kashmir and declared
Kashmir as an integral part of India. The conditions were
to a large extent stable. Common masses were busy in their
routine work, and every Kashmiri desired to get educated
and employed in government service.
Education got the central importance. Every village was
provided with a school. A network of dispensaries, hospitals
and embroidery centres was established. Whosoever had
education of eight to ten classes, was provided with some
kind of government job. Keeping this in view every Kashmiri
welcomed free education. Jawaharlal Nehru continued to be worried about Sheikh
Abdullah as he did not want to send any wrong message
to the world. How long could he keep Sheikh Abdullah
incarcerated that too without any solid evidence against him?
In order to set him free, he succeeded in persuading Bakshi
Ghulam Mohammad, and Sheikh Abdullah was freed from
the prison. On stepping out from the prison Sheikh Sahib
found that all the programmes of his ideal of Naya Kashmir
were eroded by Bakhshi Ghulam Mohammad. He bore a
deep-seated grudge against Bakhshi’s dishonesty in politics.
As soon as he was released, he began to spew venom against
Bakhshi and Indian government. Kashmiri Pundits once
again felt restlessness and uncertain. They considered the
future of Kashmir and Kashmiri Pundits unsafe.
Like Chunilal, Mohanlal and and others living in
Jailkhani mohalla, all the Pundits in other parts of Srinagar
were day by day becoming apprehensive. Pundits in
Sheetalnath, Ganpatyar, and Rainawari developed close
liaises and utilised their in uence among their Muslim
brothers and assessed the situation. In spite of spewing
venom against India, and instigating religious sentiments in
various congregations at Hazratbal, Sheikh Abdullah advised
his followers that the people of the minority communities
like the Hindus, the Buddhists, and the Sikhs or of any other
faith should never be harmed. Soon after his release from
jail, people of Srinagar, Anantnag and other parts of the
valley thronged in large numbers to listen to his speeches.
Not only the state but also Indian Parliament became anxious
about this popularity of Sheikh Abdullah. Bakhshi’s political
acumen once again proved effective. On hearing that Sheikh
Abdullah is planning to proceed for the Hajj, he planned to
re-arrest him, but Nehru did not allow him and granted him
permission to go for the Hajj. But during his pilgrimage,
Sheikh Abdullah committed such a blunder as was never
conceived by Nehru: Sheikh Abdullah met the leaders of the
enemy countries, they included Chu-an-Lai of China and
made them hostile to Indian administration. This provided an excuse to the Government of India and the Sheikh was again arrested on the charges of sedition.
Uncertainty again overtook the State. At many places
in Srinagar, the demonstrators looted the shops of various
Hindus and pelted stones on their houses. The Jailkhani
Mohalla too was stricken with fear. Are the Pundits at
Habbakadal more secure or those in Ganpatyar--- They
thought. They planned their safety variously. Most of them
thought of shifting to Shivepora near Badambagh and live
under the security of the Indian forces. ‘All of us must reside
at one place.This was the general feeling. Chunilal fearlessly
listened to news bulletins of Radio. He was of rm belief that
the present cyclone too would end like many other cyclones
of the past. Whatever was to happen, the government ordered
that all the schools and colleges should remain closed for
inde nite period. This provided Chunilal and Kuntiji with
an opportunity to spend some time together. Chunilal got
absorbed in his own meditation and Kuntiji spent most of her
time to teach various subjects to Ashok. Ashok was already
three and entered his fourth year. He had already started
using English words while talking in his mother tongue, this
he acquired through his lessons from his mother. He started
using English names of various organs of his body like the
head, eyes, hands, nose and legs. He was acquainted with
English words also through drawings and pictures. With
every movement and every step, he learnt something new.
Ashok was provided with a lot of children’s magazines which
were full of pictures. Ashok used to show more interest in
pictures rather than words. The comic cartoons especially
appealed his imagination; such cartoons reached their house
everyday with the newspapers. Initially Ashok used to tear
the cartoon papers, but gradually he started showing some
kind of acquaintance with every cartoon. Was it a coincidence
or something that prognosticated his future life that Ashok
showed his deep interest in cartoons when he was only three
or four years old? Chunilalji noticed his unusual interest
in cartoons and he contrived of using them as a medium
of education. It was his dream to prepare Ashok mentally
for the test to get admission in Biscoe School. Chunilalji,
like Mohanlalji was not con ned to his routine works of his
office and house. He used to watch the world with a broad
vision, yet he was not the one to get lost in the worldly cares,
but was always thinking of some higher level of living. He
thought that supreme bliss of mind was possible only when
man lived the level of routine life with full consciousness. It
is better to have healthy conditions of life rather than create
confrontations. One must keep the world around him neat
and tidy as we do in keeping ours house. He never wished
that a thing as delicate as a mirror should get scratched.
Man must follow the same principle in living his social
life. One must remain engaged in continuous strife of life
without any disturbance of mind and soul. Ashok had made
a niche in Chunilal’s heart. And then he was free from the
responsibilities of marriage and children. He lived a sort of
life of reclusion in his own house. He was paying full attention
to Ashok’s upbringing. Maternal love is a part of woman’s
nature, but even a man can inculcate maternal feelings in
him. A mother is introduced to such feelings nine months
before the birth of her child, she first nurses the child in the
womb, then by holding the child close to her bosom. But
man imparts compassion to the child, unlimited compassion.
However, the callous world has taught man to use remedies.
Making an exhibition of love is considered timidity. He
therefore learns to make concealing his compassion a part
of his nature. Ashok, however, found the blessings and care
of such a man who was miles away from worldly show off.
He had learnt the art of living with purity of soul. This was
perhaps the principal factor that Ashok made it a part of his
behaviour to remain close to actual life.
Ashok possessed an insatiable interest in different types
of pictures, but in actual life one has to work in many other
corners with colours, and there are spots which are to be
left empty. Life is a strategy which necessitates knowledge,
science, politics, meaning, lust, freedom, religious truth---all
merged together. Chunilal desired that Ashok should grow
up as quickly as possible, so that he could talk to him about
such serious issues. But Kuntiji was still striving to resolve
an issue, though quite ordinary one: Ashok’s admission to
Biscoe School might not be quite easy, and the child needs
to be kept ready with much hard work. Ashok was too small
to understand why all his nears and dears were talking about
this issue.He had observed how his neighbour’s kids left their
home early in the morning and returned from their school in
the evening. He watched them everyday yet no one needed
any special preparations for doing so. The children wore sky-
blue shirts, and brown nickers; they carried bags filled with
books hanging from their shoulders. The girls wore white
shilwars, and sky-blue frocks. But where are they sending
him to?—Ashok wondered. He enquired it from Kishni who
was one and half years older than Ashok and was his distant
cousin. They lived in the same mohalla. Although Ashok
was not having the freedom to play with the children of the
mohalla. But Kishni was a girl of good demeanour, and was
very fond of Ashok. She had started knowing Ashok. “You
are very fortunate that you are being sent to the biggest and
the best school of Kashmir for studies. Do you know you
have English women teachers there to teach? Everything is
done in English, speaking, writing reading, playing and even
food is of English style.”
“What then? Calling your naak (nose) the nose does not make any difference.” Ashok said to Kishni.
“Oh, there is a lot of difference. Once you call the nose,
the nose, your nose rises up and is seen conspicuously. You
just hold my nose and say “nose” and see you have the feel
of the nose.”
“I am not the one to hold your dirty nose in my fingers!”
“Then you are not able to read English, In case you are
interested in learning English, you shall have to hold my
nose in your finngers and then say...nose.” Kishni teased him.
“I shall not do so!” Saying this, Ashok ran indoors and
Kishni continued watching him from behind. “He is really
an owl like creature! How can he learn English? But why
should I bother? He is still very young. When he grows a
little older, he might learn to hold my nose in his finger. If
I asked him to hold my nose, he might have held it. But
Mummy always holds my nose in her fingers and then says
‘Nose’. Whatever thing she names in English that she makes
feel with hands: nose, eye, hands, finnger, thumb, teeth, head,
ear...I know all these things without going to Biscoe School.
But what sort of school might be this Biscoe of the English?
Why can’t I go there?” Kishni reacted.
What is wisdom? What is knowledge? Who gives us all
this? Wherefrom did we come? Why did we come? What is
our aim of being? Why is there so much of warfare in this
world? ... Questions like these are countless. While capering
and frolicking after and around Chunilal, children’s reading
and writing and realizing ones personality, gave answer to
many such questions. It looked like festooned with garlands
of owers which are culled in autumn and threaded and then
left hanging under the eaves of the houses. When one is
engaged in the matters of house hold goods like victuals, all
such solemn questions loose significance. One is involved in the complexities of identity. Then one day, man being
wearied and exhausted, puts an end to all such questions.
But Chunilalji was not the one to accept this defeat so easily.
He has decided to live amidst people of all sorts. He started
making study of the Vedas, the Puranas, and many other
books of China and Europe. Most of the things, ordinary as
well as extraordinary, we leave for being directly determined
by the will of God and we show our helplessness before
them. But Chunilalji tried to explore the hidden secret of
everything and used all the faculties of his mind to do that.
Today some questions were persistently haunting him: How
does mankind get his intelligence and knowledge? Where
does the boundary of a learner’s comprehension lie? How
does he conceive his limitations?
Chunilalji tried to seek satisfactory answers of the
questions from authentic books. In the books, he knew,
that numerous thinkers have used various methods to
comprehend one kernel concept that earlier people used
to think that wisdom and intelligence emanates from the
individual’s inner propensities which are awakened by God’s
will to make his development of mind possible. For instance
in a child’s mind all these faculties are there but in a state of
dormancy. With the passage of time and attaining maturity,
consciousness arises from its dormancy, and the individual
uses his developed consciousness to acquire knowledge.
The first step in this process is the knowledge of the Self.
One can consider oneself in two forms: one is the physical
existence that is visible in the sensory world, and the second
existence of the self is known to the self itself and is not
visible to others. My sensory organs the nose, the eyes, the
ears, the palate, and the skin make me aware of numerous
physical phenomena. But conscious is already present in the
human soul, but in a latent form.
Man activates the facultiesand give them vent and are recognised externally. However, knowing and recognisingare two disparate faculties. This secret of individual’s development has been explicated by the scholars of later times. The signi cance of an object is less or much than we actually are familiar with. My world is nite, but actually the world is in nite. But if we try to understand it holistically, and take time out of our nite being, there are neither distances, nor any limitations which we know because of our nite existence. How can a child be helped to understand his worldly responsibilities? Is it possible to make him call his ‘nose’ by an equivalent from another tongue? Or we need to do something else in helping the child to get involved in the process of knowing? According to Kuntiji’s faith, Ashok was to be trained to take the test for admission to the nursery class of an English school. In order to achieve success in this goal, he was to be familiarised with English alphabet, utter words and sentences, and a little knowledge of numbers, addition, subtraction and division and memorising tables. Chunilalji was of the opinion that this type of knowledge was insufficient. He thought that the very first quality in Ashok was to help him take care of himself. He must be able to do all his work of himself when he wakes up in the morning. Brushing his teeth, having bath, polishing his shoes, wearing his uniform, going for an evening stroll, and of course do some reading and writing as well. He should first of all learn discipline and rules. Both were right in their individual ways, and therefore both worked in collaboration to have infleuence on Ashok’s character. Ashok did not understand much of what necessitated special preparations. He of course felt that there was something quite tedious that irked both his uncle and his mother. His father was quite calm and used to say that Ashok would learn all of his own strife.
Man activates the facultiesand give them vent and are recognised externally. However, knowing and recognisingare two disparate faculties. This secret of individual’s development has been explicated by the scholars of later times. The signi cance of an object is less or much than we actually are familiar with. My world is nite, but actually the world is in nite. But if we try to understand it holistically, and take time out of our nite being, there are neither distances, nor any limitations which we know because of our nite existence. How can a child be helped to understand his worldly responsibilities? Is it possible to make him call his ‘nose’ by an equivalent from another tongue? Or we need to do something else in helping the child to get involved in the process of knowing? According to Kuntiji’s faith, Ashok was to be trained to take the test for admission to the nursery class of an English school. In order to achieve success in this goal, he was to be familiarised with English alphabet, utter words and sentences, and a little knowledge of numbers, addition, subtraction and division and memorising tables. Chunilalji was of the opinion that this type of knowledge was insufficient. He thought that the very first quality in Ashok was to help him take care of himself. He must be able to do all his work of himself when he wakes up in the morning. Brushing his teeth, having bath, polishing his shoes, wearing his uniform, going for an evening stroll, and of course do some reading and writing as well. He should first of all learn discipline and rules. Both were right in their individual ways, and therefore both worked in collaboration to have infleuence on Ashok’s character. Ashok did not understand much of what necessitated special preparations. He of course felt that there was something quite tedious that irked both his uncle and his mother. His father was quite calm and used to say that Ashok would learn all of his own strife.
Ashok thought, there are so many children going to
school. Are all of them being trained like that? Ashok’s
curiosity started increasing. Kishni had already instilled
an image of Biscoe School in his mind. He wholeheartedly
cooperated with his uncle and mummy in their efforts.
Finally the day came. Ashok was aroused from sleep
early in the morning, as decided already the past evening.
He was made to brush his teeth, have a thorough bath, wear
new bush-shirt and half pent, pink neck-tie. His shirt was
white and his half-pent was brown. His socks were also
brown, and his shoes were new. It was the time in Kashmir
when people used to wear wooden slippers in their houses,
and they could walk outdoors wearing the same wooden
slippers. The Hindus took out their leather shoes before
entering their houses and washed their feet with soap or clay.
The new uniform of the school really behoved Ashok. He
was really a charming child. And all loved to look at him. All
preparations were complete.
Tyndale Biscoe School is the oldest mission school, of
the city.The school is established as a missionary school by
Mr. Tydale Biscoe at Fatehkadal. The school was praised not
only by Kashmiri historians but also by Walter Lawrence in
his book The Valley of Kashmir (London:1895). The school
was the most prestigious school in the state of Jammu and
Kashmir for its best facilities and standard of teaching. The
school was now shifted to Amira Kadal near Lal Chowk.
Now the school was quite far from Ali Kadal and people
used to go there by the horse-driven tongas.
On the day of Basant of 1959 spring is in its full swing.
In Badamawari there is the festival of almond owers.
The whole atmosphere is charged with merriment, joy and
festivity. Ashok’s father Mohanlalji and his mother escort
their darling son to the Biscoe School at Amirakadal in a tonga.
The Principal of the school Mr Errick Biscoe, who succeeded his father Tyndale Biscoe is busy in enjoying his introduction with a group of children. After some time Ashok and his parents took their seat on wooden bench placed in the large hall. He looked at the ceiling of the hall which he felt was very high. All the walls were as white as pure milk. There was an eerie relation between the great full-size pictures hung of the walls. The portraits were of the great thinkers, scientists, and other eminent persons of the world; most of them were Europeans. Ashok was mainly interested in individual features of each of the faces. On one of the walls there was the picture of a wounded person hung on a cross. And then there was the picture of a compassionate mother holding her child in the lap. He could read a frighteningly painful tale in the picture of the wounded person on the cross, yet there were no signs of pain in his face; only his neck was tilted to one side. The man bore a beard on his face. He looked so familiar and contented. Ashok asked his father who the person was. “Christ. He is that great human being who bore many cruelties for the sake of his religion. He sacrificed himself for the sake of humanity and to immortality. He is the God for the Christians as we have Krishna as our God.”
The Principal of the school Mr Errick Biscoe, who succeeded his father Tyndale Biscoe is busy in enjoying his introduction with a group of children. After some time Ashok and his parents took their seat on wooden bench placed in the large hall. He looked at the ceiling of the hall which he felt was very high. All the walls were as white as pure milk. There was an eerie relation between the great full-size pictures hung of the walls. The portraits were of the great thinkers, scientists, and other eminent persons of the world; most of them were Europeans. Ashok was mainly interested in individual features of each of the faces. On one of the walls there was the picture of a wounded person hung on a cross. And then there was the picture of a compassionate mother holding her child in the lap. He could read a frighteningly painful tale in the picture of the wounded person on the cross, yet there were no signs of pain in his face; only his neck was tilted to one side. The man bore a beard on his face. He looked so familiar and contented. Ashok asked his father who the person was. “Christ. He is that great human being who bore many cruelties for the sake of his religion. He sacrificed himself for the sake of humanity and to immortality. He is the God for the Christians as we have Krishna as our God.”
Ashok ventured to walk to the door of the hall. He saw
boys playing football in the wide sunny eld. All the boys
were running after the football and kicking it up in the air.
Ashok was fascinated to see this. “This is really a very
pleasant place.” He thought. Some of the children were
enjoying swing to one side of the eld. “Yes there is really a
lot of merriment.” In the meantime the Principal called him.
Ashok accompanied his parents and entered the Principal’s
room. The principal was sitting behind a large table in the
Principal’s chair. There lay many things on the table, pens,
ink pots, calendar, some papers, and a diary. The decoration of the room was attractive. He saw the photos of many other
eminent people there too. Biscoe cast a glance at Ashok, and
asked him his name.
“My name is Ashok Jailkhani, son of Mr. Mohanlal
Jailkhani and Kunti Jailkhani. I live at Ali Kadal Srinagar.”
“Oh Good! So you have come here with full preparation.
Good...!” The Principal then said to Ashok’s parents. “You
are teachers.You know what the responsibilities of having a
child are. But children have to do a lot here... Besides good
English, a child has to have good mathematics also.... We
grant Ashok admission, but the actual decision will be taken
after three months when he shall have to take a test. If he
performs in accordance with our standards, then it is alright,
otherwise you shall have to consider some other option for
him”
“I take this responsibility. He will not disappoint you in
the test. I shall teach him a lot.
“Okay, okay! That is what is needed.”
On the day of admission, Ashok saw another boy
coming there. He too was accompanied by his parents. They
talked freely with his parents, particularly between the two
mothers. He is a renowned broadcaster of our Kashmir, Pran
Kishore...You always desired to see him, so here he is.
Pranji lifted Ashok in his arms and caressed him, kissed
him, and made him shake his hands with his son. Thus
this event became a moment of history. Ashok was much
impressed by Pranji, and the event became a cause of the
meeting between the two children which continued for their
whole life. Whenever one talks about Ashok with Pranji, he
shows much respect, admiration and love for him and his
wife Shantaji. ---The issue shall receive further attention in
the pages to come.
Ashok got admission to the school, but the special
test was still to come. Ashok’s admission to the school
coincided with yet another good news: Mohanlal was to be
father of another child. The news made the whole family
jubilant. Ashok too was told that there would be another
child in the house to play with him. This was such a news
as is understood by a child within his limited reasoning. He
knew that the next child was being nourished in his mother’s
womb: the idea kindled many questions in his mind. It is
obvious that a child gets acquainted with the outer world
in this naïve way. A child knows about worldly facts like
this with much curiosity and impatience. It was the day of
Sonth in the month of Vasant. This festival is very special
for children. The children of the rural areas always keep
waiting impatiently for this day. They collect all the used
and disposable things of winter. Put them in a bag and burn
them at some place outside the precincts of their village. And
then they sow a chosen walnut at the spot of the bon re.
After a month or so they visit the place to see a young plant
of walnut tree spreading its root there. They fence the little
plant all around. Within a few years they watch the same
little sapling become a fruit-giving tree. They think that the
tree was the result of good deeds in life. The fruit of the tree
is not meant for any one person, but the whole community.
The fruit of the same walnut tree is sent as gift to the house
of a family’s daughter. Thus the fruit is not merely an eatable
fruit, but a thread of emotions of love which binds them with
the society. Kuntiji’s father has come to her in-laws’ house
getting the same fruit as a gift.
Kuntiji’s father has also got new clothes for Ashok and
a basketful of fruits for his own daughter.He is not ready
to sip even water at their house. He has to visit his other
three daughters with similar gifts. He has booked a tonga for the whole day. Today he is out of bounds with joy. He
nds all his daughters quite happy at their respective homes.
They are leading their lives following all values bequeathed
from ancestry. Before leaving for the errand Dinanath Koulji
visited the seat of Mother Goddess at Parvat, bowed his head
their and prayed a lot. He nally prayed that the goddess
might save all his kith and kin from all evil and calamities.
While returning from the shrine, he paid his salam to the Pir
Sahib, and wished good on the advent of the Spring to all
those who met him in the way.
A different anxiety in Kuntiji’s mind annoyed her
that she might not fail in giving full attention to Ashok’s
upbringing as she was pregnant. And then he had to take
the test after a few months. In the meantime they received
a letter from the school through post. The letter conveyed
to them they should immediately meet the Principal of the
school. Thecontents of the letter made Kuntiji, Chunilal very
apprehensive about Ashok’s schooling. ‘What could be the
reason of this urgency?’ They thought. The next day both his
father and mother were present at the school. Erick Biscoe
received them with a smile on his face. “You seem to have
got scared unnecessarily. The issue, nevertheless, is not less
significant as it is related to the child’s admission in the
school.”The Principal said.
“What is the issue, Sir? ” The vexed mother asked him
immediately.
“Nothing is to happen...you are a little forgetful. This
will not work. The child is not showing the progress that I
was expecting of him... Both of you are quite educated. I
shall be really regretful if after three months his performance
is not as good as that of other children selected for admission.
There are only three months... Remember.”
“I promise you that I shall make him better equipped
than other children.”
This is what I expected from you.”
Kuntiji assured the Principal, but how could she do this? She, on the one hand, was expecting, and had to attend her duty, on the other. And then the conditions in the Valley were still wrapped in the mist of uncertainty. Many tasks are yet to be done. She felt as if a war was announced for her to plunge in, and she was resolute to win in the war. This was the time to keep courage rm, and she was to prepare Ashok to face the test for victory.
On reaching home, she called Ashok, caressed him and
then said, “What is there that you like? Do you want to be
remain illiterate and keep getting pushed down for your
whole life by those who are educated? Do you want to keep
serving others or attain some respectable position and fame
in life through education? ”
Ashok could not make out what this admonition meant,
but one thing was quite clear to him that his mother wanted
him to do something special.
“Don’t remain mum like this. Tell me are you ready to do
what I ask you to do?”
“Yes mother, I shall surely do that.”
“Then listen. From today onwards you shall get up with
me at 4 o’clock in the morning. I shall set the clock on alarm
at 4 o’clock. This shall wake us up. The moment the alarm
rings, you shall be out of your bed, wash yourself, and then
start your studies. Remember, this is the only way to success,
nothing else. Understand this.”
The obedient child followed his mother’s words as
orders, did all that his mother wanted him to do. Though getting up from sleep so early in the wee hours was a challenge for even the great brave men, but Ashok made his mother’s advice a word
from divinity and did exactly what his mother wanted him
to do. Thus Ashok started leading a disciplined life. And he
was rewarded adequately for this. Just after three months he
took the test and surprised Biscoe Sahib by his performance.
He continued to show amazing performance according to the
standards of the school. In studies as well as communicative
skills, he was excelling many others. Then after some time,
the family again received a letter from the Principal; the
letter communicated his admiration for Ashok as well as
his parents and had expressed his hope that his progress
shall continue unabated. Like a true hermit, Ashok had
almost renounced his sound sleep, lethargy and inaction and
adopted rigorous way of life for a certain goal. He succeeded
in showing wonderful results in all aspects of schooling. He
had took it home that there was no alternative to hard work
in the struggle for survival. In case, he knew, one wished to
make all around you happy, and be happy, then one has to be
true to others’ expectations. He might not have understood
the philosophy of this principle quite thoroughly, but the
basis of success in Ashok’s life was this very principle. It
left an indelible impression on his future life. The truth of
this fact of his life also proves another aspect of life: even if
two persons are living in the same set of social and economic
situation and possess the same sort of opportunities, their
development is never the same. Therefore after accepting
variations in human nature as the undeniable fact of life, all
human beings demand equitable social justice, and the same
rights. This essential quality in human life maintains balance
in society. Equality never means that all should possess the
same faculties, competence, respect, and individual status;
equality on the contrary means filling in the unevenness, and
building just and rightful social conditions. The limitations of a new born should not become the basis of discrimination
with him.
CHAPTER 6
MISTRUST OR TRUTH?
Pakistan’s intentions and adventurism were not
defeated and it did not abandon her intrigues. In the name
of religion and Islamic brotherhood, Pakistan increased
her efforts to seduce Kashmiri Muslims. General Ayoob
Khan took the government in his own hands. Using all the
propaganda means he was spewing venom against India
among the Muslims of Kashmir and Islamic countries of
the world. And on the other hand America too supported
the Pakistan’s military rule. They installed a high power
transmission centre in Pakistan administered Kashmir and
called it Azad Kashmir, when the fact is that the territory
was occupied by Pakistan through military force. The Radio
station was used to broadcast such programmes as aimed at
expressing prejudice, anger, and communal hatred. All these
programmes were anti-India and hostile to the Hindus. Not
only this, the programmes broadcast from the Radio were
aimed at inciting hatred against Hindu India and love for
Muslim Pakistan. In order to tamper the infuence of this
poison, and providing the masses of Kashmir to express their
truth, Radio Kashmir Srinagar too geared itself up. However
Radio Kashmir did not spew poison against Pakistan as
did Radio Azad Kashmir. Radio Kashmir Srinagar on the
contrary became the centre of millennia-old communal
harmony, and culture. It played a significant and historic role.
In order to strengthen human values through compassion,
there were such eminent persons as Mir Ghulam Rasool
Nazki, Pran Kishore, Kidar Sharma, Pushker Bhan, Somnath
Sadhu, Bashir Bhat, Moti Lal Saqi, Mohan Nirash, Ghulam
Mohammad Saznawaz. Tibat Baqal, Naseem Akhter, Raj
Begum, Mohan Lal Aima, ; they worked day in day out to
provide Kashmiri masses with such a platform as became an
integral part of their social life. The Station gave a healthy
direction to thought, understanding, emotions, and language;
this has been its chief contribution. The station proved to be
a boundless ocean of social awareness, development, and
entertainment. A wholesome stream of thought emerged
from Radio Kashmir Srinagar in which all the celebrated
singers, musicians, writers, playwrights, and poets of
various voices played their individual role. The actors and
dramatists of Kashmir presented their Radio plays through
Radio Kashmir. It was the popularity of the radio drama
that all Kashmiris started purchasing their own radio sets.
The Radio Station on air through medium wave and short
wave, was received in every nook and corner of the State
and become an inalienable part of their daily life.
Kashmiri songs and music, dramas, news, film songs, programmes for army-men, programmes for rural populace, programmes for women, programmes for youth, and programmes for children, and various literary programmes infused new life in all aspects of Kashmiri society , and occupied a special place in everyman’s heart. The propaganda of Pakistani falsehood was no more palatable for Kashmiri masses, but the new bulletins broadcast from Radio Kashmir too, for various reasons, had not the desired impact. Among the youth, it was a matter of pride that one could participate in Radio programmes and also to listen them. Boys and girls, even from the respected families were showing enthusiasm in taking part in Radio programmes. Pran Kishore’s wife Shanta Koul, was much admired for the way she presented the programme “Apki Farmaish” (Songs of your Choice). Sudhamaji Koul, Brij Kishore, Bashir Bhat, Uma Khosla, Manohar Parohit, Trilok Das, Makhan Lal Saraf, Asha Jaroo, Bharti Zaroo, Nabla Begum, Naseem Begam, and many other artists working in the Radio were much loved in every family of Kashmir. Every Kashmiri was familiar with their names, and their radio acting and voices possessed irresistible attraction. The duo of Somnath Sadhu and Pushker Bhan that participated in programmes like Zoona Dab, Machama, was tremendously popular, and eventually they were awarded Padamshhri. In singing, Naseem Akhter, Raj Begam Ghulam Ahmad Qaleenbaf, Tibet Baqal, Dolwal, Ghulam Ahmad Su and other achieved unprecedented popularity. All these artists were employed in Bakhshi Sahib’s Jashn-e Kashmir programmes and presented shows of music and drama in various villages which attracted floods of people.
Kashmiri songs and music, dramas, news, film songs, programmes for army-men, programmes for rural populace, programmes for women, programmes for youth, and programmes for children, and various literary programmes infused new life in all aspects of Kashmiri society , and occupied a special place in everyman’s heart. The propaganda of Pakistani falsehood was no more palatable for Kashmiri masses, but the new bulletins broadcast from Radio Kashmir too, for various reasons, had not the desired impact. Among the youth, it was a matter of pride that one could participate in Radio programmes and also to listen them. Boys and girls, even from the respected families were showing enthusiasm in taking part in Radio programmes. Pran Kishore’s wife Shanta Koul, was much admired for the way she presented the programme “Apki Farmaish” (Songs of your Choice). Sudhamaji Koul, Brij Kishore, Bashir Bhat, Uma Khosla, Manohar Parohit, Trilok Das, Makhan Lal Saraf, Asha Jaroo, Bharti Zaroo, Nabla Begum, Naseem Begam, and many other artists working in the Radio were much loved in every family of Kashmir. Every Kashmiri was familiar with their names, and their radio acting and voices possessed irresistible attraction. The duo of Somnath Sadhu and Pushker Bhan that participated in programmes like Zoona Dab, Machama, was tremendously popular, and eventually they were awarded Padamshhri. In singing, Naseem Akhter, Raj Begam Ghulam Ahmad Qaleenbaf, Tibet Baqal, Dolwal, Ghulam Ahmad Su and other achieved unprecedented popularity. All these artists were employed in Bakhshi Sahib’s Jashn-e Kashmir programmes and presented shows of music and drama in various villages which attracted floods of people.
Behind all these activities, very intricate politics played
a role. Neither within, nor without all aspects of life were
full of crises. The external enemies were visible, but those
within the society continued with their over or covert
attacks. Bakhshi Ghulam Mohammad’s political stature had
certainly increased, but evils of nepotism, corruption, and
hooliganism had made life miserable. The way the sun plays
hide and seek behind dispersing clouds, the same way was
seen in the minds of Kashmir Pandits. They now felt that all
was secure and then, the next moment, they felt themselves
in the mouth of a lion. Some Kashmiri Muslims, too, here and there, were facing
the same kind of uncertainty. The enemy’s propaganda had
succeeded in making them sceptic about India. Their leader,
who always talked loud of his secularism, and having made an indelible imprint on Kashmir’s tryst with India, was behind the bars in India itself. It was no less than a dilemma.
In the meantime Ghulam Mohammad once put
Chunnilalji into amazement when he said to him, suppose
Indian forces start unleashing tyranny on Kashmiri Muslims,
and Hindus of India are made to settle in Kashmir, then how
could our security be guaranteed? In case a situation like
that arises, and all Muslims feel unsafe, then is there any
way in your religion that would make us get converted to
Hinduism?”
Chunilalji’s forehead perspired. He too was pondering on
parallel issues a little while ago. “If the political conditions in
Kashmir are let go from bad to worse, and Indian government
showed a little negligence, all the Kashmiri Pundits’
life would be jeopardised.” The attitudes of communal
Muslims were getting more and more aggressive. Those
who possessed louder voice had accumulated considerable
wealth. In the election held in March 1957, Bakshi Ghulam
Mohammad declared 43 members of his party successful.
After occupying 43 seats out of 75 member assembly,
Bakhshi possessed unlimited power. His sway was so
overwhelming that in Jammu, a party like Prajaparishad had
got just five seats. In view of this political development, the
intelligentsia of Kashmir got disillusioned with democracy
and also rebellious. They thought that the Central government
would never let real politics have a place in Kashmir, and
that probably it was in consonance with what India wanted.
There was one more person much concerned about this sad
situation; being a member of Bakshi Gulam Mohammad’s
cabinet, he, a young man, represented the left-wing political
thought. His name was Ghulam Mohammad Sadiq. He was
not alone, but was having the support of a group of like-
minded members of the cabinet; Mir Qasim and Durgha Prasad Dhar were the most noted persons among this group.
Mir Qasim belonged to Brang region of Anantnag district,
and was an intelligent young man from a Peasant Maulvi
family. The cousins of Bakhshi Ghulam Mohammad were
openly exhibiting their power. They amassed huge wealth
and tried to keep the city under their control. The people of
Kashmir complained of this hooliganism to the first Regent,
and then called Sadririyasat, who was soon to be declared
the Governor of Kashmir, who had already developed close
liaison with the Central Government. Karan Singh was still
considered the real descendent of Raja Hari Singh the king
of the state of Jammu and Kashmir. However, Karan Singh
was a realist and knew it well that the days of kingship have
ended. He did not want to dither from performing the duties
that were expected of him for his position. He communicated
all the facts of the corrupt ways of Bakhshi’s dynasty to the
Centre. Karan Singh immediately advised the Centre about
the means of addressing the outcry of the oppressed masses
against the tyranny of the cousins of Bakhshi.
Now the problem was not merely that Pakistan was
instigating Kashmiri masses on the basis of religion and
covertly tried to usurp Kashmir, but also the fact that common
people were getting disillusioned with democracy, and the
policies of people’s government. People’s loved leader was
kept imprisoned, and in view of this people had given up faith
in freedom and democracy. In the city this new thinking was
very deep rooted in the society while in the villages it was
creating deep fissures of communal hatred. It is a different
story that they did not venture to express such feelings quite
openly, and honoured mutual relations, but the fact remains
that the hostile forces had succeeded in instilling the feeling
of divisive antagonism in their minds; thus the uncertain
political situation in Kashmir was acquiring depth.
In 1952, Sheikh Sahib had made an effort to give a
Constitution to the people of Kashmir, but by passing a
resolution, the United Nations, on March 30, 1951, rejected it
and this time only the Soviet Union opposed this resolution.
As such on January 25, 1957, the Jammu and Kashmir
Legislative Assembly passed new constitution for the State
and abrogated the old one. A new incident took place in the
meantime: Banihal Tunnel joined the state of Jammu and
Kashmir with the rest of the country in the real sense of the
word. It is said that the German Engineer who supervised the
construction of the tunnel got the tunnel dug from both the
opposite ends and the made the two ends meet at the centre.
It was not much surprising that the two ends had to meet at
the centre, but he had placed a loaded pistol under his pillow
that if it did not happen, he would kill himself. Biscoe Sahib,
too, escorted a team of students of his school to see this
wonder of human feat, which otherwise was heard only in the
books of fantasy. But a human being planned and burrowed
though a huge mountain at a height of 7200 feet, and thus
paved a way that was not less amazing than a miracle. The
group of children under the leadership of Biscoe Sahib was
granted permission to cross the tunnel. Such a long cave
that makes it possible to drive large number of vehicles of
all sizes to run through it and then towards the sides paths
for the pedestrians. The tunnel was illuminated thoroughly
with electric bulbs. The children walked a long distance, and
then were carried in a bus to the other side of the mountain.
And then they were transported back to the end towards the
Valley. Some children felt terrified, but Ashok had never
experienced such an adventure before that. Whenever he
crosses the tunnel in his adulthood, he envisions that first
experience of amazement.
Maharajah Hari Singh had a very competent military
general named Zorawar Singh. He had led military campaings
in Dras, Kargil, Askardoo and Tibet and annexed many
areas with Jammu and Kashmir State. It was during these
campaigns that he laid down his life. If you nd any court
paper of Hari Singh’s time, you will surely nd it written on it
“Jammu,Kashmir, Tibet and other Regions.” Heterogeneous
territories, ethnic groups, cultures, languages, civilisations
and religions, are found in this mountainous terrain. But
this vast territory was facing a very complicated problem
even when Karan Singh was the prince, Maharaja Hari
Singh decided to not to accede the State neither with
Pakistan nor with India, and accordingly sent proposal to
each of the countries. Apparently Pakistan approved of this
proposal of the Maharaja to let Jammu and Kashmir State
have full autonomy, but India did not send any reply to
him. According to this situation, sceptic Pakistan blocked
the trade route through Jammu and Kashmir that opened in
Lahore. Soon after that the country provided tribal fighters
with arms and launched aggression with the active support
of Pakistani army. In Mirpur thousands of Hindus were
massacred. In Jammu, Ponch and Rajouri they unleashed
terror. The limited army of the Jammu and Kashmir princely
state was not able to resist the massive aggression. Being
terri ed by this attack, the Maharajah approached and
requested Indian government for help and also presented his
proposal for the accession of the State with India. Thus the
whole of the terrain of the state, called Jammu, Kashmir,
Ladakh, Askardu and other regions was practically merged
with India like many other princely states. However, in the
United Nations the attacking Pakistan and defensive India
were treated at par which revealed the doubtful intentions of
European countries, particularly Britain, and America. Since then this discord has been playing havoc in India, Pakistan
and particularly in Kashmir, as the discord became the cause
of many wars and terrorism. China took the advantage of
this political situation, and interfered in Tibet in 1954 which
made the problem more complicated. India’s response was
limited to defensive policies. The Panchsheel Agreement
further encouraged China, and seeing India’s unpreparedness,
they launched a full scale war on India in 1962 in which
India faced a humiliating defeat. As a result of this defeat,
China occupied considerable territory of Ladakh. China
had already received 500 square miles of the Jammu and
Kashmir territory as a gift from Pakistan. The war of 1962
jolted India’s security concerns and made her conscious of
the weakness in military preparedness. Among the military
rulers of Pakistan, Ayub Khan, in particular, made plans of
using armed aggression to usurp Kashmir, and his plans
seemed effective. He gave practical shape to the same plan
and started sending armed infiltrators into Kashmir.
CHAPTER 7
THE ERA OF TRANSFORMATION
The common masses, deeply affected by the political
event in the region, but still apparently keeping distance
from them, were engaged in the political, economic,
social transformation, and trying to fend a secure space
for themselves. In the countryside, people showed much
interest in sending their children, both boys and girls, to
schools. The government appointed education officers to
supervise educational facilities at the primary, middle and
matriculation level of education. Schools were established for all
villagers, and the children belonging to the peasantry started
going with fervour to the schools. They even went to the
school barefooted and scantly clothed.They believed that
schooling was more essential than anything else. The 8th
or 10th class educated girls were employed as teachers and
involved in this huge campaign. Initially they were paid
monthly stipend and gradually all of them were employed as
regular employees. In order to train the teachers, numerous
training institutions were also opened. Since education
was given unprecedented expansion, Kunti Jailkhani had
to bear additional burden of being responsible for training
the male as well as female teachers. Some institutions of
social work instituted some cultural centres for the Hindus.
Bharat Sevak Samaj, headed by none other than Jawahar Lal
Nehru, encouraged young boys and girls to participate in the
revolutionary cultural awakening. Kashyap Bindhu gave a new direction and new horizon to the Hindus of Kashmir.
People of the younger generation were encouraged to end
reactionary and orthodox ideas. Folk plays, operas, and
many other media of folk entertainment were used as the
media of social transformation.
Kuntiji was among the forerunners in this campaign.
She was made president of many district level organisations,
and her work was widely admired. Nevertheless, she never
wanted to get distracted and neglect Ashok’s education for
she always feared that her son might show any regression.
She desired that he should not only maintain his position,
but also show better performance. And at the same time the
baby in her womb was now starting showing its presence.
She always wished to give birth to the second child at her
home. The motive was not to save the expenditure of any
private hospital or nursing home, but she only wanted that
Ashok should always remain under her supervision. She
always reminded Mohanji that Ashok’s schooling at Biscoe
School was to be made certain in any case. Without asking,
Chunilalji was devoting all his time to Ashok’s upbringing;
he even sometimes forgot his meals.
And in the meantime, early spring changed into summer,
and summer changed into autumn. The leaves of the trees
grew pale, and the snowy wind made them quiver and fall.
The crops of the peasants had not even started ripening that
there was a heavy snowfall. The whole of Kashmir was thus
stricken with the terror of Nature. The month of August
was yet to end that the weather looked like that of October.
The peasants were in a miserable condition. The whole of
Kashmir was drowned in wailing. The rural populace still
remembered how in such a calamity, famines took heavy
toll of lives. They knew that there would be mourning all
around and poverty would trample the folks. But, the whole population were amazed when the government made all
preparations of providing food and other essentials to the
people on nominal prices. The felt that the world had really
changed a lot. The entire Kashmir valley was resounding
with slogans like “Hindustan Zindabad!” and “Bakhshi
Sahib Zindabad!” It was in this type of social situation that
Kunti Jailkhani gave birth to her second son.
Ashok was sent to his Matamal, that is his mother’s
maternal home. He got the information that his mother has
delivered her second child. The little heart of Ashok grew
restive to see the little baby, but in Biscoe School he had
already learnt to control emotions. He was eagerly waiting
for his grandmother. He and she would certainly go to see
the baby. He could not afford to remain absent from school
for many days.
On reaching his home, he knew that his mother was
shifted to the hospital just a while before his arrival, and that
she was there in a room beside her little baby. He again grew
impatient to see his younger brother.
After the birth of a younger one, the elder brother or elder
sister naturally begins to feel that he or she is being ignored.
All the family members pay more attention to the new baby.
They deliberately try to let him tumble from the bed or even
beat him, but Ashok loved his younger brother from day one.
He was thrilled to look at him, kiss his forehead. This kind
of behaviour in early childhood has a deep impact on one’s
future life. Ashok and Diwaker, his younger brother, were
bonded together with love, affection and care, and it helped
their parents in their task of nurturing them successfully.
Ashok’s education was again continuing as per routine.
In the school, there was much emphasis on extra-curricular
activities like games, and Ashok showed much interest in all
these activities of the school. Some of his childhood interests like playing foot-ball, swimming, acting and music are still
persisting in his nature.
Once having acquired speed in education at Biscoe, Ashok
never showed any slowness. In spite of his profound interest
in swimming, Ashok could never succeed in swimming
from Nehru Park to Nishat Garden and from Nishat Garden
back to Nehru Park; the distance to and fro measured about
seven kilometres. He could exceed swimming one kilometre
in going and one kilometre in swimming back; the lapse is
still irking his mind. Before getting admission in Biscoe, had
already completed his Nursery and first standard at the girls
school where his mother worked. This training had given
him the idea of school discipline and qualities of being a
good student. However, at Biscoe education was entirely
different from what he had learnt, which caused him a little
hindrance initially. But to overcome all hindrances was in
his nature by birth. Mutual love and cooperation remain
unabated in Ashok and his brother to date. Today whenever
Ashok looks back at his past, his life apparently divisible
into several phases is full of interesting episodes. Several
related incidents emerge from his memory. He remembers
how education was integrally related with cultural activities.
Drama was the most important aspect of all such activities.
From the very beginning Ashok had an insatiable desire
to participate in dramas at various levels. Certainly there
might have been many factors for this interest, but Ashok
thinks that he got inspired by the small addendum of
cartoons attached in the weekly editions of the newspapers
that Chunilal Jailkhani ordered for himself. While reading
the stories related to those cartoons, Ashok visualised the
events through the cartoons that gave him the semblance of
reality. Nowadays, children get direct entertainment from
the cartoon networks, but in Ashok’s childhood, children had to use their imagination to derive pleasure from the stories.
Children of those days therefore had abundant imaginative
faculty. Gradually and imperceptibly all such realities around
him found a permanent imprint on Ashok’s personality. His
tendencies towards various activities regarding drama and
theatre continued getting stronger. He expressed his desire
to take part in a play to his house teacher, namely, Satlal
Razdan who has been a renowned teacher. The books written
by Satalal Razdan were included in the syllabus of the school
and he had acquired much reputation as a science teacher.
Satlal Razdan eventually allowed Ashok to take part in a
drama. But he was not selected to play the role he wanted.
On the contrary, Ajay Koul, who had the honour of being
the son of a reputed drama personality Pran Kishore, was
selected for the role as perhaps the administration thought
that Ajay Koul might be possessing natural talent for drama
acquired from his father. Ashok was much annoyed by this
discrimination. They did not believe in his natural passion
for the art of drama. When the drama was presented on
the stage, the organising committee felt that the role was
not properly portrayed. They understood that the traits of a
father are not necessarily present in his child. Ajay is now
an established and successful engineer, and happens to be
Ashok’s bosom friend.
CHAPTER 8
AT THE THRESHOLD OF THEATRE
In the history of the culture of Kashmir, the years between
1950 and 1987 shall be remembered as the golden period.
In spite of the political upheavals, the cultural life also
witnessed a surge. Many such young men associated with
theatre, gave a new direction to theatre, and were successful
in their efforts. Some of them devoted their whole life to
the art of theatre; Radha Krishan Braru was one of them. In
collaboration with his friends he founded Kashmir National
Theatre, and then he experimented in staging some plays in
the open in the precinct of Sheetalnath Temple. The place
thus became a centre for theatrical activities. Many religious
plays like Naldamayanti, Krishnasudhama, Satich Kahvet
were staged there which became tremendously popular.
Gradually all those persons who had a passion for
theatre became af liated with it and an era of revolution in
Kashmiri theatre started. Boys and girls of the upper class
Pundit families did not feel any inhibition in participating
in theatrical activities. Before this revolution, Kashmir
theatre was kept alive only by Kashmiri folk artists, called
Bhands, who lived in certain villages of the valley. They
were Muslims but secular in their approach. Each Bhand
repertory possessed at least one folk dancer, who was called
a Bacha. The package of a Bhand repertory used to consist of
shahnais (reed pipes), drums of various kinds, and cymbals.
The Bhands roamed from village to village, presented their
art and provided entertainment to the rustic folk. They were
adequately remunerated for this job through donations in
kind like rice, clothes, oil, salt and spices. They would mimic
the lives of all sections of people from kings and queens to
the common men in various profession. However, each of
their performance used to be full of social messages. They
unravelled the truth of political, social, and economic aspects
of Kashmiri people. The Bhands used humour and satire to
influence the minds of the common masses. They used very
subtle ways to reveal the essence of Kashmiri character.
The theatre of Kashmiri Pundits also got transformed to
affect social reform in all aspects of life. But the boys and
girls of the theatre groups were largely influenced by the
Progressive theatre movement of India, particularly IPTA,
or Indian People’s Theatre Association of Mumbai. Parsi
Theatre, too, was very popular throughout the sub-continent
as it presented a unique style of theatre with the purpose of
social reforms. Kashmiri Pundits, being influenced by such
activities, also presented plays with the motive of social
reforms. Ashok was sixteen or seventeen, or we may say
the year was 1968-69, and Kashmiri theatre had also gained
very solid basis in the cultural life of the people. However,
the more vigorous theatre activities became, political and
social tensions also increased. Kashmiri Pundits who were
already deprived of their land-estates, were gradually
being marginalised in commercial sector too. Agriculture,
government jobs, contracts, and other sources of income were
vividly in favour of a certain section of Kashmiri Muslims
who acquired sufficient influence and strength. The Hindus of
Kashmir were mainly engaged in safeguarding their limited
social and economic status. Being persistently vexed by the
thought of their uncertain future, their restlessness increased.
They were gradually getting deprived of opportunities from
state as well as private sector. In Jammu the Dogras, and
in Kashmir the Muslims were being used as pawns in the
games of politics. The educated youth and intelligent people
among the Pundits could perceive vivid discrimination in
employment avenues which caused them suffocation and
frustration. With the advent of technical education, Kashmiri
Pundits faced neglect even after having acquired excellent
marks in the entrance tests for engineering and medical
training. Similarly they witnessed rampant discrimination
in promotions in government service. All this injustice
prompted them to move to other parts of the country. A large
section of Kashmiri Muslims also thought of migrating to
other parts of the country, but the fear of ‘Hindu Bharat’
stopped them. Those Muslims who considered the common
people of their own Muslim fraternity as big an obstacle as
Kashmir Pundits, and did not like to make them share their
prosperity, started their intrigues.
Ashok was still naïve to think about such issues. His
close Muslim friend, namely Rafiq Bazaz would often
take him to his house. Rafiq Bazaz belonged to a middle-
class family. His mother was compassionate and friendly,
and valued his son’s friendship with Ashok. She never let
him leave her house without making him have meals. It
was because of this friendship with a Muslim young man
that Ashok could have an intimate understanding of social,
cultural and moral life of Kashmiri Muslims. Ra q too
frequented Ashok’s house. The two enjoyed playing as well
as studying together. Ashok could never find any rationale of
Hindu-Muslim discrimination. At every level of humanity,
like love, compassion, and feelings, he could not approve of
any difference on the basis of religion. Despite differences in
certain religious rites and customs, they all are essentially the same human beings at the level of existence--- he understood.
Birth, death, old age, disease, and other truths of life are the
same in the people of the two communities. Then why any
communal hatred? He could not find any justification for
discrimination between human beings at the level of religion.
Probably this is the reason that Ashok is not easily irked even
today by any such thought. His world was entirely different
from others. Although his uncle Chunilalji’s religious beliefs
might have certainly influenced him, but this did not call for
any sort of blind faith. Perhaps whosoever get influenced by
the thoughts of Swami Vivekananda, keeps windows of his
or her mind and heart always open for fresh air. Rafeeq’s
association abided with him even after completing schooling
at Biscoe. They used to visit such places of Kashmir as were
not prominent in the tourists’ maps, but were extremely
charming and romantic. Whenever they visited such places
they did all their daily chores like cooking, washing, and
maintaining the place without anybody’s help. This self-
help habit in early childhood strengthens one’s self-reliance,
which is otherwise taught to children. Undertaking rigorous
and arduous tasks and struggling for overcoming obstacles
fortifies child’s self-confidence. This practice in tender age
proved very fruitful in Ashok’s life.
Kashmir’s politics continued showing sudden upheavals
and complexities, and at every step facing ever new
problems while confronting them the people moved ahead.
It swiftly carried people’s social life into new situations. On
the one hand one could easily discern people’s happiness
and contentment for the fact that old hunger and unbridled
exploitation was a matter of the past, but on the other hand
people given to serious thought felt alarmed to see a new
class of the neo-rich emerging in the era of independence,
and as such the signs of discontent and deprivation were quite visible. The people of older generation were cynical of the
openness and intoxication of the younger generation. They
were horrified to see the old values based on faith crumbling
in the new social order. While alcohol and wining and dining
were considered a privilege of the privileged class, they were
perturbed to see younger people of the middle class taking
to drinking. Like other parents, Kuntiji too remained much
worried about her son. She had come to know through some
informers that she was being transferred to Poonch, and that
she had to join the new posting very soon. Such occasions are
common in government service, and one has to remain away
from one’s home and hearth. But seeing that her son was
about to enter his teenage and he needed constant attention
by his mother, made her anxious. Kuntiji had never felt this
hurdle for herself, nor had she ever thought about it. Her
school was at a walking distance from her house, and she
had been working at the same school for about nine to ten
years. No one is ready to forego the chances of promotion
in service, but the helplessness and discomfort associated
with this promotion was very perturbing. Promotion, or no
promotion, she had to go to Poonch---the District Officer
used very harsh words to tell her that. Now the sole hope
of Kuntiji rested on Chunilalji-Ashok’s uncle. She knew it
well that Ashok’s father treated him with exceeding liberty,
and had not learnt to keep him under control. Chunilal was
affectionate while being strict, and Ashok had imbibed much
from him. Thus she left Ashok in Chunilalji’s care, Kuntiji
made up her mind to go to Poonch which was hundreds of
miles away from Srinagar in Jammu province. The town was
very signi cant in Kashmir history. It was from this town that
Pakistan launched three big aggressions on India: in 1947, in
1965, and in 1971. But the predominantly muslim population
of the area gave stiff resistance to Pakistani aggressions.
It would have been very good for Kuntiji had she got
the promotion after some more years(1967-68). She many
a time made up her mind to take Ashok along to the new
place of work. Her maternal love always urged her that she
should not leave her tender child alone, but she could not
defy her duty. Taking Ashok along meant that Ashok had
to get discharged from Biscoe School, and this she would
never think of. Kuntiji was resolute in attaining her goal.
She could not deprive her child of such a good school and
let him keep wandering in unknown areas along with her.
“How long could he remain relying on his mother’s help? I
must bear the pain of separation, and keep maternal feeling
curbed.” She thought. Thus Kuntiji nally decided to move
away from her child, her house and hearth and go to Poonch.
After joining as Tehsil Education Officer (TEO) at
Poonch, Kuntiji made a thorough analysis of the educational
problems in the town. She came to understand that the area
was much far behind than any of the educationally backward
areas of Kashmir. She decided to exert more energy in
motivating the women of the area to embrace education. She
undertook this new responsibility in a planned manner. She
got the schools renovated, went from village to village to
bring home the importance of education to the women folk.
She imparted training to the teachers, and also did many
more things as a part of her new venture.
The manner in which Kuntiji devoted herself to serving
people, left a deep imprint on Ashok and this proved very
helpful for Ashok in his later life as a respected administrator.
After Ashok’s younger brother, Diwakar, Kuntiji gave birth
to a flower-like girl child; Ashok was about six or seven at
that time. Thus Ashok got a company of a younger brother
and a younger sister; the three children of Mohanlal Jailkhani
and Kuntiji thus came to the world to continue their progeny.
Sister (Dolly), too, was brought up with much care and love.
To start with Mohanlalji and Kuntiji imparted education to
the two children at their home. Neither of the two children
was sent to any school for quite a long time. When they
attained the age of schooling, both children got education at
various schools wherever Kuntiji was posted.
In the era of Bakhshi Sahib’s rule, the image of Kashmir
in the outer world emerged as a veritable paradise. Large
number of tourists from other parts of the country and other
countries visited the valley to enjoy the natural beauty of
the valley. Dozens of lm-makers of Mumbai came here
for shooting their lms. Many lm songs were picturised
here. People would ignore their day to day work and visit
the shooting sites to enjoy watching the movies being shot.
Nishat, Chashma Shahi, Pahalgam, Gulmarg, Kokarnag,
Achabal and many other places were the choicest places
of lm stars. ‘Kashmir ki Kali’ of Shammi Kapoor and
Sharmela Tagore, and later ‘Jab Jab Phool Khiley’ of
Shashi Kapoor and then ‘Arzoo’ of Rajender Kumar and
Sadhana were picturized at many places of the Valley that
were familiar to the masses and they got thrilled when they
watched the lm and the Kashmiri youth, felt these stars to
be very intimate to them. They, therefore, tried to imbibe
their life-style, way of speech, and dress habits. In extreme
cases many young boys and girls tried to be replicas of
various heroes or heroines. Some of the young men were so
much influenced by the films that they aspired to work as
actors in them. Many of them even reached Mumbai to try
their luck there and finally returned home in despondence
and without any success. They time and again narrated the
ordeals that they underwent in Mumbai. Many a time some
Kashmiris came to Kashmir along with various lm units
that included extras, technicians, and other members of the crew. Seeing keen interest in any young man of Kashmir,
the lm units sometimes seduced them and after exploiting
them in Mumbai, left them in lurch. This was the general lot
of those people who did not know even the alphabet of lm
city of Mumbai, Those who went to Mumbai on the basis
of their acquaintance in Mumbai, and struggled much for
entry into the lm world, succeeded to some extent, but the
number of such fortunate men was very limited. Then there
were a few who had left Kashmir in their childhood, stayed
in Mumbai for a very long time, and underwent remarkable
transformation in their character and etiquette, and finally
succeeded in finding space in the lm world; A,K. Hangal,
Rajkumar, Saproo, Jeevan and a few more are some of the
well- known artists who succeeded remarkably. In the days
to come, this deprivation was to be compensated by the
establishment of television centre (Doordarshan) in the state.
CHAPTER 9
TREASON DEFEATED AND FRATERNITY WINS
Bakhshi Ghulam Mohammad’s era is considered the
golden period in post-1947 Kashmir. However, like the sun
that rises every day only to set, Bakshi regime also had its
downfall. Bakhshi Rashid (Bakhshi’s brother) had created
many trenches in the path of Bakhshi Ghulam Mohammad
who possessed an overwhelming love for his brothers. The
day shall be remembered as the onset of a dismal night when
Jawahar Lal Nehru found some fault in Bakhshi Ghulam
Mohammad and forced him to resign from his position and
placed him in the same prison in which Bakhshi Ghulam
Mohammad had imprisoned Sheikh Sahib.
Bakhshi Ghulam Mohammad was left without any option
except to hand over power either to Sadiq, or to any of his
brothers. Since Bakhshi Rashid was notoriously known for
his corrupt ways, he did not show courage to claim power,
he tactfully supported a member of the cabinet, namely
Shamsud Din to be the Prime Minister.This way he remained
in power though in background.
However, God decided something else. On December
28, 1963, the sacred hair of Hazrat Mohammad preserved
as a sacred relic for over three hundred years at Hazratbal
mosque, shrine was found missing from its assigned place.
The whole of Kashmir was drowned in mourning, anger,
and revolt. There was total chaos. Men, women, elderly, young and children, clad in dark dresses, flooded all the
roads, streets and lamented while beating their breasts and
raised uproar of religious slogans. The crises reached the
critical point. Seeing this deep mourning and anger, people
of all minorities like the Hindus, the Sikhs, Christians, and
Buddhists, particularly Kashmiri Pundits were terrified and
prayed to God for their safety. They apprehended that even
a slight baseless rumour that some Hindu was involved in
this heinous act would infuriate the mobs and that no Hindu
could survive.
The Muslims, particularly the intellectual and educated
deserve great appreciation for their prudence that the frenzy
was kept under control. The Muslims sagaciously guarded
their love for peace and harmony from getting tainted by
any communal incident. All demanded that the ‘Asli Chor’
(the real thief) be apprehended and unveiled and urged that
the Sacred Hair be restored to its original position. Not
only Kashmir, but even the Central Government quivered
to see the surging spate of irate people. Jawaharlal Nehru
eventually sent a confidential team under the leadership of
Karan Singh. After four days, Karan Singh, accompanied
by some common people, drove his car, which did not bear
any official flag, up to the gate of Hazratbal, where he was
surrounded by a huge crowd that had been staying there on
guard without ever going to their homes. All of a sudden
a wave of bliss appeared on the faces of the thousands of
people when they saw that their ‘real king’ (Karan Singh)
would certainly come to partake in their grief. People, young
and old, raised him up in their arms and kissed his hands.
Karan Singh consulted various senior and respectable
citizens, and bureaucrats. The security forces posted around
the mosque were removed. It was announced that whosoever
had displaced the Sacred Hair from its position should get it and place it at its assigned place. This strategy worked,
and the Relic was found at its assigned place. Then the
authenticity of the Relic was verified, and the situation
started returning to normal.
In the meantime Pakistan broadcast a lot of propaganda
and tried to provoke Kashmiri Muslims to give vent to
communal hatred, but the Action Committee constituted
in the City which was headed by a very respectable and
experienced scholar Maulana Mas’udi, constituted a sub-
committee which included Dr. Farooq Abdullah, Maulana
Farooq, Mufti Jalal-ud Din, Maulana Mohammad Yaseen,
Mohammad Abbas and Ghulam Rasool helped in keeping
the calm.
Far from this turmoil, and distanced from the
machinations on the basis of religion and politics, Ashok and
Rafiq were busy in preparing themselves for the forthcoming
examination at the house of Ra q. It occurred to his friend that
Ashok had been away from his home for quite a long time,
and the whole city was gravely tense, and as such, his parents
might be much worried about their son. The two pals were so
much engrossed in their studies that they hardly found time to
know what was happening in the city. Ashok knew only one
thing that Ra q’s parents and other family members prayed
to God for restoration of peace and tranquillity. They prayed
that no innocent person be harmed, and the culprit who had
committed the grave crime be identified, apprehended and
punished. All the Hindus of Kashmir shared the grief and
anguish of the Muslims. When the Sacred Hair was identified
by a reputed elder namely Mirakshah, all grew emotional
and thanked God. The whole valley resonated with slogans
like ‘Allah-u Akbar’, ‘Har Har Mahadev!’ ‘Sat Sri Akal!’The
religious tolerance evinced common ancestry of Kashmiris.
Many conspiracies were hatched by the enemies of peace to disturb communal harmony, but the friendship and mutual
love of Ashok and Ra q was never affected. It was God’s
grace that lovers of God like Mirak Shah Sahib were still
in the society. Pirs, Faqirs, and well-wishers of people like
Mirak Shah see mankind without any discrimination. There
was no political or communal malice in their minds. It is
because of the presence of such holy people that Kashmir
has survived numerous calamities.
Jailkhani family were extremely worried. Ashok’s uncle
has escorted him to Rafiq’s house and since then there was
nothing known about his whereabouts. The conditions in
the city had improved to a large extent, and the markets
were open after many weeks. The common folks celebrated
restoration of the Sacred Hair and thus embraced each
other. They still cried Allahu Akber to exhibit their joy.
Even Hindus hugged their Muslim brothers to show their
happiness. Nevertheless, the era of political uncertainty was
not over; all were eager to see what happened next. All were
keenly watching how Shamas-ud Din’s government falls. It
was only four in the afternoon that it looked evening. The
Dal was frozen because of extreme chill. Jailkhanis realized
that they should not have allowed Ashok to go outdoors in
such a condition. Kuntiji, in particular, was highly perturbed
for having committed such a blunder.
All of sudden a question occurred to Ashok. His little
mind was full of strange complexities. He reflected whether
he should ask such a question to his pal, Rafiq. He was not
sure if it was feasible to ask Rafiq that question and if the
latter would be able to give any answer to it. He mustered
all his courage and decided that he should put this question first to his uncle Chunilal. Ra q said to him, “Do you know,
Anwar uncle told me your uncle shall be late in coming. You
have to stay here with us for the night.”
Ashok was perturbed about his uncle. “I do not know
why he is so late. He had told me that he would be here at 3.
Now it is already 5. Oh Bhagwan! Is my uncle alright?”
Ashok was in such fearful thoughts when he heard his
uncle’s voice. Everybody was relieved of the tension. All
felt a fresh lease of life when they saw Chunlal. Chunilal was
quite sharp to discern the anxiety in the faces of all. “You
look very nervous. The blood in our veins has not thinned
so much that anyone should have killed me. We belong to a
place where people are always ready to sacri ce their lives
for even the strangers. But no one dares to kill any innocent
person without any reason. You think Khwajah Sahib, if this
episode had taken place in any other place, God only knows
what terrifying consequences would have been experienced.”
Khwaja Sahib, with his eyes fixed at his face, said with
conscious confidence, “Astag rullah! (O God pardon our
sins!) God is merciful. What would I have to say to Jailkhani
Sahib to explain? How could I have the cheek to face him
again? O God shower your mercy on all of us! Now it is
getting very late, you better stay for the night here.”
“No, no.” said Chunilal. “We could certainly stay here
but all might be perplexed there as you were here. Now I
must take Kaka home.”
Khwaja Sahib ordered his driver to drop Chunilal and
Ashok at their home. Thus both were home quite safely.
All felt relieved to see them back. Chunilal realised that he
should have not been late in his routine work and he had
caused so much of worry to his family members. Yet no one
dared to ask him the reason for his being late. All repeatedly
said that God was kind that they were safe in being home.
Once again darood khani was heard in all mosques, arti in
the temples, and akhand path in Gurudwars. The atmosphere of tension and strain in the locality had dissipated. The whole
of the valley was once again in its normal state.
There were rumours that Shamasud Din was being
removed from his office and power was to be restored to
Bakhshi Sahib. Had this happened it would surely have
caused another upheaval as most of the people of the state
held Bakhshi Rashid responsible for pilfering the Sacred
Hair. God gave wisdom to our rulers and such a thing did
not happen. A very intelligent and well-read person, having
allegiance with the left ideology, in the National Conference,
namely Ghulam Mohammad Sadiq was unanimously chosen
for the position of the ‘Prime Minister’the nomenclature
which was later changed to ‘Chief Minister’. The
nomenclature of ‘Sadri Riyasat’ was changed to ‘Governor.’
Ashok was still wrangling with his unexpressed question.
“I should ask my Chachaji for an answer. Yes. Rafiq is a
Musalman, and I am a Hindu...Rafiq’s parents worship God
in the mosque while my parents worship Him in the temple.
Why are people being designated as the Hindus and the
Muslims? What is the cause of the fright in the heart’s of the
Hindus for the Musalmans? Why is it so...? Ra q’s parents
are all love for me, and my parents shower so much of love
on Ra q. Then why is it said that a person like Ra q could
slay a Hindu like Ashok? How could one murder him? Why
is Pakistan Radio never tired of instigating the Muslims of
Kashmir?...” But the very next moment, Ashok dispelled
such scary doubts from his mind and avoided all such queries
himself. He thought that it was more important to make
sure that he passes the examination with good marks. “My
mind should remain concentrated on my studies. I should
never let such question enter my mind. It is more important
to know what causes changes in the seasons. I have to put
more labour in knowing mathematics. I must focus all my attention on my studies.” He was engrossed in such thoughts
that one more question raised its head and caused much
disturbance. All are so much anxious about God, but does
God really exist? If God exists, where does he exist? Is He
visible to anyone? .. Oh no. No more question for now.”
While going to or returning from the school Ashok observed
people talking about and praying to Khuda, Bhaqwan,
Gods, Goddesses, Pirs, and Faquirs. Every sensitive human
being naturally gets interested in seeing people engaged in
such religious activities. And then in Kashmir, religion plays
its role in every aspect of life, and it is the most important
and integral element in everyone’s thought.
However, in Ashok’s family no member of his family
possessed any malice or prejudice against the people of
other religions. The atmosphere was of openness and
liberal thought. In his family, it was man’s action that was
the nucleus of religion. This liberal family situation left an
indelible imprint on Ashok’s mind in his early childhood and
he never let any malice or bias against any religion sneak
into his mind. He thought that his friend Ra q too might be
having the same attitude to life. It is extremely important that
the elders of a family should never use religious sentiment as
a camouflage to hide their selfishness and let their children
be swayed by obscurantism and blind faith. Those who did
so had to repent. Kashmir is a living example of this mistake.
Ashok has divided his time proportionately for school,
play and studies. He is coming out of the stage of a helpless
child and advancing towards a responsible way of life. His
mother has taken Diwakar with her to her place of work.
Dolly is too young and as such it is natural that she remains
always with her mother. Ashok at times cries when he misses
his mother. But his mother has made him understand the harsh
realities of life. He has brought it home to him that sooner or later he shall have to leave the hand of his mother and lead
an independent life all by himself. Ashok is at the same time
proud of his mother’s position and authority. But soon he is
saddened to think that it is harsh on the part of the government
to send women of one region to work in some other region.
‘Is the government never sensitive to the fact that how a
mother’s absence shatters her family?’ Whenever Ashok
remembers his younger brother and little sister, he tends to
cry aloud. Seeing all other children romping about in the
compound, he deeply longs to be with his brother and sister.
But his mother has told him that it will be a long separation,
and he shall have to spend this long time only with his uncle,
grandfather, and his father. There is only one woman in
the house, his grandmother. She is physically too feeble to
shoulder the responsibilities of the house, nevertheless this
is not the age to work. Mohanlal and Chunilal do half of the
chores themselves, but the grandmother always nds faults
in their work.If, for instance, they make the bed, she says
that the blanket is not spread in the right way, and calmly
spreads it anew. Ashok’s paternal aunts generally come to
help the family.
This is the time when one is not conscious of the drift of
the time, but when the same time is seen in retrospection, one
realises how long the time was. Whenever Ashok recounts
his childhood memories, he finds his biographical events
and events of history intertwined. Many a time the events in
our surroundings are beyond our control, yet they influence
our lives so deeply.
In Ghulam Mohammad Sadiq’s period such an incident
took place that within no time left Ashok in a fast moving
spate, but it was either God’s mercy or the result of his
upbringing that that this innocent child had a narrow escape,
and now we have him as a re ned and mature person. It happened that a Hindu girl of Rainawari was seduced into
crush by a Muslim boy, or we may say that a Hindu girl
fell in love with a Muslim boy. Both of them belonged to a
normal middle class family and as such they were always
under public gaze. It was said that that they had violated the
values of Kashmiri society, but when the same act is done by
the people of the upper classes, nobody bothers about it. Thus
the incident provided the right-wing Hindus and right-wing
Muslims with a potent spice for creating trouble for Sadiq’s
government; it worked as a powerful bomb. The Pundits
opposed this relation and launched a full campaign against
it. The trivial issue became an event of great magnitude. The
campaign assumed the shape of a movement in which some
people of vested interest exploited the young Hindu boys
and girls. Ashok barely escaped falling into the vicious circle
of sentiments. This was the occasion when Kashmiri Pundits
who had lost on every front, instigated boys and girls of or
below Ashok’s age to try their last dice in the ‘war’. But
alas! It was not a war but a cry of distress of an emaciated
people that was finally silenced by sweets or batters for all
times. Kashmiri Hindus could never unite for the assertion
of their rights after this event. Ashok was 10-11 year old,
and the event caused a deep crisis in his mind. He saw the
Hindus of Kashmir parleying on the issue that Kashmiri
Muslims were engaged in suppressing the rights of the
Hindus, and they have no future. The issue was as irrational
as Kashmiri Muslims were worried about their future after
their accession with India. This kind of antagonism works as
a poison for society as it constrained the younger generation
to adopt a different policy. In order to save Ashok from the
adverse effects of such ideas, Chunilal always contrived
newer ways to keep Ashok engrossed in books and games.
It was his faith that religion was not the basis of social disparity but that centuries’ old under-cover mechanism of
exploitation in which a few individuals succeed in usurping
all the opportunities of prosperity and keep the teeming
millions controlled as slaves. In order to hide their misdeeds,
they engage people in religious feuds, hostility and hatred.
It is only right kind of education and knowledge that could
help people to get to the real truth. Chunilal thought that it
was essential that Ashok be helped to delve deep to know
the deeper levels of social truth by guiding him towards a
faultless education; Ashok got it largely in his education at
Biscoe School.
CHAPTER 10
THE JOURNEY TOWARDS WITHIN
The progressive society revolted against the nefarious
designs of dividing humanity on the basis of religion and
caste. But at the level of politics, progressive ideology was
manipulated to use common masses as blind cattle for the
selfish ends to win their votes. However, in the sphere of
culture and civilisation the progressive writers, poets,
playwrights and social workers played a meaningful role.
The movement of theatre that had started from the precincts
of Sheetalnath Temple achieved much development under
the aegis of the government. Radio had already established a
large number of artists, and many among the audience came
forward for their interest in acting and singing and appeared
for auditions. Thus the art of acting and singing attained
its identity as an art. Meanwhile with the establishment of
Academy of Art, Culture and Languages, the artists of all
the three regions of the state, Jammu, Kashmir, and Ladakh,
received encouragement. In Kashmir numerous theatre
groups and repertories were seen enthusiastically involved
in presenting plays. In schools and colleges also theatre and
cultural activities received great impetus. Ashok, too, was
feeling irresistible interest towards cinema, theatre, and radio
dramas. He especially felt interested in listening to various
plays broadcast from radio. He recognised and admired the
voices of Pran Kishore, Pushker Bhan, Somnath Sadhu, Uma Khosla, Manohar Parohiti, Bashir Bhat and others. The
stalwarts of radio-drama were tremendously popular among
the masses and inspired the people of younger generation.
Ashok was feeling restive to complete his education and
plunge into this eld of great expectation and excitement.
But he had yet to have an opportunity of watching a drama
played on the stage, except the plays staged in the school. He
did not divulge this longing to anyone, not even his uncle.
He silently waited for the opportunity to get a chance to act
on stage. He decided to study plays of Ibsen, Bernard Shaw,
Shakespeare and others. Thus he started borrowing books
of drama from the school library and reading them. The
more he studied drama, the more intense grew his interest in
drama and theatre. There was just one hurdle that he could
not express his yearning. He thought that he was perhaps too
young for this vocation of mature people. But now he had
already passed his tenth standard examination. If he is not
able to reveal his desire now, then it might be late. Thus one
day, while conversing with his uncle, he asked him who was
a greater writer, Shakespeare or Kalidas.
For a moment his uncle felt silent to understand the
question at a deeper level. ‘Why after all did this question
arise in the boy’s mind?’ Chunilalji had good command over
English literature and he had also read Hindi translation of
Shakuntlam. But without having read the play in its original
form he could not decide whether Shakespeare was great or
Kalidasa. Yet he did not disappoint Ashok, and said, “If we
say that Kalidasa is the Shakespeare of India, we shall not
be wrong.” Ashok got the answer that Kalidasa is Kalidasa
and Shakespeare is Shakespeare. After having passed his
matriculation, he had appeared in the annual test of the 11th
class and was waiting for the school result. This intervening
time was normally meant for wandering and having fun. It was the time of coming out of his childhood and moving
gradually into manhood; mind often remains unstable in
this critical period. Partially because of biological changes
and partly because of the surroundings, and the individual
introspects and desires development both in mind and action.
He is keen to come from within to the outside. Until then
man remains always at the receiving end, now he yearns to
give out something to others. He wants to venture out from
the limited circle around him and thus this is the period that
determines individual’s future. Ashok’s propensity towards
art and literature drew him towards those people and places
which were known for such activities. Soon after ascending
the slope of Gavkadal, there lies Premnath Chattoo’s Prem
Sangeet Niketan. When he observed groups of boys and
girls coming out of this institute of music, he got interested
in their mirth and nimbleness. Busy roads and alleys, fast
moving people on the footpaths, motor cars, and tempos,
and blooming and decorated markets on both sides of the
road, and amidst this vivacity he sees the signboard of the
music centre. He has been seeing it for many years while
passing that site. He also saw many a famous and eminent
artists of the valley coming and leaving that centre. Many a
time he yearned to meet these eminent artists, but he showed
restraint and control and moved back. He saw Makhan Lal
Saraf, a very famous actor coming out of a building opposite
the music centre. He always longed to have a word with him
and tell him that he too wanted to take part in dramas. But
two things held him back: one, his parents wanted to see him
as a doctor or engineer and no one in the family talked about
acting, and two, his education was not complete. He knew
that his family would not approve of this idea of leaving his
studies and wasting his time in a vain activity like acting
in dramas. Those parents who favoured discipline and hard work would never let their children have addiction of acting.
No doubt the work of artists was much admired but their
life-style did not have social approval that it deserved. Ashok
could not muster his courage to reveal to anyone what he
desired to do in future.
His family was still facing many vexations as his mother,
who was transferred from Poonch, was transferred within a
few years to Baramullah and then to Anantnag. Her constant
absence from her home caused him much anxiety. Ashok was
then in a very delicate period of life, and he had to be kept
engrossed in his studies all the time. Seeing Ashok’s alacrity
and restiveness, Ashok’s mother remained highly worried
that her son should not be driven towards some unwanted
passion and get deviated from his path. However, in order to
let Ashok have a direct experience of rural life, she got him
to Anantnag during his summer vacations. No doubt Ashok
had already visited many famous places of the valley, but
going on a school picnic or trekking was much different from
living in a village along with his mother, his younger brother
and sister for over a month. Ashok was overwhelmed with
joy and curiosity. He thought that this shall provide him with
a chance to see all those places that he had visited during his
school years. Achhabal, Pahalgam, Kukernag, and Daksum
were the famous places which had fascinated his mind. Thus
in a state of ecstasy he set out for Anantnag to be with his
mother.
Although life in Anantnag was much simple and wanting
in the hustle and bustle of the city, but he was delighted to
see people from various areas coming to meet his mother.
She too paid visits to various schools and often took
Ashok along. When vacations in Ashok’s school ended, the
vacations of the Government run schools started. This made
Kuntiji spend her vacations at her house. She saw this golden chance of being intimate with her son. In moving from
village to village and observing people showing deference
to his mother, made Ashok feel proud of his mother. Since
Kuntiji most of the times visited only the girls’ schools this
made Ashok reluctant. He often felt shy of talking to lady
teachers and girl students, and as such preferred to roam
about in the village. At Anatnag he was amazed to see village
Muhirpur which was inhabited by folk artists of Kashmir. He
somehow came to know that the artists were going to present
a paethir (theatre show) somewhere in the vicinity. Ashok,
accompanied his new friend Rakeshji, and they went to see
the paethir of the Bhands. A celebrated folk artist, namely,
Subhan Bhagat was leading his theatre group to present a
show in the open.
Ashok was profoundly influenced by the acting,
presentation and style of communicating story by the
folk artists. Keeping huge crowd spell bound by their
performance, that too without sets, lights or musical effects;
they could make them laugh and weep. The play highlighted
how the peasants using their wit and wisdom could defeat
the exploiters. The play was much appreciated by the
common folk. Seeing the popularity of the theatre and the
art of its presentation, Ashok was amazed and inspired. He
could understand the essential aspects of theatre that how
the synthesis of story and acting could make a presentation
effective. If the theme and the scenes too are strong, a theatre
becomes vivacious. What mattered most was the nature of
the audience and their thought and mind. When he reached
home, he lost no time in scribing his feelings and then never
forgot this experience.
At Anantanag all his friends and routine visitors to his
mother loved him passionately. In the meantime, an undesired
episode took place: Ashok had a new feeling which every human being has to have sooner or later and anywhere in his
life. He had accompanied his mother to a wedding and there
he had the experience for the first time.
The people at the marriage ceremony were close
acquaintances of Kuntiji and they also happened to be
relatives, though remotely. It was their son’s wedding.
The house was thronged by guests. Ashok was thrilled to
see himself amidst this crowd. He was clad in a pant, shirt
and a V-neck sweater of All-Wool Company. The sapphire
coloured sweater made him quite conspicuous. He stood in
the balcony watching people of all sorts busy in a variety
of activities. Someone calmly sneaked in from behind. He
looked behind him and felt as if all of a sudden someone
had captured his heart and held it in a closed st. To his
amazement he saw the ‘prettiest girl’ in the whole world
looking piercingly at him. Ashok felt as if the whole balcony
was replete with moonlight and he was having a bath in
it. The girl gave out a big guffaw. She hid her eyes with
her hands and then vanished. This is how the bell of amour
sounded in his heart for the first time. He felt in the grip of
such a bewildering experience that he had never thought of
till then. He grew restless to have another glimpse of that girl
and see her time and again. Now he was pacing through the
crowd to find her again before his eyes. But in order to escape
his searching eyes, the girl had left the wedding festivity and
gone to her home. She was continuously haunted by that eerie
situation. The restlessness did not let her have some ease
even for a moment. But she knew that Ashok was far away
from her, and having such dreams was futile.
The more she wanted to set her soul free from that spell, the more restless she grew. Then she resolved to join the wedding, and never let him see her again. He must believe, that nothing had happened, she thought. Why should I deprive myself of the joy of joining the wedding ceremony and be home?” The girl in fact tried to make her restive soul realise that there was no harm of seeing him again. Ashok desired to have a chat with someone about this new experience. But he could not nd anyone worth relying upon. ---The wedding was over. All the guests left for their homes. Ashok was all alone desperate to see that charming girl again, but without any notion of her whereabouts it was not possible. When after some more days he reached Srinagar, the pang continued to lacerate him for many days. This was Ashok’s first crush. Most people forget the experience as a case of infatuation.
The more she wanted to set her soul free from that spell, the more restless she grew. Then she resolved to join the wedding, and never let him see her again. He must believe, that nothing had happened, she thought. Why should I deprive myself of the joy of joining the wedding ceremony and be home?” The girl in fact tried to make her restive soul realise that there was no harm of seeing him again. Ashok desired to have a chat with someone about this new experience. But he could not nd anyone worth relying upon. ---The wedding was over. All the guests left for their homes. Ashok was all alone desperate to see that charming girl again, but without any notion of her whereabouts it was not possible. When after some more days he reached Srinagar, the pang continued to lacerate him for many days. This was Ashok’s first crush. Most people forget the experience as a case of infatuation.
All of a sudden many questions engrossed Ashok. “What
happened to me so abruptly that keeps me so restless? Is it
what is called love? So am I a grown up person now and also
able to love? Oh! What is it all about?” ... The questions
continued growing more and more intense. “What is that
makes a human being human and not an ape? What is the
meaning of being in this world?” Questions like these were
numerous and time was limited. One has either to dispel all
these questions and nd out a path ahead. Once involved
in searching for the answers of these questions, life elapses
quickly. But living always engrossed in so many questions
is a strange and strenuous task___particularly this relentless
craving for a girl.
The city is much different from a village. Man is different
from another man. Yet all say there is hardly any difference.
All are equal. All are the creation of one God. But in spite
of being the creation of one God there is in nite difference.
Why are there so many wars and hostilities? But why should
I think all this? I need not be a part of it. May be this world
is nothing but a big festival of the Bhands. Yes. It is truly
like that. The drama looks so real, but essentially it is all
imitation, crammed up, and hackneyed. But this way of thinking is dangerous. Let it be a drama and I too shall play my role in it, ably and cleverly.” He continued musing.
This is the stage of life when an individual needs to
develop relations with others. After getting admission in
S.P.College Ashok observed transformation in his behaviour
and in his needs. It was an irresistible craving to be an artist.
“Yes there is someone within me who wants to find some way
out.” He felt. But it needed a suitable condition. Whatever
little cultural activities he found in the college, it was not
an easy task to enter into such activities. Meanwhile Ashok
found some such companions as Ashok always desired to
have.
Zahid, who lived at Barbarshah, was the foremost
among them. His family then shifted to Harwan, one of the
most beautiful places in the Valley. Zahid was enthusiastic,
vivacious, focussed, and much skilled and intelligent. Despite
being a Shi’a Muslim, he was crazily interested in literature,
drama and cultural activities. He had come much closer to
Ashok. One day he told him that they were going to stage a
play at Tagore Hall. Ashok felt it much eerie that in spite of
being a resident of the city and having so intense interest in
drama, he did not know that there was a place in Srinagar,
called Tagore Hall, not much away from S.P.College, and
that the Hall has a stage for presenting dramas. All the
famous dramatists, artists and actors assemble there. He
came to know that Tagore Hall was a big centre of theatrical
activities. One could see the most popular actors acting live
on the stage, and one could also meet them. Tej Tikoo and
Ashok Zafrani were Zahid’s friends.Tej Tickoo was a student
of Gandhi College and often came to meet his friends at S.P.
College. Ashok Zafrani was a senior student of his college,
and planned to do M.A. in Hindi literature after completing his college education. Thus all the four friends where directly or indirectly interested in literature and drama.
The famous Coffee House at the Residency Road was an
important centre where all the intellectuals and artists met.
People of older and that of the younger generation could
have free dialogue there. It was here that one could feel the
pulse of the political and cultural life of the city. The quick
movement of the attendants, bouts of coffee, never-ending
discussions__ all this made the Coffee House a buzzing
place like a beehive. People, donned meticulously, came to
the Coffee House only to assert their opinion and prove their
metal. This was a lively place in the Residency Road Market.
It was the pride as well as the craze of the city. The nearby
cinema theatres and the pretty girls of the Women’s College
made it a place like Paris of Kashmir. How charming! How
enlivening! The place always showed a festival like hubbub
of youth. While passing through the market, one could never
imagine that behind this fascinating façade there was a
cancerous growth thriving so quietly and on prowl to make
Kashmir a veritable hell.
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CHAPTER 11
TOWARDS THE THEATRE
Ashok and his pals used to assemble there at the Coffee
House at Residency Road. Zahid belonged to an affluent
family; he was one among the whole company of friends to
own a scooter. Initially all these friends made Coffee House
their rendezvous, but it did not look nice to see Zahid alone
spending his money on entertaining his friends. Thus they
decided to pool their money for the evening coffee. Thus
they managed to enjoy staying at the hub for some more
time. It was the place where all the events of the city, the
country and the world were discussed. Ashok and his friends
were however more interested in the discourse on the world
of drama and art.
Ashok’s mind was not yet free from the mad desire
for the girl he had seen at Anantnag, yet he did not share
this beautiful feeling with his friends. Each of the friends
narrated his true or imagined love-story, and hoped to hear
a similar tale from Ashok, but he never disclosed this dear
secret to anyone. Envisioning that captivating moment of
that seeing girl with two little hands on her smiling eyes
kept Ashok mesmerised for hours; he rather tried to live that
feeling. He hardly thought if she too ever thought about him.
She could, or could not. And then she might have found her
life companion...
Ashok Zafrani was one or two classes ahead of Ashok
Jailkhani and in age also there was the same difference. He
therefore behaved like an elder brother to Ashok Jailkhani.
He like a big brother was always anxious that he should
not get astray because of his innocence, simplicity and
gentleness; he like true guard always stood beside Ashok.
The interest in theatre in Zafrani’s family was because of
his uncle, named Hradaynath Gurutu who was an established
stage and radio actor. It was therefore quite natural that he
frequented Tagore Hall to see theatrical shows there. Not
only that, Zafrani enjoyed a free and liberal atmosphere at
his home and no one interfered in his personal activities or
imposed any restriction. His father though feared that his son
Ashok Zafrani, nicknamed Kuka, might not fall into any bad
company. Yet the ease of freedom and independence had a
very useful impact on the personality of Ashok Zafrani. This
in a way helped him evince his maturity.
People parleying at Coffee House could easily be
dubbed as idling people, but the Coffee House, also called
India Coffee House, was the only centre of meeting each
other. Every educated person and intellectual was somehow
connected to this centre.
The angered and defeated in the eld of politics would
become frenzied on reaching here. Those who dabbled in
literature but failed to achieve anything would spew all their
venom against the accomplished and successful people. All
this notwithstanding a constant fact of life was quite visible
in this charged ambience: all was not well in Kashmir,
particularly in the sphere of politics.
Nepotism, corruption, and exploitation helped a certain
class of people to amass wealth. Official contracts and
embezzlements were used as stratagem to loot money.
Cultivation of hashish and its business were thriving. There . was no restraint. This sudden change resulted in speedy
disintegration of values, both at the level of families and
the society at large. All this resulted in joblessness and
restlessness among the educated youth.
Zahid, Kuka (Ashok Zafrani), Tej Tikkoo and Kaka
(Ashok Jailkhani) were also among them.
After the demise of Sadiq, Mir Qasim was appointed as
the Chief Minister of the State. At the Centre the government
was in the hands of the Indian National Congress under
the leadership of Indira Gandhi, and the Congress ruled in
the State as well. Indira Gandhi was on her official visit to
Kashmir. Like her father she too loved to have boat trip in the
Jhelum River and see the city. A hazy memory overtook
Ashok. He remembered how he, in the arms of his aunt,
amidst a large crowd waited to have a glimpse of Jawaharlal
Nehru, and then how the boat of Nehru passed so close to
the bank of the river. Ashok waved his hand to Nehruji and
Nehruji for a moment caressed him at his cheeks.
Memories of his childhood accumulated layer over layer
in his mind got stirred. He recollected how in the sixties
political unrest had subsided and peace and tranquillity
were vividly seem all around. It appeared that the pro-
Pakistan section of Kashmiri Muslim community had sunk
somewhere deep. In spite of the dominance of the rich and
the powerful, there were many policies of the government
that were people-friendly and had caused optimism. The
times of drought and famine were part of the past memory.
The educated young men belonging to the lower middle class
were attaining high positions in the government service.
Nevertheless the cult of man-worship, referred to by
Walter Lawrence, was still there in the psyche of the masses.
It was their habit to assess democracy by the measuring rod of the success of power. Jawaharlal Nehru understood this
nature of the common people, and as such, was always in
search of such individuals who could be efficiently harnessed
to drive the chariot. But probably this very policy was going
to prove suicidal. Jawaharji’s mind was always irked by the
by the guilt of having kept Sheikh Sahib behind the bars for
so many years and that too without any serious charges. In
order to keep his conscience free from the sense of guilt, he
once provided a chance to Sheikh Sahib; he was set free to
move as a free man. He visited Pakistan where he was given
warm reception. He desired to resolve the political problem
of Kashmir once for all. But perhaps divinity decided
otherwise: Jawaharji died on May 27, 1965 and all came to
a standstill.
Indira Gandhi was time and again reminded of her father’s
desire by Jai Prakash Narayan. He believed that after 1971,
Sheikh Abdullah had undergone radical change. Bangladesh
was now a reality. A country established on the basis of
religion was now divided on the basis of region and culture.
The mind of the Sheikh was really changed. Jai Prakash
Narayan helped Indira’s accord with the Sheikh. Ignoring
Pakistan, Sheikh-Indira Accord was on the anvil. The war
of 1971 had strengthened India’s position; Pakistan had
suffered a humiliating defeat. Pakistani General Niazi along
with his army surrendered before Indian General Harbaksh
Singh. More than 90 thousand prisoners of war were in the
jails of India. Pro-Pakistan people of Kashmir had gone into
hiding. The people of Kashmir for the first time heaved a
sigh of freedom and the whole of Kashmir was filled with
fragrance of relief. One could see floods of tourists all around. Ashok’s mind was growing restless to do something
remarkable. The victory in the war instilled confidence in the
youth of Kashmir. Expression was gaining momentum and thus remaining silent was considered a crime. Ashok and his
company of friends once decided to watch a cultural show
at Tagore Hall. Who knew that this very ordinary incident
would cause a big change in Ashok’s life that would became
a permanent distinction of his personality? After meeting
at the Coffee House, all the four friends decided to watch
the show of Makhanlal Saraf. This was firrst experience of
sitting in audience in a theatre to watch a Kashmiri show.
“Show kitni deir chalega?” (How long shall the Show Run?)
all of a sudden he said to Zafrani, “Let’s leave. Let’s go
home.” Zafranai gave him a blunt reply, “Why?”“Have you
not sought permission from your parents?” Zahid too asked
him but with much patience. Ashok felt that he should have
not said so for his friends would understand that he was still
holding the finger of his elders. But he at the same time knew
that if he was a little late, his father and grandmother would
get worried. His uncle knew that he spent some time in the
Coffee House with his friends; he had seen him many a time
with Zahid and other friends savouring coffee there. Ashok
did not give any reply to Zahid, and sat still and waited for
the show to start. After a little while, all the lights of the
hall were put off and the hall was filled with pitch darkness.
Gradually a huge black curtain started moving apart from both sides of the stage and the play started. Ashok then started concentrating on every aspect of what was going on the stage. He felt that the show was much compact in terms of story and action as compared to the play presented by the Bhands at Anantnag. There was an attempt to produce a feel of the reality of life in a methodical way. Ashok thought that the method was similar to that of the traditional Parsi Theatre that he used to watch along with his maternal uncle, Indu Bhushan, at Shivala Mandir. Suddenly the lights of the stage revealed to him that Indu Bhushanji too was there in the hall sitting in the rows nearer to the stage. Indu Bhushan was just two years older than Ashok. He was the person who passed on valuable information about stage to him; He was fervently interested in theatre and music. He had also bought a banjo for himself. He could play many lm tunes on his banjo. On seeing him there Ashok fell reassured that he had not erred in coming to the Hall. He could at least have something to convince his people at home that he was not alone there, but Indu Mamaji was also with him. Thus the performance of the play left a very fruitful impact on Ashok’s mind: he decided to join the theatre repertory of Makhanlal Saraf. He asked his friends that they too should consider this idea. Thus all the four friends decided to join theatre. There were already many artists working in this repertory, Makhan Lal Saraf, Bansi Mattoo, Jawahar Wanchu, Bansi Raina, Asok Zalpuri, Shibban, Manjoo, Bihari Kak, Rattanlal Raina, Brij Kishori --- all of them were established artists. Brij Kishori was one female artist who inspired many women to join stage drama and Radio drama. Although quite before her there was a very revolutionary female broadcaster Shanta Koul who had raised the gun in her own way to defeat the aggression of the tribal people and had associated herself with the theatre with the same fervour. Her voice proved very effective in encouraging a number of women to join theatre and radio drama. A new generation, including two sisters Asha Zaroo and Bharti Zaroo, was ready to carry on this movement. Bharti Zaroo proved herself as a talented and beautiful actress. She was already on the stage when Ashok Jailkhani, Zafrani and Tej stood at the threshold. The three friends had never thought that an extremely charming and bold girl shall be there to welcome them. Until then nobody knew her as a actress; she too was like then trying to seek entry in the eld of theatre.
Gradually a huge black curtain started moving apart from both sides of the stage and the play started. Ashok then started concentrating on every aspect of what was going on the stage. He felt that the show was much compact in terms of story and action as compared to the play presented by the Bhands at Anantnag. There was an attempt to produce a feel of the reality of life in a methodical way. Ashok thought that the method was similar to that of the traditional Parsi Theatre that he used to watch along with his maternal uncle, Indu Bhushan, at Shivala Mandir. Suddenly the lights of the stage revealed to him that Indu Bhushanji too was there in the hall sitting in the rows nearer to the stage. Indu Bhushan was just two years older than Ashok. He was the person who passed on valuable information about stage to him; He was fervently interested in theatre and music. He had also bought a banjo for himself. He could play many lm tunes on his banjo. On seeing him there Ashok fell reassured that he had not erred in coming to the Hall. He could at least have something to convince his people at home that he was not alone there, but Indu Mamaji was also with him. Thus the performance of the play left a very fruitful impact on Ashok’s mind: he decided to join the theatre repertory of Makhanlal Saraf. He asked his friends that they too should consider this idea. Thus all the four friends decided to join theatre. There were already many artists working in this repertory, Makhan Lal Saraf, Bansi Mattoo, Jawahar Wanchu, Bansi Raina, Asok Zalpuri, Shibban, Manjoo, Bihari Kak, Rattanlal Raina, Brij Kishori --- all of them were established artists. Brij Kishori was one female artist who inspired many women to join stage drama and Radio drama. Although quite before her there was a very revolutionary female broadcaster Shanta Koul who had raised the gun in her own way to defeat the aggression of the tribal people and had associated herself with the theatre with the same fervour. Her voice proved very effective in encouraging a number of women to join theatre and radio drama. A new generation, including two sisters Asha Zaroo and Bharti Zaroo, was ready to carry on this movement. Bharti Zaroo proved herself as a talented and beautiful actress. She was already on the stage when Ashok Jailkhani, Zafrani and Tej stood at the threshold. The three friends had never thought that an extremely charming and bold girl shall be there to welcome them. Until then nobody knew her as a actress; she too was like then trying to seek entry in the eld of theatre.
“What a butter-like tender person are you! I think I
generally see you while coming and going.” This was Brij
Kishori trying to probe into Ashok’s mind whether he was
really desirous of being an actor or was it his momentary
impulse. “I know you and your family”.
“Yes obviously, for it is a small city”, Ashok replied. Then Ashok introduced his friends to her. All the persons
present there also introduced themselves to them one by
one. Ashok told them that he and his friends had watched
their show and admired it. Although Ashok held a different
opinion, but this was not the opportune time to reveal it.
He was yet to step into this eld. If he dared to express his
opinion, nobody would take him seriously. He had quite a
distinct opinion about drama, and the actors present would
get displeased to know about it. In the meantime, Makhan
Lal Saraf, too, joined and enquired about the presence of
the three boys there. He took out a register and detached
three one-page typed forms from it. The forms had been got
cyclostyled from some shop in the market. The price of each
form and membership fees amounted to five rupees. Saraf
Sahib got the forms filled in and allowed them to pay the
membership fees in two instalments. Ashok and his friends
were much excited to have submitted their membership
forms. Now they started waiting for participation in the next
stage performance. They hoped that each of them would get
a chance to play some role. But this was not so easy. They
had to attend the drama club for the whole year, and then they
could perhaps nd some opportunity and get some role. All
the four friends were getting impatient attending the daily
meetings of the theatre. However this helped them to have a
wider circle of friends. Each member was talented in his/her
own way and as such, the four friends had to be contented
as the ‘Junior Artists’ and were assigned superficial work.
Any of the senior artist would keep them on their tiptoes
to do various errands.Whether it was to wash the unwashed
tea cups, or getting pan, cigarettes or nadiry mwanji (fried
pakodas of lotus stalk) from the bazar. Doing this kind of
drudgery made Zahid feel fed up. He was there only to please
his friends. When the evening set, they would enjoy beer or
whisky while chewingnadirymwanji.
Asok’s Mamajiji Indu Bhushan somehow came to know
that Ashok had started going to the Rangmanch (drama
club). He was worried lest his nephew should contract
some perversion. However, he never considered theatre and
association with theatre wrong. Now it was actually the time
when Ashok had to explain his position to his family. He was
suggested many alibis for being late to home in the evening.
But when his uncle Chunilal asked him abruptly whether he
whiled away his time in the theatre group, Ashok gave reply
without wasting any time, “Yes...” “Who else is with you
there?”“Me, Zahid, Ashok Zafrani, and many actors. They
are going to stage the popular radio drama, Grand Rehearsal
written by Pushker Bhan and Somnath Sadhu, and I shall get
some role in it.”
“That is you want to be an actor!” After a short silence,
Ashok said, “There is nothing wrong in being an actor.”
“It is not the issue of acting being good or bad, the
question is that whether you have decided to be an actor or is
it that you have joined the theatre for hobby.”
Ashok had so far never pondered on this issue till then.
The only thing he knew that he was getting attracted towards
the theatre without any conscious thought. He was fascinated
by theatre as his mind was fascinated by that unknown girl of
Anantnag. Getting transformed into the character of persons
of the drama was his desire that drew him towards the stage.
He understood that there was suf cient potential in him to be
an actor. But the question that he faced at that moment was
being put to him with much gravity, and he was required to
answer that question not through his heart but through his
brain and reason.
“It is my hobby as yet, but I think one could make it ones
career even.” This answer seemed to have satis ed his uncle
to some extent. “Then it is alright. But keep it always in your
mind that that whatever you want do in your life, do it with
full wisdom, honesty, and hard work, and dedication, only
then can you do that in better way. Success in any venture finally depends on the person who is involved in it. Never
forget that this counsel. So whatever you decide to do, do it
after thorough reflection.”
Ashok felt that the matter was getting more and more
serious. It was no more a matter of recreation or hobby, but
a job demanding full responsibility. He continued reflecting
on the issue till late night. --- What makes him driven to
drama? This idea started gaining roots. He realized that this
was not to while away his time, nor was it just to enjoy with
his friends. This was an issue that was intimately connected
with his future life. It concerned his total being. This was not
a venture that could be left on the condition of availability
of facilities; one has to arrange for the favourable condition
on one’s own.
His uncle’s words stirred many multidirectional thoughts
and that too simultaneously. He grew eager to share this
issue with Zahid.
Zahid belonged to a well off family and was the son of
an officer in the government. He was already leading a
sufficiently stable life. He was Assistant Manager at Kashmir
Arts Emporium and as such his career was quite certain.
And Zaifrani was doing M.A. in the University, Zalpuri was
also a government employee.And I...?Ashok was lost in
rumination. “I am the only person in the friend circle who
is entirely uncertain about his future. Why?” This is because
“my education was not complete. There are two years yet
to go for my graduation. It is not good for me to be worried
about this issue yet.” Thus Ashok started thinking about the
origin and development of theatre in the world. He borrowed
books from his friends, the library and his uncle, and from
all other sources and read them intently. He knew that like
India, other countries like Greece, France, Russia and the
European countries have their own theatre tradition.
The play was soon to be presented by Rangmunch on
the stage; the play was being directed by Makhan Lal Saraf.
The play chosen was “Grand Rehearsal”. Zahid, being a
government employee and belonging to a well off family, did
not bother to be worried about what he should do and when.
Ashok and Zahid were having intimate friendship and as the
latter was full of wisdom and knowledge. And never talked
anything meaningless. The play was written by two eminent
personalities, namely, Pushker Bhan and Somnath Sadhu,
The plays was about contemporary young generation, and as
such it needed a number of young actors. Makhan Lal Saraf
was playing the role of the Professor, and Brijkishori played
the role of the Professor’s wife. The four friends had to pass
through all the stages, from various rehearsals to its nal
presentation. It was no less strenuous than an examination.
They had to bear bad temper of the seniors on trivial issues,
and had to run many errands to please them. The seniors
tried to make them realize that they had to abide by their
orders and only then could they expect a significant role in
some drama.
A considerable audience was there in the hall to watch
the play on the stage. Many famous writers, playwrights,
theatre personalities and even the writers of the play, Pushker
Bhan and Somnath Sadhu were among the audience. Ashok
saw Pran Kishore and his wife Mrs. Shanta Koul among the
audience. This was his very first experience of exhibiting his
art of acting in presence of such eminent people. “But is there
anyone in the audience to notice my work?” He thought. He
was playing the role of a young man among a host of other
young actors involved in the play.
Ashok and many other artists played successfully their
roles. All the audience repeatedly applauded their roles.
However, Ashok was being irked by the idea that they were
constrained to deliver excessive dialogues which were not
commensurate with the action. They had taken support of
over-acting and exaggeration. Zahid did not play any role in
the play. He shouldered the responsibilities of back-stage.
But then he was suddenly removed from the backstage and
as such he took a seat in the audience to assess the roles
played by his friends. His opinion was much similar to that
of Ashok. There should not have been any artificiality in the
drama and it should have been real-to-life.
There was still much time to understand all these nuances
of drama.
CHAPTER 12
EXPERIMENTS IN THEATRE
Makhan Lala Saraf was among the artists who belonged
to old tradition of Parsi Theatre and the transitional period.
Ashok Jailkhani and his friends, on the contrary, stood just at
the doorsteps of contemporary theatre and were eager to seek
entry. They felt the need of removing all kind of superficiality
from the stage acting. Ashok believed that the audiences are
initially influenced by the very first sight of the nature of the
sets, but the play through the medium of the dialogues and
the inter-connectivity of the roles of the actors attains full
swing, the physical items comprising the set actually vanish
from the mind of the audience. This makes the art of the
actors more important. They get involved in the actions and
gestures of the actors, the nature of the characters, and their
speech. They stop to worry about whether the king is sitting
in his throne or is standing. They are interested in his actions
and speech rather than his physical position on the stage.
Within no time the decoration of the stage vanishes from the
mind of the audience. Thus what is the need of embellishing
the stage? This question appeared dazzling in Ashok’s mind.
He thus pondered on this. He recollected the folk plays of the
Bhands which are presented in the open among the crowds
of people. Thus Ashok was getting more and more interested
in the transformation of theatre in Jammu and Kashmir, both
in terms of direction, style and purpose. He was not actually
conscious of his mental engagement, but then it finally took an actual shape. A young boy was planning bringing about
a cataclysmic change in the theatre of Jammu and Kashmir.
He thought creating a new mechanism of influencing the
audience and keeping them engaged.
While playing a role on the stage, we can certainly create
the feel of time and space through a proper use of lights and
sounds. In order to create a desired locale we generally use
the external paraphernalia like curtains, props and costumes,
but all could easily be done away with. We can directly have
rapport with the pre-existing thoughts and emotions in the
minds of the audience by giving more expression to them
and integrate them with the drama itself. It was really a
momentous task. There was hardly anyone with whom he
could discuss such experiments. However, Ashok possessed
un-vacillating faith in latent memory, and he was sure that
all this was possible. He took his friends into confidence
and started preparation of staging a play according to his
conceived technique. This is in fact was the very foundation
of Vasant Theatre.
Ashok says, “We started Vasant Theatre by staging a play
Mungu; Zahid and Ashok even directed the play. I was in the
lead role also. The play was well received and everybody
appreciated our effort. Till that time I had not read anything
about stage crafe. However after the staging of this play
Pran Kishorji gifted me a book titled “The technique of play
production”.
“I came to know that even without any knowledge of
the technique till that point,I had successfully used my
independent understanding in implementing many of the
techniques. It really emboldened me. Zafrani had already
identified many books of plays in Hindi and Marathi (in
Hindi translation) for me to read for our future productions.
Dr. Ramesh Kumar Sharma, Head of the Department of
Hindi, had made him prepare a long list of such books. He
lent many of the books to Ashok for study. If mind is subject-
centred, it never deviates from the subject.”
The political scenario of Jammu and Kashmir was fast
changing. After Sadiq’s government, Mir Qasim was elected
the Chief Minister by Indian National Congress. Qasim Sahib
hailed from a distant village. His political understanding
was much seasoned. Being himself a villager, he gave much
emphasis to the well-being, prosperity and development
of peasants, labourers and common people. It was for the first time in his tenure that the village people felt that their
voice too mattered. However the elite class of the city did
not like Mir Qasim’s being the CM. They felt that Qasim
Sahib was more concerned with the rural people rather than
the urban people. But in reality it was nothing more than a
meaningless prattle. In Kashmir politics, all kind of political
intrigues against each other is a permanent feature true
in all ages. Divides like rural versus urban, Hindu versus
Muslim, India versus Pakistan, or even divides on the basis
of dialects have always dominated Kashmiri society. Politics
even uses dynastic conflicts as stratagems. All this results in
undercover corruption, black money, smuggling of hashish
and many social crimes.
Ashok could never ignore all the daily incidents of this
nature that happened around him. He was being influenced
by the underlying drama in the society. Many of his friends
whiled away their time in Regal Chowk watching flood of
pretty girls clad in white uniforms going to or coming from
the Girls College. When flocks of pretty girls came out from
the gate of the College, one would feel as if a fount of pure
white water erupted. Unparalleled in beauty, the boys and girls
always kept a certain distance from one another, but roamed
freely on the main road and in the bye lanes. Many a time, girls accompanied by their boyfriends sat in the back seats of
Regal Cinema and enjoyed romantic intimacy. Ashok’s mind
was nonchalant to all this and was engaged in exploring for
solving some serious questions of life. “What ultimately
is the purpose of life? What is the purpose of our being in
the world?” Questions like these sooner or later raise their
heads in the mind of every young man. “If we exist, why
do we exist? Kashmir has always been blessed by saints,
sages, Rishis who have tried to unknot such riddles and
consequently a humanistic thought of unity took birth here.
Buddhism, Shaivism, Islam and other faiths have assimilated
this humanistic thought of Kashmir and tried to guide our
life. In many trying situations this syncretic thought had
enabled Kashmiri people to have an intimate understanding
of the truth of life. They could have a better understanding of
the many colours, shapes and forms of life. They were thus
able to have the feel of real pleasure of being in the world
and get the supreme position to the attainment of this kind
of pleasure. But unfortunately the more Kashmiri people
tried to simplify the ways of life, the more ferocious was the
tyranny unleashed on them by internal as well as external
forces. The result was that they had to encounter numerous
calamities and upheavals in various times.
Ashok was more fascinated in the dreams of luminous
future rather than epochs of history. He was interested in
choosing his own way of life, and see himself successful
in leading that way of life. In being effective in bringing
out some radical transformation, he considered theatre as the
best and most viable medium. He thought that in adopting the
medium of acting he could prove his potential and assert his
individuality. He had already realized that his sole ambition
in life was to be a successful and efficient actor. He identified
numerous flaws in the dramas presented by various institutes of theatre in the city. All these presentations were dominated
by presentation of story, long dialogues, and sentimental
scenes; all these flaws had come from the tradition of Parsi
Theatre.
The Kashmiri Section of Radio Kashmir seemed to
have influenced deeply the psychology of the masses. The
duo of Pushkar Bhan and Somnath Sadhu played an epoch-
making revolutionary role through arranging and executing
various programmes; they also as such contributed to enriching the beauty of art. Parallel to this the ‘drama section’
under the guidance of Pran Kishore produced many dramas
significant at national as well as international level. Mohan
Nirash also presented very efficiently many such dramas in
Kashmiri and Hindi. Radio adaptation of the masterpiece
of Charles Dickens “A Tale of Two Cities” stimulated
Kashmiri youth to study English literature. Radio drama like
‘Haivadan’ motivated talent associated with Kashmiri theatre
to introduce innovations in presentation of dramas on the
stage. Mohan Nirash succeeded in adapting non-native plays
in such a ways as made them appear original Kashmiri plays.
They never appeared to be of any other language or any other
society. The fact is that the era was undoubtedly the Golden
Era of Kashmiri literature, art, and broadcasting. Marrium
Begam, and Umaji brought about revolutionary changes
in the women folk of Kashmir through their ‘Women’s
Programmes’. The programme had a direct feel of the pulse
of Kashmiri women in society. Programmes like ‘Machama’
and ‘Zoona Dab’ became very popular. There was hardly any
family of Kashmir who possessed a radio set and yet did not
listen to these radio programmes. ‘Zoona Dab’ was a feature
programme in which the government was represented by the
character of an officer, and the family members and their
servant represented the common masses. Agha Sahib, the head of the family, who worked as a government officer
somewhere in the valley, represented the life of an honest and
upright of cer, while his spouse ‘Agha Baay’ represented
the image of a moderately educated young Kashmiri Muslim
woman. They had two little kids, Nani Kur and Nikalala in
their family, and as such visualised the day-to-day life of an
ordinary middle class family. Agha Saeb was shown all the
time confronted with some problem of routine public life,
and he usually talked about the problems with his family
servant, named, Mama. The beauty of this feature was that it
was directly and very intimately concerned with the normal
life of common people. All the events in rural or urban life
were somehow or other related to it. This was the reason that
the feature adequately depicted the aspirations, conflicts,
and issues of real life. It ran for sixteen years without any
break and was thus the programme of the longest life, and
as such all the principal characters in the programme---Agha
Sahib (Somanath Sadhoo), Mama (Pushker Bhan) Agha Bai
(Mariam Begam) were honoured with Padam ShriAward.
This was the ambience, and such were the inspiring factors
amongst which Ashok Jailkhani in his later career assumed
the leadership of theatre in Kashmir. Fortunately the Five
Year Plan of both the State and Central Government were
strengthened in this very particular period. The State Cultural
Academy would organise Annual Drama Festivals at Tagore
Hall and all the theatre repertories of the state, registered
with Cultural Academy, participated in it. The Academy
also provided financial assistance on yearly basis to the
theatre groups. The assistance, though meagre, and got
through a tedious process, certainly encouraged the talents
in performing arts to adopt theatre as their hobby. Ashok
Jailkhani, Ashok Zafrani, Zahid, Vijay Dhar, Kulbhushan
Wantoo, and other friends who had founded Vasant Theatre,
decided to develop it further. Mangu Play staged by Vasant
Theatre in 1970, was also much earlier staged by a very old
drama group- Kala Kendra. Ashok decided to present this
drama once again with a new approach. His experiment
proved to be a great success. The play written by Baba Dikky,
was directed jointly by Ashok Jailkhani and Zahid. This
drama was an attempt to free the art of theatre from traditional
style and the experiment was quite successful. It influenced
a wider audience, but at the same time it inspired one of
the most popular and experienced and talented personality,
namely, Pran Kishore. He said it without any reservation,
“A new leader in Theatre is born.”Being very happy with
Ashok’s work, he gifted a very important book, titled “The
technique of play production” by A.K Boyd to Ashok. Any
young person of present times can easily understand the
significance of the fact when a senior artist encourages an
emerging artist. Ashok always recollects this episode of his
life with gratitude in his eyes. Even today the recollection
of this event of his life makes him remember Pran Kishore
with unabated devotion and his mind over flows with respect
for Pran Kishore. He always says that if at all there is any
ideal in the sphere of art, he is certainly Pran Kishore. The
book given to him by Pran Kishore provided him with the
opportunity of getting connected with world theatre. He says
that he had conceived most of the ideas about modern theatre
in his mind even before reading that book. He was amazed
as well as delighted to find that the book gave confirmation to the techniques of contemporary theatre which he had
imagined without reading it. It would not be impertinent to
mention here that vision of Pran Kishorji and assessment
worked as a strong impetus to a new talent, and Pran Kishore
said to Ashok, “ I am proud of you.”
In 1972, Doordarshan was founded in Srinagar. Ashok
perhaps did not know or could not even imagine that the
major portion of his life would pass in this very organisation.
Ashok was all the time obsessed by one single idea that he
had to prove his potential. He wanted to undertake such
a vocation that would give him fame, satisfaction, and
make him intimate to life. Books helped him a lot in this
venture. The books alone were a medium available to him
that augmented his interest in theatre and essence of life. In
the meantime many trivial as well as significant happenings
continued happening around him. On October 14, a cycle
race from Srinagar to Amritsar was organised. Happenings
like these proved very effective in strengthening a positive
attitude to life among young generation. In the 20-Point
Programme for Youth launched by Indira Gandhi Radio
Kashmir ran a regular programme for youth and then an
independent service, named Yuva Vani was started. This
channel gave a big platform to the young talent. Young actors,
playwrights, performing artists, singers, writers and talented
people of all crafts found a new medium of expression.
The result of this activity was immediate: new talent was
discovered, people like Ghulam Nabi Sheikh, Vijay Malla,
Arti Tikkoo, Kailash Mehra, Shanti Lal Sidh, Santosh Sidh,
Maharaj Krishan Shah, and scores of other artists came to the
forefront. Maharaj Shah (M.K. Shah) of Mattan Village of
Anantnag district was also kindled with similar enthusiasm.
He played the lead role in a famous play of Opinder Nath
Ishk, titled ‘Jonk’,under the direction of Dr. Rattan Lal
Shant. He had also passed the audition test of Radio, and
had also established a small centre of music and theatre,
called ‘Amar Dramatic Club’ in his own village. Mattan was
a place which had a long history of theatre activities even in
the past. A Forester, named Radha Krishan founded a new
drama club at Mattan and plays like“Krishan Sudhama”,
“Raja Harish Chandra”, “Nal Damyanti”were staged.Ram
Lila and Krishn Lila were regularly staged and interestingly
Muslim spectators always outnumbered Hindu spectators.
People from all the nearby and remote villages thronged in
to enjoy these performances. The Leelas were well-organised
and executed with craft and perfection. Amidst a flood of
spectators, Shri Prathvinath Sher used to make a recitation
of Ramayana and announce the names of the contributors
on the microphone. This resembled the ‘commercial break’
of contemporary TV shows. The businessmen found an
excellent opportunity of advertising their shops and their
goods. The young men got their names announced in code
words. The advertisements were full of sharp humour and
spicy words. And on the whole the whole ambience of that
region was much like a festival. The festival started during
the end of September and start of November every year.
This was the time when the peasants were free from their
agricultural work, and sought full entertainment in the live
programmes on the stage. ‘I (Maharaj Shah) have been
brought up in this type of environment. I have myself played
the role of Shri Ram and Shri Krishan in these Leelas. In
the devotional performances to God, the Hindu people were
fervently devoted; I am always amazed to remember that.
Even the elders came forth to touch my feet, and prayed for
the fulfilment of their desires. There was a person who had
no child even after ten years of married life. He was himself
a deeply religious person. He made a hefty contribution for
the success of the programmes of Leelas. He also donated a
Public Address System to the club. The day when I had to
break the bow and do ‘Sayamvar’ of Seeta, the person fell
prostrate at my feet and wept. He said, “O God, give me a
promise that we are blessed with a son whom we would get
to lay at your feet at next year’s Ramleela.” I instantaneously
replied, “I promise, I shall see that it happens.” The person, with eyes brimming with emotions looked at me, laid some
owers at my feet and left. Tears owed from my eyes. I had
seen his wife many a time weeping on the day of Diwali.
I do not know how it happened, but verily he along with
his wife came carrying a baby in his arms on the event of
Ramleela of the next year. He worshipped me and then
laid the baby at my feet. I deliberately kept it in my mind
that the faith and devotion might be the basis of our faith
in God. I should have shown some respect for this belief,
but with the passage of time my belief in such plays and
leelas vanished. On the contrary I could envision the uglier
aspects of society. In my town, I tried to stage dramas with
a new style. While the themes of the earlier plays were
religious, my new plays were based on realistic depiction
of the issues of contemporary society and decided to write
about the normal life in a family. The title of the play too
was ‘Faisla’ (Decision); the play was written by Ramesh
Mehta. The play was dealing with the harshness that people
mete out to a widow in a family. The audience belonging
to the young generation appreciated the play much, but the
elders were so annoyed with me that they stopped talking to
me. They could not bear to see an actor known for playing
the role of god Ram, transformed into a tyrant mother-in-
law. I did not know that people were so much submerged in
religious faith. I was much dejected when an elderly person
took me to a corner of Nagabal Garden and scourged me,
“What a sublime image of you was there in our minds, but
you destroyed that image in no time. You should never have
played that role.” I kept mum. I in vain tried to make him understand that
this was all drama and arti cial. They too understood this,
but...”
From all such happenings, I could easily derive a
conclusion the best medium of expression was acting, stage
and broadcasting. I realised that the broadcasting media
could really bring out changes in people’s thinking. People’s ignorance and their illiteracy could be decreased
to a large extent. Thus I resolved that if there was anything
really serious to do, I shall pursue this very vocation,
whatever the repercussions. There in Srinagar too there were perhaps many young
men having identical thinking. Ashok was certainly the most
resolute and serious person in this direction.”
In 1971, the political situation in Kashmir was again
briskly changing. Sheikh Sahib, Beg Sahib, Shah Sahib,
and many other eminent leaders were again put behind the
bars. A new militant organisation, name ‘Al-Fateh’ was
dismantled for being responsible for spreading lawlessness
in the valley In the meantime on January 30, 1971, a plane
of Indian Airlines was hijacked to Lahore city of Pakistan.
Such incidents were connected with the political turmoil of
later times. Being lenient to the people of Al-Fateh, handing
over the government to the National Conference of Sheikh
Sahib under Delhi-Accord, hanging of Maqbool Bhat and
releasing his companions, proved historical blunders.
Sadiq Sahib pleaded the permanent accession of Jammu
and Kashmir with India, and his efforts in this direction
were being continued by Mir Qasim. After the humiliating
defeat of Pakistan in Bangladesh war, the Kashmir issue
was forgotten and went into cold a storage. On December
12, 1972, when Mir Qasim assumed the charge of Chief
Minister after Sadiq, he had to relinquish his chair to Sheikh
Sahib just after three years. This change marginalised
National Congress. It was no less than a herculean task for
the Congress to fight a gigantic figure, erected by their own hands, and return to power.
The activists of the Congress, who had almost a licence to swindle money and enjoyed of financial patronage, had to remain subservient to the people of the National Conference. The divisive force in the valley would have not gained so much of power as is seen in the current situation there. They had be excommunicated, but now the reign of power was in their hands and all the supporters felt that they had been reduced to non-entity, and as such they wandered from pillar to post to seek some kind of props. However, Congress was enjoying strong position at the Centre and as such some of the Congress leaders had a strong clout in central institutions. The political scenario in the State had undergone a radical change. The workers and supporters of National Conference played a key role in all the programmes of development, political decisions, and new employment avenues. Jam’at-I Islami had been waiting for this type of situation for a very long time. They were happy to find the Congress people helpless and powerless.
The activists of the Congress, who had almost a licence to swindle money and enjoyed of financial patronage, had to remain subservient to the people of the National Conference. The divisive force in the valley would have not gained so much of power as is seen in the current situation there. They had be excommunicated, but now the reign of power was in their hands and all the supporters felt that they had been reduced to non-entity, and as such they wandered from pillar to post to seek some kind of props. However, Congress was enjoying strong position at the Centre and as such some of the Congress leaders had a strong clout in central institutions. The political scenario in the State had undergone a radical change. The workers and supporters of National Conference played a key role in all the programmes of development, political decisions, and new employment avenues. Jam’at-I Islami had been waiting for this type of situation for a very long time. They were happy to find the Congress people helpless and powerless.
It was in this kind of political situation that Doordarshan
Srinagar started its telecasts. Ashok received an interview
call for the post of Floor-Manager. The interviewers found
in him a highly talented artist of 18-19 years age. He had
achieved much reputation both in acting and direction at such
a young age. He had also received many prizes and awards.
Thus Ashok got the position of Floor Manager which enabled
him to get associated with an entirely new medium. The work
was much identical to lms, and Doordarshan was gaining
much popularity in the Valley. As compared to the stage,
this medium had the potential of having access to thousands
of people. It did not take him much time to understand
the function of a Floor Manager. It happened in the same
period that is in 1972-73 that Ashok was deputed to Delhi for
training in television production. During his training, he not only understood the essentials of Television programmes, he
also developed close friendship with many talents working
there in several fields of television; this friendship proved of
immense significance in his future career.
One day Ashok entered a bookshop in Delhi and tried to
rummage the shelves to find Hindi translations of Marathi
plays. He selected books like “Evam Indrajit”, “Konark”,
“Panchi Aise Aate Hain”, and “Kisi Ek Phool Ka Naam Lo”.
After studying these plays, Ashok’s mind was filled with
fresh enthusiasm. He was eager to be back to Kashmir and
start staging these plays with the support of his theatre group.
His spirits were high because only some time ago Vasant
Theatre had staged Moti Lal Keemu’s drama “Mangay”
which had won them the highest prize in the Youth Festival.
The play was directed by Ashok. Soon after that Ashok had
got a job in television. Now he had acquired vast knowledge
of the fundamentals of television plays and stage plays and
the difference between the two. He had also understood
the limitations of the status of theatre in Kashmir. Now he
was sure that he was fully equipped with knowledge and
experience to experiment in theatre. He desired to share
his knowledge about Production techniques, stage acting,
and music with his friends in Kashmir and utilise all this in
revitalizing theatre in Kashmir. During his training Ashok
came to know about the experiments of Russian actor and
director Stanislavsky in stage performances. He knew how
an actor undergoes transformation both at the physical and
psychological level. How one could coordinate scene and the
tempo through proper use of lights and sounds and coordinate
the actions and gestures of the individual actors performing
on the stage. Having achieved thorough acquaintance with
all such things, he was eager to reach Kashmir where he
could put all this into practice with the help of his friends
there.
CHAPTER 12
ADVENT OF SPRING
There is a proverb that spring makes its preparation of
advent in the winter; thus Dar Building too (where Vasant
Theatre was lodged), indifferent to outside chill, was much
warm with hectic activities of various theatre groups. With
the advent of spring each year theatre activities rejuvenated
as owners bloom in this season. This was the most proper
time for staging the dramas because the students, who had
worked very hard, were free from their examinations and
then had to wait for the results; they spent their free time
in some other hobby. In Srinagar, many youths were almost
addicted to watching theatre. Many of the actors and other
artists associated with the stage used to sell the tickets of
their seniors so that they could find occasion to learn more
about stage. Ashok Jailakhani’s team, namely, Vasant
Theatre, urged the college and university students, and even
the passers-by to watch their shows.They had to work quite
strenuously for this.
The Jammu and Kashmir Cultural Academy had
started registering all the clubs and literary centres so that
they could be developed further; Vasant Theatre too was a
registered club. The Academy paid some nancial assistance
to all the clubs for facilitating purchase of various costumes
and equipment. This assistance certainly helped the clubs.
However, in order to pay the rent for the room in Dar
Building, the members of Vasant Theatre made contributions out of the their own pockets. Sangarmal, Natrang, Abhinava
Bharti, Alankar and some more clubs were housed in Dar
Building. With the onset of evening, the building became a
busy centre of activities as all assembled there. There was
hardly any room that was not busy with one or the other
rehearsal, and thus many boys and girls met there. The
happiest thing about this centre was that Muslim boys and
girls, too, had joined the theatre groups. Experienced writers
and playwrights like Sajood Sailani and Ali Mohammad
Lone were also associated with this activity and their plays
were being staged. However, all this was made possible only
when Ashok Jailkhani augmented a revolutionary change in
staging plays.
After completing his training in Television Production
in Delhi, he went to Mumbai along with his friends. Among
his associates Ravi Bhushan Mishra was much in influenced
by Ashok Jailkhani. This friend invited him to visit Mumbai.
He had a good clout in the lm industry of Mumbai, and he
was sure that once Ashok gets a break in the industry, he
would achieve much success. Ashok was introduced to some
successful lm directors and actors by Mishra. Eventually
he even got an offer from a lm director provided that he
gave up his government service. This decision was not
possible for Ashok Jailkhani unless he got permission from
his parents. And on his return he actually placed the idea
before, his parents, but Kuntiji, Ashok’s mother told him
bluntly that she would never allow him to be away from her
eyes. ‘Television is a new medium, and may be you get more
success in it than films. You cannot leave Kashmir.” All fell
silent with this verdict.Ashok, his mother’s loyal son, silently
joined his duties at the television centre.
Among the plays he had procured from Delhi, he read
Badal Sircar’s Evam Indrajit more intently. He felt a strange restlessness for the reason that the play actually suited the
political changes taking place in Kashmir. In the month
of November 1974, ParthaSarthi and Afzal Beig signed
an accord between Indira Gandhi, the Prime Minister, and
Sheikh Mohammad Abdullah; the accord is now known as
Delhi Accord. The basis of the Accord was in fact in the
historical defeat of Pakistan in the war launched by Pakistan
on December 3, 1972. With the death of Sadiq Sahib on
December 3, 1972, Qasim Sahib was appointed as the Chief
Minister of the state. But under the Delhi Accord, power was
handed over to Shaikh Sahib.
Before staging ‘Evam Indrajit’, no such play had been
ever staged in Srinagar. It worked as a sort of announcement
of Youth Revolution. After Kashmir-Delhi Accord, Sheikh
Sahib became the Chief Minister of the state, people felt
satis ed that their future life would be free from turmoil. A
fresh hope of peace and prosperity was seen in everybody’s
mind. The episode, among other things, provided the people
with an opportunity to show serious interest in various cultural
activities. The Cultural Academy increased its functioning
to develop Kashmiri culture and culture of other regions
of the state. Radio Kashmir and Song and Drama Division
extended their activities to every district and every village.
Thus the avenues of expression were available to the artists
who were hidden among the common masses. As a result of
this, Badgam, Anantnag, Tral, Sopore, Baramullah, and other
towns produced many artists who achieved considerable
popularity by participating in radio programmes. Thus a new
atmosphere, marked by fervent cultural activities was seen
in every direction. The newly founded Television Centre
also proved a great impetus to such activities. Staging the
play ‘Evam Indrajit’ proved an epoch-making event. The
performance was watched by some members of "National School of Drama" of Delhi who were in Kashmir. They were
in Kashmir in connection with some training camp, and were
imparting training to Kashmiri boys and girls for a fortnight.
Being very happy with the presentation of ‘Evam Indrajit’,
they informed their students about the success of the show.
They told them how newly inspired and newly trained young
people of Kashmir were giving new life to theatre. A young
actor, namely Virender Razdan, who belonged to Kashmir
was present there in the NSD. Having heard the appreciation
from his teachers, he felt proud; he later came to Kashmir
and met Ashok Jailkhani, and congratulated him for his
success. Virender Razdan also achieved remarkable fame for
displaying his talent later in both theatre and cinema.
The second or third show of the play ‘Evam Indrajit’
was also watched by an established theatre personality
M.K.Raina. He had already occupied the headlines of many
newspapers for his outstanding performances, and much
like other students of NSD particularly Nasir-ud Din Shah
and Om Puri, he too was known for his success. We can
understand how deeply was Mr. Raina inspired by stage-
performance of ‘Evam Indrajit’ by the following incident:
M.K.Raina had come to Srinagar so that he could carry his
precious collection of books, which included important
books in literature and dramaturgy, from his ancestral house
in Srinagar to his Delhi residence.However, when he watched
Ashok Jailkhani’s drama, a new idea occurred to him; the
two were not having any formal introduction, yet they knew
each other quite closely. As soon as Ashok Jailkhani knew
that M.K.Raina wanted to meet him, he was thrilled. The
latter had already moved from Kashmir to Delhi and had
achieved national recognition for his contribution to theatre.
In the meeting between the two, many aspects of theatre and
contemporary situation were discussed in the meeting. Ashok Jailkhani observed that M.K. Raina was carrying a huge
bag lled with manuscripts and books.Ashok thought that
M.K. Raina might be carrying these books to his residence
in Delhi. But when the meeting was about to conclude,
M.K. Raina said quite thoughtfully to Ashok Jailkhani, “I
intended carrying all these books from my Srinagar house to
my Delhi residence, but when I saw your show yesterday, I
came to understand that the books could be more purposeful
here rather in Delhi. Would you please accept the books as a
gift? You know there is a particular purpose attached to these
books.”
Ashok Jailkhani felt as if he was being offered a treasure
full of gems and pearls. He thought that he was being
persuaded that it was now his responsibility to make the
best use of that wealth in the interest of the art. His mind
was full of rapture and pleasure, he bowed his forehead
in admiration to his elder. Thus he accepted the gift with
heartfelt gratitude. This episode gave a great lesson to Ashok
Jailkhani which he never forgot in his future life: the lesson
was that knowledge has meaning only when it is doled out to
others, only then does it enrich further. There has been a long
tradition of imbibing influence and inspiration by the young
from the old in Kashmir. The tradition has strengthened our
social commitment and social responsibilities. The people
working on the stage still follow the tradition with full
dedication, they respect it and it makes them different from
selfish individualism of today. Egoistic individualism makes
one push out others and thus pave path for oneself. On the
contrary social commitment makes us find our interests in the
interests of others; people with social commitment shoulder
the onus of easing ways of all and making the future of others
shine. When most of the people are being benefitted by the
contribution of the committed people, but there are certainly many who try to usurp the rights of the majority; it is this
tendency that creates cynicism and unrest in the world. In
contemporary times we see it happening all around us.
The successful staging of “Evam Indrajit” and availability
of modern techniques gave Ashok Jailkhani recognition
and his talent as a gifted artist was widely acclaimed in his
youthful age. The merit of this drama was that it was for
the first time on the stage of Tagore Hall that the effects of
light, sound and coordination of actors was used in such a
way that in two hour long presentation the curtain was drawn
just once. A more significant quality of the presentation was
that the audiences were so much under the influence of the
proper use of light, sound and action that they could hardly
feel that the sets were not being changed. A young actress
in the play performed so brilliantly that she was recognised
as one of the most talented artists of Kashmir. Her name
is Bharti Zaroo and is admired by the elite class as well
as the common audience. It was her first performance in a
Hindi play. She and her sister, Asha Zaroo, have won wide
popularity both as stage, radio and television actresses. Asha
Zaroo is now working with Song and Drama Division, while
Bharti is a freelancer. Both the sisters are full of admiration
for Ashok Jailkhani. During a chat, Bharti said, “I almost
worship this man for his exceptional talent, temperament
and innate genius. He has been our most loving and
affectionate companion. One can learn respect for women
from him. The girls always felt safe in his company, and the
way he strengthened the self-confidence among them helped
them work independently with full aplomb. He never got
irritated even if we teased him or made irking comments
about him. It was because of him that girls fervently worked
in the theatre and also handled many responsibilities in
addition to their acting. Our room was in the topmost floor of Dar Building. It was there that every evening we lit our
kerosene stove and made tea for all. All cherished tea in
the accompaniment of fried and spiced lotus stalk
nuggets, called nadiri monji in Kashmiri.
The artists had to fetch water for tea from the ground floor, four floors down. Each actor fetched a bucket of water everyday by turns so that we could wash the cups and the utensils. But the girls were exempted from this errand. All boys did this duty without any hesitation. Even Ashok Jailkhani who was now our group leader, a highly talented artist and moreover an officer, performed this routine job. All were treated equal, and worked joyfully in perfect cooperation. All understood their duties, rights, and responsibilities. During working hours Ashok Jailkhani would suddenly change into a strict and austere person and never showed any kind of leniency to anyone. Strict discipline was the first principle of his work and he was never ready for any compromise in this. He often repeated this famous saying of Mao Ze Dung ‘Don’t mix pleasure with the business!”And when the work was over and all the girls left, they opened their bottles and enjoyed their drinks. Whatever was done in the homes of the middle class families behind the curtains, was permissible in our centre. We felt much curious to see what the men-folk of our Centre did in our absence. And one day we deliberately left something in the theatre room and came back to get it, I was amazed to see that whole building was empty of people; it was all hush there. All the rooms were found locked from outside. After inquiring about the guys from the backer in the neighbourhood, I came to know that all had gone to watch some movie in the cinema. I felt very sorry. The next day I came to know that all of them had gone to watch a movie ‘Papillon’ All very crazy about Dustin Hoffman and Steve McQueen, and this was a film about freedom of the individual that we heartily desired. I have learned so much from him that I am ready anytime to sacrifice my life a thousand times for him...”. During this chat with Bhartji I knew that she was holding the memory of those moments and events as the most precious part of her life. Her eyes were sparkling with tears. When I asked about the reason, she said, “I think all those joyful days are sunk in the abyss of oblivion. Or perhaps we have turned old, or it may be that being forced to quit Kashmir we have such a feeling.”
The artists had to fetch water for tea from the ground floor, four floors down. Each actor fetched a bucket of water everyday by turns so that we could wash the cups and the utensils. But the girls were exempted from this errand. All boys did this duty without any hesitation. Even Ashok Jailkhani who was now our group leader, a highly talented artist and moreover an officer, performed this routine job. All were treated equal, and worked joyfully in perfect cooperation. All understood their duties, rights, and responsibilities. During working hours Ashok Jailkhani would suddenly change into a strict and austere person and never showed any kind of leniency to anyone. Strict discipline was the first principle of his work and he was never ready for any compromise in this. He often repeated this famous saying of Mao Ze Dung ‘Don’t mix pleasure with the business!”And when the work was over and all the girls left, they opened their bottles and enjoyed their drinks. Whatever was done in the homes of the middle class families behind the curtains, was permissible in our centre. We felt much curious to see what the men-folk of our Centre did in our absence. And one day we deliberately left something in the theatre room and came back to get it, I was amazed to see that whole building was empty of people; it was all hush there. All the rooms were found locked from outside. After inquiring about the guys from the backer in the neighbourhood, I came to know that all had gone to watch some movie in the cinema. I felt very sorry. The next day I came to know that all of them had gone to watch a movie ‘Papillon’ All very crazy about Dustin Hoffman and Steve McQueen, and this was a film about freedom of the individual that we heartily desired. I have learned so much from him that I am ready anytime to sacrifice my life a thousand times for him...”. During this chat with Bhartji I knew that she was holding the memory of those moments and events as the most precious part of her life. Her eyes were sparkling with tears. When I asked about the reason, she said, “I think all those joyful days are sunk in the abyss of oblivion. Or perhaps we have turned old, or it may be that being forced to quit Kashmir we have such a feeling.”
Darkness dispels with the coming of light and one is able
to see the world vividly. Nevertheless, there are some who
think that their betterment lies in keeping others in the dark.
They never wish that the world of hard facts that is visible in
broad daylight is revealed to others; thus such people make
the world a veritable hell for all.
No one could even have a remote idea that all the
activities of life, colour, forms and passions and evil were
being driven to the periphery. There were forces that
surreptitiously remained engaged in eroding the earth under
our feet. However those who are endowed with vision can
always foresee the coming events. We were feeling and
assessing the ferocity of the enclosing gloom.
Sohan Lal Koul was doing his M.A. in Urdu in the
University. He was an extremely bright, hardworking and
intelligent boy, and the Urdu Department of the University
prided in having such a bright student. The pretty-faced
young man, nobody knows why, did not shave his face.
Thick black hair, bright face, charming form and gait
an average height, characterised his personality. Having
watched “Evam Indrajit” he became such an ardent admirer
of Ashok Jailkhani that he used to keep waiting on the
Residency Road to have a glimpse of him. But he could
not muster his courage to have a handshake with him or exchange a word. He felt that no ordinary conversation was
suitable to have an introduction with his idol. He desired
to share many things with him, but having no introduction,
it was not possible. One full year elapsed like that. Ashok
Jailkhani got his promotion and he was now a Producer. In
view of the fame of Ashok Jailkhani as an actor in dramas,
the Station Director of that time Shailender Shankerallotted
him the drama section, which was a challenging job. The job
of organizing and producing television dramas is generally
assigned to the most experienced and talented director. All
raised their fingers on the decision of the Station Director for
having appointed a young and inexperienced person. Some
employees of the Centre in fact started passing their gibes.
However, Ashok Jailkhani took this order as an opportunity
to put into practice his experience in the theatre and his
knowledge that he had gained during his training in Delhi.
CHAPTER 14
NEW HORIZONS
Hari Krishen Koul is one of the established short story
writers in Hindi and Kashmiri; many of his radio plays were
much popular among the masses. His name was quite known
at the national level as his stories were published in the
leading journals. He was a college professor. He enlivened his
writings with light humour and satire. Thus Ashok decided
to adapt one of his plays for television; the play was titled
‘Dastaar’(the turban). First TV form was tremendously popular.
In the cast of the play there was an exceptionally pretty,
charming, young girl also- Rita Jalali, who later emerged
as one of the most experienced actor in radio, television as
well as stage; she dominated the media for over a decade.
The girl was known by each and every Kashmiri but with a
strange name, that is “Ram Lagay Chaanyi leelayi” which
was initially suggested by a television employee after seeing
the show. The name suited mob-psychology of the masses.
In the play an elderly employee working in some of office,
seeing this girl as a young stenographer in the office dreams
to be youthful again. He soon removes the turban from his
head and dyes his sparsely hair left on his head. He tries all
possible ways to look young and also assumes arrogance of
a senior officer in the office; he does all this only to impress
the girl. The girl comprehends this strange behaviour of
the officer and finds it easy to befool him. With the help of
two young employees working in the same office she one day exposes him. The play was thus a hilarious kind of
comedy. The audiences also admired the show for an artistic
and creative merger of acting, shorts and scenes, background
music and skilful sound effects. After watching the play in
the evening, there was extensive discussion almost in all the
families of Kashmir. The principal actors in the play were
Hradaynath Gurtoo, (as the elderly of cer) Tej Tikoo Ashok
Zalpuri (clerk) and Reeta Jalali (as stenographer); all of them
became stars overnight. The people talked about the play in
every house, every street, and market for months together;
the pet phrase, “Rami Lagay Chaanyi leelayi” uttered by
Gurtoo Sahib (the elderly employee) became a pet phrase
of every Kashmiri. In reality whenever Gurtoo saw Reeta
in any play, she was welcomed by the same name: “Rami
Lagay Chaanyi leelayi” and then when she was not with
them in the scene, the same phrase was repeated and thus
became a ‘Punch Word’. The audience also called her by
the same phrase “Rami Lagay Chaanyi leelayi” and urged
Gurtoo Sahib that he should again raise his hands up look
towards the sky and say “Rami Lagay Chaanyi leelayi”
meaning O Rama I lay my life as sacrifice for your doings!
The success of the play established Ashok Jailkhani as an
efficient director. Those who called him a ‘Gimmick Master’
after seeing his stage dramas, and said that stage is not a
place to surprise the audience, were now in agreement that
there was some extraordinary merit in this person. ...This
was the quality that was attracting the university student
of Urdu literature, namely Sohan Lal. His mind too grew
restless to do something like that. In order to fulfil his desire, he decided to visit the television
station and meet his idol there. Whenever the University bus
crossed Zero Bridge, it stopped and Sohan Lal crossed the
fence of Doordarshan Kendra and reached the door of Ashok Jailkhani’s office room. He repeated this act as a ritual on
daily basis. He would remove a corner of the door curtain,
peep into the room and then leave. He would find Ashok busy
either with some script, or engaged in a rehearsal with other
artists. Thus without revealing his desire, he would leave the
place. Ashok somehow came to know that this young man
pays visit to his office almost daily, has a glimpse of him
and leaves. ‘There must be some secret in this action of the
young man.’ He thought.
One day Ashok was standing along with his friends and
artists on the Residency Road, he all of a sudden noticed that
Sohan Lal was standing on the opposite side of the road. He
gestured to him with his hand to come near.
“I think I have seen you at Doordarshan several times.
What do you do?” Ashok asked the young man.
“I am a student. My name is Sohan Lal Koul. I want to
meet you.” Without wasting any time Sohan Lal replied.
“Of course you can. What stops you? You come to my
office and then talk to me. What is your qualification?”
“I am doing my M.A. in Urdu at the University.” Sohan
Lal replied.
Ashok said to him, “You come to see me between four
and five o’clock there. If you have written something, get it
along.”
Sohan Lal with a brightened face, could hardly believe
that it was so easy to meet him.
In fact about one year before this incident, Sohan Lal had
written a play, ‘Gradh’ in Kashmiri, which means a vulture.
He got the play along and entered Ashok’s office. He handed
over the play to Ashok and left. For over a month there was
no word from Ashok Jailkhani. Many strange questions
appeared in Sohan Lal’s mind: it might be that he did not like the play and thus there is no response. Or it might be
that he did not find time to go through the play. There might
be many scripts written by established writers in queue. And
then I do not have the claim to go to his office and inquire
about the script. I would surely tell him that he would make
more attempts to write. Sohan Lal argued with himself.
It was after a month or so that Sohan Lal by coincidence
happened to meet Ashok Jailkhani near the KMD Bus Stand.
The bus stand used to be behind Lal Chowk on the road
leading to Budshah Bridge. While coming down from the
University bus, Sohan Lal chanced to see Ashok Jailkhani
who was having a chat with his friend while enjoying long
puffs of cigarette. In the meantime, Ashok Jailkhani also
saw him there. He gestured with the sign of his hand to him
to come near him. After a brief hand shake he told him that
he read his script. Then he discussed each and every aspect
of the script with Sohan Lal. The latter was flabbergasted
that Ashok Jailkhani read scripts so minutely and critically.
After this incident, the two developed close relation and
even friendship. Sohan Lal was astounded to see brilliant
acting of Ashok Jailkhani on the stage. Sohan Lal was in
the hall along with his Univerity friends to watch a show
of “Panchi Aise Aate Hain” (Birds arrive like this).There
was a long soliloquy in the play that revealed the narrative
so beautifully that all the spectators in the hall were spell
bound. The play was directed by Ashok Jailkhani and he
did the main role. The next day the performance was not
only discussed by the spectators, but was applauded in all
the major newspapers of the time. There was hardly any
spot left in India Coffee House where the same play was
not discussed. Sohan Lal Koul,accompanied by his friends,
was there in the Coffee House and looked amazed to see
this popularity of the show. He was deeply inspired by the acting as well as direction of Ashok Jailkhani. All admired
the admirable work of the group. It shall not be out of place
to mention here that the majority of the audience was that
of Muslim boys and girls. A Muslim actress had performed
brilliantly in the play. ... At the level of political life of the
Jammu and Kashmir, there was feel of tranquillity. Soon
after becoming the Chief Minister of the State, Shaikh
Sahib had passed the ordinance that all the land owners who
did not manage their land were dispossessed of their estates.
Thus all the remaining Hindu land-owners lost the right
of their land property and the land became the property of
those who tilled it; all of them were Muslims. In Jammu, the
government established Jammu University and a supper-fast
train was started between Jammu and Mumbai. Jammu that
was relatively under-developed till then started developing
fast. Abhinav Theatre was established in Jammu under the
auspices of Jammu and Kashmir Academy of Art, Culture
and Languages. This created a lot of enthusiasm among the
artists of Jammu region. The theatre fully equipped with
modern equipments of sound and light. TheAcademy started
separate drama festivals there. This certainly augmented
a new era of theatre in Jammu. Sheikh Sahib made the
emoluments of the state government employees equal to
that of the Central government employees, and equalising
DA also equal was on the anvil.However soon after the
emergency Indira Gandhi lost in the elections and Morarji
Desai, the leader of the Janta Party, was elected as the Prime
Minister. This major change had its impact on the political
situation in Kashmir. The Congress that had agreed to the
accord, seemed to be isolated in the State.The workers of
the Congress who had enjoyed power for 20-25 years were
getting distanced from the masses.
The activists of National Congress were seeking chance
to avenge their wrath on the activists of National Conference.
The Congress workers hailing from the poorer classes,
whose livelihood depended on the Congress, were feeling
destitute. National Conference workers did not consider
even marital relations with the Muslim workers of Congress.
Congressmen Muslims were now anxious about seeking
good matches for their sons and daughters so that they could
regain their social domination.
The Congress was deprived of power in Delhi, and as
such were deprived of their status in the political system of
the State. The Congressmen then started getting inclined
towards the Jamaat-e-Islami; they developed close liaises
with the workers of the Jamaat; one major section of the
Congress actually changed into the Jamaat. This fraction
started new intrigues in the political scenario of Kashmir.
There was a sudden increase in the literary and cultural
activities that were aimed at developing the regional
languages; numerous articles were published and broadcast
on this issue and a debate was initiated. A fresh discussion
ensued on the centuries’ old cultural heritage of Kashmir.
On June 30, 1977, National Conference won the state
elections with absolute majority. This pushed the Congress to
the margin. In the same year on June 25, Morarji Desai paid
his first visit to Srinagar. On October 7, 1978, the president
of the World Bank, Robert McNamara came to Srinagar.
The world was made to believe that the accession of Jammu
Kashmir with India was absolute and there was no scope of
questioning this decision.
In the meantime delegations of folk artists, musicians
and singers of the valley were sent to various countries
of the world, and performed in various capital cities.
Song and Drama Division, Radio, Doordarshan and the state government Cultural Academy and the information
department made a coordinated effort to develop the arts of
Jammu and Kashmir. In Srinagar, women, children, elderly
people and particularly the youth started enjoying their time
in wandering in a carefree mood. The songs sung by popular
singers broadcast from Radio became an integral part of
the life of the masses. Among the singers of the younger
generation, Vijay Malla, Ghulam Nabi Sheikh, Rahmatullah
Khan, Shamima Dev (who became Shamima Azad) Kailash
Mehra, Arti Tikkoo achieved resounding popularity; new
voices accompanied by modern music created an atmosphere
of jubilation. The artists gave voice to a distinct identity and
distinct cultural legacy of Kashmir. The songs were given
immortal tunes by the talented music personality like Bhajan
Sopori. Bhajan Sopori is now known not only in India but
throughout the world and is considered one of the most
eminent musicians. Nasaraullah Khan, Virender Mohan too
have their unforgettable contribution to this resurgence of
music.
Many of their musical shows were organised in Tagore
Hall and Abhinav Theatre. They also appeared in various
TV shows and achieved tremendous popularity among the
masses. It was in this period of rebirth of fine arts that our
drama too was getting a new life and had transgressed the
limitations of language. On the one hand Piare Raina adapted
manyEnglish, Russian, French plays in Hindi as well as
Kashmiri, and on the other hand Ashok Jailkhani brought
several Bengali, Oriya, Kannada, Hindi and Marathi plays
for the stage. The social and cultural condition of Kashmir
was thus revealed to the rest of the world through drama. It
makes it further significant that that the younger generation
of Kashmir was coming out of the narrow confinements
and trying to have a contact with the whole of the world. In augmenting this strife Ashok Jailkhani played a significant
role. But all this was possible only when there was a mature
audience already present in Kashmir. This section of society
was basically more inclined towards literature and was quite
familiar with realistic writings. The audience as well as the
performers were deeply conscious of the ways of overcoming
the obstacles in poetic depiction. In this direction Ashok
Jailkhani possessed the best competence. He always kept in
mind that he has to keep the interest of the audience steadfast
throughout the performances and he knew all the elements
entailed for this. He most of the times changed lengthy and
boring dialogues, and frigid narration.
Sohan Lal Koul who was a student of Urdu literature
but possessed an ardent passion for drama; he therefore,
studied many English, Hindi, and Marathi plays. He was
well acquainted with the writings of the best story writers
of the world. He wrote a number of plays subsequently
which were approved by Ashok Jailkhani and produced by
him for Doordarshan. He also wrote a play in Urdu titled
‘Rahen’ (paths) which was directed by him for Doordarshan
and Ashok Jailkhani played the main role in that play. The
play was a hit. Sohan Lal Koul had by now got a job in
Doordarshan for which Ashok had motivated and helped
him. However,Sohan Lal says “I should not have worked
in Doordarshan. I had my doctorate degree in Urdu, and as
such I ruined my career there.”
This comment of Sohan Lal Koul is much saddening, yet
it might be a truth which Ashok Jailkhani made him feel. If
we judge his position at the surface, we are made to believe
that all is going well. But Ashok Jailkhani would never
have expressed this opinion without having his personal
experience. When creative talent is made subservient to rule-
oriented bureaucracy, the artist is bound to feel suffocated.
He often fails to make his officer understand the creative
demands of his creative urge. The of cial point of view of
the officers too encroaches upon the freedom of creativity.
The talent remains wrangling with the complicacies of the
rules of the administration. There is hardly any moment
when Ashok let the administrative exigencies become
hurdles in his creative activity, but once the bureaucratic
noose tightens around ones neck there is no freedom. One
has no choice but to do what one is ordered to do. It shall
not be impertinent to say here that a very talented director
Bashir Badgami produced an unparalleled television lm
“Habba Khatoon” in Kashmiri, but this success made him
suffer many repercussions.
While Indira Gandhi was losing her popularity during
the Emergency, she had to force all official media for the
propagation of the policies of the Congress. Once a news
feed came from New Delhi to Srinagar and it was ordered
that the feed be included in the evening news bulletin. When
the feed was previewed it was found that Congress workers
were listening to Indira Gandhi’s lecture. It is generally the
rue that there is resounding clapping after the slogan “Jai
Hind”. But it was found in the news feed that Indira Gandhi
utters “Jai Hind” and people show no response, and when she
completes her speech, people do not even clap. On the outer
case of the tape which had come from Delhi, Ashok Jailkhani
found a slip glued to it and it was written on the slip: “Please,
add clapping at the end of the speech.” It was obvious that
during that time people were not happy with the policies of
Shrimati Gandhi and yet the government controlled media
was ordered to create an artificial ‘popularity’ for the leader.
Another incident is connected with the ‘Lion’ of the
valley. Sheri Kashmir Sheikh Mohammad Abdullah arrived
at Srinagar studio to address the people. It was perhaps in connection with1978-elections. His address to the people
was recorded. He left along with his staff after the recording.
Ashok Jailkhani found that Sheikh Sahib had forgotten
his spectacles on the dais He showed the spectacles to his
staff, who started kissing the spectacles. And some of them
even said to him that he should not return it to the leader
so that it will remains a priceless relic with him.This was
the charisma of Sheikh Sahib then. There are not many
who agree with the opinion of the subordinates. But Ashok
Jailkhani had not learnt the habit of opposing anyone. His
values and education were altogether different from others.
He always believed in showing respect to his seniors and
love his juniors. He never thought it during his career that
he is adept in dramas and as such should always make drama
in actual life too. He was assigned the responsibilities of a
programme executive. Whatever the programme was, he
had to execute it to the best of his ability. He believed that
he has to be truthful whether he made a drama, produce a
music programmes, or programmes about games, children,
reply to the letters and the rest, as he produced all kinds of
programmes for television.
There were many who were jealous of his success and
it was this jealousy of people around him that once put
him in a major trouble. There was an actress, who was in
no ways comparable with him in terms of personality and
recognition. She complained to the Director of Doordarshan
that Ashok passed some obscene remarks about her and used
rude language with her. This statement of that lady was not
believable. The Director silently listened to her complaint
and decided to explore the basis of it. He made no mention
of this complaint either to Ashok Jailkhani or any other
person but at the same time he advised the lady artist not
to mention this to anybody else. The lady was basically instigated by some disgruntled actors and had been given
the promise of some bene t by them. They were unhappy
with Ashok as he did not book them for any programmes.
Ashok Jailkhani knew nothing about the whole episode. One
day he received script of a play for which he thought that the
same female artist would t as the main lead. He summoned
that actress for this role. Later while playing this role the
lady understood the real nature of Ashok and revealed to him
the whole conspiracy of those disgruntled actors. She even
touched Ashok’s feet and begged for forgiveness. It was then
that Ashok came to know of the whole conspiracy and was
surprised to realise that even the station director had not
mentioned to him anything about it. The female artist was
Shrimati Prana Shangloo. The director of the station in the
meantime had also inquired in the matter and had found out
that the whole complaint was false. The director later wanted
Ashok to blacklist all those disgruntled artists who were a
part of this conspiracy but Ashok Jailkhani pleaded with the
director for forgiveness on their behalf.
According to Sohan Lal Koul’s point of view this trait
of Ashok Jailkhani is a faw in his personality. He says that
he is gentle to the extent of reproach. He never stops anyone
and silently bears the harm done by others. Consequently
many of his creative faculties lie suppressed.
Another well known actor of the state Romi Sharma
says “The field of acting and silver screen is bigger than action, full of virtual heroes and phoney characters. And finding a real hero with firm grounding and unblemished
character is rear. However I was really fortunate to meet him
(Ashok Jailkhani Sir) for a short span of time – but that short
period left unfathomable effect on me. This great person
is alma of direction, acting and what not- an institution in
himself. He is a thorough professional who nurtures and protects new talent; he is a bacon of inspiration- and such a
gem of a person. God bless him always. Looking forward to
meet him again and again in my life.”
A gazetted officer of the Central Government, very handsome with huge fame at the age of 24 or so, one can understand how many families might have approached his parents with marriage proposals. The girls who did not succeed in Doordarshan used to blame every other actor and actress for their moral laxity. It was natural that many a girls after seeing Ashok Jailkhani would aspire to get married and tales would start getting fabricated. But Ashok Jailkhani loved nothing but television and theatre, and was in a sense inalienably wedded to his work.He never payed any attention to such things. His family would also inform all those who would come with proposals that their son was not ready for marriage. In the meantime there was a certain girl who was resolute in her decision that come what may she would make this Vishvamitra of the time renounce his celibacy. She developed intimacy with his family and succeeded in winning faith of his parents and his uncle. Then she started developing nearness with Ashok Jailkhani. She visited various temples and prayed there for the fulfilment of her wish. She had inwardly accepted Ashok Jailkhani as her husband, but the latter did not encourage her. Then she approached a famous Pir Baba who belonged to Shangas Village of Anantnag. After a short stay there, she inwardly questioned the Pir Baba if her marriage with Ashok Jailkhani was possible. The Pir Baba generally did not answers any question of his devotees and used nonsensical words and his devotees would derive some answer to their questions out of that waf e. But he directly said to that girl, “Never let this thought enter your mind. Have you ever seen a lion getting married to a cat?” On hearing this, the girl tremor with fear and felt as if she was plundered of all her possessions. She was overwhelmed with amazement and dejection. She thought that she should not have visited that place. She should not have revealed her inmost desire to anyone. She could rather directly approach Ashok Jailkhani. She was sure that it was impossible to persuade him after that incident. She cursed her wisdom and destiny and forced her mind to give up her desire for Ashok. On knowing about this dejected emotion of that girl, Ashok felt very sad. He had never thought that the girl intended to get married to him. He might have distanced himself from her as he did with many other girls. After that incident Ashok started being more careful in his relations with girls. He never wanted to hurt the sentiments of any girl. But it was not entirely within his conscious control. Almost every girl associated with stage and the screen and working under his direction considered him closest to her. And perhaps there were some girls who loved him exceedingly.
Wherever we find youth and beauty, love is a natural
emotion. However, Ashok quite fastidiously restricted this
type of emotion to propriety and values. He never deceived
anybody nor used any kind of caprice against anyone. He
never let any immorality taint his simple and honest life.
This is perhaps the reason that all women artists even
today mention his name with utmost respect and veneration.
There is no measure of his piousness and humanism and all
those who have worked with him adore him as their icon.
They always look at him with some hope in their eyes.
Theatre not only gave Ashok Jailkhani a disciplined life-
style, but also gave him some addiction for alcohol, and in
taking alcohol he never showed any control. When it was five in the evening, he grew restless and he spent the rest
of the evening hours in some pub where the friends met and drowned themselves in inebriation and talked about all
manner of things of the world. Even after doing all this, he
showed an amazing demeanour that he could easily, at his
will, live without touching the bottle. He never let himself
become a slave of his addiction. One might learn self-control
from Ashok Jailkhani!
I met Ashok Jailkhani for the rst time during a programme of Doordarshan. I was asked to do on-screen live narration of a documentary; Ashok Jailkhani was a Floor Manager at that time. I simply admired the beautiful young man who was directing on the floor. He made me comfortable and explained his method of direction. Although I had already anchored such programmes, but he was simply performing his duty. When the programme was over, we shook hands, and then I received a cheque of fity rupees and came out of the duty room. It was at that time that he came near me and asked me my name, and thus I introduced myself to him. In the duty room Mr. Piyare Raina was present at that time; he eventually added his appreciation of my work to my introduction. The producer of the programme even offered me the chance to continue with that programme and make it a weekly event. I was thrilled. I had in fact come to Srinagar to continue my post-graduation in the University. In order to meet my daily expenses I used to do some or the other kind of work in both the Radio and the Television. It was however my heartfelt desire to work as actor in dramas.
I met Ashok Jailkhani for the rst time during a programme of Doordarshan. I was asked to do on-screen live narration of a documentary; Ashok Jailkhani was a Floor Manager at that time. I simply admired the beautiful young man who was directing on the floor. He made me comfortable and explained his method of direction. Although I had already anchored such programmes, but he was simply performing his duty. When the programme was over, we shook hands, and then I received a cheque of fity rupees and came out of the duty room. It was at that time that he came near me and asked me my name, and thus I introduced myself to him. In the duty room Mr. Piyare Raina was present at that time; he eventually added his appreciation of my work to my introduction. The producer of the programme even offered me the chance to continue with that programme and make it a weekly event. I was thrilled. I had in fact come to Srinagar to continue my post-graduation in the University. In order to meet my daily expenses I used to do some or the other kind of work in both the Radio and the Television. It was however my heartfelt desire to work as actor in dramas.
While my studies in the University I somehow came
to know about the dramas presented in Tagore Hall. In the
meantime Mr Piyare Raina invited me to join his dramatic
club called Sangarmal. The club was being looked after by a
NSD pass out young man, named Chandershekher who had
done his diploma in drama. I thought it my good luck that
I had got the opportunity of working with Chandershekher.
Sometime before that incident Shri Motilal Kemu had
advised me to join drama institute, but because of some of
my domestic worries I could not do so. I had to join my M.A.
in 1973, and it was because of those worries that I joined the
M.A. one year late. My intention was to establish myself
as an actor and then work in Radio and Television. I also
participated in various musical and literary programmes.
In order to work in dramas, I took rehearsal of a drama
directed by Chandershekhar. Being from the countryside,
we resided in a rented room; some of my friends were also
with me there. When I was late in reaching to my rented
room because of my participation in the rehearsals, they
got annoyed. ‘If all are late, who is there to cook for us?’
They shouted. In spite of all these hardships when it took
me several months to complete the rehearsals, and even
then drama could not be staged, I started altercating with
Chandershekhar. The fact is that Chandershekhar was
less interested in the rehearsal but was more interested in
watching a girl of the neighbourhood through the window
of the rehearsal room; he finally got married to that girl.
Even before that a strange incident took place. While we
were busy with the rehearsal, Ashok Jailkhani, Zafrani, and
Kulbhushan Wantoo entered our room. The stayed there for a
while and then left. Before they left, Ashok Zafrani asked me
to come to the room of Vasant Theatre that was in the upper
oor of the building. When they were gone, Chandershekhar
was furious with anger and prohibited me from going there.
But that did not stop me from going there. They were busy
with the rehearsal of ‘Pagla Ghoda’ play I went in and Ashok
Zafrani told me that he knew all my teachers and that he had
completed his M.A.in Hindi. This gladdened me. “Are you
willing to take a role?”
“But I am already doing one.” I replied,
“If that drama were ever to get completed it would have been completed till now. You are wasting your time there.” I thought that there was some substance in what Ashok
Zafrani said. I, thus said ‘yes’ to him, and I was allotted the
role of Kartik in the drama.
In the valley there was a circle of writers and poets,
though small, who wrote in Hindi. All of them were teachers
and students and at the same time doing creative work in
Hindi. They made several attempts to establish a society
of writers, and eventually succeeded. But most of those
societies were short lived. I do not know why they could
never keep united. If there was anything that really united
them it was their participation in Radio and TV programmes.
They visited the two stations to get their talks, plays, and
other creative writings approved for inclusion in the
programmes. This provided them with opportunity to meet
one another. Whenever they met, they soon got involved in
hot discussion on various aspects of literature. One day there
was such a discussion on Ashok Jailkhani’s drama ‘Evam
Indrajit” that was staged. A well-known writer of Kashmir
was full of admiration for the drama. He could hardly
believe his eyes that a young director of Kashmir could
direct such a beautiful drama so efficiently. The writer was
Shashishekhar Toshakhani. He passed on this information to
another eminent Kashmiri writer, Hraday Koul Bharti. The
latter was not ready to accept the idea that a young man of
Kashmir could succeed in presenting “Evam Indrajit”on the
stage. Yet Bhartiji went to see the drama in its second and
third show; he was was ecstatic to have watched the show.
Nevertheless, Bhartiji was not one to change his opinion so
easily. ‘Okay, one attempt of this young man succeeded.’ He
thought. But when Bhartiji saw many other stage dramas of
that young director one after another, each better than earlier, he became his ‘fan’. He became his ‘fan’ to the extent of
calling Ashok Jailkhani his younger brother. Hraday Koul
Bharti is not only an outstanding short story writer and critic
of the state, but also has a deep understanding of cinema
and television. While residing in Delhi, he had thoroughly
studied cinema and besides he worked in various forms of
media like films division and radio. He considers Ashok
Jailkhani a very ingenious stage-artist, and a very gifted
TV producer, and a resourceful director. It is his conviction
that once one enters the bureaucratic set up of television,
creativity is relegated to a thing of the past birth. However,
Pran Kishore is never ready to agree with this idea. Pranji
has know Ashok Jailkhani since his early childhood. His
son, Ajay, and Ashok Jailkhani were class-mates. They used
to visit each others houses. Parnji says, “A plump, boy with
large eyes, exceptionally bright, used to come to his house.
Whenever, I happened to be there I felt happy.” Pranji, all
of a sudden recounts a happening that occurred some fty
or fty- ve years ago. Ashok, accompanied by Pranji’s son
Ajay, came to his house for the rst time. Pranji remembers
that there was an enthralling effect in the large and attractive
eyes of that young handsome boy; that charm attracted all
those who saw him. Ashok Jailkhani and Ajay studied in the
same class of Biscoe Memorial School. Then Pranji watched
the two friends grow into their youth; he always considers
him his son. Whenever Pranji is requested to say something
about Ashok Jailkhani, he says that although he treats Ashok
like his son, yet both are associated with the same passion-
theatre and lms. In this respect both of them are involved
in the same enterprise; one enjoys the status of the Guru,
and the other that of a disciple. The latter has achieved great
success in theatre and television which is exceptionally
admirable. Pranji says, “When I assess the personality and work of Ashok Jailkhani without any emotion or love, I
immediately recall those days when he and my son Ajay
collaborated in founding Vasant Theatre. It was the time
when there were only two to four theatre groups in Srinagar
city like Kalakendra, Rangmanch, and Nav Rang. It was
in that scenario that Vasant Theatre started functioning
under the direction of Ashok Jailkhani. Some other talented
creative people of that period were Ashok Zafrani, Ashok
Zalpuri, Tej Tikkoo and others.”
CHAPTER 15
KASHMIRI THEATRE FEDERATION
Pranji has supported our point of view that in the seventies
and eighties lies the golden period of our theatre. This was
the period when Kashmiri theatre thrived in every village
and town. Thus the period gave new life to theatre. Not only
were various selected dramas of other regional languages
staged in Srinagar, but, being inspired by these drama, many
original Kashmiri dramas were written and staged; all this
led to a new revolution to theatre. Ashok Jailkhani played
a vital and signi cant role in this theatre revolution. He
gave a new direction to the art of theatre. A very beautiful
characteristic of his directed plays was discovered by Pran
Kishore in 1971 for the rst time when he found time to
watch a show of Lalit Sehgal’s Hindi drama, titled “Hatya ek
akar ki” (A Murder of a image). Pranji says he watched the
play quite minutely and analytically. He felt that the child
who grew up to maturity before his eyes was certainly an
eminent artist material. Thus the veteran dramatist Pranji
resolved to watch all the plays directed by Ashok Jailkhani;
there is hardly any one play that he might have watched.
Pranji says further he had watched some of the plays in
original in Delhi and Kolkata. He had experienced that the
treatment of Ashok Jailkhani to those very plays was in no
way inferior to their original productions. Pranji’s opinion
is that with the passage of time, the presentation of dramas
on stage under the direction of Ashok Jailkhani acquired
more and more depth, variety and dimensions, the quality
remained moving towards perfection with each attempt.
Pranji was convinced that the seedling of experimentation
in theatre that he had planted many years ago by taking
theatre out of the traditional con nes, was ourishing in the
hands of Ashok Jailkhani; this conviction gave Pranji great
pleasure. The way Pranji describes his appreciation of the
dramas of Ashok Jailkhani proves it beyond any doubt that
those dramas left an indelible mark on the development of
theatre in Kashmir. In this connection Pranji recollects the
success of such plays of Ashok Jailkhani as: ‘Konark’ by J. C.
Mathur, ‘ Evam Indrajit’ by Badal Sircar, ‘Kisi Ek Phool Ka
Naam Lo’ by Madhu Rye, ‘Chinar’ by Ali Mohammad Lone,
‘Gidhade’ and ‘Panchi Aise Aate Hain’ by Vijay Tendulkar,
‘Saari Raat’ by Badal Sircar. ‘Surya Ki Antim Kiran’ by
Surendra Verma, ‘Santola’ by Mudhura Rakhsas, and ‘Pagla
Ghoda’ by Badal Sircar. All these plays as mentioned by
Pranji were presented under the banner of Vasant Theatre
and were directed by Ashok Jailkhani. One of the plays that
is Surendra Verma’s ‘Surya Ki Antim KiranSeSurya Ki Pahli
Kiran Tak’ was presented by Alankar Theatre as well.
In all these plays, Maharaj Shah also played a central
role and he also assisted Ashok Jailkhani.
Pranji further expatiates on Ashok Jailkhani’s work:
“In 1974, all the theatre repertories of Kashmir came closer
to each other for the development of theatre and their
collaboration resulted in the establishment of a federation,
namely ‘Kashmir Theatre Federation’. It was under the
auspices of this federation that many new dramas were
made accessible to thousands of spectators, and introduced
the significance of theatre activity in the transformation of
society. The success of the Federation proved that if all the theatre activists and actors cooperate with each other they
could work a revolution even without any official patronage.”
In fact the federation worked under the efficient guidance of
very creative directors and writers like Pran Kishore and thus
such a platform was made available to the theatre workers as
was acutely needed in Kashmir. The Federation organised
drama festivals. Common people much eagerly waited for
those festivals. It was in the very first festival that Badal
Sircar’s play ‘Evam Indrajit’ directed by Ashok Jailkhani
bagged the Best Play Award.
In this connection Pranji made a mention of a very
important thing. He said that when he was in Kolkata in
connection with feature lm ‘Mehjoor’ he saw that Badal
Sircar’s play ‘Evam Indrajit’ was being staged in Bangla
language there for about one year. The play was being
staged under the supervision of its author Badal Sircar.
Here in Kashmir Ashok Jailkhani was presenting the same
drama in Hindi. Pranji’s mind was still not free from the
influence of Bangla culture, and when he in the meantime
found opportunity to watch Ashok Jailkhani’s presentation
of the same play, he did not found it deficient in any aspect to
what it was in Bangla. He was extremely happy that Ashok
Jailkhani had ventured to direct a difficult play and succeeded
in matching the original Bangla production.
In almost every festival of the above mentioned
Federation, Ashok Jailkhani got an award every year. In
1975, he got the award for his direction of Madhu Rye’s play
‘Kisi Ek Phool Ka Naam Lo!’ 1n 1976, he got the award
for his direction of Ali Mohammad Lone’s play ‘Chinar’.He
received these awardsat the hands of the then Chief Ministers
namely Syed Mir Qasim and Sheikh Mohammad Abdullah.
CHAPTER 16
COMMON ROOF
Ashok Jailkhani gave successful direction not only to
plays in Hindi, but also to Moti Lal Keemu’s Kashmiri play
‘Maangay’ which proved it abundantly that he possessed
tremendous faculty of leading Kashmiri theatre to new
horizons. Pranji, too, had provided him several opportunities
of actingin radio dramas. But this journey remained short
because it was during this period that he got appointed
in Doordarshan. The most outstanding personality of
radio drama, named Pran Kishore Koul, and sometimes
fondly called Pranji, mentions an interesting event in this
connection. After his long service in Radio, he got associated
with the Mumbai lms and television. In Mumbai he wrote
the scripts and screen plays of many popular TV serials like
‘Gul, Gulshan, Gulfam’, which was a tremendous success.
In spite of Pranji’s busy schedule in this new enterprise,
the relations and communication between him and Ashok
Jailkhani never got effected. The veteran constantly watched
the broadcasting journey of his younger contemporary. He
says that he always keeps watch on all such young men
who he saw growing and making some distinct and solid
contribution to the society. Since Pranji is adept in writing
for television and directing programmes for it, it was quite
natural for him to be in contact with Ashok Jailkhani. But it
was not just a professional connection, but also at the level
of creativity and art that the two had an intimate liaises.
Pranji concedes that despite their being at different levels
of age, his creative relationship with Ashok Jailkhani finally
changed into friendship. The grasp that Ashok Jailkhani
has over every aspect of the art of theatre, in all its forms,
certificates his serious commitment to his art.Once a TV serial
producer urged Pranji to adapt a lm script for a television
serial. He tried his best to make him understand that the
script was essentially meant for a lm and it was not proper
to change this into a TV serial, but the writer was obstinate
and got the work done. The writer finally approached Ashok
Jailkhani. On his very cursory perusal of the serial he raised
the objection that the script was meant for a feature lm,
and it was not suitable for a TV serial. This incident shows
how discerning Ashok Jailkhani is in various forms of
media. There were many incidents and turns in his life when
Ashok Jailkhani exhibited his sharp judgement and creative
appreciation, and thus amazed his contemporaries.
Ashok Jailkhani’s theatre group included several boys
and girls, and among all of them there was an exceptionally
pretty and polite girl, her name was Raj Kiran. Before joining
Vasant Theatre she had worked in a couple of productions
of Sangarmal Theatre and then went to National School of
Drama to do her graduation there; she is therefore the rst
female NSD graduate of the valley. Soon after returning
to Srinagar, some of her friends advised her to join Vasant
Theatre. Yet some of her friends dissuaded her on the reason
that she might not be able to cope up with the arrogant young
man working there that was Ashok Jailkhani. Since Raj
Kiran was quite away from the theatre scene of the valley,
she could not judge for herself what was right for her; she
really considered Ashok Jailkhani a conceited person. When
she watched his production ‘Evam Indrajit’, she could
not remain unaffected by Ashok Jailkhani’s talent. She grew much curious to know the person who was not only
an admirable actor but had also proved himself as a very
talented director. She saw that there was hardly anyone in
the city who did not talk high of Ashok Jailkhani. There were
many who talked about his merits, yet there were some who
gossiped about his faults. Amidst this controversy, Raj Kiran
was unable to have her own opinion about Ashok Jailkhani.
“Perhaps Ashok Jailkhani too came to hear about me from
some quarters.” Raj Kiran says. “Thus I started receiving
messages from many guys who were working in his repertory.
So I could no more stop myself; without bothering about the
repercussions, I joined Vasant Theatre.” Raj Kiran is now
in a foreign country. She mailed all the narrative of all the
events to me, which reveal many interesting aspects of the
personality of Ashok Jailkhani that how the great personality
could inspire his contemporary youth.
Raj Kiran says that it was after long time that she showed
her willingness to join Vasant Theatre. “The very rst play
which I worked in was ‘Panchi Aise Aate Hain’, which
proved to be a hit production. It was during that time that
I happened to meet Ashok Jailkhani at the TV centre. I felt
that Ashok Jailkhani was not among such persons as had
no knowledge about oneself and the people around. He is
extremely focussed and knows how to execute his work to
its perfection. He has always a predetermined objective in
his mind and in order to achieve that objective, he remains
working steadfastly without any slackness. He discussed
his programmes and proposals without any reservation
and with complete commitment and always behaved as
an experienced person; he explained every bit so minutely
that one could easily assess his alacrity of mind and deep
understanding. He expatiated upon every minute detail of
every programme.”
Raj Kiran got opportunity to work in some of the TV
programmes of Ashok Jailkhani and a Kashmiri serial. The
title of that TV serial was ‘Harud’ (Autumn) which was the
rst long TV serial in Kashmiri and has left an indelible
imprint on the minds of the audience. Raj Kiran played the
role of the protagonist woman Naila. She had been included in
the cast by the writer of that serial, namely, Amin Shakir, but
Ashok Jailkhani was not keen on casting her. Ashok Jailkhani
thought that she had got her upbringing in a different social
background, and moreover, she had spent much of her life
away from the valley, it was not possible for her to perform
the role of a Kashmiri Muslim lady. But his opinion was for
the first time proved wrong by Raj Kiran. She performed the
role so ably and efficiently that the character is still fresh in
the memory of the masses. However, the brilliant success of
Raj Kiran in the play was made possible by the support of
Ashok Jailkhani, Amin Shakir and other actors in the play.
All of them quickly made her understand what her role in
the serial was and what the director of the serial expected
from her. It has been a distinguishing feature of Ashok
Jailkhani’s work that he let every actor, every technician,
and all the members of the crew, even the spot boy feel that
he or she is an integral component of the production and a
significant member of the team. Once Raj Kiran was chosen
for playing the role of Naila in the serial she never felt that
Ashok Jailkhani had earlier objected to her selection. One
day, because of some negligence on the part of Raj Kiran
the whole shooting of the day was spoiled; Ashokji was
not on the set on that day. The Assistant of Ashok Jailkhani
could not stop Raj Kiran from making a mistake. When in
the evening the preview was held, there was visible anger
and perplexity on the face of Ashok Jailkhani. “What do
you think of yourself? Do you know what a beautiful scene you have ruined and now we have to change this into slow
motion? The reason is that you could not run as required nor
could you evince the emotions through your facial gestures.”
This denunciation made Raj Kiran dejected. She had become
mother of a baby only some months ago and as such would
get tired soon and lacked sufficient energy. Her attention was
focussed mostly on the new-born baby, and she would bring
her baby along to the set.Understanding her situation the
director, cast and the crew were supportive of her. However,
Kiran had to work harder to play the role assigned to her.
Kiran worked in many plays alongside Ashok Jailkhani,
and was sometimes his co-star; the duo worked well.
About this experience Kiran said, “We had not even done
any rehearsal of the dialogue-lines until shooting, yet we
never felt hampered on the set while we worked together.
A wonderful chemistry worked in our mutual ventures. I
feel pride that I have worked beside this priceless diamond
of Kashmir in the eld of drama. And then I thought I was
very near to him and knew it well that I had succeeded in
understanding him, I mustered courage, and presented my
project of a stage drama. He smiled and said, ‘You have
to learn a lot as yet.’ Then he was again absorbed in his
own work. Ashok Jailkhani is an artist who has brought
television closer to theatre. He trained stage actors to
work in television plays. Yet he made all understand the
fundamental difference between the two media. This is the
reason whenever any of the actors or actresses of his group
was booked by any other group, he felt honoured. Nobody
could find any kind of fault in the competence and art of any
of his actors or actresses.”___The comments of Raj Kiran
on Ashok Jailkhani’s personality and work convey a solid
fact. Ashraf Shawl, Gul Javid, G.M.Wani, Prana Shangloo,
Bharti Zaroo, Rita Jalali, Kamal Razdan, Vijay Dhar, AnilSingh, Shahnaz, Ashok Zalpuri, Ashok Zafrani, Idris Haider,
Babloo, Tariq Javed, Parveen Akhter, Maharaj Shah, Mohan
Shah, Ayash Arif, almost all of them are now established
artists of Kashmir. All of them have their own productions to
their credit, and have earned much name in their respective fields. If we make a complete list of these actors, that would
need a separate book.
Raj Kiran is proud that when people looked down upon
actors and actresses, and called them ‘Bhand’ to show their
contempt for them, Ashok Jailkhani elevated this profession
to such a height that people started respecting it. When
girls were feeling shy of appearing on the stage, Piare Lal
Raina, Makhan Lal Saraf and Ashok Jailkhani worked hard
and and as a result of their constant strife, girls and women
from very respected families showed their willingness to
perform on the stage. Kiran remembers it distinctly that how
the members of Vasant Theatre made contribution out of
their pockets to keep its functioning going. She recalls the
times when Kashmiri girls were not even allowed to work,
and her wallet used to contain just a few coins or hardly a
note. In order to tease her, Zafrani would empty her purse
of those coins even, but Kiran never stopped him because
all had to contribute something for their light refreshments.
It was Ashok Jailkhani who asked others to return Kiran’s
money to her; never was any girl compelled to contribute
money for refreshments. She does not remember anytime
Jailkhani Sahib had to climb down four stairs to fetch water
from a tap installed in a dirty corner of the street. She always
saw him decently dressed. He was the Director, and also
an of cer, no one could dare to ask him to fetch water for
tea. May be this did not happen when Raj Kiran joined the
group. Ashok Jailkhani never felt any kind of hesitation in
fetching a bucket of water from the ground floor when it was his turn; I have myself observed him doing this duty. It was
the impact of his schooling perhaps. It was in Biscoe School
that all were trained to show utmost honesty in work and
students were educated to be self-dependent.
Recollecting one more incident, Raj Kiran says, “I got
the role of mother in Anton Chekhov’s play ‘The SeaGull’.I
was about to make certain suggestions, but Ashok Jailkhani
was so much engrossed in the script, that he never listened to
anybody. This remorse lurked in my mind for several days,
but he never paid any attention to it.”
If one wants to know how to make one’s team work
with full dedication, Ashok Jailkhani is an example. Actors,
camera person, sound person, editing person and every
person involved in the unit, is utilized to his or her best talent.
When the work is finished, he would invariably arrange for a
big feast that included liquor, meat, chicken and all manners
of vegetables. Nobody knew how he could afford to have
such a rich food. Raj Kiran always tried to persuade him that
he should abstain from drinking, but he simply dismissed
her with a smile. May be today he has an occasional feeling
that liquor is not a very good thing. Ashok’s mind was
very despondent about social injustice, and unrestrained
exploitation. This was the reason that he enthusiastically
extended his helping hand to all those from the lower classes
who wanted to rise from depravity. During his busy schedule
and up to now, he, despite holding a significant and a very
high position in the bureaucracy, he maintained distance
from traditional bureaucracy and red-tapism. He was always
prompt in performing his duty and accordingly tried his
best to get most out of all those who were associated with
his work. But he is always keeping it in his mind here in
this world all human being form a crowd. Each of them has
his /her family, home, kith and kin and friends, and all are related to each other by the bonds of humanism. All live a
collective life as well. The basic necessities of all are more
or less the same. Domestic life, parents, and offsprings make
this world, and the world fulfils the requirements of all. All
people engaged in the world, in spite of their differences,
come from the same fundamental stream, and each one of
them finally meets his/her end. This kind of consciousness
must have made Ashok Jailkhani to an extent believer in
determinism. This might have been the reason that he at
a stage of life had to face much perplexities when he got
involved in the circle of a soothsayer. The incident is like
this that the famous astrologer Raghunathji Kikloo had been
much close to his family members. He happened to show his
horoscope to him. The soothsaying astrologer perturbed him
like any human being. May be the astrologer read the zodiac
signs of his horoscope wrongly, and thus predicted his life
and his career in jeopardy. It was Moti Lal Kharoo who had
lead Ashok Jailkhani to that astrologer; Moti Lal Kharoo
worked in Doordarshan Srinagar at that time. The time was
around 1978-80 and Ashok was 23 or 24. After knowing this
type of prognosis Ashok Jailkhani started quivering with a
slight adverse gale of wind. It was just the beginning of his
life.
During this trepidation Ashok Jailkhani’s friend and
class mate, Pranji’s son, Ajay came to see him. During their
casual conversation Ajay came to know his friend was put
into a very disturbing state of mind by the topmost astrologer
of the state. After knowing the secret of his friend’s anxiety,
Ajay too for a moment grew much anxious; Kashmiri
Brahmins are much prone to the infleuence of the astrologers,
and believe in it to the extent of superstition. The knowledge
is of course a part of our proud legacy, which has been
greatly enriched by Khagolia Ganit. It was Khagolia Ganit who explored the impact of various zodiac signs, planets
and constellations on the phenomena of the earth, and how
they bring about changes. A picture of astrological facts
could be framed for every individual, which is known as a
horoscope or Janamkundali. With the passage of time many
other forms of knowledge emerged from it. The legacy of
knowledge of the actions and fate of human beings remained
preserved through Brahmins. However, ignorance about the
details of signs and circles gave birth to various illusions
which influenced common man’s mind. We must give
attention to the fact that, not to speak of the invention of
Hobble Telescope, even an ordinary telescope was not there,
our Khagol Shastris gave us much information about Shani,
Mangala, Rahu, Ketu, Budh, Shukr and other planets and
made conjectures about them; all those conjectures were
later found true. If poets/ imagination is separated from this
science, and kept free from superstition, this science shall be
accepted as a fundamental and significant development of
human knowledge.
Ajay made a correct assessment of Ashok Jailkhani’s
mental state; he knew that he was fear-stricken. The
prognosis of the astrologer had put him in dread. Ajay
showed great prudence in dealing with the situation of his
friend. If it had happened in modern time, one would make a
lengthy lecture about superstition and leave. That would not
solve his problem. Ajay knew a young boy who belonged to
a learned Kashmiri Pandit family. He had profound interest
in astrology. If the Moon can have impact on the tides of
the ocean, if ... are transformed into electro-magnetic waves
and sent through space, if the invisible is changed into
visible forms, then there is nothing in this world that could
be called the ultimate truth. This was the faith of this young
astrologer, who was also named Ashok. After a couple of days, Ajay took Ashok Jailkhani to this young astrologer.
Seeing his age and facial features, Ashok Jailkhani thought
that it was incredible that the young man knew such a
science. However, the astrologer had a sweeping perusal of
his Janamkundali (horoscope) and said abruptly, “I think his
sight has missed the purpose of your birth. The direction of
Shani is to remain constant for the next seven years and shall
continue providing you with great opportunities. Not even a
hair of you is in danger. You watch and see this prediction of
mine coming true only in a few months.”
Ashok Ganjoo- the young astrologer explained many
complex facts of astrology to Ashok Jailkhani and also made
him understand their effects, and thus he felt considerably
consoled and the lacerating anxiety in his mind was dispelled.
Ashok Jailkhani is seldom seen at the shrines, festival
sites, and temples, in that way he is much different from
general Kashmiri Pundits, nevertheless he believes in the
existence of God. God also, in many amazing ways revealed
His existence to Ashok Jailkhani in his lifetime. When we
come to know about the miraculous happenings in his life,
we are simply amazed. Whenever I reaected on God and
His creation, I always felt that this sphere of knowledge is
beyond my reason and understanding. If we try to understand
God in historical perspective and also in relation to the
cosmos, I am convinced that in this world there is actually
some all-pervading power in its objective form, it is not so,
as we generally tend to think or believe. Perhaps this is true
that He is as big and as particle of a theist or atheist. When
we are told by the saints that if a dumb person feels taste,
who is there to explain Him. But when we behold bloody
wars and large-scale bloodshed in the name of God, man’s
soul begins to think that it is nothing but man’s fear that
we call Ishwara.” Whether it is faith of a nite and helpless man in the existence of the In nite and all-powerful, Ashok
Ganjoo succeeded in liberating Ashok Jailkhani’s mind from
the dread. Thus this episode was the beginning of a lasting
friendship between the two. Ashok Ganjoo was neither
having anything to do with acting, nor was he having any
relation with TV. He was unemployed and that too even after
his marriage, he neverapproached Ashok Jailkhani for any
kind of help, even if he intended to help him, Ashok Ganjoo
refused to accept it. Thus the friendship between the two
remained free from sel shness and timeliness. Whenever
Ashok Jailkhani remembers this friend of his youth, his
eyes sparkle with tears. This sel ess person who informed
others about their future, died in his prime youth. But before
leaving this world he showed many amazing feats. While
living in Kashmir he made many predictions about Ashok
Jailkhani and amazingly all the predictions proved true.
And when Ashok Jailkhani left Kashmir, this friend of his
reached Lucknow to see him there. It was a time when both
of them had passed through very trying times. But then
both were again living their lives quite pleasantly. Ashok
Gnjoo had shifted to New Delhi where he had developed
relation with a travel agency dealing with foreign tourists
in a 5-star hotel, and he succeeded in developing his vast
customers. The predictions that he had made about Ashok
Jailkhani proved so true that there were many who were
happy and respected him and also helped him financially.
Then all started running smoothly for him: he had his own
house at Delhi, he possessed a car and other comforts of life.
He, however, never forgot the friend of his youth and in his
search came to Lucknow to see him. One day an interesting
episode happened, when Ashok Ganjoo was at Lucknow a
local friend of Jailkhani Manjul came to see him. As soon as
he saw Mr. Manjul, he introduced his friend to him. “Here is my friend Ashok Ganjoo, my bosom friend. He is the
person about whom I have talked many a time. “Manjulji
recollected and came forward and shook his hand with him.
He told him that how Ashok Jailkhani always seeks some
excuse to talk about him. Before Manjulji said something
further, Ashok Ganjoo said, “Sir, the way you recite your
secret ‘Mantara’, is not correct. First learn to do it perfectly.”
On hearing these words, Manjulji was flabbergasted. “How
does he know about my secret ‘Mantara’? This is a secret and
very personal.” Thus from this incident onwards, Munjulji
also became a disciple of Ganjooji. With folded hands he
beseeched him to show him the correct way.
Ashok Gajoo smiled and said, “All will be alright, you
just rectify your Mantra.”
Ashok Jailkhani very poignantly remembers his friend
Ashok Ganjoo. He has left a permanent mark of his spiritual
knowledge on him. Similarly in a seminar at Jalandhar a
spiritual person had told him that he should visit Balaji. He
ignored that council with a smile. “Why and how can I go
to such a far- ung place?” He thought. But when he was
transferred to Chennai station, he visited ‘BalajiTirupati’,
not once, but several times.
Ashok Jailkhani does not believe in superstitions, but
his faith in God is rm. He respects all religions and shows
sincere reverence to religious personages. He, at the same
time is much angry with orthodoxy and hypocracy in religious
matters. He thinks that fundamentalism, whether Muslim or
Hindu, is the greatest hurdle in the development of human
beings. He believes that in a closed society orthodoxy is given
the name of culture and is used to shackle human reason. He
knows that there are some people who desire that mankind in
general, who have suffered subjugation for several centuries,
should never get liberated to take the bridles of the social development in their own hands and be self-sufficient and
independent. Those sel sh few never want that that people
of all religions, castes, and creeds should have equal rights.
They are the people who take pleasure in seeing women
always servile to male ego. He hates the society in which
a group of persons are the masters and all others are their
servants and are treated inhumanly. Ashok Jailkhani is never
happy with such orthodox and conservative people. He may
not have given free vent to his dejection with this social
system, but whenever occasion demanded he did not dither
in opposing such evil forces.
Saving one’s individual conviction in the contemporary
world is initself an indication of favour to scientific temper.
Witness of all these up and downs, and influenced by all of
them, and an efficient broadcaster, and programme producer
Dr. Gouri Shankar Raina has been his close associate
throughout his career.Dr. Gouri Shanker Raina also remained
connected to that wave in seventies, when theatre was at its
apex, and Ashok Jailkhani’s name was much popular among
all. Dr. Gouri Shanker considers him his teacher though quite
young. He says that getting opportunity of working under
his direction was his earnest desire because he saw him at
new heights in the creative work one after another. Gouri
Shanker and Sohan Lal Koul have been very close friends.
The planned a play, titled ‘Year-31’ when there were hectic
preparations going on for the next year’s Theatre Festival
at Tagore Hall. Workshops of Jammu and Kashmir cultural
academy were being held in that hall and all were busy in
that event. Gouri Shanker, along with Sohan Lal Koul came
to meet Ashok Jailkhani. He relates this incident in his own
way: “All talked about the efficient and powerful actor, and
successful director who possess exceptional creative potential
to combine setting, lights, sounds and creating powerful impact on the stage. I heard much appreciation of him, but
that meeting had a lasting effect on me. I was transfixed to
have met with the powerful charismatic Guru.
Gouri Shanker Raina and Ashok Jailkhani worked in
the same institution, in two separate buildings of the same
organisation working for the same Doordarshan. Gouri
Shanker Raina had acquired vast experience in programme
production and media education. He recounts further about
the present Ashok Jailkhani: “Even after so many years, his
individuality is distinguished; he is a vibrant personality,
and inspires awe and inspiration. Whosoever meets
him recognises him as a man of profound thoughts.” Then
Gouri Shanker immediately recollects another episode of the
past.
“Kashmir is brilliant with the hues of autumn. While
the trees were glorious with their crimson colour, his play
“Chinar” was staged; the play was written by Ali Mohammad
Lone Sahib. Besides directing the play, Ashok Jailkhani
played the role of the protagonist Professor Salman. The play
had already been broadcast from Radio Kashmir, but with a
different title. However, when it was presented on the stage,
it had a quite different impact. The play sounded different
and evinced a very different physical form in execution.
The beginning of the play was very powerful and all the
actors, one by one, played their roles silently at the level of
contemplation. The contribution of the director of the play
was visible. This happened in the month of October of 1976.
Ali Mohammad Lone had already got his prestigious Sahitya
Akademi Award for his play ‘Suyya’ which was a historical
play. But ‘Chinar’ was about present life, and its presentation
posed different challenges. It possessed different dramatic
text, design and different action. Besides Ashok Jailkhani,
Indu Raina, a famous broadcaster, played an important role in it. Ashok Jailkhani achieved success in creative synthesis
of sounds and actions and admirable presentation. It looked
like a brand new painting on a fresh canvass. It dismissed all
those apprehensions about the imagination of the director. A
person of in nite possibilities was engaged in giving a new
concept to the art of theatre.”
Soon after that Gouri Shanker went to New Delhi, and as
such was deprived of seeing other plays of Ashok Jailkhani.
But when he returned from Delhi, and met him again, he
found Ashok Jailkhani appointed as Drama Producer in
Television.
Gouri Shanker Raina says, “Kashmir could not produce
television dramatists of international stature. A few radio
playwrights or writers for theatre devoted their attention to
writing and working for the new medium like television; the
effort was difficult to conceive. The scripts written for this
new medium were full of technical laws and as such needed
adaptation. There at the time of producing a successful
television drama the director had to do a lot of mental work.
He had to keep the target audience always in his mind. His
work was made all the more cumbersome by the lack of
facilities of shooting and almost absence of editing facilities.
All these considerations were kept in view in adapting a
script for television. In this connection Mr. Rajesh Koul
unravelled many such facts as amaze today’s reader.
Gouri Shanker referred mostly to the working style of the
competent, skilful, and master of the media, Ashok Jailkhani.
He says, “We had to present at least one drama in a fortnight.
One had to remain engaged all the time with actors, actresses
and other technicians. Even a slight weakness would ruin the
whole effort. And then it was the time of ‘Run-Through’, that
unstopped shooting. Once after reverse counting the word
‘Action’ was uttered, the word ‘CUT’ had to be said only at the end of the recording. You could understand this arduous
task if you had the experience of shooting for preparing a 16
– mm lm in the outdoors. We had to arrange for an editor
before that. It generally used to be a part of a segment of
drama, and it was to be merged on line with a live telecast.
In this situation nothing was free from faults. Music, lm
strip, and drama on the set--- in all this the director had to
remain dispersed. The producer had to complete the whole
process of synthesis within a stipulated time. Once he took
his seat on the panel, there was hardly any second for him
to think. The whole process was to be accomplished without
editing. In view of this a TV director had to make thorough
and perfect arrangements for every detail before starting the
task. What was to be telecast and how it was to be telecast, all
depended on the Directors personal choice, competence and
availability of the means. It was in this very trying period of
the development of telecasting that Ashok Jailkhani thought
of television dramas and many new plays were presented. In
Kashmir the tradition of television serial dramas was started
by Ashok Jailkhani much before DD-1 started the serials. It
is his humility that he always asserts that the success of his
productions was because of the collaboration of the writers
of those plays, the performing actors, and technicians. He
never says that it was because of his individual effort.” Gouri Shanker has expressed his feeling of intimacy,
friendship and sense of nearness with Ashok Jailkhani in the
following words:
A owing cascade of this extremely beautiful
Valley shines on the stage of emotions,
All have said, and heard, that soothing
Is the down-pour of summer;
With dedication and commitment
He ambles on his chosen path;
like Quiet chinars and silent leaf fall,
Silent ow of a rivulet
Without stopping.like Quiet chinars and silent leaf fall,
Silent ow of a rivulet
The same sentiment has been expressed by Rajesh Koul
in his own way and emotionally charged words. Rajesh is
himself a very efficient broadcaster and programme producer.
He is proud of the fact that he began his career as a Production
Assistant under Ashok Jailkhani. Soon after his appointment
as a Production Assistant Rajesh Koul, because of his talent
and hard work, emerged as an eminent programme producer
in a very short time. Rajesh Koul is a very humble and an
experienced person. He wonderfully combines his art and
humanistic approach. He has equipped himself with a lot of
experience and education in every aspect of the process of
production. He admits that he has been influenced by the
personality and manner of functioning of Ashok Jailkhani.
Recollecting the hardships of the early period of
television, Gouri Shanker expatiated on the process of a
‘Run-Through Recording. He then gives an illustration of
a television drama which he prepared under the supervision
of Ashok Jailkhani. “One of the scenes of the drama was
based on a ash-back. The male character in the ash back
is without beard, but when he comes back to the present, he
nds beard on his face. There was no question of stopping
shooting, all was to be completed within a short time. All
arrangements were fully made. In one room there was the
set of the ash-back, and in the other that of the present. The
distance between the two was covered by means of a narrow
lane. Nisar Badgami, the makeup-man, himself kept standing
in that dark lane and removed the crape from the face of the
character within the stipulated time. On seeing the drama in
totality no spectator could guess that how they could change the facial features of the actor in such a very short time. The
Rajesh Koul and Ashok Jailkhani worked together as two
good friends for over 18 years. There were nevertheless
certain moments when because of the interference of others,
there was some strain in their relations, but the two sorted out
all their differences amicably and kept moving ahead. The
two have their individual objectives in their lives, but even
today Rajesh Koul very fondly respects Ashok Jailkhani; he
calls him a ‘beacon’ or a ‘guide’.
In 1976, when just ten days had passed after Rajesh
Koul’s marriage, Ashok Jailkhani was engaged in presenting
his play ‘Begur Bani’ (vial with a crack).The incident goes
that the actor to play the role of one of the central character
was stranded at Anantnag because of the floods. There was
no hope of clearing of the road for about a week. Then Rajesh
Koul made a strange suggestion to Ashok Jailkhani. Since
the former was not quite experienced in drama production,
and in direction also he did not have any skill, yet within
him he heard a voice saying to him, “Yes, you can do it!”
He proposed that Ashokji should himself play the role and
that he would himself take care of the panel. Ashok Jailkhani
had full confidence in this young man, and thus he agreed
to the suggestion. This was true of Ashok Jailkhani’s nature
that whenever there was any unexpected problem, it would
not take even a minute for him to take a decision. Playing
that role meant to memorise the dialogues spread over 10-
12 pages within half a day and then enact the scene with
other actors without any break. The most remarkable thing is
that this drama was recorded and telecast quite successfully
and the audience appreciated it much. People still remember
the role played by Ashok Jailkhani. Kashmir is a Muslim
majority region; 90% of the population comprises Muslims.
In their culture and unity we find a visible reaction of Indian culture and harmony. However, the machinations of
politics had caused a strange uncertainty in their life. The
communal and fundamentalist forces were not happy with
the harmonious composite culture. They would never like
the Hindu and Muslim artists should work together to enrich
the composite culture of the state. At the political level a
campaign was started with full force against this unity. It
happened in those days that objections against Muslim
women’s acting on the stage and in television dramas were
being heard. However, in utter disregard of these hostile
voices, there were such Muslim women, as Naseem Khan, her
younger sister Parveen Akhter, Hafeezah Kousar and others,
who undaunted continued contributing to the popularity of
television. All of these women have worked either as co-
actors of Ashok Jailkhani or under his administration.
All the female actors admired his work. Ashok Jailkhani
always called Naseem Khan by the name “Meem Sahib”
and she would respond calling him ‘Sahibji”. The kind
of friendly relations we had in television was hardly seen
anywhere else. Doordarshan Kendra had emerged as the
principal centre of attraction for all types of artists. Writers,
maestros in music, singers, actors, and artists in all other
spheres would assemble there. The Centre had thus emerged
as the most important meeting point for all of them. There
was never any paucity of intelligent producers and directors,
all were equally efficient in their work and each of them
strived in his or her way to strengthen this Centre. Farooq
Nazki, Bashir Bhat, Bashir Badgami, Basharat, Javid Iqbal,
Mir Mushtaq, Zaffar Ahmad, Chaman Lal Hakhoo, Bansi
Koul, Jaikishen Zutshi, Piare Raina, and other ef cient and
ingenious people worked there as producer/directors. Each
one of them was peerless, and each played his role. All of
them are all admiration for Ashok Jailkhani.
There at the Doordarshan Kendra, because of the
competition, some kind of professional rivalry too was
always seen, yet the rivalry did not mar the inter-personal
relations leading to hostility. One could always nd a number
of the artists sitting together in a small restaurant that served
tea and coffee on the Bund. Ashok Jailkhani enjoyed the
status of the central point of this fervent activity. The excuse
of enjoying tea, coffee or Kanti would make them come
closer to each other and get engaged in creative discussions.
The subject of the discussions and parleys was either art or
some issue related to art, like poetry, television, cinema, and
theatre; political issues would also make the discussions
fervent. One could many a time see couples in love also
sitting there. It appeared that we are sitting in a restaurant of
the world’s most developed and cultured country. This was a
picture of Kashmir which was entirely different from the
picture that is now presented to the world of politics. It was
meeting point of highly sensitive and thinking individuals
and enthusiastic young people. People would join that centre
just to counter the divisive forces and the forces that were
inimical to progress and development. The centre provided
space to creativity, aesthetics, and individuality. There was
no scope for any kind of fundamentalism. It was a centre
which had such talented young producers and directors like
Shanti Veer Koul, Shahzadi Simon. Young poets writing in
English like Seetu Nanda and Roop Spark worked there as
producers and directors, and beside them dozens of other
talented poets and writers were associated with the Centre.
The whole ambience was full of enthusiasm and fervour. One
of the protagonists of this ambience was Ashok Jailkhani.
He was also in the company of famous actors, actresses and
writers.
In 1973, I passed my graduation from Anantnag Degree
College. Prof Ratan Lal Shant was my teacher of Hindi
literature; he was considered one of the most eminent short
story writers in Hindi as well as Kashmiri. His radio plays too
were quite popular. It was our fortune that he was transferred
to our college. It was my final year in the B.A. I had already
made some presentations of the theatre of my town. I used
my own way to bring about some changes in the tastes of the
people. I had founded a dramatic club in the town and had
successfully staged many plays of Ramesh Mehta, and all
the plays of our club were much appreciated by people. We
had also presented some musical performances. Our club,
namely, Amar Dramatic Club, presented many programmes
on Radio. Whenever people sent letters addressed to Amar
Dramatic Club, the postman delivered them to me; such was
the wide popularity of the programmes that we presented
from Radio Kashmir. When Dr. Shant came to know about it,
he invited me to join his dramatic group. The rst drama we
staged was “Jonk” written by Opindernath Ishk. I still deplore
the fact that in spite of the keen interest shown by many girls
to take part in the dramas, we had to rely on boys to perform
female roles. But when numerous girls thronged in to watch
the show and tried to break the barricades, we had to arrange
for separate shows for them. My performance in the said
drama gave me considerable encouragement. Dr. R L Shant was
kind enough to recommend me to Shri Pran Kishore and Shri
Somnath Sadhu in his two letters addressed to them. Though
it was almost impossible for me to participate in any Radio
programme because I had no facility of staying in Srinagar
city, it generally took one full day to reach Srinagar. Even
then whenever I reached Radio Station, my heart would
start beating violently. ́Am I really going to be in company
of those personages whom I have always craved to see?”
I thought. After getting entry-pass from the gate, I entered
the premises of Radio Kashmir and started reading the
name plates of the rooms. The door of Somnath Sadhu was
open and beheld a gracefully lean person sitting in the chair
perusing some les. I sought permission to enter the room,
he allowed me with a nod of the head. “He cannot be Sadhu
Sahib,” I thought. For about 15-20 minutes he did not utter
even a word, and remained engrossed in his les; he was
studying some script perhaps. Waiting for so long made my
throat feel dry, I was trying hard to say a word. “Yes, what
brings you here?” On hearing these few words from him, I
was taken aback: “He is none but Sadhu Sahib himself!” I
immediately took out the envelope addressed to him. “Okay,
okay!” Hesaid. “I hope you are not in hurry. Let’s go for
recording.”
I was totally flabbergasted; I could hardly believe my
ears that I was received so warmly in Srinagar. However,
this did not last long as shortly after that I was appointed
in the Dena Bank of India, and eventually my visits to
Srinagar Radio Station discontinued. After struggling hard,
I could barely spend six or seven months in the bank, and
in 1974, I took admission to the Department of Hindi in
the University of Kashmir for post-graduation, and thus
I was once again connected to the city. However, the rst
year of my M.A. proved much heavy for me. There was a
glitch in my scholarship, and as such I had to face terrible
times. It was the money that I got for my participation in
Radio and Television programmes that supported me in
continuing my studies. In the meantime I came to know that
a young man, named Ashok Jailkhani had won resounding
appreciation for having staged a play, Evam Indrajit. It was
one of my class-mates Piyare Lal who broke this news to
me, but the real details I came to know from my teacher
Prof. Ayoub Premi. He was a professor of the University
who regularly went to Tagore Hall to watch stage dramas
there; he never missed any Hindi drama. He had watched all
the dramas produced by Vasant Theatre, and one of the chief
reasons of this was Ashok Zafrani. He had completed his
post-graduation in Hindi and as such he generally arranged
passes for the teachers of Hindi Department and invited
them. Dr. Ayub Premi introduced me to Ashok Zafrani, and
thus I started knowing about his theatre group. Even before
that incident, I had been doing rehearsals for Sangarmal
with Chandershekhar. It was the time when preparation for
presenting Badal Sircar’s ‘Pagla Ghoda’ were in full swing;
I got the role of Kartik in it. This play however, remained
deferred for a pretty long time, which made me much sad
as it had wasted much of my time. In the meantime, Ashok
Jailkhani decided to postpone staging this play, and present
another play of Vijay Tendulkar, titled “Gidhade”. This was
my rst engagement with Vasant Theatre; it was my rst
stage performance after coming to Srinagar. I played the
role of the father, when I was hardly 22. My performance
was much appreciated in the local dailies and as such I was
very happy. This provided me an opportunity to come closer
to Ashok Jailkhani and develop friendship with him. There
was no better person than Ashok Jailkhani from whom I
could learn how to work with full commitment, and make
all hardships easy and achieve success. And I hardly felt
the signi cance of this. After ‘Gidhade’ we worked for a
long time on Shanker Shesh’s play ‘Fandi’,butbeing busy
with some other work at the time of its staging, I could not
participate in it.
Then we prepared another play written by Surendra
Verma, that is ‘Surya Ki Antim Kiran Se Surya Ki Pahli
Kiran Tak’. We had to face many hardships in finding a woman actor to play the lead role in it. Finally we ended
our search after finding Asha Zaroo. I worked as Assistant
Director in the play, and also played the role of Pratosh in
it. Ashok Jailkhani was no less than an ideal and teacher
for me. Not only at the level of theatre and television, but
he assisted me in many trying situations of my life. He
never made me realize that he silently kept on rectifying my
mistakes. He never talked ill of others, nor did he let others
do so. He always emphasised the principle of ‘know yourself
rst’. He never held others responsible for his failures if
any. He always made it sure that success did not give him
overweening confidence. He at the same time never let any
failure make his dejected and sit idle. He always thinks that
keeping oneself engaged in work is the only way to happiness.
If there was no drama to present, he wrote plays, if there is
nothing to write, do acting; in short do something creative.
There were many young men like me who were striving in
Srinagar to find some work in theatre or television; Kamal
Razdan, Reeta Jalali, Vijay Dhar, Anil Singh, Tariq Javed,
Mohan Shah, Ashok Zalpuri, Ayash Arif are most prominent
among this lot.
Ayyash Arif says that in or around 1970 when he opened
his eyes in the world of theatre, he saw theatre at its pinnacle
in Kashmir. He also believes that that was the ‘Golden Period’
of theatre in Kashmir. It was the time which produced great
writers like Ali Mohammad Lone, Pushker Bhan, Somnath
Sadhu, Pran Kishore, Kavi Rattan, Sajood Sailani, Makhan
Lal Saraf, Jawaher Wanchoo, and Sham Lal Dhar Bahar, and
among the youngsters there were people like Pran Cnadra,
Veerender Razdan, Piyare Raina, M.K.Raina, K.K. Raina,
and particularly Ashok Jailkhani. All of them were fervently
engaged in developing theatre. Ayyash Arif further says that
Ashok Jailkhani entered the eld of theatre at the time when many types of plays were already staged by others. The
playwrights of Kashmir were conscious of their role in the
social, political and cultural spheres of life. In spite of all
this, says Ayyash, that it was no one but Ashok Jailkhani who
for the rst time attempted to modernise theatre in Kashmir.
He staged plays and set new standards for the playwrights as
well as other artists. Ayyash worked in Ashok Jailkhani’s TV
serial “Ducch” which was written jointly by Tej Tikoo and
Zahid Nashad (Zahid Hussain).
When in his very frst meeting with Ashok Jailkhani,
called Ayyash by his name, and invited him to stand amidst
senior artists to write roles, he could hardly believe his ears.
‘How could such a great artist be so simple and affectionate
in his demeanour? I thought that I knew him for many
years.” Thus Ayyash could feel amiability and admiration in
the personality of Ashok Jailkhani. The friendship between
the two contemporary artists that started some 30 years ago,
continues unabated. In this long span of time the world passed
through many vicissitudes, and much has been eradicated,
ruined, but their friendship remains unaffected. The basis
of this abiding friendship is the essence of human values.
Ayyash either sees him in the form of his teacher, or his
supreme benefactor and well-wisher. Ayyash gives the credit
for all his success to Ashok Jailkhani. “If then Ashokji had
not given me the right kind of role,” says Ayyash,” I would
have not got any recognition in the eld of acting among the
masses. In fact he understood the anxieties and aspirations
of many young people like me. Thus this relation did not
remain con ned to the relation between an actor and a drama
director, but was the relation of human beings grounded in
the best human values of doing good to one another. The
leadership that I and other young people needed, we got from
Ashok Jailkhani - a visionary. Perhaps this was the reason that we proved ourselves tested as gold in the crucible of
struggle, and we stood like a solid rock in all adversities that
were aimed at uprooting the culture of Kashmir from its soil.
Srinagar Doordarshan has worked under the direction of
several reputed and eminent people like Shalinder Shanker
(1973-1976), S.P.S Kiran (1976-1980), A.S. Garewal (1980-
1983) and Mazhar Imam (1983-88). All of them have praised
Ashok Jailkhani for his creative zeal and contribution. All of
them knew this multi-dimensional personality who in spite
of his remarkable achievements preferred to live a simple
and unassuming life. During all these years there has never
been any complaint against Ashok Jailkhani; all have been
happy with him. Scores of assistants, artists, staff and clerical
staff have worked with him and I have never heard even a
word of censure against him from any of them.”
In 1975 he was promoted to the post of Producer,
and then he started a new chapter as a TV presenter. His
programme “khatoon ke Jawab” (Replies to Letters) was
very popular among the people. He himself appeared on
the screen and responded to every question on behalf of the
audience; the programme was so successful that people even
ignored the most popular Pakistani serial “Neelam Ghar”.
In this connection it is interesting to mention here that even
the numerous letters received from various parts of Pakistan,
especially from Pak-Occupied Kashmir, too were all praise
for the programme. One of the female viewer had written
with emphasis that she ignored “Neelam Ghar”to watch
the Programme “Aap aur Hum” (You and We). The letter
was received from POK, and then she regularly wrote to
Doordarshan Srinagar.
There is one more person who has remarkable success
to his credit in the sphere of television, theatre, and daily
programmes, and is much reputed and respected; he is Shabir Mujahid. He has seen and understood Ashok Jailkhani very
closely and intimately. The two have been working together
since 1971; and even before the beginning of their career the
two read in the same college, that is S.P.College. Ashokji
was senior to Shabir Mujahid, and both were very active
in the cultural activities of the college. Shabir Mujahid
was very enthusiastic in stage dramas and various literary
activities of the college; this was the basis of close friendship
between the two. When Shabir Mujahid entered S.P.College
in 1971, Ashok Jailkhani had already earned name as a stage
activist; the former was much in uenced by the latter. In
1973, Srinagar Television centre started functioning, and
the two friends started their career in television almost
simultaneously. Besides doing their jobs in television, they
continued working for the stage.
In television centre, Shabir Mujahid found Ashok
Jailkhani not only as a very competent of cer, but also a close
associate who was ready for any type of help at any time.
Whether it was some of ce related affair, or some personal
problem, he never dithered. He says that Ashokji has a very
clear and simple way of life and he does not let any anxiety or
complexity creep into it; he is steadfast and upright person. He
detests false praise or flattering. He never accepts anybody’s
favour, nor does he indulge in slandering others. He never
heeds to others’ backbiting, nor does he encourage this evil
nature. He has a clear assessment of whatever he undertakes
to do, and as such, he takes all manner of precaution.” Shabir
Mujahid further says, “I not only learnt the art of working
for television from Ashok Jailkhani, but also the practical
philosophy of life.” He acknowledges quite candidly how
Ashok Jailkhani worked with full dedication for the centre.
According to him he always got inspiration to do better work
from Ashok Jailkhani.
In recent times, Shabir Mujahid worked under the
administration of Ashok Jailkhani during the Common-
wealth Games. Ashok Jailkhani was the project director
of the Commonwealth Games at the national level. The
coverage of the games was telecast world over and highly
appreciated.
Ashok Jailkhani has now attained the status of a very
resourceful, creative, and brilliant broadcaster of Indian
television. In spite of all his achievements, he is rooted to
his soil and connected to his people. One of the fundamental
objectives of the present book is to explore this organic
relationship.
One single person’s minor contribution can make the path
of numerous people easy. The government must always seek
possibilities of utilizing the potential of an ef cient person,
particularly a person who has proved his mettle in public
service and has never dithered in performing to the best
of his competence. He has never come forward to express
his grudge that his contribution is not being recognized
by the government. He is a man of integrity that he never
exaggerates his contribution and competence in order to
seek any kind of favour or recommendation from the higher
officers. Whatever role was assigned to Ashok Jailkhani, he
performed it willingly and with full dedication. If anyone
willingly tried to in ict any harmupon him,he performed to
his best even then.
By producing successful dramas and television serials, he
made many people working in Srinagar Centre think, that if
Ashok Jailkhani continued to work so brilliantly, they would
never get any opportunity of showing their talent. Thus
Ashok Jailkhani was once divested of his drama assignment
and was asked to do games programmes. But he performed
to his best even then, so much so that his work was much admired not only in the Centre but also elsewhere. It was
his admirable performance in producing sports programmes
that he was chosen to cover various national events and also
the International event in the capacity of the chief producer.
Relentless hard work, full commitment to work, honesty and
integrity in performance, are the basic secrets of his success.
CHAPTER 17
THE BELL OF ALARM
On September 8, 1981 Sheikh Muhammad Abdullah
breathed his last, and his son Farooq Abdullah assumed
the charge of the President of the National Conference; he
became the Chief Minister of the state. In his very first tenure
he had to face political opportunism. The Indian National
Congress would not like to remain out of power for any
longer, they desired to grab the power by hook or crook.
They urged the then Prime Minister, first Indira Gandhi and
then Rajiv Gandhi that Farooq Abdullah be motivated to
work in alliance with the Congress.
Farooq Abdullah was understanding the political
intrigues against him, and, as such, he remained in touch
with other political parties and maintained a distance from
the Congress. Being annoyed with this gesture of Farooq
Abdullah, the Central government succeeded in instigating
Farooq Abdullah’s brother-in-law Ghulam Mohammad
Shah to stand as a rival to Farooq Abdullah in the National
Conference so that he could be appointed as the Chief
Minister of the state with the active support of the Congress.
As soon as Shah assumed the charge as the Chief Minister,
Farooq Abdullah grew impatient: he went to London
where he developed liaises with various anti-India forces.
In London he had meetings with separatist leaders like
Amanullah Khan. However, Farooq Abdullah soon came out
of this vicious circle. Firstly he was convinced that in India,
Indian National Congress is not the only political party to
reckon with, and secondly, he had not lost his credibility in
Kashmir. He saw the result of this in the next general election
in 1983 when he won with absolute majority and formed the
government. The clouds of uncertainty on the sky of Jammu
and Kashmir dispersed as his party won 76 seats. Kashmiri
people elected their leader with absolute majority, but the
Congress felt that they had lost the chance of regaining power
for all times to come. The banks of their patience started
getting inundated. With the consent of the Centre, they
formed a weak government with the support of G.M.Shah
The people thus lost faith in the Central government and the
disillusionment caused them pain. They got disillusioned
with democracy. The government that was formed after
the absolute majority in the elections was dissolved as it
was a castle of the cards. People observed how political
opportunism, nepotism, family discord and non-political
considerations dominated and overwhelmed propriety and
decency in politics. Thus the religious fundamentalists were
quick to take full advantage of the situation and Jamaite
Islami began to raise it head. They propagated among the
disillusioned masses that it was only within the principles
of Islam and only after establishing an Islamic state that
Kashmiri people could do away with the corrupt politics. They
tried to make people understand that India was a Hindu
state, where everything was submerged in corruption and
favouritism. They propagated that India was an enemy of
Islam, and they stood for establishing Islamic democracy or
Nizam-e Mustafa in the State of Jammu and Kashmir so that
they could make the people of state prosperous.
The simple-minded emotionally charged populace was
engulfed in the quandary of politics as the opportunist
political forces ignored the rising power of the Jamat.
The political alliance of the Congress with Ghulam
Mohammad Shah did not last long. News of a new alliance
between Farooq Abdullah and Rajiv Gandhi was heard. Thus
the congress withdrew their support to Shah and imposed
Governor’s rule under article 356, and then after six months
the President’s Rule.
In November 1986, the conjectures of the people proved
true: there was an accord between Rajiv Gandhi and Farooq
Abdullah, and thus an alliance of the National Conference
and Indian National Congress came into power. This
political exigency looked eerie to the people. They realised
that it was just lust for power that guided their leaders and
nobody bothered about the aspirations of the people. The
most despicable thing about this political opportunism was
that people lost faith in democratic process. In the meantime
political accord between Rajiv and Farooq made some
senior Congress people despondent. They saw that their
significance in the political space of the state was dwindling
fast. Mufti Muhammad Syed developed veiled liaison with
the leaders of the Jamati Islami. Rajiv Gandhi sanctioned a
special grant of 1000 crore rupees to the state.
In 1987, Muslim United Front (MUF) emerged as a
strong political party and jumped into elections. Against the
complaints of heavy rigging and booth capturing, Congress
won 24 seats and National Conference 39 seats; the two
parties again agreed to form an alliance government. In this aura and against this political expediency a
dangerous poisonous stream of thought was fast emerging,
but behind a veil, yet it started becoming tangible.
On July 13, 1988, the National Conference celebrated
its Golden Jubilee and on August 1, of the same year there
were two huge explosions, one near Srinagar Club, and the
other near Telegraph office. The responsibility of these two explosions was taken by JKLF (Jammu Kashmir Liberation
Front). Thus a new thought, a new chapter in the political
history of Kashmir was unfolded. This marked the beginning
of militancy; the government was groping in darkness for
some kind of plastering work.
The official media of information became the first target
of this aggressive politics, and the militants increased their
efforts to exploit the media.The employees working in these institutions became the
soft targets of violence and they were intimidated, threatened
or killed.
On the first of September 1988, there was an explosion in
a tourist bus that worked as an announcement to all tourists
to stop coming to Kashmir. On September 3, there was an attack on the General Post
Office; one of the militants was killed and 21 militants were
arrested along with their Kalashnikov’s or AK - 47 rifles.
All these militants had acquired training in POK and had infiltrated into Kashmir to unleash mayhem. On October 12, 1988, it was found that the JKLF was
behind all these incidents. On October 13, Rajiv Gandhi made an aerial trip to
the valley of Kashmir to assess the situation of floods. He
sanctioned an assistance of 53 crore rupees to the state.On October 27 there was ring in various parts of the
city of Srinagar that terrified all the inhabitants.
CHAPTER 18
THE GORY VISTA
In 1989, on January 7, the government apprehended a big
group of Pakistan trained terrorists, but in the month of June
of the same year a new out t Hizb-ul Mujahidin appeared on
the scene. They first of all ordered all the women to wears
veils, and also declared Islamic Code of Conduct by issuing
Fatwas. On August 5, 1989, the JKLF issued an ultimatum to
the National Conference leaders and workers to resign
immediately. OnAugust 21, 1989, they shot NationalConference(Ruling
party) Block President Mohammad Yousuf Halwai dead.
On September 14, 1989, they killed the block president
of Bhartiya Janta Party (BJP), namely Tiklal Taploo. This
incident terrified the whole valley as Tiklal Taploo was
a popular leader. Muslims respected him more than the
Hindus. He always pleaded for the poor in the court without
charging them any fees. Besides being a man of integrity and
eminent personality, he enjoyed much respect in the society.
On December 8 of the same year Rubia Syed, one of
the daughters of the then Home Minister of India Mufti
Mohammad Syed was kidnapped. The incident made the
situation all the more bad. The way the central and the state
government surrendered before the terrorists, it made people
believe that the situation was totally out of the control of the government. The terrorists also made every attempt to
convince the masses that the time of the rule of India and
that the time of Pro-India politics had finally ended, and
that they were the real masters.
This propaganda did not have even an iota of truth, but
since the people had faced many successive disillusionments
for the last ten years, they were easily misled by this
propaganda. All the people of the valley came out on the
streets like a huge flood and raised slogans like “Yahan kya
chale ga ?Nizam-I Mustafa!” and “Hm kya Chahte Azadi!”
Many of the slogans were full of venom against the Hindus
of Kashmir. Thus a large-scale campaign of dishonouring
Hindu girls and women started. It was absolutely impossible
for the staff to reach Radio and Television stations.
Everyday the Producers of Radio and TV received orders
from the terrorists: “Do what we ask you to do, if not, you
shall get killed.”
During the times of the Emergency declared by Smt.
Indira Gandhi, all the people of the country had widely
condemned it, yet they had felt relief from many anxieties.
There was a sudden decrease in the prices of food and other
provisions, and all was available in plenty. The inflation was
controlled, and in order to check corruption the administration
was strengthened. Many programmes for the welfare of the
lower sections of society were started. This period proved
very fruitful even in the fields of culture and information.
Numerous effective measures were taken to
strengthen culture and art. Since Indira Gandhi was no more
in this world, the political scenario changed and the fields
of art and culture also got marginalized. Although Rajiv
Gandhi strived to bring India closer to the developed nations
of the world, and declared many revolutionary measures for
art and culture, but in order to realise those programmes, much needed to be done, and it needed strong political will
against all social hurdles. Bofors gun deal, and reservation
for the lower castes were two most hot issues that caused
much confusion in the Centre. As a result of Indira Gandhi’s
assassination and the consequent sympathy wave, the Indian
National Congress won the elections under the leadership of
Rajiv Gandhi with absolute majority. But that energy was
gradually dissipating. The seeds of division and caste hatred
were seen growing in every part of the country. A weak
Central government meant strength to the divisive forces.
In toppling the government of Farooq Abdullah and
installing a weak government of Ghulam Muhammad Shah
with the active support of the Congress, the people witnessed
a naked dance of political pragmatism. Common masses,
and pro-Farooq Abdullah section of society, were much
aggrieved by this arbitrary change. This alliance however,
did not last long, but Farooq’s mind was completely
disturbed. He, like his father, thus started thinking of other
options. There was large scale unrest among the masses. The
period was thus doomed to portend a very bad era of history.
In order to weaken the strength of the National Conference,
the Central government ignored the increasing strength of
the fundamentalist Islamic force under the banner of Jamati
Islami It was a political game rife with hazards.
In 1982, Zulfkar Ali Bhutto was hanged to death by
Zia-ul Haque, the episode resulted in a bloody confrontation
between the National Conference and Jamati Islami.
All this recounting of the important events of the time
means to convey that the healthy and peaceful atmosphere
that Kashmir had witnessed from 1970 to 1980’s, was getting
turbid and scrambled.
No more were any Shakespeare, Kafka, Kalidas, Julius
Caesar. T.S. Eliot and other literary figures like Pablo Neruda, discussed in the Coffee House; they were replaced by topics
concerning Palestine, Israel, Russia, China, India, Vietnam,
Kosovo or Argentina. Now it was said that the glorious
period of Kashmir history in terms of culture and learning
was not before the eleventh century, but it actually started
only after when Islamic rule started in the state. All these
developments made the people of the Hindu minority of
Kashmir feel suffocated. This inherent discord in the society
surfaced in 1986 in the shape of communal strife between
the two sections of society in Anantnag.
Though the feuds between Muslims and Hindus were
essentially started only to shake the State and Central
governments, but in practice it was the Hindu section of
society that was subjected to suffering. Dozens of temples
were razed to ground in one night and the Hindus were
mercilessly beaten up and humiliated in their own houses.
Many houses of the Hindus were put on re and plundered.
No art or culture could thrive in this atmosphere of communal
hatred.
Soon after this, Muslim fundamentalists and supporters
of violence started domination of all the institutions of art & culture and learning, like Radio Kashmir, Doordarshan
Kendra, Jammu and Kashmir Cultural Academy etc. And
then it was in such bad times that Ashok Jailkhani was
appointed as the Assistant Station Director of Srinagar
Doordarshan, while Lasa Koul was the Director; the latter
worked as deputy Director of Radio Kashmir before that.
Actually appointment of Ashok Jailkhani as the Assistant
Director of Doordarshan Kendra was made during the tenure
of Mazhar Imam. Now the nature of Ashok Jailkhani’s duties
was much different. The duty of a programme executive in
those days was primarily related to the programmes, but
after assuming the charge of an administrative post one had to look after the administrative affairs only; ones role is
restricted to organization and its management. Now he was
to see that he worked in accordance with the directions of the
Centre to keep the station functional.
It was under the directorship of Mazhar Imam that
ef cient broadcaster and Producer Farooq Nazki worked
as the Deputy Director. He was appointed as the Director
of Radio Kashmir. He knows Ashok Jailkhani quite closely.
Farooq Nazki much candidly says about Ashok Jailkhani
“He set a unique example among the people of younger
generation in making successful career in broadcasting,
and for his success he always gives credit to his mother
and father.” He gives more credit to his mother because
she herself had earned a very high respect in the society
for her exemplary social work. Besides being an eminent
educationist, she proved herself as a successful mother.
Farooq Nazki emphatically says about the success of Ashok
Jailkhani that it was fundamentally because of his mother’s
in uence that he achieved so much in his young age. He
says, “She was a multidimensional woman of great calibre
and hailed from a well-educated family. She took all pains
in bringing up her son Ashok Jailkhani and imbued him with
many of her qualities.
In 1986-87 the accord between Rajeev Gandhi and
Farooq Abdullah came into existence. On the other hand the
Muslim United Front (MUF) was emerging as a very strong
political force. One could easily see Muslim fundamentalism
spreading in every nook and corner of Kashmir. The MUF
was based on politics based on religion, and thrived on anti-
India sentiment, and preached that Indian secularism was
hollow. They were able to capitalise on the emotions to
instigate Muslim majority.
This new stream of Islam was an open aggression on the
tradition of religious tolerance and fraternity of Kashmir.
These new forces tried to uproot the strong basis of the
composite culture of India.This party enjoyed the support
of some very senior leaders in the Central Government. The first target of this new political force were the progressive
writers, secular intellectuals, and the people working for
the media. Among the institutions of media of information
the most important were radio and television centres.They
were blamed for propagating secular ideology among the
masses. Thus these institutions were encroached upon and
dominated by the fundamentalists. They even interfered
in the nature of programmes and their broadcasting. Thus
whole atmosphere smacked of a deep conspiracy. As a result
of this intervention, the staff of Radio and Doordarshan felt
restlessness.
Some anti-social young Muslims tried to change the
whole direction of radio and television programmes in their
favour. Gradually this interference changed into practical
coercion on all the artists, writers, producers, and directors
so that all the programmes could be made to propagate
Islamic teachings. Programmes like ‘Chitrahar( film songs)’,
dramas, and music were banned. All the concepts of culture
started losing their old meanings.
It was in this atmosphere of coercion that Lasa Koul was
appointed as the Director of Doordarshan. Farooq Nazki
was appointed as the Director of Radio Kashmir after a
long interval. Before joining Radio, Farooq Nazki worked
as special advisor of Farooq Abdullah while he was the
Chief Minister. And as such he had almost lost all liaison
with daily programmes of Radio and Television. A very
influential Muslim political clout was interested in seeing him appointed as the Director Doordarshan.
influential Muslim political clout was interested in seeing him appointed as the Director Doordarshan.
Farooq Nazki has been a very experienced broadcaster.
He tried to exploit the pressure mounted by that group and
enter Doordarshan, and as such he gave them full freedom
to act. But perhaps Nazki Sahib’s eyes were focussed on
the political turmoil, and as such could decide things in
his own favour. There was no perceptible reaction to resist
the fast increasing influence of forces of pleading religious
intolerance as that meant jeopardising one’s life. Those
persons, who were really having the potential of countering
the fundamentalist forces, took refuge in their safe recesses
and supported them indirectly. Farooq Nazki and others
who thought like him and important intellectuals preferred
to remain mute spectators. Thus the whole atmosphere was
overwhelmed by religious frenzy.
Ashok Jailkhani’s perception of the role of the players
on the stage had changed. He was surrounded by new type
of people with their individual interests and ambitions,
and he never considered it more than that. It is a strange
thing that while the majority of the Hindu staff were highly
perturbed, Ashok Jailkhani maintained the cool of his mind
saying that it was a new, though very ugly, transformation.
“Maharaj, you don’t understand. My friend it is a stage,
it, the stage is now being usurped by the Jamat because
we secularists have abandoned it by our own choice. The
meaning of secularism has undergone radical change. The
whole politics of the country is getting contaminated. ...You
better mind your own work. After all we are employees, we
shall keep working under the government rules so long as
we can...”
As Assistant Director, piles of bulky files, a big table and
chair, and an awesome chamber--- yet one would not see
any sign of anxiety on the face of Ashok Jailkhani. But the
fact is that all had a strong cause to be anxious. And among the Muslims if anyone still wanted to be sober minded was frustrated
All the religious gatherings were dominated by the
fundamentalists. On the one hand fatwas were issued with
excuses of being enemies of Muslim faith, and on the other
hand they created religious discords so that a handful of
people could grab all the institutions of culture and use them
for their personal interests.
Now it was an era of decrees and fatwas of prohibitions
in the name of religion. The slogans of ‘Azadi!” were
reverberating in all directions. On the one hand the business
of hashish and opium reached its acme, and the wealth
generated by this black money made people raise clusters
of mansions, and on the other hand the rhetoric on the bases
of values of morality and “ Islamic code of Conduct” was
growing more and more clamorous. The women folk were
trained in a new kind of slavish subordination. It was a time
of chaos in all respects.
It was in this kind of chaotic circumstances that the
supporters of division on the basis of religious hatred started
assessing social inequality in the name of religion. “The
Hindus are enjoying all, while the Musalmans are deprived.
Radio and TV are centres of indecency and nudity...This
could be true of Indian tradition, but it is against Islamic
practice... India has corrupted the culture of the state....
Hindu culture is being imposed on us...” All this propaganda
justified attack on the centres of culture. And attack on the
institutions of culture meant attack on Hindu employees in
the institutions.
Lassa Koul and Ashok Jailkhani were working in
Doordarshan on position one and position two respectively.
They apprehended that if they came out of their offices,
they might not survive. This was a precarious condition.
LassaKoul was constantly under the increasing pressure of
the terrorists. On the other hand the pressure on the part of
the government to maintain parity between the central and
the state media too was increasing. The lack of cooperation
of the staff, and the increasing burden of work caused
tremendous burden on both Lassa Koul and Ashok Jailkhani
who shouldered all work without assistance. Both were
steadfast like true dedicated soldiers in the battle field.
In the terrible chill of December nights, away from the
comforts of home, Lassa Koul and Ashok Jailkhani worked
together without sleep. They wondered how all this abrupt
transformation of the people could happen. Why are the
teeming millions demonstrating on open roads in favour
of violence. Why do all the intellectuals, elderly wise men,
thinking scholars surrender before a group of gun-yielding
militants and silently become their supporters? The values
that were nourished for so many centuries turned to dust in
no time. Lists of Hindu girls were prepared by the frenzied
people to decide how many are to be kidnapped and from
which place. Then a “HitList” of the selected people
considered enemies of the militants was openly published;
the “Hit-List” contained the names of Ashok Jailkhani and
Lassa Koul, too. Yet the two friends were least frightened,
they continued working as close friends. They tried to make
people understand that the enemies of people had infiltrated
deep into their society. The enemies of people have misled
our youth and made them take to the gun. But there was no
one ready to appear on the screen of the television. Even the
news-readers were fatally attacked. Religious prohibitions
were imposed on many of the women employees of the
Centre On January 1, 1990, all the cinema halls of the valley
were closed down under the orders of JKLF. On January 19, the Governor of the state, General Krishna Rao resigned
and Jagmohan was appointed as the new Governor. Being
angered by this decision, Farooq Abdullah resigned, and in such the assembly remained suspended.
The night of January 19, 1990 was no less than a
doomsday for the Hindus of Kashmir. All the loudspeakers
of all the mosques were endlessly instructing the Muslims to
join the Jihad. “The Kafirs have either to come in support of
the Jihad or flee the valley.” The reins of government were
entirely in the hands of Jagmohan. When Jagmohan tried
his methods to re-assemble the fragmented and scattered
administration, but to his desperation he found that no
fragment in its place. The whole state was in a state
of utter bedlam. The most unruly were the police and the
intelligence agencies. Their accountability had almost ended.
Jagmohan found that the intelligence agencies did not have
any records with them. He therefore decided to organise
and control the police and the intelligence and only then
could the administration be brought into action. “How many
young men have been misled by the propaganda and crossed
the borders to get training in arms.” He could not find even
the names or pictures of any of those young men. Even the
records of common criminals had disappeared from all the
police stations.
Governor Jagmohan had appreciated the importance of
media and the dangers impending on them. He believed that
among all the media, television was the most effective for
people’s strength. He ordered the Director Lassa Koul to
remain on hot line for 24 hours with him. Jagmohan was fully
aware of the actual situation prevailing in Kashmir. He knew
both Kashmiri people and their pulse. This was the reason
that he wanted to have constant contact with media. He
threw open the doors of Raj Bhawan so that common people could meet him. He several times appeared on television
screen to address the people. Thus he started taking right
decisions in the right direction. On seeing this, the terrorists
as well as their masterminds across the borders lost the
cool of their mind. He seemed to be successful in breaking
the chakravyuha or the vicious circle of the terrorists. Two
officers working Doordarshan were his principal allies.
The Coffee House in the city had been deprived of its
charms for long; no stir was visible there. The Coffee House
was now shut. Bansi Parimoo, Hassrat Gaddha, Hraday Koul
Bharti, Ghulam Nabbi Khayal, Riyaz Punjabi, and others
had lost the rendezvous and all their useful discussions and
deliberations were now a matter of the past. The Residency
Road that once throbbed with vitality was changed into a
wilderness; instead of people, one could see nothing but
panic and rush. The security forces and the CRPF were
busy in changing the whole city into a cantonment. In
all directions, one could observe a war-like situation. The
people had completely retreated to their closets.
It is deplorable that the efficient soldier to curb terrorism
Jagmohan was himself becoming a target of political
manoeuvrings. Both Rajiv Gandhi and Farooq Abdullah
untidily opposed appointment of Jagmohan as the Governor,
which strengthened the hands of the terrorists. Lassa Koul
and Ashok Jailkhani were constrained to include such news
in the news bulletin, as made all the efforts of Jagmohan
seen dubious.
It is extremely strenuous to work under such stress.
Working day in and day out makes the body lose its nite
energy. In order to fight this type of fatigue and stress, Lassa
Koul and Ashok Jailkhan had no option but to take 15 days’
leave each by turns. The engineering staff too had to reside
within the premises of the Doordarshan. The daily shut
downs and strikes had thrown normal life into shambles.
Thus it was decided that Ashok Jailkhani would rst
avail himself of 15 days’ leave and when he re-joins, Lassa
Koul would take his turn. This was a way to help them to get
refreshed and continue their work. February 5, Ashok Jailkhani along with his wife and his
daughter Luna (Dr. Janani) left for a holiday trip to Mumabi.
On his very arrival in Mumbai, all his old friends and
acquaintances thronged to see him. Each insisted that Ashok
Jailkhani should stay with him at his house. Mohan Lal Koul
(Aima), and Omkar Koul (Aima) were Kashmiri pandits
who had been living in Mumbai for a pretty long time; We
have already made a mention of Mohan Lal Aima; he had
been associated with Srinagar station of All India Radio
since its beginning. He was the person who gave life and
direction to the music section of Radio Kashmir and made
it tremendously popular among the masses. Discovering Raj
Begam, Naseem Akhter, and many other effective singing
voices goes to his credit. The musical song “Bumbr bumbro,
which has become viral, was basically composed by him
for Dinanath Nadim’s opera “Bombur ti Yimbirzal”.Omkar
Aima is his younger brother and was working as an actor in
Mumbai lm industry. He has performed in scores of lms
as co-star with many top actors. Thus Ashok Jailkhani nally
decided to put up along with his family at his residence in
Mumbai. And when on January 15 his vacation was to end,
and he started packing up for his return to Srinagar, Mohanji
stopped him , telling him that he would go after the wedding
of Omkar’s son But that meant that he had to wait for one
month more to participate in that wedding celebration
scheduled for 15th of February.
But bound by his commitment, Ashok Jailkhani had to
reach Srinagar to relieve Lassa Koul to enable him to avail
himself of his vacations. Thus he made Mohanji understand his compulsion, but he still succeeded in stopping him
through persuasion. Lasa Koul and Mohanji had worked
together in Radio; Mohanji was much senior to him. He
enjoyed much respect as an experienced and devoted worker.
No one could say ‘no’ or be indifferent to what he said. Thus
Mohanji contacted Lassa Koul and managed to get the leave
of Ashok Jailkhani extended for one month.
In spite of tremendous pressure from the terrorists, Lassa
Koul was able to keep Doordarshan functioning according
to the norms and regulations. According to religious laws of
Shariat of Islam, this station was asked by the militants to
telecast only such programmes as were Islamic in principle
and all the national news bulletins and national programmes
were to be stopped. They issued instructions that the news
bulletins should contain nothing that went against the line
of thinking of the militants. All these instructions and
directions were received by Lassa Koul through phone as
well as letters.
Lassa Koul was deeply rooted in the sentiments of
Kashmiri people He was a profound scholar, and wonderful
intellectual. He enjoyed considerable popularity for his
Sufi ideas among the Muslims of Kashmir. He was famous
for being a strong advocate of Kashmiri culture. His mind
was much above the parochial beliefs of religions, and
possessed a scientific temper. He was very popular as a man
of progressive ideas. But it was terribly despondent to see
the conditions prevailing in his valley. He was grieved to
see that the innocent boys of Kashmir were being used as
scapegoats for nefarious political motives. He was trying to
express his opinion to the people within his limited reach. On February 13, when Lassa Koul was leaving the station
after many days to go to his home, he, under a pre-planned
conspiracy, was shot dead from a close range just near the door of his house. Thus Lassa Koul was assassinated and
the news drowned the whole valley in mourning. He was
a person who could not think of causing anybody harm,
even in his dreams. All used to bow their heads before his
efficiency and gentleness, but he was killed so mercilessly.
The assassination of Lassa Koul made all the Kashmiri
Pandits angry and grieved, but in their helplessness they
could do nothing; they thus started thinking of fleeing their
land.
The indication was clear: the Hindus were the target
of the terrorists. Sarvanand Koul Premi, his son, Premnath
Bhat, Sarla Bhat... the list was day by day getting extended;
they were killed for no fault of theirs. January 25 or sometime before that, the JKLF people
had killed 4 Air Force personnel; their killers are still at large
and move about freely.
When Ashok Jailkhani heard about the sad killing
of Lassa Koul, he was hamstrung with grief, but started
preparing himself for return to his duties. Had his vacations
not been extended, then? It was just possible that Lassa Koul
were spared and ...? While he was preparing for his return
journey, he received a call from his mother. “The situation
is extremely bad here, and you or on the hit list, and it has
become public through newspapers. Do not come here... We
too are thinking of fleeing the place. It is a war going on
here. All Hindus are the targets.”
The opinion of Ashok’s Muslim friends was not much
different from what his mother told him. “Your coming back
could prove fatal for you. Presently forget about Kashmir...”
They said to him.
Ashok Jailkhani believed in this when some staff
members supported this opinion that he could lose his life
if he went back to Srinagar. But no one could stop Ashok: he decided not to become a fugitive when he is in war. “I
must fight and therefore go back. I cannot let the terrorists
dominate the Centre.” With this resolution in his mind, he
was going to see one of his friends who lived in Mumbai
Central. He noticed that a young man was following him
for some time. He alighted from the train at Marine Drive
and entered a restaurant. The young man was seen there
too following him. Sensing something evil, his heart started
beating faster; he felt his death was very close to him. But
while keeping his eyes transfixed on the young man he sat
in a chair. The young man came nearer and stood in front
of him. Now Ashok felt sure that his fear was not baseless.
His face was familiar to every Kashmiri for being on the
television screen. .. “It is a matter of few seconds only,” he
thought.
Then the young man said in Kashmiri, “Sir, you do not
recognize me, but I know you quite well. You are Ashok
Jailkhani, I know. I have seen you on television.” Hearing
these words for the young man, Ashok felt enlivened. “He
seems to be some fan of mine. Fans like him, I generally
meet while I am in Kashmir.” An incident like that could
surely make an artist happy, and he would readily have a
chat with him.
“What do you do here in Mumbai?” Ashok Jailkhani said
to the young man.
“Sir I have fled Kashmir, my name is Ashraf, and I am a
brother of a friend of yours. I need a little money. Seeing you
I thought that you would help me.”
“That is alright,” said Ashok, “Why don’t you go to the
Arts Emporium here? There are many Kashmiris working
there. It is possible that you find some close acquaintance
there.”
In the heart of hearts Ashok Jailkhani was still having
fear that the young man could be a terrorist, and was seeking financial help from him.
The eyes of that unknown young man were filled with
tears. “It is alright that you do not want to give me any
money, but please do not advise me to go near those persons
working there. All of them make me a butt of their ridicule
and also threaten me that they would hand me over to the
police. I hail from a good family. I have barely escaped the
trap of the militants and saved my life here. You kindly ask
your friend about me and then help me. You may phone him
right now and know about me.”
“What is your name?”
“Sir my name is Ashraf, Ashraf Bhat.”
“How much do you need?”
“Sir nothing more than my train fare to Lucknow.”
Ashok Jailkhani took out three to four hundred rupees
from his pocket and handed over the money to the young man.
He was delighted, and left to catch the train for Lucknow.
Many conflicting questions were raising their heads in
Ashok Jailkhani’s mind. He thought that the condition of the
young man he met in Mumbai revealed that situation in the
Valley had taken an extraordinary and very dangerous turn.
All the media agencies in India are either ignorant of this
or are trying deliberately to distort the facts. The fact was
that terrorism in Kashmir was being organised and directed
from Pakistan. Under the shield of religion, the bloody
macabre had exceeded the limits. This was not an issue of
unemployment or economic underdevelopment. Nor was it
a result of the tyranny unleashed by the security forces, as
the established mainstream papers and journal of the country
tried to explain. Pakistan had kindled the religious frenzy of
the Kashmiris and instigated them for self-aggression. They had created a camouflage of “Azadi”(Freedom) and actually
placed all Kashmiris on a pile of gunpowder. Kashmir was
being ruined. It was for this purpose that the institutions of
culture and information were made targets. On March 1st,
1990, H.N. Handoo, an officer of the Information Department
was killed ... Ashok Jailkhani felt that the situation was
utterly adverse to him as well and that he should in no way
thing of going back.
Thus he took the decision, a very difficult, and
heart rending decision. “I will not go back to Srinagar.”
He was resolute. But soon he received a message from
I&B Ministry that he was promoted and appointed as Deputy
Director of Doordarshan Srinagar. But sensing all the hard
realities were against him, Ashok Jailkhani requested the
Ministry that he would not like to go back to Srinagar in
view of the conditions prevailing there. He wrote to the
Ministry that he had taken shelter in Mumbai along with his
family. He further pleaded that he might be posted anywhere
in the country but not to Srinagar. Thus he stayed in Mumbai
for four months without any salary, money, or a shelter. He
spent the four months in actual penury of a refugee in utter
desperation. Recalling those days of misfortune, Ashok
Jailkhani says that one should keep in mind the condition of
such people who have neither a job, nor means for subsistence.
He reflects on those thousands of people who had ed the
valley, empty handed and lived in various refugee camps.
They must get preference in any attempt to help them.
After keeping Ashok Jailkhani waiting with empty
pockets, the Government of India posted him to Lucknow.
The Director of the Centre, Vilayat Jafri extended a warm
reception to Ashok Jailkhani. During conversation with
people there he came to know that there was hardly any
Deputy Director appointed at the Centre who could have amiable relations with Vilayat Jafri. In fact it was Vilayat
Jafri who had recommended the name of Ashok Jailkhani to
the DG for posting at Lucknow. Using his personal sources,
Vilayat Jafri had acquired much information about the virtues
of Ashok Jailkhani. And then Ashok Jailkhani too never
let Vilayat Jafri change his opinion about him and repent.
Many years after that, even now the friendship between the
two is quite warm. Villayat Jafri had in fact know about the
suffering of Ashok Jailkhani through one of his friends. He
knew how he had spent his four months in utter poverty.
Jafri Sahib took personal interest in making arrangements of
his lodging, provisions, and for all the household appliances.
He spent out of his own pocket to make all these facilities
available to him. He took every care that Ashok Jailkhani
should no more feel any discomfort in Lucknow.
Thus Ashok Jailkhani was once again in his form and
started living according to his tastes. While working as
Deputy Director in Lucknow station, he got next promotion
and was posted to Ranchi. But since he had found comfort
level in Lucknow and had developed very good relations
with the director that is Mr. Villayat Jafri, he refused the
promotion and requested for him being allowed to stay
in Lucknow for some more time. After some time he was
posted and appointed as Director of Jammu station. It was a
programme-relaying centre rather than programme making
centre; no sort of programme-making activities were visible
there. A small News Section was functioning there which
was meant to give coverage to the turmoil in Kashmir. Hindu
staff (Kashmiri Pundits)who had ed the valley were posted
at this centre. The station was functioning from a make shift
rented building. It was a strange situation; the centre looked
like a camp-office. No one was provided with even the basic
facilities.
Jammu Television Centre was raised from rudiments
by Ashok Jailkhani. The Centre was basically used by the
displaced employees of Srinagar Centre and its engineering
and of ce staff to mark their presence. Nothing related
to programme making was seen there. It merely played
the role of relaying the ready-made programmes of the
Central Doordarshan. Ashok Jailkhani brought the scattered
elements of the station into motion and then started utilizing
them. In a year or so the Centre started telecasting light shot
entertainment programmes side by side the news. Gradually
the Centre assumed speed and with the successful leadership
achieved the desired goal.
Ashokji had to begin from the beginning. It was his
perseverance that within a few months he transformed the
centre into a productive centre. At present Jammu Television
Centre is one of the well-established centres of the
country. Presently the centre telecasts many entertainment
programmes besides news bulletins and programmes on
contemporary situation. The credit of the foundation and
success of Jammu Centre certainly goes to Ashok Jailkhani.
In Jammu and Kashmir it is a routine that in order to
achieve pretty self-interests people let serious problems grow
disproportionately. And Jammu Centre too could not remain
different from this general character. In Jammu region the
majority of the people speak Dogri and possess their own
rich culture. Although their creative literature has just started
and is moving fast towards development, their folk songs,
music, dress, architecture and social customs have their own
unique characteristics. Dogra Rajya has its unique identity,
cultural, and political history, and the people are much
cheerful and friendly. Most of them gave hearty support to
Jailkhani Sahib’s efforts. As a result of their cooperation the
Centre made the people feel the significance of this Centre.
The artists, writers, and all the established institutions
got closely attached to Jammu Doordarshan centre. Gojars,
Bakarwals and various aborigine tribes residing in far flung
areas also got adequate opportunities of giving representation
to their art and traditions. Though the reach of the Centre at
that time was not covering the remote areas of the region,
yet the experienced people displaced from Srinagar station
added colour and variety to the programmes. Under the
active guidance of Ashok Jailkhani the employees of Jammu
Station laid the sound foundation of Jammu Doordarshan.
Talented people like Sohan Lal Koul, Satish Dhar, Moti
Lal Kharoo, Somnath Suman, Ravinder Naaz, Ashok Bhan
and Mahesh Chopra joined the campaign. It is pertinent to
mention another talented person, namely, Piare Lal Hundoo.
In Kashmir, Hundoo Sahib was known not only as a mature
stage and monologue actor, but also an experienced producer
of rural programmes. He had experience of exploring country
life and presenting it through visual details. He always wrote
his monologue himself. He was also famous for presenting
two farcical female characters Singari and Zingari in the
Machama series broadcast from Srinagar Radio Station; he
had delighted people of all strata through that programme.
He was appointed as deputy Director of Jammu Doordarshan
Centre during the tenure of Ashok Jailkhani. Mahesh Chopra
was appointed as Assistant Director afterwards. Thus step by
step, Jammu Doordarshan got a Director, a Deputy Director
and Assistant Director and also over a dozen programme
producers and assistant producers, and the whole team worked
harmoniously under the command of Ashok Jailkhani.
The result of Ashok Jailkhani’s perseverance and the
active cooperation of his staff was that a new stream of
programmes sprang from Jammu Doordarshan which
provided space to the local talent and aspiration. The rst in- house serial produced by this centre ‘Lawaaris’ was assigned
to me. The production of the serial was under Piare Lal
Hunndoo, while I wrote the story and directed the serial. The
principal characters were played by late Khsiminder Raina,
Mohan Shah, Kajal Suri and well known talented actor Romi
Sharma. In the meantime many more talented actors and
other artists of Jammu region played significant role in its
success. This was the actual beginning of television drama
serials from Jammu Doordarshan. This provided opportunity
to prominent producers and directors belonging to the region
to make creative contributions. Some important names
of these creative people are: Shiv Dutt of Teleman Films,
Surender Goyal of Goyal Films, Devinder Kohli, Manhas,
Mohan Singh, Mushtaq Kak, Sudhir Jamwal, Professor
Madan Mohan and many more. Thus in a very short span of
time the Centre changed the atmosphere and eventually many
audio and video studios came into existence. Presently there
are several audio-video studios functioning in Jammu city
and are engaged in producing their private video albums and films. The business of producing audio-video programmes
in Jammu is now expanding like an industry. The artists,
musicians, playwrights, lyricists, and numerous technicians
are actively pursuing lm production as their main vocation.
At the time when Jammu Doordarshan was establishing
itself, Ashok Jailkhani was constantly receiving threats from
various militant out ts. One day when he left for Delhi to
attend some meeting there, his wife received a phone call that
advised his wife that she should ask Ashok Jailkhani to desist
from associating himself with the government propaganda
against the militants. “Jammu is not far from Kashmir. Do
not be under this false notion that we shall remain silent here
towards this side of Banihal. If he does not refrain from his
activities, you shall have to repent.”
Ashok Jailkhani’s wife, Prernaji, evinced much
prudence, and tried to make the terrorists understand that
her husband was merely doing his job under the rules of the
Indian government. “When it is your government in future,
we shall think over it.” For several days Prernaji did not
divulge the telephonic talk to her husband, but inwardly she
was much worried about the safety of her family and her
children; she was constantly thinking about the impending
dangers to her husband. One day this information somehow
reached the security agencies and, as such, they tightened
the security around Ashokji’s office and his house. Every
day was full of imminent perils for Ashok Jailkhani and his
family. Nevertheless, the husband and wife showed enough
courage to cope up with the situation.
It was in 1982 that Ashokji got married to Prerna Raina
who herself was a well known singer of the valley. Her
father M. N. Raina was a very well known poet of the state.
The couple now have two daughters. The elder one is a
quali ed medical doctor, Dr. Janani Jailkhani who is now
working in Mumbai and holds a senior executive position
in a multinational pharmaceutical company. The younger
daughter is Mokshda who has now established herself as a
celebrated dancer and choreographer and commands a huge
fan following and is known country-wide.
Basically Ashok Jailkhani, while staying in Jammu,was
trying to revive cultural activities that had come to a standstill
in Srinagar because of the deteriorating political situation.
He in fact started making programmes for Srinagar station
too. He started shootings at various locales at Patnitop,
Udhampore, Kud, Batote, and Bhadarwah, and thus showed
utter indifference to various intimidations, prohibitions and
Fatwas issued by the terrorists. This irked the terrorists that
the common people of Kashmir could no longer remain servile to the orders of the terrorists and remain suffocated.
He made programmes not only for Srinagar Doordarshan,
but also such programmes as exposed the designs of the
terrorists, and their real faces were revealed to the common
people. Thus Jammu Doordarshan played a signi cant role
under the direction of Ashok Jailkhani. At that time Farooq
Nazki was heading the Srinagar station and both of them
in consultation with the governor of the state devied
anti militancy and counter propaganda programmes.
Ashok Jailkhani showed remarkable success in all types
of jobs that were assigned to him.
From Jammu, Ashok Jailkhani was transferred to
Jalandhar. There he discovered that Punjab had a very rich
cultural legacy and great traditions of music and dance.
While performing his duties at the new place of posting,
he received whole hearted support and cooperation from
all sections of society. All know that wherever Ashok
Jailkhani was assigned the duty of directorship, his prime
concern was the development of the cultural legacy of the
people of that place. In political issues he never deviates
from his principles, and accomplishes every task within
the rules of the office. However, he takes every care that
the of ce rules do not become a hurdle in his performance.
His performance at Jalandhar Station as the director of the
station was so commendable that within just two years he
changed this station from a loss making station to a pro t
making one. In-fact it was he who started the ‘DD Punjabi’
round the clock channel in 2000. Many present day stars of
Punjabi music who are now known at international level
also were discovered by him. It was because of his excellent
contribution at the Kendra that Doordarshan honoured
him with ‘Best Director Award in the year 2002’ for his administrative and management skills.
The then DG of Doordarshan – Dr. S. Y. Quraishi
(later chief election commissioner of India) recognizing
his work at Jalandher asked him to take over the charge of
Chennai Kendra. Actually at a certain point of time Chennai
Doordarshan was the highest revenue earning Kendra of the
Doordarshan network. It used to earn a revenue forty crore
plus but the same had come down to near two crores. Despite
Ashokji’s initial reluctance because of the language barrier,
as Chennai Doordarshan telecast only in Tamil language he
was persuaded to go and eventually he did. Just in a span of
less than two years he turned around the Kendra completely
by introducing totally new concepts in programming
and gave a fresh look and feel to the entire content of the
programmes that were telecast. The result was that just in
around two years time the revenue of this Kendra jumped to
Rupees ten crores. Again noticing his excellent performance
the department gave him the ‘best director award’ for the
second time.
During this period only he got his promotion as
Additional Director General and had to eventually shift to
the headquarters that is Mandi House, New Delhi in less
than two years time. Now he had come a long way from a
drama producer to the top most position of administration
and management in the organization which he had joined
at a young age of eighteen. At this position of Additional
Director General, yet again he was the youngest and first
from the state of J & K to reach at this position.
Keeping in view his vast experience, calliber and
dedication he was made head of all the important national
channels like DD National, DD Sports, DD Bharti, DD
Kashmir and was given independent charge of the entire
North zone which included big kendras like Delhi, Lucknow,
Jaipur, Jalandhar, Chandigarh, Shimla, Jammu, Srinagar,
etc. Apart from commendable contribution which he made
in all areas of his work the most commendable perhaps
was his contribution in the coverage of international sports
events. When India hosted common wealth games in 2010,
Doordarshan was the host broadcaster. It was a mammoth
task as coverage of so many sports events and international
level sports persons requiring special equipment and
expertise was a big challenge. Ashok was made the project
director of the games and it goes to his credit that the entire
games were covered without any aw and for the first time in
high definition format. The coverage was telecast world over
in more than 200 countries and was admired everywhere.
This book started with spelling out Ashok’s distinct
contribution to the eld of theatre for which he will be
remembered always yet by the end of this book it is now
clear that he has left an equally strong imprint in the eld of
broadcasting and is widely acclaimed as an accomplished
broadcaster.
The story is still on and after saying goodbye to
Doordarshan in 2013, Ashok is actively engaged in direction,
acting and also training of young students in the eld of mass
media. We jointly wrote a book on television production
which got a prestigious ‘Bhartendu Harishchandra Award’
from the government of India and is widely taught in a
number of colleges and universities across the country.
Another very valuable contribution of Ashok is book on
theatre. The book has foreword by Girish Karnadand gives
valuable information about theatre history and technique of
play production. He took everyone by surprise recently when
he appeared in a movie ‘Dirty Politics’ and gave brilliant
performance while acting with the greatest actors of Indian
Cinema like Naseeruddin Shah, Om Puri and Anupam Kher.
The government of Jammu and Kashmir recognized his
multifaceted talent and bestowed upon him the highest civil
award of the government ‘State Award’ as an ‘Outstanding
Media Men’.
I am sure that the people who know Ashok Jailkhani or
have come into contact with him at any stage they will vouch
for the fact that he is a charming personality, intellectually
strong, knowledgeable, helpful and a very inspiring
personality. He has his own distinct ideas about life and
living and his approach to various issues is always from a
different angle. I am sure that his distinct contributions shall
keep on owing like Vitasta....
STATE TIMES JAMMU 29.10.2013
Biography of veteran theatrist
Ashok Jailkhani release
STAFF REPORTER
JAMMU: Nami Dogi Sanstha on Monday released biography of veteran theartrist and former ADG Doordarshan Ashok Jailkhani namely ‘Parwah Vitsta Ka’. The release ceremony was organised by Nami Dogri
Sanstha in collaboration with 'Verma Video Vision' at K.L Sehgal Hall.
The ceremony was graced by Vice Chancellor, Central University of Jammu, Dr. Sudhir S. Bloeria as a Chief Guest Whereas Deputy Director General DDK Jammu, Shabir Mujahid, Senior advocate and a writer S.S Lehar, Former ADG Doordarshan Ashok Jialkhani and President Nami Dogri Sanstha Harish Kaila were also present who released the biography and also spoke few of the achievements of the Jailkhani.
The book written by M.K Shah who in his address read out some contributions of Jailkhani in the field of theatre as well as in Doordarshan. He said that "Ashok Jailkhani is not only a senior official of Doordarshan, India; but, also represented an era of glory and development of Modern Kashmir Theatre movement". Shabir Mujahid in his address said that 'Prawah Vitsta ka' is a biography of Ashok Jailkhani, a doyen of theatre-an excellent director and actor. The book gives the full account of his life and works. 'Vitsta' is an allegory of
the time as on the banks of this river the whole saga takes place. The biographical material of the book is the creatively blended with the history of Kashmir and makes its style so interesting that a book gives a feel of a classical novel. M.K Shah has gone into the minute details and the finest nuances of Jailkhani's life. Rich Hindi idiom in the narratives has made it a piece of literature. President of Nami Dogri Sanstha Harish Kaila also spoke on the occasion.
Review of My Book Prawah Vitasta Ka
E-Paper
Biography of a threatre artist, film maker
Posted on November 3, 2013 by Dailyexcelsior
Dr Sohan Koul
Biography is a genre of serious writing. Although confined to a detailed description of a notable person’s life and events but it has a reach beyond its classification. When history ceases to come forward with the events of a particular civil society, biographies take the place of history and get blended in particular time and space to describe the notable occurrences of that era like a live coverage of that event or series of events.
Biography is usually a nonfiction genre but it is the authority of a writer on a particular language which makes it as interesting as a novel or a short story. It is the oldest form of literary expression but always seeks to recreate in words the whole life span of a particular individual.
“Prawah Vitsta Ka’’, is a biography of Mr Ashok Jailkhani-a doyen of theatre and a well known film maker. A great television personality an excellent Actor and Director. As the title of the biography calls it the flow of Jehlum-allegorizing time and depicting the history with the gradual maturation of this personality. Finally this biographical material has emerged as the historical material and has made this biographical work a finish literary contribution of this decade. Biography and History are often concerned with the past as the evaluating and selection of sources are akin.
The very beginning of this biography is so interesting as if one starts reading a classical novel around Jehlum. Mr Ashok Jaikhani was born in Srinagar in 1953 and that too on the banks of Jehlum and luckily it was a Renaissance of cultural and literary traditions in Kashmir.
The state of anarchy was over and the new dawn of civilization had already begun. This was time for new seedlings to emerge from the old polity. In this backdrop Mr Jailkhani was born and the slow murmuring of vitsta went on feeding him with percepton, learning and reasoning. The time kept on initiating a well formed noesis in his growing personality.
These meaningful moments have been depicted with great skillfullness and knowledge by M K Shah, who is the author of this biography. With complete command over Hindi idiom, Mr Shah has explored the period with such a genius that the reader itself becomes a character of that 5D theatrical experience immersing you with in that period. In this colorful canvass some characters get introduced and these characters frame the basis of this biographical work.
Introduced as Ms Kunti Kaul and Mr Mohan Lal Jailkahani with some others. Ms Kunti Jailkhani is the mother of Mr Ashok Jailkhani and the book introduces the mother earth first and then its seedling. The treatment also depicts the rituals, the cultural saga and life style of Kashmiri Pandits living in that era. The story begins from the dust filled streets and compounds of Fateh Kadal where the values of life were almost novel and quite different from present day times. These dust filled streets lead to a famous Mohalla called as Jailkhani Mohalla. The initial canvass of this painting.Vitsta is a character of this biography and is a witness to all the rising socio-political currents of Kashmiri civil society. It keeps on documenting the best cultural nuances of life. The murmur of flowing water of Vitsta would teach the inhabitants of the city to love nature, to love time. People would cross Jehlum from one bank to other with small wooden boats, avoiding the bridges as it was a easy and comfortable way of transport. This journey has made the Kashmir to understand the time very accurately. Water keeps on flowing in Vitsta, Kunti Kaul gets married to Mohan Lal Jailkhani and the first child, an interpreter of aesthetics gets born. I would like to mention here about a scene when Ms Kunti Jailkhani travelled first time with her infant from Bana Mohalla to Fateh Kadal in a boat. The emotions, the aspirations of a young and innocent Kashmiri mother, depicted in between the lines are exceptionally mesmerizing. It was the spring in Kashmir and it reminds us Dostovyskean features of storytelling. There is another scene when the small boy is being admitted Tyandale Bisco School, when in we see Ms. Kunti Jailkhani and Mr M.L. Jailhani being interviewed by the Principal of the school for his admission and young Jailkhani is playing outside in the light and shade. This very gesture shows how much gifted the child was and later the time proves it, that with the use of lights, he created wonders on stage. The biography is filled with such cinematic scenes. He started this journey with Bisco School and ended it in the corridors of S.P. College and it is form this college that he started interpreting ideas through Plays. He became a legend of Kashmiri theatre. Directed noted plays like, “Santola,” “Hatya Ik Aakar Ki,” “Panchai Aise Aate Hain,” “Evam Inderjeet,” “Gidhi” etc and an equal number of serials on television. He became a house hold name of Kashmiri civil society. This is extensively covered in this biography.
The book gives full account of his life like that of a novel justifying every character, explaining every incident with historical perspective and authority. It is an authentic biography which cannot be summed up in few words. One should read it to better understand the history of Kashmir besides the life of a doyen of theatre and television. The book also carries his noted theatrical experiences, short sketches of book written by Mr Jailkhani. The book also carries some interviews with his contemporaries who share their experiences while working with the tallest person of this era.
The book is written in very subtle and fiction style which makes it an interesting. Growing and flowing with the time line Jehlum, which is a living allegory throughout the novel and pours in the technique of stream of consciousness by giving an account of historical ups and downs of the past. Spread over 144 pages, the book has an excellent get up with a designed cover page by Mr Anil Nakhasi. The book is worth reading and preserving in personal Library.
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