Tag: jammu and kashmir academy of art

Nam Te Maaz Explained the Strong Communal Bonds of Kashmir

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by Maleeha Sofi
SRINAGAR: In Kashmiri language and culture, Nam te Maaz depicts an unbreakable bond. This phrase was the title of the last play of the 8-day-long Theatre Festival Kashmir 2023.
The play showcased the relationship between Kashmir Hindus and Kashmir Muslims and their journey over years.
The play opened with a narration briefing about the living of both religions together in Kashmir until the 1990s when most of the Kashmir Hindus moved out. The narrator spoke about the brotherhood between the two and the unbreakable bond which remained unaffected after decades of separation and misunderstandings.
It narrated the story of Roop Kishan Dhar who lived in Raj Bagh. He also left Kashmir in the 1990s and Jan Sahab, a local Kashmiri Muslim took care of his home. Dhar would often visit his home even after going to Jammu and later settling in America.
The stage showed two houses, one of a Hindu and the other of a Muslim. Religious signs were used to identity the two homes.
The play starts with a conversation between Dhar and Jan Sahab. Dhar has visited Kashmir after a long time. He is seen in a Pheran, the traditional Kashmir cloak that is now being seen as part f Kashmir identity. They talk about their lives, children, and the changes that have occurred. Jan Sahab had a conversation with his wife after this where he also shares his connection with Dhar.

The next conversation is again between Jan Sahab and Dhar where they talk about the time when Dhar left Kashmir and the conflict that continued. They recounted the loss that both sides faced.
Artists who performed theatre play Nam te Maaz in Tagore Hall as part of the Kashmir Theatre Festival 2023. KL Image: Bilal Bahadur
Once in a conversation, Dhar noticed a window from Jan Sahab’s house that opened into Dhar’s land. The conversation turned into verbal duelling. Jan Sahab gives a word to Dhar on fixing the issue by removing the window.
Afterward, in a monologue, Dhar talks to himself expressing his varied opinion about the matter. He seems to be confused about whether he has done right or wrong but then he convinces himself that if he would not do this Jan Sahab would gradually take over his whole land.
The play is placed at a time when the Covid19 had started beginning and impacted the lives across the world. Dhar tested positive for the virus. He was quarantined. Jan Sahab did not stop going to his place. He would still go to Dhar with meals. This was despite the fcat that his family was quite upset with this behaviour as they thought the virus could spread to them.
As Dhar recovered, he got ready to go back to America. While leaving, he expressed his gratitude to Jan Sahab and his family. He gives them gifts. Jan Sahab also reveals the truth about constructing the window from his side as it has been suggested by his father to keep an eye on Dhar’s home. Dhar realises his mistake and asks him to perish the wall separating both houses.
The play was presented by JK Cultural Revolution, written by Sohan Lal Koul, directed by Gul Riyaz, designed by Hassan Javaid, assistant direction by Showkat Magray, and set design by Mohammad Yousuf Mir and Imran Farooq. The characters were played by Qazi Faiz – Dhar, Hassan Javaid-Jan Sahab, Shafiya Maqbool – Jaan’s Wife, Aashiq Hussain- Zameer(Son), Syed Shabir Rizvi- paramedic.

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#Nam #Maaz #Explained #Strong #Communal #Bonds #Kashmir
( With inputs from : kashmirlife.net )

March 19, 2023
Horrors of Drug Abuse Staged in Dakh-e-Loor At Tagore Hall

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by Maleeha Sofi
SRINAGAR: Given the rise in drug addiction in Kashmir, the seventh play of Theatre Festival Kashmir 2023 staged the consequences of the menace. The name Dakh-e-Loor (Walking stick or walking cane) implies the old age support of people that are their children who are ruined due to drugs. The play is written by Dildar Ashraf Shah and presented by the Shahkaar Cultural society.
The play starts with a conversation between an old man – Khoje Salaam and a lady. The former asks the latter about her brother. She replies in anger that he has spoiled the lives of the young people and their families.
The next scene is a conversation between Bilal and Waseem. Bilal is lying on the road and, when asked why, replies that he needs the drug. They belong to low-income families and can’t manage money from their homes, so they choose theft and involve other people. While talking, they see Jehangir and call him. Jehangir belongs to an affluent family. He shares his problem of not being loved enough by his father – Mansoor since he lost his mother. He craves love, even though he gets more than enough money from his father. Waseem and Bilal somehow persuade him to attain happiness through drugs. Jehangir argues with his father every day to get the money.
Jehangir starts to return home late. Tota, their servant, whom he treats like a brother, gets concerned about Jehangir’s condition and repeatedly insists his father take the matter seriously. Mansoor always gives excuses for his busy schedule.
One day when Jehangir leaves home, Tota convinces Mansoor to follow him. Meanwhile, Jehangir, Waseem, and Bilal go to a graveyard to have a ‘special drug’ where Waseem gives them injections for intravenous intoxicants. As soon as Jehangir injects it, he falls unconscious. The other two ignored him and went to have a meal. Mansoor and Tota while trying to find Jehangir reached the same spot and found him lying unconscious. Coincidentally, a doctor passes by and Mansoor calls her for help. On checking, she declared him dead. Mansoor couldn’t bear the shock and he died too.
Artists who performed in the theatre play Dakh-e-Loor, focusing on the costs and consequences of drug abuse in Kashmir. KL Image: Bilal Bahadur
The play sheds light on the alarming rise in drug abuse and its consequences. During the whole play, there was a good mix of seriousness and comedy. A few incidents could have been improved, especially in the beginning Bilal was shown in dire need of drugs that he was losing himself, but as soon as the conversation began, without consuming any intoxicant he was behaving fine which seemed a little off. In another act where Mansoor moves out to find a doctor, he finds her family doctor outside the graveyard in full uniform and a stethoscope which also appeared unnatural.

The play was written and directed by Dildar Ashraf Shah, and presented by Shahkaar Cultural Society and assistant director of the play is Jameela Akhter. The character of Mansoor was played by Mohammad Rafiq Mattoo, Jehangir by Fuzail Farooq, Tota by Mohammad Zaki, Waseem by Gulzar Ahmad Khanday, Bilal by Junaid Manzoor, Khoje Salaam by Shakeel Ahmad Naqash, Nargis by Tehseena Afaq Mir and Dr Henna by Jameela Akhter. The set effects were managed by Waris Hamid Khan, make up by Tehseena and Jameela, sound operation by Ajaz Ahad Saboon, Light operation by Tariq Hajini, costume by Javeed Jameel, property by Bilal Ganderbali, and overall in-charge is Shakeel-ul-Rehman.

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#Horrors #Drug #Abuse #Staged #DakheLoor #Tagore #Hall
( With inputs from : kashmirlife.net )

March 15, 2023
Mercy Killing, Cancer, Poverty and Court: A Play Linked Interesting Extremes

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by Maleeha Sofi
SRINAGAR: The theatre play Fataah was an adaptation of Shankar Shesh’s play Fandi that artists from SR Theatre Ganderbal exhibited in the just concluded theatre festival at Tagore Hall. It linked interesting extremes to tell the story of death, poverty and the rule of law.
The play opens with a group of prisoners doing a traditional performance Dambael while the group is consoling a person in the middle of the circle formed by their lyrics Ma Bhar Cxe Gham (avoid stress). The person is the main character, Fataah who has been awarded a death sentence. A lawyer, Rustom Rahman has been appointed by the court, an amicus curie, to fight Fataah’s case as she could not afford one.
The court had chosen Rustom as his lawyer merely because he shares his name with his father. However, Rustom Rahman has never won any case before and is apparently a kind-hearted person who wills to help Fataah.
Fataah is hopeless. In the conversation with his friends and well-wishers, Fataah denies meeting him and accepts him as his lawyer as he thinks nothing can save him. Finally, however, he somehow agrees to it.
The story unfolds gradually. The reason behind his imprisonment is gradually unfolded in their conversation, so it does create a little suspense in the audience. Fataah has been charged with the killing of his father who was battling cancer. He had strangulated his father to death only to relieve him of the pain on repeated requests by his father as they could not afford the injections any longer. Fataah had taken debt from someone.
The lawyer plan to do a rehearsal of the next day’s court trial in which they both imitate the possible witnesses in favour of Fataah. Fataah himself plays the role of judge, the debtor, his wife and other witnesses. It seems as if they win, but it doesn’t happen. All the witnesses speak lies against Fataah and even his wife could not make it to court due to an accident.

Artists who were part of the theatre play, Fataah that was shown in Tagore Hall Srinagar as part of Kashmir Theatre Festival 2023. KL Image: Bilal Bahadur
Rustom helps to get him another lawyer who luckily does not charge any fee. The conversation after the next trial (The trial isn’t shown in the play) reveals that the lawyer has done well in the court but could not save him. They again rehearse for the next hearing and the play ends with that only without showing whether Fataah will win or lose. The decision is left for the audience to decide.
Fataah is a family man. The play sequences suggest he can not be the person who can kill his father. He had done so, however, to end his father’s pain. The main theme of the play is mercy killing and poverty. There are people who can’t afford the treatment of certain fatal diseases and they tend to die one day or another. Fataah was trapped in the same conundrum until he choked his father to death.
The role of Fataah was played by Sahil Shafi, who did a commendable job of playing different characters. He changed his articulation, enunciation, tone and draping style within seconds to shuffle from one character to another. The set-up was given a touch of Kashmir by choosing the props traditional to Kashmir.
The play is originally written by Shankar Shesh and adopted by Raja Maqbool. It was directed and designed by Sahil Shafi. The character of the lawyer is played by Ashraf Nago, the warden by Aaquib Hameed and Fataah by Sahil Shafi. Dambael was sung and presented by Nazir Ahmad, Bilal Ahmad, Hilal Ahmad, Sahil Meghraj, Shakeel Sheikh, Mohsin Qadir, Shahzad Ahmad, Aqib Nazir Paray, Maroof Majeed and Syed Imtiyaz. The backstage management was done by Mohsin Qadir, Nazir Ahmad, Hilal Ahmad, Aaquib Hameed, Masoom Mumtaz Khan, lights by Manzoor Ahmad Mir, Props by Haider, make-up by Rasid, Stage by Sahil and Ashraf.

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#Mercy #Killing #Cancer #Poverty #Court #Play #Linked #Interesting #Extremes
( With inputs from : kashmirlife.net )

March 13, 2023
Akh Pryetch Staged the Sensitivity That People Forget In Anger

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by Maleeha Sofi
SRINAGAR: The play named Akh Pryetch, the fifth play in the series of eight-day long Theatre Festival Kashmir 2023, was a riddle. Written by broadcaster Nisar Naseem and presented by Yamberzal Youth Club, it triggered curiosity among the audience, mostly college students.
The play touches on sensitive issues like short-tempered behaviour ruining relationships, parental conflicts traumatizing children, mistrust leading to relationship failures, and misuse of Islamic laws without proper knowledge.
The play had soft music start with a stage set up as a room. There is an almirah which has given space to some books and toys, a dressing table, and a couch. A conversation between the housewife – Aisha and her guest Rahman Khar, apparently a transgender opens the play. Rahman Khar is shown to have a split personality of a man and a woman. Interestingly he is desirous of marrying Aisha.
Aisha, played by Shafiya Maqbool is the wife of Amin played by Fayaz Ahmad Rather. They have two children and live happily together. Once a man visits them complaining about his son-in-law’s decision to leave his daughter over some land dispute. Amin responds to him aggressively and is shocked to know that someone can leave his partner over a petty issue.
Gradually, the issue rises in their family as well. From arguing over their children’s upbringing to talking nicely to a colleague and doubting her for cheating, Amin gets angry easily. It shows his short-tempered behaviour. Aisha behaved patiently but did not let her husband humiliate her. On a minute issue of complaining over her husband’s smoking, they get into an argument which leads to their divorce by, what is hugely debated, the triple Talaq.
Aisha shatters down by this as their marriage of 14 years has been broken. The children witnessed the fight between parents and their facial expressions tried to show the trauma that such children face.

Aisha’s brother and Rahman Khar insist Amin bring Aisha back but he does not listen to anyone. Aisha visits the local lawmaker for help but he refuses to help. While being alone, she imagines having a conversation with Amin. This scene is added phenomenally by a song in Jameela Akhter’s voice.
Meanwhile, Amin also imagines pictures of Aisha’s affair with his colleague and Rahman Khar. But immediately, he realises that she has been with him through thick and thin and she can’t cheat. He goes to Aisha and apologizes.
Aisha who was waiting for him and cried day in and out refused to get back together. Amin’s realisation would not change the fact that he had divorced her through the Islamic Shariah and the precondition for reconciliation was impossible for Aisha to follow.
Theatre artists who performed in the Akh Pryetch (A riddle) that was staged in Tagore Hall as part of teh Kashmir theatre festival 2023. KL Image: Bilal Bahadur
The female lead- Shafiya Maqbool hooked the audience with her effortless expressions and perfection in dialogue delivery. She seemed to be completely in her character. Somehow, the coherence in the first half of the play was missing. There were some gaps left which created unwanted questions among the audience.
Written by Nisar Naseem, presented by Yamberzal Youth Club, directed by Javaid Ahmad Khan, assistant direction by Shahid Malik, Costumes by Shabir Ahmad Mir, light designed by Balbir Singh, Song by Jameela Akhter, production management by Javaid Kashmiri, stage management by Shahzad Shabir, Makeup by Younis Ahmad Hafiz and Set designed by Basharat Hussain. The on-stage artists were Fayaz Ahmad Rather as Amin, Shafiya Maqbool as Aisha, Shahnawaz Bhat as Rehman, Asif Khan as Aslam, Fayaz Sofi as Mohammad Bhat, Younis Ahmad Hafiz as MLA, Khursheed Ahmad Mir as Fayaz and Arbeen Jan and Zieya Jan as children.

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#Akh #Pryetch #Staged #Sensitivity #People #Forget #Anger
( With inputs from : kashmirlife.net )

March 11, 2023
Artists Displayed How Timely and Better Tankha Binds Families

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by Maleeha Sofi
SRINAGAR: It is something that is basic to almost everybody – Tankha, the salary. It is always a matter of concern for everybody working for the government or private sector. This was the theme of the fourth play in the ongoing Theatre Festival Kashmir 2023. The play is written by Rashid Gamgeen and presented by Dilshad Cultural Forum.
A group photograph of artists who performed the theatre play, Tankha (salary) in the Cultural Academy’s Theatre Festival in Tagore Hall in March 2023. KL Image: Bilal Bahadur
As the curtain raised, a farmer offered greetings to everyone. The man was worried about the barren land and chose to work on it to make it fertile again. A woodcutter, a Hindu, and a Sikh joined him.
Everyone asked him about what he was doing there and shared it. They all mutually intend to follow the path of brotherhood to bloom the barren land and they dance together. This segment was the opening and the actual play followed later.
Tankha revolves around a family of four, Mohammad Amin, Maimoona, and their two kids Zamrooda and Tariq. The scene starts with a small house set up and a lady – Maimoona ranting about the miseries she faces all the time with respect to her work, lack of resources, and inability to live a better life. Her husband, Mohammad Amin who works on an honorarium basis returns from his work and questions her behaviour. She complains about his little salary of Rs 3000, jammed salary of two months and not fulfilling any of her demands. They get into an argument while both of them complain about their problems.
In another scene, an office with some clerks is shown where Mohammad Amin works. All of them have faced the same issue in their homes. They talk about the debt, load of work, less salary, corruption, and apart from all this the misunderstanding that people have about them having huge amounts of money. They even consider business is better than their job.
At home, when Mohammad Amin offers prayers and asks for respite from debt, a voice responds to him saying that might is right and he should not follow the right path always. He gets scared about this suggestion and asks him where the voice is coming from. The voice replies, “I am your soul.” This scene somehow shows a person’s fight with himself to follow the righteous path at a time when choosing the wrong one can resolve your problems.
The debtors frequently visit Amin’s home asking for their money. The couple assures them of returning it soon. As soon as Amin gets his salary of two months, he distributes it among the debtors and the rest to his children for some school activities. The whole salary goes into it and the couple gets into the argument again. Maimoona has to attend her brother’s wedding and she demands certain things for it.

Mohammad Amin fell ill and had a high fever. His wife doesn’t believe it at first, but later on, seeing the condition worsening, she believes. Amin gives her the money and things she demanded. Maimoona was shocked after knowing that Amin had sold his watch and scooter. He had done it out of love for her wife as she used to fight and cry over the issue. She feels bad about it and the couple gets emotional.
The play shows the efforts put in by such employees to meet the ends of their families. He suggests his children opt for government school instead of private but they refuse by giving the reason that everyone goes to private schools. His wife also timely compares herself to neighbouring ladies and their lifestyle. It shows the reality that people instead of focusing on rightly managing their lifestyle compare with other people and add to the miseries.
The play is written by Rashid Gamgeen, presented by Dilshad Cultural Forum, directed by Dilshad Mustafa, assistant direction by Akash G.M Bahar, and set designed by Saleem Yousuf. The cast line included Mukhtar Ahmad as Mohammad Amin, Shahida Alvi as Maimoona, Ghulam Mohammad Bahar as Bilal, Mohammad Yousuf Dar as Akram, Ali Mohammad Mir as Hilal, Aamir Ahmad Malik, Tasaduk Hussain, and Sajad Hussain as debtors, Mohammad Yousuf Ganie as Dervish, Ghulam Hussain Hak Nawaz as his assistant, Shazia Akhter as Zamrooda and Munawar Ali as Tariq.

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#Artists #Displayed #Timely #Tankha #Binds #Families
( With inputs from : kashmirlife.net )

March 9, 2023
Gindan Tamashe Asked Serious, Uncomfortable Questions on Existence, Identity

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by Maleeha Sofi
SRINAGAR: Novelist and playwright Sohan Lal Koul has remained a popular choice for theatre because he has his hand on the pulse of society. In the last festival, at least three of his plays were staged in a single festival.
Koul’s Gindan Tamashe which was staged at Tagore Hall tackled the issues related to the issue of existence and identity. It asked very pertinent questions and provoked the audience to stay engaged.
It started in a set of the semi-lit enclosure with no doors and a single window. It was messy with three dustbins, some dirty clothes, tissue papers all over the floor and two beds on which two people were sleeping.
The beds exhibited a contrast. One had a white and blue bed sheet with faded colours. The pillow was stripped without any cover. The other bed was a shining, bright, and floral red colour bedsheet. The pillow was also covered with black velvet floral cover giving it an exquisite look. It suggests the two persons resting belonged to two different classes.
The man – who is later given the name Seen, wakes from the ‘inferior’ bed wakes up. He seems to be around 40-50 years old. His face shows confusion as if seeking answers to some of his frustrations. Finally, he breaks the silence and starts asking himself “Who am I?” and “Where am I?”
A group photograph of Kashmir theatre artists who staged Dr Sohan Lal Koul’s Gindan Tamash (toy) at Tagore Hall, Srinagar on March 4, 2023. KL Image: Bilal Bahadur
Soon, he sees the man on the other bed and assumes he would have answers to his questions. After several attempts, he wakes him up but he also has no answers to any of his queries. He – later given the name Sheen – was in his twenties. Both of them have perplexed thoughts. They ask each other questions about their past, existence, and the mistake that would have led them there, and the biggest mystery at that point was their identification.

The whole conversation between Seen and Sheen showed a serious debate over one’s existence in the world. Sheen claimed to be the master of Seen. He wanted to continue it the same way no matter if they remember anything or not. However, their debate nullified the difference in caste and status between them. Seen got offended initially when Sheen sat on his bed as he was poor apparently. With the progress in their discussion, they exchanged their seats subconsciously. It made one thing clear while they struggled to recall their identification, they forgot their class differences. From death to life, fiction to reality, punishment to freedom, they discussed all the possibilities of their identity. They yearned to get a second chance so that they live happily. This came after a series of suicidal thoughts exhibited by the duo in the frustration of knowing themselves and their identity.
Amid the arguments, they receive a letter from the window. They do not open it assuming that it might be from the angel of death. Again, a deep conversation about the letter takes place. Somehow, they decide to read it. The letter has been addressed to Gindan Tamashe (Toys). It was written by a child asking his toys to return home. The child had thrown them away earlier because of the pandemic. This led them to question themselves, once again, ‘are we just toys thrown in the garbage’?
Soon another character jumps into the sets. He is well-dressed but equally fearful. On asking why and how he is here, he responds by saying he is being chased by the angel of death and this – the set – is the safest place. He tells them the angel has spread posters everywhere about him and kept a reward on him. The two men who were already dominating the set started planning that they should inform the angel and claim the bounty.
They started executing the conspiracy for which they needed to open the window. As they opened it, a voice from the window tells them that opening the window was the condition for taking their life. Now that they have opened, their lives will be taken away. The voice ordered them to go back to their respective beds. Sheen requested Seen to exchange the beds as he wanted to give him comfort, which he did not get his whole life. They sleep on each other’s beds.
The next scene shows them as toys. A girl with her father comes to take them along with her. Her father gives her permission to take only one and she takes the one on the bed that appeared poor for the same reason. It conveyed that Sheen stayed as a toy and Seen was given a second chance. However, he wasn’t happy with the second chance now because he is all alone and cries till the end.
The play by the Young Dramatist Society was directed by Altaf Hussain and designed by Mushtaq Baqal. The overall supervision was done by Javid Gilani. Seen was played by Shahzad Shabir, and Sheen by Shahid Malik. The third-person man escaping from death was played by Imran Farooq, father and daughter were played by Tanveer Ahmed and Arbeen Jan respectively.
The costumes were provided by Shabir Ahmad Mir, lighting was designed by Balbir Singh, Music arrangement by Rasiq Khan, Production management by Javid Khan, stage management by Khursheed Ahmad Mir (Yamberzal Youth Club), Audio and video arrangement by Wasaaqat Mehraj. The coordinators were Shabir Ahmad Bhat and Latif Ahmad Shah.
Sohan Lal Koul, it may be recalled here is a popular playwright. A novelist and having a doctorate in Urdu, he has written several novels and plays. His novels include Waehshi Kaeth, Panien Gunah, Yele saer PaethGoav, Abysmal and Ded. He has also written a few plays. He has worked as a programme executive in Doordarshan. In a 13-day Annual Drama Festival at Tagore Hall in the year 2021, three of his plays were presented.

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#Gindan #Tamashe #Asked #Uncomfortable #Questions #Existence #Identity
( With inputs from : kashmirlife.net )

March 6, 2023
Arinmaal Staged Kashmir’s Afghan Era Poetess’s Love Story

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by Maleeha Sofi
SRINAGAR: The curtains rose to the sound of water gushing and birds chirping, offering an idea of a serene spot lacking noise and visibility. Melodious background music added to the sensory appeal.
As soon as the stage lit up, a beautiful set-up of the village could be seen. Heemal, played by Zareena Ali, came to wash dishes as any normal village girl. Shahi Mumtaz gave voice to the character in the play. As Heemal was seen dancing, her friend played by Jameela Akhter asked for the reason. The whole conversation took place in a rhythmic manner exhibiting the poetic capacity of the two Kashmir women. Heemal expressed her happiness over her marriage tie-up that had taken place a day before.
It was the play surrounding the life of Arinmal, a Kashmiri poetess, who has left behind a lot of poetry and lived an interesting life. The next scene showed up two men explaining the life of Heemal. She was born in a Hindu family in Palhalan (Baramulla). Born in 1718, when Kashmir was misruled by Afghans. Intelligent and beautiful, the conversation suggested that she wanted to study, but women’s education was not in vogue.
The cast line of theatre play Arinmaal that was staged in Tagore Hall Srinagar on March 3, 2023. KL Image: Bilal Bahadur
Her parents, however, provided her with all the possible education, they could afford within the confines of their Palhalan home. She was fond of poetry and literature.
At a very young age, she was married to Bhawani Das Kachroo, a resident of Rainawari in Srinagar, who worked on a very high post in administration. Besides, he was also a good Persian poet and wrote under the name Naikoo. Heemal nodded for the marriage for the common love of literature among both of them. This was the point from where she was known as Arnimaal.
The play was presented by Saath Theatre Group, directed, written and designed by Manzoor Ahmed Mir. The music direction was done by Raja Bilal. The songs in the play were sung by Shahi Mumtaz and recorded at Folk Studio Srinagar.

Palhalan’s Arinmaal
The couple loved each other immensely until the day Bhavani Das returned home drunk. He was furious at Arnimaal and accused her of causing him humiliation. Unaware of the cause that frustrated the Afghan coutier, she insisted but failed to elicit a response. Following days Bhavani Das became alcoholic and frequented Srinagar’s dance bars.
When Arnimaal came to know about her husband’s new found refuge in dancing, she made efforts to get him out of bars. In an attempt to make her husband fall in love again, she practiced singing and dancing. Even though she struggled hard but he did not give up.
In fact, when Bhavani Das learned about it, he raised her hand against her and defended himself by saying that the religion, culture and society gives man the freedom to do whatever he wants. She refuted him politely which worsened the situation between them. He asked her to leave his home. However, she stayed back. Bhavani Das spent most of the time outside. Nobody talked to her.
Meanwhile, she planned to go back to her parents many times, but her intellect did not allow her. Eventually, one day, an angry Bhavani Das succeeded in throwing her out of his home.
Arnimaal went back to Palhalan where she waited for him for several years without any change in her love towards her estranged husband. On the other hand, Bhavani’s hate also remained unchanged.
Eventually she lost her sane self and turned old and dull. She died on the same place where the play started. Bhavani’s servant was provoking him against Arnimaal. When the news of Bhavani’s behaviour reached the governor, he was upset. After facing humiliation, Bhavani Das went to Palhalan but it was late already as she was no more. He arrived when the funeral of Arnimaal was going on. He regretted his actions. The darkness that would follow was shown by the lights that turned off marking the end of the play.
Throughout the play, Arnimaal sang songs that explained and detailed the situation she was in. The dresses chosen for Arnimaal in the play also added to the character that shifted from modest when she was unmarried to bright and glittery during her marriage, then simple but colourful during the conflict and completely dull towards the end.
The Arnimaal cast line included Zareena Ali, her friend by Jameela Akhter, Bhavani Das Kachroo by Ashraf Nagoo. The narrators in the play were Mehrajuddin Bhat, Reyaz Ahmed Mir, Haseena Sofi, Farid Ahmed Sheikh. The dancer was played by Midhat. Other artists were Shagufta Rehman, Ghulam Mohammed Bhagat, Manzoor ul Islam Bhagat, M Iqbal Bhagat, Irfan Ahmad Bhagat, Manzoor Ahmad Bhat and Bilal Ahmad Bhat. The properties were provided by Gulzar Ahmad Dar, costumes by Shaheen Masarat, Set by Mir Adil, Make-up by Aijaz Ahmad. The lights were operated by Tariq Hajini.

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#Arinmaal #Staged #Kashmirs #Afghan #Era #Poetesss #Love #Story
( With inputs from : kashmirlife.net )

March 5, 2023