Performing at a benefit for the US civil rights movement in Paris’s Palais des Sports, 1966
Belafonte funded the Freedom Riders and SNCC, activists fighting unlawful segregation in the American south, and worked on voter registration drives. He later focused on a series of African initiatives. He organised the all-star charity record We Are the World, raising more than $63m for famine relief, and his 1988 album, Paradise in Gazankulu, protested against apartheid in South Africa
Photograph: Spartaco Bodini/AP
[ad_2]
#Smash #hits #civil #rights #Harry #Belafonte #life #pictures
( With inputs from : www.theguardian.com )
Chaos prevailed at a popular cinema hall in Chennai, Tamil Nadu after its staff allegedly stopped a tribal family from entering its premises.
In a viral video that is being shared across social media platforms, the family, belonging to the indigenous Narikuravar community (Scheduled Tribe), was stopped at the gates by a staff member of Rohini Silver Screens even after purchasing a ticket.
They had come to watch the Silambarasan starrer Pathu Thala.
People gathered around and questioned the staff on the treatment of the family. However, the staff did not let them in.
The video soon went viral on Twitter evoking strong reactions and a call to boycott the theatre. Owing to the pressure, the theatre management issued a statement clarifying the incident.
“A woman along with children who had come with valid tickets sought entry to the cinema to watch Pathu Thala movie. As we know the movie is censored U/A by the authorities,” the statement reads.
The statement mentioned that since the children were below 12 years, the family was not permitted.
“Our ticket checking staff has denied entry on this basis to the family which had come with children aged 2,6,8 and 10 years,” the statement read.
“However, since the audience gathered turned into a frenzy and took a different perspective of the situation without full understanding, to avert any law and order problem and the same family was allowed entry to watch the movie on time,” the statement said.
Later, the theatre management released a video of the family enjoying the action flick.
Mumbai: Superstar Shah Rukh Khan starrer Pathaan has managed to drag audiences to the cinemas and the film broke several records at the box office. People were stranded in queues to watch the movie in theatres during the first two weeks. The film is still running in various theatres across India since January and it finally got released on the OTT platform today on the 22nd of March.
Earlier, the director of the film Siddharth Anand had hinted during an interview that the OTT release of the movie will include the deleted scenes which were not shown in theatres. After Siddharth’s revelations, fans were excited to watch the deleted scenes on Prime Video.
Just after watching the movie on the OTT platform today, netizens shared their experiences via tweets and Instagram posts. Fans wondered why various scenes were removed from the movie and said that they wanted to watch all those deleted scenes on the big screen.
Some of deleted scenes from Pathaan have caused quite a stir among fans after its OTT release. One of the deleted scenes shows the protagonist, Pathaan, being subjected to brutal torture by Russians, while another quick scene shows his triumphant return to the RAW office after being rescued by Salman Khan’s character Tiger. The third scene features Deepika Padukone’s character being interrogated by Indian forces.
In addition to the deleted scenes, there are also a few dialogues that didn’t make it to the theatre release. One such dialogues of Shah Rukh Khan is, “Teri Hindi bohot achhi hai..Teri Maa Hindustan aayi thi Kya?”
Pathaan has become the biggest Hindi hit of all time as it collected more than Rs 1000 crore. The movie stars Shah Rukh Khan, Deepika Padukone and John Abraham in the lead role.
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.
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.
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.
SRINAGAR: The 8-day long Kashmir Theatre Festival which began at the Tagore Hall on March 2nd concluded here on Friday. The festival was organized by J&K Academy of Art, Culture and Languages (JKAACL) and supported by Cluster University, Srinagar and Chief Education Office, Budgam.
Eight plays were staged during the festival which included Arnimal, Gindan Tamashe, Chakdar Paether, Tankha, Akh Pryetch, Fatah, Dakhe Loor and Nam Te Maaz.
Prof. Qayoom Hussain, Vice Chancellor, Cluster University, Srinagar was the chief guest at the concluding day function while as Prof. Deeba Sarmad, Dean Humanities and Hina Mir, Principal, Hr. Secondary School Chadoora were guests of honour.
Speaking on the occasion, Prof. Hussain described Theatre as ‘a way of life’ and exhorted the JKAACL that it should continue to promote and develop such activities. He also promised support of the Cluster University in all such endeavours.
Others who spoke on the occasion included Prof. Deeba Sarmad, Dean Humanities, Cluster University and JKAACL Kashmir I/c, Dr. Farooq Anwaar Mirza.
On the concluding day today a large gathering comprising theatre lovers, artists, and students witnessed the play and appreciated the performers.
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.
SRINAGAR: It was the return of the last two centuries on stage when a group of artists staged Chakdar Pather in Tagore Hall. Pather is basically a fold theatre that usually as satire and comedy as part of the process.
The play opened with a band of four people welcoming the guests to Shehnai, Surnayi, Nagar, and Dhol beats. The music was energetic to light up the stage. A group of dancers join in and entertain the audience more through the funny movements than the ‘dance’ itself.
In the next scene, two men Boud Maskhar (senior joker) and Loukut Maskhar (junior joker) started attacking technology, the digital world, and the zee generation. They hint at doing the play Chakdar Pather, which starts in the next scene.
The play was based in Kashmir’s nineteenth and twentieth centuries when most of the land was the ruler’s property and distributed to his family, friends and the bourgeoisie.
The stage was set up in a paddy field with the peasants working. The hard work of peasants was beautifully expressed in a song sung live by Sajad Maqbool Mir. The play exhibited the struggle of peasants to cultivate crops and the meagre income it generated for them.
Kashmiri artists staged a Chakdar Pather, a theatre play based on Kashmir’s feudal days, at Tagore Hall on March 4, 2023. KL Image: Bilal Bahadur
It showed how some peasants were on the verge of suicide because of paying taxes to Chakdars (land contractors). They had to toil throughout the season, but it did not generate enough money to run a family. Their families would often sleep without meals and some of them lost their lives to hunger.
The play shows a Kardar – Ram Chandar and his accountant – Somnath calculating the land given to Kaashtkars and the taxes they paid in the past year. If someone did not pay, they would take back the land and give it to someone else who would pay better. They would visit the village once in a while to check on the peasants and collect taxes. They were shown beating those who failed to pay the whole amount and praising those who paid them. Kardar was so affectionate towards Chakdari that he considered it over God and his own life.
Then, Kardar’s used to be the bridge between the peasants and the land contractors appointed by the despotic rulers.
The whole play presented a serious issue with a tinge of comedy through dialogues and actions, which kept the audience hooked. There was not any gap left to feel the other way about it. Sajad Maqbool Mir played the rabab in the background, which also helped the audience to stay hooked to the stage.
As the peasants suffer, the play goes on to show, they plan to complain to their leader about it and they do so. The leader gives them all the support needed and encourages them to speak against it. They plan a strike. Soon, all of them visit the Kardar. The leader demands a one-fourth share of the income generated through the crops as the peasants work hard. Kardar, who seems to be afraid of the leader, agrees to their demand.
The play was written by Reshi Rasheed, and its design and direction were done by Ramzan. The character of Boud Maskhar is played by Mehraj ud Din Bhat, Loukut Maskhar by Aashiq Hussain Sheikh, Jamal by Mushtaq Ahmad Dar, Ramzan by Nisar Ahmad Bhat, Rajab Ganaie by Javed Ahmad Shah, Leader by Ishfaq Ahmad Bhat, Ram Chandar by Ghulam Rasool Lone (Founding Member of the theatre group), Somnath by Master Abdul Samad Mir and other Actors (peasants) by Mohammad Maqbool Bhat, Mohammad Ramzan Lone, Abdul Majeed Dar. The singer in the play is Sajad Maqbool Mir.
Dhol is played by Ghulam Mohammad Bhat, Shehnai was played by Ghulam Mohammad Bhat, Surnayi is played by Abdul Khaliq Bhat, and Nagaar was played by Ghulam Mohammad Bhat. The dancer is Bilal Ahmad Bhat. Costumes were provided by Abdul Samad Mir, Light Direction by Aashiq Hussain Najar, Lights Operations by Tariq Ahmad Hajini, and Sound by Aijaz Ahmad. The stage was set up by Trilok Singh Bali, Mohammad Amin, and Suhail.
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.
