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A 24-hour play staged in Pune in July 2017 tried to show Kashmir’s conflict through the experiences of people living with it. The Scroll report that covered it also described bhand pather, a travelling folk-theatre tradition used for satire and political commentary, as diminished and disconnected from the Valley’s changing realities. Its headline’s claim that the old storytellers were “gone” was a framing of decline—not proof that every performer or troupe had disappeared.
What was the play trying to show about Kashmir?
Information for/from Outsiders: Chronicles from Kashmir was a 24-hour immersive production staged in Pune in July 2017. It featured artists from Ensemble Kashmir Theatre Akademi (EKTA), who had reportedly been collaborating with theatre-maker Nandita Dinesh since 2013. The account does not establish whether the play later toured or was staged again.
Rather than offer a single, comprehensive portrait of Kashmir, the production presented vignettes of conflict as experienced from inside: its presence in homes, stone pelting in the streets, and the ways people deal with trauma. Its point of departure was Argentine playwright Griselda Gambaro’s 1992 work Information for Foreigners.
The production’s Facebook statement, reproduced by Scroll, acknowledged the limits of any one work to represent all the narratives of Kashmir. It described the play as a small step toward sharing experiences mainstream Indian media might not convey and encouraging more informed, less polarised opinions. This was the production team’s statement, not a quotation attributed to a named individual.
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Scroll reported that the play had attracted offers from within India and abroad for a possible 2018 session. EKTA leader Bhawani Bashir Yasir said, “We have been getting offers from within the country and abroad as well,” referring to requests to host the next session. The 2017 account also said the production made little impact in the Valley. That observation reflects the report’s assessment at the time, not a current measure of the play’s reach.
What is bhand pather?
In Scroll’s 2017 account, bhand pather is a Kashmiri folk-theatre form combining satire, lament and comedy to address contemporary life. Performers known as bhands travelled through the Valley and staged open-air performances. The report describes their work as socially communicative and politically pointed, with subjects including rulers and officials, taxes and social problems.
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Scholar Triloki Nath Ganjoo explained its purpose this way: “It was never an amusement. They were lamenting, they were mourning, trying to get their cries and sorrow to reach the king’s ear.” Filmmaker and theatre director Arshad Mushtaq called it resistance, saying, “Bhand pather would only pick contemporary issues, it was a resistance against the power centre and it sought justice.” Both quotations are reproduced as printed in the 2017 report.
Roles, performance and related traditions
The report identifies four recurring troupe roles:
- Magun: leader and protagonist.
- Sutradhar: narrator.
- Maskhar: jester.
- Kurivol: whip bearer.
Performances were often extempore, using humour and satire to communicate meanings indirectly. The report also mentions laddi shahs, travelling satirical performers. It lists pather types including Darz, Shikargah, Raaz’e, Watal and Angrez, associating them with different subjects or historical periods. These are examples from the 2017 article, not a comprehensive inventory of the tradition today.
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Mushtaq compared bhand pather to a local form of the Theatre of the Oppressed. That is his characterization, not an established scholarly classification.
Why did the report say political theatre had declined?
The article presents several overlapping explanations, largely as interpretations and recollections from practitioners rather than as independently demonstrated causes. They describe a difficult relationship between a form intended to address contemporary life and a period when, in their view, its familiar performances were not speaking to what people were experiencing.
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- Conflict and fear: Practitioners said armed violence and its aftermath made present-day experiences difficult or frightening to articulate. Yasir recalled that a theatre group he began in 1988 closed for several years after armed violence.
- Neglect and dilution: The report’s interviewees described the form as diluted or neglected.
- Commercialisation and cultural policy: The article says these pressures drew performances away from current concerns.
- Changing communication: Newspapers, the report suggests, displaced some of the communicative role once served by travelling performances.
- A disconnect from current issues: Mushtaq argued that repeating older forms while avoiding matters such as security crackdowns and stone pelting contributed to a gap between theatre and lived experience.
Yasir summed up his view of the form’s relevance: “If an art form does not reflect the contemporary moment, wishes, aspirations, ethos and life which it belongs to, it becomes irrelevant.” This was his argument in the 2017 report, not a measured finding about the present state of Kashmiri theatre.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What the 2017 account establishes—and what it does not
Scroll’s October 4, 2017 report documents a particular production, its stated artistic approach and practitioners’ accounts of bhand pather and political theatre. It provides no count of performers, troupes or performances, and no statistical measure of the tradition’s decline. It therefore does not establish that all bhand pather performers were gone, or the tradition’s current status.
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For the production and the statements discussed here, see Rayan Naqash’s 2017 report in Scroll.
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