Author: ValleyObserver

Srinagar: While holding it with his left hand, a pheran clad man gradually spins  the flower vase as he rolls his brush on the artifact repeatedly. After hours of the intricate painting, the plant bearing tufts of rose drawn on the vase looks  real.

Aga Syed Sajad Hussaini Hamdani, a man bestowed with magical fingers is an accomplished Paper Machie artist from Zadibal area of Srinagar. A son of respectable and learned personality Aga syed Ali Hussaini Hamdani from Khanqah-e-Sokhta Nawakadal in Srinagar, Sajad has been tinkering with colors and brush since his childhood. Even though Sajad’s parents wanted him to become an engineer, his unflinching love with colors and designs landed him into the world of Paper Machie.

“Whenever my parents entered into my room, where I was supposed to study school books they always found me doing drawings. Once sarcastically, my father grabbing my hand took me to a nearby Paper Machie workshop in the area. To the surprise of every one at home, I never opened the school bag onwards while embracing the craft as a lifetime career”, says Sajad while recalling the incident which changed the course in his life.

After the incident , there was a no time to look back. While his peers and class mates were making it to the colleges and universities, the natural artist in Sajad was being groomed at the hands of  Kashmir, best artist Haji Mirza Muhammad Saleh from the valley. I was lucky enough to spend 14

years of my life and apprenticeship with such a great teacher . Through his knowledge , He taught us to be the change and that change can be conceived through the brush.

Infusing life into the artificats for more than 30 years now, this artist from Down Town has produced thousands of rare designs in the craft winning respect and accolades through out the globe. Having fetched to the demands of Valley’s renowned craft businesses like Suffering Moses, Kawoosa Art and Bony Arts, the rare designs made by Sajad are valued world over and within the domestic circles too. From Mehraab of Masjid-e-Salman Farsi, Budgam Imambara , hotels in Srinagar to Mumbai hotels, the paper machie panels designed and painted by this artist soothe thousands of onlookers and visitors.

Sajad has won laurels for his unmatched work across the globe. I still use to get orders from the customers from different parts of the world. According to Sajad, the demand for his work has increased within the country also. Off late, lot of people from different states of India have shown keen interest in the possession of paper machie artifacts. There is a good scope for growth, if a person treads on it professionally, says the artist while deliberating upon the career opportunities for the youth in this field. Initially I used to deliver my orders to few showrooms and businessmen operating in some European countries only. But now, there is a good demand for the art within in the domestic circles. Only a days ago, I received a call of appreciation from one of my customer in Mumbai. The trade needs patience and dedication. Apart from the time, youth who want to be in this craft should bear in mind the principle of honesty and preservance, As both pays in the long run. I ask the youth to come forward and embrace  the ancestral craft, as it is full of opportunities and avenues keeping the changing lifestyle and taste of the people in mind.

In these days to reach out to the world is a not any big task. With the help of a social media , any artist can put his work on display for the world audience and earn livelihood as well as much needed encouragement.

Recently , Sajad’s magical fingers handed him a job in one of the reputed universities of the valley. In th year 2018, He was appointed as senior skill instructor by Design Innovation Centre  of Central University Kashmir. Posted presently at Islamia College Srinagar, Sajad grooms hundreds of new hands in to the world of Paper Machie.

Though the handicrafts industry in the valley has taken a severe hit from past 30 years, recent enlisting of Srinagar among the creative city network by UNESCO for its unique crafts and art world coupled with  a rejuvenated push of the authorities to promote and curate the heritage art of Kashmir has instilled a ray of hope among the artistic fraternity in the valley. According to Sajad, the government as wel as people should put concerted effort to encourage and promote the art in the valley. Sajad believes that like other parts of the world, the community should celebrate and observe the artisans day in Kashmir.

SRINAGAR: Creating novel designs and adapting to changing trends, Valley’s willow wicker artisans rise to the occasion to keep the age old willow wicker basketry relevant in Kashmir.

After sharpening their tips, a man carefully chooses reeds from a bunch of wickers in front of him. One-by-one, he soon weaves them onto a wooden frame. Seemingly after hours of intense thought process and sheer display of intricate skill, Ghulam Ahmad, a 52-year-old wicker worker carves these wicker reeds into a beautiful basket at his residential workspace in Ganderbal’s Kachan village. The area is known for its age old craft- Kaeni Kaem or willow work in local parlance.

Kaeni Kaem

Locally also called as Shaakhsazi, the willow-wicker work is a handicraft involving primarily weaving of baskets from willow reeds. Remote villages like Umerher, Kachan, Shallbugh in Central Kashmir’s Ganderbal are the traditional hub of willow wicker-work in Kashmir.

From somewhat pliable slender twigs to decorous creations, the willow wicker undertakes an interesting journey.

“After cultivating willow twigs, they are harvested and arranged into bunches according to their length and width. Then each bunch is boiled in a large boiler. One by one each twig is then peeled and arranged in a bunch arranged in lawns and open spaces for sun drying,” says Mushtaq Ahmad, a willow grower from Ganderbal while narrating the process involved in willow-wicker harvest.

The wicker reeds used as a primary raw material in the age old cottage industry are cultivated in abundance near wetlands in Ganderbal.

Most of the harvest units, the majority of which are located in Umerher village are labour intensive, carrying out wicker processing manually. From here, the naturally brown coloured wickers find their way into large number of households in Shallabugh and Kachan villages, where willow-wicker craftsmen weave them into a range of products primarily the baskets, vases and kitchenware.

But till a few years ago, in the absence of any takers, the traditional basket makers were left in lurch.

The Depression

Baskets, flower vases, chairs, trays and Kangri are the significant willow-work products made in the valley. People in valley have been traditionally using these items since ages. However, the availability of comparatively economical fancy and polished Chinese products replaced the traditional wicker products over the years.

“As the markets were flooded with the trendy products mostly machine made from China, the taste of people too changed. Most of the people discarded the use of the traditional basketry items,” says Zahoor Ahmad Wani, a basketry shop owner from Srinagar. “There was a time when, Kangri, a traditional firepot used during winters in the valley was the only item in demand.”

But thanks to sharp wit of a group of artisans from Central Kashmir’s Shallabugh and Kachan villages who have not only sustained the art but are successfully passing it over to newer generations.

A fresh beginning

Leave the willow décor aside, few years ago apart from making Kangris and few baskets, there was almost no work for the Kashmir’s willow-work craftsmen.  This was the time when Kadam, an NGO came to the rescue of Kashmir’s traditional basketry craft. Kadam not only mentored the craft, it helped the artisans to craft market driven designs from wicker through in person trainings.

“What we could make was only the traditional designs and products. However, after getting training from Kadam, our way of work has changed. Our designs have changed completely. Our products are now market driven,” Ghulam Ahmad told the Valley Observer.

“The trainings have been much beneficial in grooming our skill. Our products now match the international standard and off late there are many orders from international buyers too. At a time our younger generation was reluctant to learn the craft but for the last few years,  lot of youngsters have shown their interest in this traditional craft and  have infact taught it,” added Ghulam Ahmad while giving a final shape to willow drawer for Sofa.

The artisans from the village are now producing a wide range of products which include basketry, kitchenware, home décor, plantery, lamp shades, trays, wall plates, cradles, home utility and even sofas.

The technical intervention from Kolkata-based NGO facilitated by government has helped in bringing the artisans together to revive the age old rural craft in the valley.

According to Imtiyaz Ahmad, Cluster coordinator from Kadam, the government is really working in close coordination with the organizations to uplift the craft and to have an impact. “Our approach is twofold- one, to upgrade the skill of local artisan community related with the trade and two, to facilitate the market access.” 

“We are continuously upgrading and reaching out to  artisans through several training modules . So far a large number of artisans particularly the willow-wicker craftsmen from Ganderbal have participated and benefitted from this programme,” he said. With new push for the craft and the production of cheeky designs, the Kashmir willow-wicker products have an easy access to global market platforms like Myantra now.

Srinagar: In 2013, when Sana Masood, a young girl from Srinagar returned to her homeland, she brought along insightful experience from her career as consultant with multinational companies like FabIndia and Organic India, outside Jammu and Kashmir. Back home, the young girl proceeded with her agricultural startup –Sustainable Eco enterprise Development Solutions or SEED.

Nine years on SEEDS, a group of social entrepreneurs works with hundreds of beneficiaries to literally give wings to aspiring women engaged in small scale agricultural activities in rural Kashmir.

Having established three centres each in South Kashmir’s Bandzoo Pulwama, Central Kashmir’s Dara Srinagar and Uri area in North Kashmir, Masood’s organization is multidimensional in helping the small scale women farmers in these areas to earn for their primary activities in the fields.
From  imparting training to women farmers for various agricultural activities, providing quality seeds, professing organic farming, conducting exposure tours of these farmers to buying back the produce on market rates from these women, the organization is “at the forefront to help the small time or backend farming community.”

“Initially we used to impart training to few women only, but within few years, the centre has added more than 115 beneficiaries from nearby villages of Bandzoo, Khanbasti, Lassipora, Zasoo to name a few,” says Sana while referring to common facilitation and demonstration centre established by her organization at Tumlihal, Pulwama.

Experts frequently visit the centre to train the beneficiaries.

A women beneficiary Shaheena(name changed) from Tumlihal says “that last time Dr Nayeema Jabeen had visited the facilitation centre and I learnt a lot of things about the cultivation and processing of red chilies.” She says after getting affiliated to the centre, she has been able to earn handsome money from her backyard vegetable farming.

Seconding Shaheena, a number of beneficiaries from the surrounding villages say that they are benefitting in many ways from the centre.

Laced with an ideology of sustainable agriculture, the primary sector organization strongly advocates organic farming.

“Apart from training the women in various agricultural techniques, our stress is on sustainable agriculture. And that is possible through organic farming. So our main focus is to train these farmers in producing manure and growing the food without using any chemicals or fertilizers,” adds Sana.

At Uri centre, there are more than 75 beneficiaries and at Dara in Srinagar, a state-of-the-art centre equipped with multiple facilities is being built, she says.

Having leased some area of land, SEED has a specialization in growing ethnic and heritage lot. Fresh vegetables to pulses and medicinal plants to herbs, the organization has successfully tried hands at a variety.

Sana says they are able to grow a large number of ethnic varieties of vegetables and herbs in collaboration with local farmers in different parts of the valley.

“We prefer to own the cultivation of local popular crops as per the area. That does not only promote the local produce but also helps in cooping to the demand for various local agricultural products,” she further adds. 

Buoyed with the response of local women farmers, SEED has recently launched Vestaun, a brand name for their products. Vestaun in local parlance means feminine friendship.  “Picked, processed and packaged carefully, these products showcase Kashmir heritage.”

“Be it a Taraxacum Officinales  popularly called as Haend, dried vegetables ,rare mushrooms like guchi, ethnic pulses, red chillies, garlic or mint,” Vestaun packs them all.

Providing an opportunity to small scale women farmers, Vestaun offers ample platform to process and market their produce.

“Lot of our produce particularly in far-flung areas does not reach the market in time. So we need to increase the shelf life of these products. And, it can be effectively done through proper processing and packaging.”

It  is not only the vegetables, Vestaun, which eyes national and international markets, has brought a number of dry fruits, pickles and jams to the market. Lavender oil, walnut kernel, rose oil are the latest additions.

As the organization gradually expands, more and more people are willing to work with the SEED to reap the actual benefits from farming. And the women among them are at the forefront.

Sana says her organization is more focused on women because being women herself, she wants to “inculcate the feeling of dignity in women.” “Since a number of women are directly or indirectly engaged in agricultural activities, but their contribution seldom counts. It’s our mission that every valuable contribution of women folk particularly in the field of agriculture counts and they get their due profit share for their efforts,” says Sana explaining to flock of rural woman, the essence of her latest brand Vestaun.

NASIR YOUSIFI

SRINAGAR: Leave the dip in day and night temperatures aside, autumn has turned on a spell in this Himalayan region. While the crimson Chinar leaf falling in the backdrop of red sun during evening hours give a specter, the violet petals of the saffron painting the Karewas of Pampore with colour and fragrance adds to the watchers-treat.

Amidst thousands of herbal bulbs dotting the Karewas sprout the saffron magic, the famed Saffron fields of Pampore in South Kashmir have thrown the valley into poetic gaiety.

By mid-November, it is a festivity around. During this period, Saffron harvest is at its peak in the valley. After a yearlong wait and hard work, it is time to reap the merry-crop.

Picking saffron flowers carefully from the vast stretch of fields outside Balhama stretch, middle-aged Fatima Bano along with her 12-year-old school going daughter Zainab is busy collecting the prized spice in her wicker bas-ket.

Not only elders, young and children too are at the forefront to celebrate the festivity of prized harvest.

“It is just like Eid here. Everywhere the people are busy plucking the posh, flower,” says Basit while helping the family to harvest the stock.

It is not only about harvest, along with the colours and aroma, people enjoy the local foods too during the harvest time. “I enjoy the morning Nun Chai and Makai tchout or corn bread, and satu or baked flour in the fields,” a jolly Zainab says, while holding the basketful of world famous saffron flowers.

As the festivity is in the air, how could be the people related with tourism stay immune to the saffron fever. In the first week of November, Jammu and Kashmir Tourism Department organized a mega festival in the Saffron fields of Pampore. Portraying culture, ethics and heritage, Directorate of Tourism Kashmir organized a daylong festival. The festival was attended by many dignitaries from Department of Agriculture, SKUAST, Cooperative societies and hundreds of saffron growers from the area.

Speaking on the occasion, Divisional Commissioner Kashmir, PK Pole who was a chief guest highlighted the im-portance of world acknowledged spice from Kashmir. He said that it is collective responsibility of all the stake hold-ers to preserve and safeguard the reputation of internationally famed Kashmiri Saffron.

The saffron festival was attended by hundreds of people in the karewas of Pampore. Believed to have been intro-duced to Kashmir around first century BC from central Asia, Kashmiri saffron is the sweetest, most precious spice in the world.

Its strands are thicker and more fragrant than its counterpart from Iran, which accounts for more than 90 percent of the world’s saffron production. For Kashmiri farmers, crop sells for as much as Rs 250,000 to 30,000 a Kg. Most of Kashmir’s saffron is grown in Pampore, south of the state’s summer capital, Srinagar.

Kashmir saffron is known to rejuvenate health and is used in cosmetics, medicinal and beverage purposes. It has been associated with traditional Kashmiri cuisine and represents the rich cultural heritage of the region.

Most of the saffron produced in the valley is exported to overseas markets adding hundreds of crores to national economy.

There is good news year for saffron producers in Kashmir. The annual production calculated at the end of 2020 for this costliest spice has been 13.2 metric tons. This is the highest yield in a decade for this sector in the Valley. From the low yield of 1.5 Mts in 2011-12 to 13.2 Mts, this journey has been a mark of revival of saffron economy in Kash-mir.

Saffron, despite its price, is in high demand for its antioxidant properties. It carries a hefty price tag also because the process of converting crocus flowers into the thread-like spice is painstaking and labour-intensive: It takes around 160,000 flowers to yield a kilogram of saffron.

Each year, Kashmir produces 17 metric tonnes of saffron, on average, as per the agriculture department. Saffron is cultivated in three districts: Pulwama, Srinagar and Budgam in Kashmir and Kishtwar in Jammu province.

Last year Kashmiri saffron was granted a GI tag, a feat, experts believe would prove beneficial to the growers in the region.

Geographical Indication is a name or sign given to certain products that relates or belongs to a specific geograph-ical location or origins like a region, town or country. GI helps the genuine producers to earn profit in the competi-tive market and enables the customers to buy products having superior quality.

It is expected that this GI certification will help farmers in getting the best remunerative price and also help in preventing the prevalent practice of adulteration of Saffron, Kashmir’s globally-acclaimed crown of spices that equally adds beauty to picturesque autumn as winter approaches fast!

NASIR YOUSUFI

BUDGAM: On a cloudy evening, Abdul Rahim Khan , a 33-year-old craftsman from Shunglipora village in central Kashmir’s Budgam was busy in helping his wife to milk the cow, when he received a carpet dealers call from nearby village asking for an immediate meet. Sensing urgency, Khan walked down two kilometers from his house to dealer’s home. On reaching the destination, his joy knew no bounds.

Khan is one among a few craftsmen, selected for making a handmade carpet for the highest institution of democracy in the world, the Parliament House of Sansad Bhawan in the national capital, New Delhi.

For a moment, the talented craftsman from a remote area in upper reaches of the valley could not believe the news. Though a school dropout, he knows the importance of the Sansad.

“I have woven more than hundred carpets during my 20 years career as carpet weaver. Where those have been used, God knows better. But this time, I feel really excited that my art will get showcased at such an important place,” exclaims Khan, who is into carpet making since his childhood.

Abdul Rahim Khan is not doing it alone. He is equally assisted by two more siblings, 27-year-old Tariq Ahmad Khan and 29-year-old Reyaz Ahmad Khan in running the loom. The trio is about to complete the prized carpet. “When any of the male members is off the work, a female member from the household works for that time,” Khan adds.

It is not only the Khan family from Shunglipora, there are few more groups of artisans from other villages near lush green Tosamaidan meadows who have almost completed the weaving of carpets for the Parliament House.

How it happened:
It all started in October of 2021, when a 62-year-old local carpet dealer, Ghulam Mohammad Khan Tahiri, the owner of Tahiri Carpets sealed a contract with a Delhi based firm for weaving the carpets. “They only provided us the di-mensions and shape of the carpet, rest has been left for us to decide the design and stuff of carpets,” says Tahiri.

A veteran carpet dealer with an experience of over 35 years in carpet industry, Tahiri immediately sensed the im-portance of the rug for the Parliament. He says, his carpet making company has mainly focused upon the design, stuff and the art used in these carpets.

As the work on these prized handmade carpets for country’s Parliament has been mostly done, the joy has come after a days of intense hard work.

“We have already made carpets for Raddison Group of Hotels and some other big corporate houses. But as soon as I learnt about this prestigious order, I sat down with my father, discussed all the peculiarities about the consignment. We decided to use a quality stuff and master craftsmen for the esteemed project. “After arranging super quality silk from Delhi , the second tough thing was a selection of 12 master craftsmen out of about 120 craftsmen working with us, for this important consignment,” says Qamar Ali Tahiri, Chief Executive Officer of Tahiri Carpets and son of veteran Tahiri.

The timeline for the completion of this project was also a concern. Usually, during summers, many craftsmen take to farming or other labour work in this area, while most of the craft work is carried out in winters. “So we had to moti-vate the craftsmen to work during summers too, for timely completion of work,” Tahiri adds.

Design and Make
With 11 feet in length and 8 feet in breadth, covering an area of 90 sq feet approximately, a trapezium shaped carpet is made from silk on silk, an arrangement when both threads and knots are made from silk. As per Tahiri, there are 288 X 288 knots in one foot length of the carpet.

The prized rugs have been woven in a famed Kashmiri design ‘Shikaar’. Known as the traditional design in local carpet industry, Shikaar is a depiction of jungle life. The images of Lion, Leopard, Deer, Elephant, Peacock or birds are perfectly portrayed on the frame.

“They wanted to craft these masterpieces in a traditional art. So we have chosen this old art for these carpets,” says Qamar while referring to one of the finished carpets, portraying a leopard roaming in a jungle.

The color combination of the prized rugs has been also taken care of. Qamar says, that they have used a combination of 12 colors. “Ranging from Red, Orange, Blue, Green to others, the colors have been used as per the scenery and animal portrayed on the carpet. I still remember, how we had dyed the thread dark red to portray the blood around deer for a scene portrayed on one of the carpets.”

Proud Moments
As the carpets from Kashmir made in traditional art are about to décorate the building that houses the highest law-making institution in India, the local artisans are upbeat with a news. Many artisans are hopeful that the develop-ment may augur well for Kashmiri handicrafts in particular the carpet industry.

According to Dr Shaheena Akhter, a lecturer in Business Studies, the projects like these have a potential to promote local handicrafts, “as they serve as a sort of encouragement for the artisans and opening of more marketing avenues for local craft.”

While the handicrafts from the valley struggle to bounce back to lime light, the likes of carpet-weavers -Abdul Rahim, Tariq and Reyaz they are hopeful of more work.
Says Reyaz: “For me more work means a sustainable livelihood and that is what we people crave for.”

NASIR YOUSIFI

SRINAGAR: Shaded in crimson and yellow, as the water colors bring life to the painting hanging bright on canvas, a young artist dips his brush in silver color to give a final shape to his imagination. As soon as the artist sets to relax after hours of toil with his brushes and colors, a triumphant smile over the accomplishment of painting abruptly gives way to another thought process, as he gets a call from local producer asking him to record a shot for his role in a Kashmiri play.

Basharat Hussain, a 40-year-old artist is a prolific artist doing wonders in various field of art. Hailing from Ala-mgari Bazar area from Srinagar’s Shaher-e-Khaas or the Old City, Basharat is a miniature painter, papier-mâché artist, wall art expert, TV actor, theatre artist, a set designer and a renowned art teacher.

Starting his career as a papier-mâché artist, the Srinagar man has come a long way to emerge as a multifaceted personality in the world of acting and theatre as well. Basharat has recently won best director, actor and set designer award for his debut Kashmiri play ‘Archakaal’.

“I started my journey into this world right from my childhood. Since my father was a papier-mâché artist, the colors and brushes all around in my home and neighbourhood used to tempt me towards the art,” says Basharat as he refers to the specialized art in his birth place Zadibal, the area known as the hub of papier-mâché work.

Known as one of the finest artist in papier-mâché, the young artist has so far designed scores of new designs with traditional tinge.

After studying science upto class 12th, Basharat did his bachelor’s degree in Fine Arts from the University of Kashmir here.

Basharat says it was during the college years when the multifaceted artist in him groomed. “After doing some roles in college plays, I soon realized my acting potential. Once as a part of annual day celebrations in the college, I got a chance to perform in a skit. It was when I discovered my acting skills. A small pat, few words of praise from the teachers and friends were enough to dig out the actor in me,” he says.

An approved artist from Doordarshan Kashmir, Basharat has so far acted in more than 50 plays. For his splendid acting talent, the artist was awarded the best actor title in numerous plays performed at the theatre.

The ambitious actor did not stop here. After getting a fair exposure to the world of acting both in theatre and TV, the enthusiastic artist turned to set designing.

“Incidentally, the first theatre play where I designed the sets was a play in English, the Fading Memoirs. I also acted in that play,” says Basharat.

In 2018, he designed set for a Kashmiri play ‘Aalaw’, a masterpiece that got selected for 8th Theatre Olympics. Basharat says he still remembers the patting he received from M.S Sathyu , a renowned Director and set designer in the country.

Besides working with local theatre, Basharat has designed sets for many Bollywood firms shooting in the Valley.

The young artist has also worked as a director for theatre plays. Last year, as a director, his de-but play ‘Archakaal’ won him the accolades from artistic faculty for the all-round-performance. The play got some seven awards including the best director and set designer awards.

The passion for art has never stopped this young artist from taking on to different roles. Out of his busy schedule, Basharat spares many hours of the day for teaching art and imparting skills to students. Well, for that matter, he is regarded as one of the renowned art teachers in the valley.

“I want to transfer these skills to future generations. Art is a language of peace, coexistence and love. Through art we can make this world a better place to live. It is the means to develop aesthetic sense in the society,” the veteran artist says.

“Be it a painting, wall art, play or the set designing, everything is symbolic in the world of art. And every symbol has a specific message and meaning for the society. Art is a lucid medium to sensitize the common masses about the issues like drug menace, immorality, or other social evils.”

Desirous of reviving the theatre culture in the valley, Basharat aspires to take the culture to valley schools, so that the artistic values among the younger generation are groomed at the grassroots.

“There is a role of every responsible citizen to promote art in the society. The government has a major responsibility. The government should utilize the services of the artists and experts from the field to inculcate the culture of art among the youth especially the student community!”