Performing activists

The campaign has a double advantage. It will spread the message on AIDS through these performing artistes and in the process it will put life back into their dying art form.

‘‘Bhand Pather is not as popular as it once was and so this is also an effort to ensure the bhands have some source of income,’’ points out Wani. ‘‘In Kashmir, the AIDS numbers are not a problem as there are hardly any cases in the general population in the Valley. However, the society is so conservative that talking about safe sex and condoms is difficult even in the almost completely literate society of Srinagar. So you can understand the problem in rural Kashmir,’’ says Wani.

IT all began some two years ago. The government decided that sending the AIDS message through an accepted folk form could work. Bhand Pather became that powerful tool. The government approached two groups—the Gulkaar Academy and the National Bhand Theatre. About 30 performances have been staged so far.

Bhand Pather is a mix of two words—bhand derived from the

Sanskrit bhana—a satirical realistic drama and pather derived from patar meaning characters. In the Natya Shastra, it is described as a monologue.

Over the years the character of the play changed and Bhand Pather no longer remained a monologue but became a social drama which focused on mythology on the one hand and contemporary social satire on the other. The Pather mostly has three main characters—the sutradhar or mahagun, who besides being the narrator is also the hero of the play; the jester or mashkhara and the chorus or surnai-jamat. The performers are mostly from Wathoora in central Kashmir, Qazigund, Akingam in south Kashmir and Kupwara, Sopore and Palhalan in north Kashmir.

According to those involved in the programme, the basic format remains unchanged. ‘‘We have always used philosophical poetry of the legendary saint Shiekh Noor Din Wali of Charar-e-Sharief, we still use that as some of it fits in perfectly with the theme,’’ says Mohd Ali Majboor, head of the National Bhand Theatre.

The target audience, he says, are truckers and the shawlwallahs who go out of the Valley to earn their living. ‘‘We show the allurements of the city and the importance of being faithful to one’s partner,’’ says Majboor.

Religion also forms an important part of the play.‘‘We just ask people to follow what their religion says about infidelity and the punishments God has threatened for those who stray,’’ he adds.

And yes, they do talk condoms. ‘‘We subtly tell the audiences that technology has given us ways and means to protect ourselves. And people do get the message,’’ he adds.

THIS effort, according to the state authorities, is enough in a state where HIV/AIDS numbers are not a pressing problem. Jammu and Kashmir is a low prevalence state—the sentinel surveillance for 2005 shows the state has zero prevalence. The prevalence was a little high in 2004—0.6 per cent.

According to the State Aids Control Society, more than 800 cases have been recorded in the state, most of them in the Jammu region.

The government, however, is not complacent. ‘‘Kashmir is a vulnerable state in many respects. For instance, it has a migrant population, mostly labourers from UP and Bihar, and it also has a strong presence of security forces. Even the local people who work outside the state can bring back the disease. So awareness about the disease is important,’’ says Wani.

The bhands have more work cut out for them. The government is also trying to use their performances for programmes like Pulse Polio. ‘‘We have been working on environment issues for a long time and it does have some effect,’’ said Majboor.

The Valley’s artistes agree. ‘‘Bhand Pather has its own place in Kashmir that no one can take. However, over the years, the art is dying and those who have no other source of income, are suffering. The programme will not only revive the art but also help the artistes as well,’’ says Amin Bhat, a theatreperson working for the promotion of theatre in Kashmir.