By Mushtaque B Barq
A candle by mass is only an article of trade, but by essence it is near-sun entity. Pack it in a box, it is just an encumbrance on the mantelpiece, unpacking defies the dark. Lit its wick, the gamut outdoes grey matter. The light enlightens the recesses otherwise overlooked. The contour of things change when exposed to light, the feel and lease travel far-off continents of individuality that is fixed like a goalpost to curb freedom. Ingenuity has always shattered the strictures as air cannot be pushed through the bottle necks to take the shape. Creativity is a storm that never reads the hoarding, rather lowers the ostentatious arrangements on the skin we call it commercial. If convention knows how to elevate a scaffold, the creativity elasticises the minute folds to give wings to a seed that travels with the wind to create a woodland. Creativity consents an unpretentious artist to manufacture a prototype out of infinitesimal substance. What makes an artist explore his nascent reliabilities is never found in rule books, he surpasses the thin lines illustrated by conventions and sets his own podium on the back of his creativity to convert an ugly looking projection as White Elephant’s tusk.
If one analysis the work of broadcasters and writers and performing artists, it will definitely lure us to wonder about the innovative ways to produce which otherwise would have been ordinary and routine. Ashok Jailkhani, son of M L Jailkhani, a household name is credited to stimulate a verve in the nerves of broadcasting, stage performances, acting, Direction and writing as well. He is considered as the youngest Producer, Director, DDG and Additional Director General for TV. Born in Aali Kadal, Srinagar on 1953, the local gentleman has engraved his name on the very face of Radio, Theatre and TV. At the age of 16 his association with theatre found him in Rangmunch Dramatic Club headed by M L Saraf on for two plays: Grand Rehersal by Pushkar Bhan and Somnath Sadhu followed by Talash by A K Rehbar. In 1970 he was a co-founder of Vasant Theatre, he acted and directed the plays. His exemplary plays are: Mangu written by Baba Dickey, Mangey by Moti Lal Kemmu, Konark by J C Mathur, Hatya Aek Aakar Ki by Lalit Sehgal, Evam Inderjeet and Sari Raat by Badal Sircas, Kisi Aek Phool Ka Naam Lo by Madhu Rai, Chinar by Ali Mohammad Lone, Panchi Aise Aaten Hainb and Giddh by Vijay Tendulkar, Santola by Mudra Rakhshas, Dilli Uncha Sunti Hai by Dr. Kusam Kumar, Suriy Ki Aantim Kiran Se Suriya Ki Pehli Kiran by Surender Verma.
At the age of 18 Ashok Jailkhani was selected for Television in 1972 and was trained in TV productions by BBC experts. Carrying this experience on his young shoulders, and the training under his belt, he created history in production. Since his main forte was drama production that encouraged him to experiment and break the conventions to lure the attention of viewers and visionaries. If we scan his TV career, he has almost produced and directed 200 plays, serials and tele-films. His notable plays are: Begur Bana and Guel by Shamus –ud- din Shamim, Nav Nosh by Som Nath Sadhu, Rishta by Hari Krishen Kaul, Kuneruk Shahzada by H K Bharti, English tele-film Trespassers, Randuk and Raheen by Dr. Sohan Kaul.
His serials Koyi Aur Bolta Hai by Ali Mohammad Lone set a stage for him to produce Shabrang by Ghulam Nabi Khayal and Harud by Amin Shakir were trend settlers in their own way.
Ashok Jailhkani is a multidimensional artist, besides Production and Direction he has also acted in the following: Begur Bana, Ye Zahar Kus Cahiye and Raheen. He is ascribed to broadcast Aap Ki Dak for 10 years. He has also headed DDK Jalandhar, Chennai and has the distinction of starting DDK Jammu division. As ADG he headed National Channels of DD, DD Sports, DD Urdu, DD Kashir and DD Bharti.
Ashok Jaikhani is also an author of An Introduction to Threatre which was later included in Kashmiri PG Course. He has also written a book on TV Production in Hindi and has been included in Mass Media Syllabus. A man of such a caliber can never be missed by experts and reviewers. His indefinable contribution in the field of performing art was well marked and acknowledged. He is a recipient of State Award of J&K Government as an outstanding Media Person. He has in his bag of achievements prestigious Bhartendu Harischander Award by Government of India for his book written in co-authorship of Maharaj Shah on TV Programme Production. He has also in his credit two National Awards of DD for his outstanding contribution as Station Head in DD Jalandhar and DD Chennai. Besides above mentioned, Ashok Jailkhani has numerous other accolades by Cultural Academy, Kashmir Theatre Federation. He has a privilege of being a Jury member for number of international documentary and short film competitions.
A noted dramatist Dr. Sohan Kaul informs:
Ashok Jailkhani is my mentor and creative guide. A genius has remarkable intellectual and creative function or other natural ability through which he creates a definite space for himself and contributes seamlessly to any genre or subject, with the same remarkable intellectual ability Ashok Jailkhani has been to contribute in Theatre and Television. There are certain historical and public figures that are acknowledged as being geniuses in Kashmir, and those include Ashok Jailkhani for his immense intellectual and creative acumen. He is a renowned theatre director whose contribution to Theatre of Kashmir is immense. He introduced modern sensibility to Kashmiri Theatre and was instrumental in introducing world-class theatre plays. He experimented with theatre and proved that theatre is the most viable medium for changing the mindset of a particular civil society. He was conscious of its reach and power as he lived in theatre for more than three decades. Theatre is his passion.
As a filmmaker, he was again at his best as he understood the richest nuances of the small screen and its role in society. He gave the best entertainment to viewers. His serials and plays are still remembered and cherished. He produced and directed a celebrated tele-series, Harud and Shabrang. He produced a great film on Akhtar Mohi ud din’s world classic, Daryaie Hund Yezare in English Tress Passers . He produced a famous humorous play Dastaar.
As a writer he wrote three books, one on Theatre with a special reference to Theatre in Kashmir. Other books on Techniques of Television programming and third on a remarkable biography. He is indeed a genius. He has contributed in those fields where no one else has dared to make an entry.
“Ashok Jailkhani is a visionary, I have a reason to say so. When my 3 episode serial on the life sketch of Zain ul Abidin Badshah under Indian Classic category by Doordarshan Directorate was telecast, Ashok Jailkhani, the then DDG suggested that this serial must be condensed to one hour film. The suggestion were approved and the film made a history in Kashmir film industry. It was showcased in number of National and International Film Festivals organised by Ministry of Information and Broadcasting, Government of India. The film was able to win many awards and the credit of its popularity goes to Ashok Jailhani.” Mushtaq Bala, a film maker.
Suraj Raina, Actor/ Director writes:
I will prefer to call him a “Trendsetter”. He did Vijay Tendulkar, he did Badal Sarkar, and he did Mudra Rakshas in Kashmir during that era when the theatre movement was evolving in the Valley. We would get to see big-scale plays being performed in Tagore Hall- the only theatre available for any kind of performance. One would normally find such stuff in Kamani or Abhimanch (NSD) in Delhi, and Prithvi Theatre or Maratha Mandir in Mumbai, where performers were no less than Naseer-U-Din Shah, Om Puri, Shri Ram Lagu or even Tom Alter. If we talk about Mudra Rakshas’s Santola, it was amazing to see a cave created on stage with minimal sets and the characters trapped therein struggling with their lives to the death. The courage to take up these kinds of plays shows the real gut and confidence of the person who decides to perform this kind of stuff. Ashok Jailkhani has a rare distinction of cultivating an audience these kinds of plays and he, not only cultivated the audience but later catered to their taste and appetite for a long period.
Similarly, after joining Doordarshan, he produced plays and serials which set the TV screens ablaze in terms of their content and the treatment. If we talk of HARUD, one of the most popular and gripping TV serials produced by him for DD Srinagar, then it was the first of its kind which created a curfew-like situation in Kashmir when one could find the roads empty and shutters of the shops down during the time of its telecast. People would reserve that time chunk exclusively for watching HARUD without missing even a single frame. It was clearly a trendsetter that the audience of the country later experienced at the national level through mega serials like B R Chopra’s Mahabharata or Ramanand Sagar’s Ramayana.
He mentored almost all those who worked with him during his most active period. If I quote my own case when my mother was fighting for her life after a surgery gone wrong, Ashok Jailkhani’s words proved effective like a Vedic Mantra. When he came to know that I am in Jaslok, he called me and I quote, “You are a theatrist, you have the ability to do it. Keep yourself fighting fit. Don’t let the energy deplete. Take peanuts if you have nothing to eat at but don’t quit”. This mantra recharged my energy and after a month in ICU, my mother was back home.
For his friend, he is a great company and big support, for budding artists, he is the best mentor, for the professionals he is a guide with a vision and for his contemporaries. His creative abilities are vivid and versatile. They are inborn and self-generating from within. The aura of his presence, be it by a pen picture or physical, is so rich that it energises the whole ambience.
Ravinder Kaul, Cultural critic describes Ashok Jialkhani as the most competent and deserving person to have been elevated to the highest positions in DD. According to Ravinder Kaul, Ashok Jailkhani has enriched the National Broadcasting with his expertise.
Kamal Razdan, a reputed TV actor adds, “
I was a college-going student those days of the ’70s, when I developed a fascination to watch different plays in Tagore Hall Srinagar, whenever there used to be any production of Vasant Theatre, Ashok Jailkhani’s performance hovered on me both in terms of his acting and direction. In Kashmir, during those days which is considered the golden period of theatre moment, Shri. Jailkhani frequently produced Hindustani plays of almost every renowned writer of the country like Badal Sarkar and Vijay Mudra. The productions always equated to that of national stature.
During his tenure as producer, he always held the assignment of Drama section due to his theatrical background and innovative craft he possessed in dramatics. His produced play Dastar was such a big hit in Kashmiri society that the dialogue ‘Ram Lagaye chayne Leelaye’ became a common slang in the society. In 1983, I got an opportunity to work with him when he produced a Kashmiri serial Harud that was such a popular serial, that people used to schedule the day and timing of this serial in their calendars, it is on record that Doordarshan Srinagar used to get thousands of letters about this serial every day. This production made me a star of Kashmir overnight and the credit of it goes to my Guru Ashok Jailkhani.”
Ashok Zalpuri, Radio, Stage and T.V Artist says, “ It was in the early seventies that a stage play “ EVAM INDERJEET directed by Sh. Ashok Jailkhani under the banner of Vasant Theatre took all the persons associated with the Art and cultural fraternity of Kashmir by storm. Being an outstanding production, its different production aspects were debated and discussed in all the cultural and media forums at that time. This production was the beginning of the new dawn of the Kashmir Theatre movement which Shri Jailkhani had drawn for theatre activists. Though at that time, I was not fully acquainted with Shri Jailkhanihi but was an active member of the other well-known Dramatic club, his devotion and dedication in the field of dramatics made me his admirer.
Year after year new successful experiments in the production of stage plays were done under his directions in which traditional huge and big sets were replaced by an impressive light and sound effects and small props, thereby setting new standards of good stage production.
Gifted by charming personality, and superb memory power, he would perform a variety of roles on the stage even for more than two and half hours rendering each and every dialogue with utmost perfection. His dialogue delivery was so impressive and heart touching that I still remember the concluding dialogue of the play Panchi Aise Aatay Hai rendered by him more than 35 years ago : Aise hi aaiye Meri Zindigi ka ant, ki ant sa lage hi naa which echoes in my ears all the times. At times it is very difficult to judge whether he is a good actor or an excellent director.
It was in the year 1976/77 during the recording of the TV play DASTAR which became one of his super hit directorial production, I discovered the following valuable aspects of his multifaceted personality: He would stay calm and composed during rehearsal. As a director, he would only explain to the concerned actor the characteristic of the said character and gave the concerned actor full freedom to portray the same, given an actor ample chance to explore his talent. I always found him hard-working, creative and inspiring. He would make the production process simpler to make all other team members comfortable in getting fully involved in the process. In the interest of good production, he would not hesitate to listen and implement any good idea even by his juniors and subordinates. Though he is not talkative even his silence speaks volumes.”
“Ashok Jailkhani has been one inspiring factor for the contemporary youth of his time. As a theatre person, he introduced a new technique in staging classic plays of very reputed playwrights of India. My association started from the staging of Vijay Tendulkar written play Giddh and I was greatly impressed by his understanding of the shades of that play. How he created the entire milieu of a broken feudal family on the stage through actors, lights, sound and merely a vague reference of cobweb in the background. The play was a great success. That is how I got in close association with this person who equally commended great authority and respect in producing and directing many very popular TV serials, Plays and Telefilms. He generated a unique technique of his own in these productions. That gave him a distinct identity. He was promoted to administrative cadre where he retired as ADG Doordarshan, here again, he shined like a bright star. He has been a true friend and guide,” says Maharaj Shah- Senior Producer, Director, and Writer from J&K.
Q: -What lead the way to the mushroom growth of Production Houses in Kashmir?
A lot of Production Houses in 1990 pumped in due to the law and order problem in the Valley. To cater to the needs of The Station under unfavourable conditions, the outsourcing was mechanized only to cope up with the deficiency of in house productions. As we know Television is a ‘White Elephant’, it entails a gigantic substance that also encouraged the mushroom growth of Private Production Houses. On one hand, the Station was bottle-fed, but on the other, the quality of the programmes was the worst hit. Only 10% of programmes were up to the mark, the rest was trash which spoiled the rich culture of television productions. Most of the people were-creature from outer space who produced the programmes with the sole motive of earning easy bucks. Another reason was the lack of strict quality control which added indentation to art and culture. The worst scenario that pampered the talent of a genuine performer was that a trained artist was sidelined and his miseries starved the art and culture. Quality programmes serve the art, but these production houses deserved the art and spoiled the show.
Q:- What were the reason of abating theatre activities in Kashmir?
As you know with the advent of Television, most of the theatre artists were lured by the sheen of the screen. They found the platform apt to their needs. One more reason as we all know was the hostile state of affairs in the Valley, the only theatre- Tagore Hall was accessible was also put to ash and the performers had nothing to fall back upon. Since we are in a digital model of productions, a lot of innovations must be in line with the demands of the people who want real-time entertainment. We need to recreate and redraft the conventional forms if at all we need the audience to watch theatrical performances. And most important is that we must have financially sound theatre groups to attract the attention of performers.
Q :- What is the future of Radio and Television in Kashmir?
These are different mediums and they have their own challenges and demands. When Television came into existence, the radio declined but then they came up with an FM band and recovered the loss. Similarly, Television has to move ahead because the cinema is the biggest competitor and for both OTT is a new challenge. If Television has to survive which I believe will come to my expectations, new formats, fresh blood has to be infused into it. Policymakers of Radio and Television have to redirect these houses before the advanced screen sheen shall take over. They must have policies ready to cope up with upcoming challenges. I think every medium has its own viewership, but one has to screen what is relevant and acceptable for example a laughter show at the end of the day on a mini screen in the family is handy rather than watching a full-length film in the family, so Television must engage the viewers and meet their aspirations. Radio listening is still a craze, people still listen to songs and dramas, they prefer to listen than viewing for the reason of obscenity being incorporated in the visuals and short films. Our younger generation is more comfortable surfing the internet, so to attract the attention of this generation TV and Radio must move ahead to cater to their needs.
Q :- Please share a few memorable moments or anecdotes
I have many such anecdotes to reveal, but then narrating them is an uphill task. My stay on Television and Radio was full of sweet memories. I would like to mention that I am compiling a complete book on such anecdotes. It will be an interesting job. During my tenure, I have met world-class celebs, renowned sportspersons, film actors and politicians and authors. When you are in public domains, you have so much to share, so much to experience and a bulk to mention. I remember the early struggle, those hiccups, half measures and learning through experiments and innovations and memories on the sets and on the stages. The sweet and sour incidents while directing the actors and bringing something new into my books. Life is full of memories and these sweet and sour folds of life basically makes the life a remarkable journey. I have so much to write about these never ending experiences and I hope my compilation will soon hit the stands to reveal all these moments.
Mushtaq B.Barq is a Columnist, Poet and Fiction Writer. He is the author of “Feeble prisoner, “ Wings of Love” and many translation works are credited to the author like “ Verses Of Wahab
