SANJAY PANDITA
Amidst the breathtaking landscapes of Kashmir, where the mighty Zabarwan Hills stand as silent witnesses to history and the waters of Dal Lake shimmer with an ethereal beauty, a man armed with nothing but a pencil has captured the essence of his homeland with an unmatched brilliance. Bashir Ahmad Bashir, known simply as BAB, is more than just a cartoonist—he is a chronicler of history, a satirist who has turned ink into a powerful force of resistance, and a voice for those who might otherwise remain unheard. His journey is one of passion, resilience, and an unbreakable commitment to truth, where each stroke of his pencil carries both the weight of humor and the sharpness of critique.
Born into a family that cherished education and convention, BAB’s path to becoming Kashmir’s most celebrated cartoonist was far from predetermined. Like many young Kashmiris, he was expected to follow the well-trodden road of medicine or engineering, a respectable career that would secure his future. But even as he pursued his studies in science until the twelfth grade, something within him was restless. There was an unspoken calling, a whisper in the rustling chinars and the tranquil waters of Dal Lake, urging him towards a different destiny. His heart belonged to art, to sketching, to capturing the world as he saw it—not with words, but with lines that spoke volumes. It was a quiet rebellion, an escape from societal expectations, yet it was also the beginning of something extraordinary.
His fascination with cartoons began in his formative years, fueled by his admiration for R.K. Laxman, the legendary Indian cartoonist. Every morning, he would turn to The Times of India, eager to see Laxman’s latest work, marveling at the way a simple drawing could encapsulate the most complex political realities. One particular cartoon stayed with him—an illustration of a lion, drawn without teeth, with the caption: “A lion can roar but cannot bite.” It was a subtle but piercing commentary on Sheikh Abdullah’s governance, a satirical jab that left a deep impression on BAB. However, he believed that cartoons should allow the viewer to interpret their meaning, and he questioned Laxman’s decision to include a caption. When he finally met the great cartoonist years later, he posed this very question, to which Laxman replied, “Sometimes, a caption is needed to drive the point home.” It was a lesson BAB carried forward, though he himself preferred to let his art speak for itself.
His journey took a decisive turn in 1969 when his elder brother, Sofi Ghulam Mohammad, the founder and editor of The Srinagar Times, recognized his talent and offered him an opportunity that would change his life. Until then, Kashmiri journalism had never featured cartoons, but Sofi saw an untapped potential—an opportunity to introduce a new form of storytelling to the region’s media landscape. Encouraged by his brother, BAB sketched a caricature of Sheikh Abdullah to accompany a news article, and with that single act, he made history. It was the first time a Kashmiri newspaper had published a cartoon, and the impact was immediate. The response from readers was electric, and overnight, BAB’s art became an indispensable part of The Srinagar Times.
TV series Cartoon Cartoon, written & Designed by Bashir Ahmad Bashir(BAB) ! In pic Bashir Ahmad Bashir, Director Shabir Mujahid, Cameraman Hartiesh Singh , Zargar, Artist Mushtaq Bala & Ms Singh
What followed was an extraordinary journey spanning decades, during which BAB wielded his pencil like a sword, cutting through political rhetoric with the precision of a master satirist. His cartoons did more than amuse—they provoked thought, challenged authority, and held up a mirror to the society he was a part of. With each stroke, he exposed corruption, hypocrisy, and the contradictions of governance, creating a body of work that would become a visual chronicle of Kashmir’s socio-political evolution.
His style was unique, defined by an economy of lines and an intuitive grasp of expression. Unlike many cartoonists who relied on excessive detail, BAB mastered the art of simplicity—each drawing was precise, every expression deliberate. His characters, whether politicians, bureaucrats, or common citizens, were instantly recognizable, their emotions captured with an effortless elegance that made his work universally accessible. His genius lay in his ability to distill complex narratives into stark yet powerful imagery, making his cartoons an essential part of daily discourse.
It was not long before his work began to ruffle feathers. Over the years, The Srinagar Times faced multiple bans due to his fearless satire, and BAB himself was summoned to court on several occasions. Yet, he remained unwavering in his commitment to his art. One of the most defining moments of his career came in 1981, following a disgraceful brawl in the Jammu and Kashmir Assembly, where lawmakers had descended into chaos, hurling insults, tearing at each other’s clothes, and making a mockery of democracy. The next day, BAB responded with a cartoon that depicted the members as monkeys, donkeys, and lambs—an unfiltered representation of their conduct. The reaction was swift and severe. Summoned by the Speaker of the Assembly, he was asked to issue an apology. But BAB refused to bow. Instead of a retraction, he responded with yet another cartoon—this time a self-portrait, holding his own severed head high, with the caption: “Sar kata sakte hain, lekin sar jhuka nahi sakte.” (“You can cut off my head, but you cannot make me bow.”) It was a moment of sheer defiance, a testament to his unbreakable spirit.
His influence extended beyond newspapers. In the late 1970s, he ventured into television, pioneering a revolutionary show called Cartoon Cartoon on Doordarshan Srinagar Kendra. This was no ordinary program—it was a blend of satire, social commentary, and entertainment, a platform where BAB used his art to engage with pressing societal issues. Each episode tackled themes of corruption, education, communal harmony, and governance, presented with wit and simplicity. The show was an instant success, becoming a household favorite and cementing BAB’s status as a cultural icon. Through Cartoon Cartoon, he reached audiences who might not have engaged with his work in print, proving that his artistry could transcend mediums while remaining true to its core purpose—to inform, to question, to provoke.
For over five decades, BAB has sketched the heartbeat of Kashmir, documenting every major political upheaval, social transformation, and everyday struggle through his art. His cartoons serve as historical artifacts, preserving moments that words alone could never fully capture. One of his most iconic works depicted two bulls locking horns, symbolizing the power struggle between Bakshi Ghulam Mohammad and Ghulam Mohammad Sadiq. The image became an instant classic, widely discussed and deeply resonant with the public. But it also drew the ire of those in power, leading to yet another ban on The Srinagar Times. Yet, no amount of censorship could silence him.
Despite the controversies, the legal challenges, and the political pressures, BAB never allowed his art to become bitter or vindictive. His satire was sharp, but never cruel; his critique was pointed, but never personal. He always maintained that his purpose was not to attack individuals, but to highlight systemic flaws. His humor was not cynical—it carried a warmth, a deep love for his homeland and its people. This is why even those he satirized often found themselves appreciating his work, sometimes grudgingly, sometimes with genuine admiration. Many politicians have collected his cartoons, recognizing in them a form of historical record, a visual diary of their own political journeys.
BAB’s philosophy on art is simple yet profound. He believes that talent is a divine gift, one that should be used constructively. “Art is God-gifted,” he says. “We just need to be constructive in our approach and should not waste what God has bestowed upon us.” This belief underscores every cartoon he creates, every message he conveys. He approaches his work with the same passion he had in 1969, never losing his enthusiasm for the blank page that awaits him each morning. Every day brings a new story to tell, a new truth to illustrate.
His legacy is not just in the thousands of cartoons he has drawn but in the impact they have had. His work has shaped public opinion, sparked conversations, and offered a perspective that has become indispensable to Kashmiri journalism. For generations to come, his cartoons will serve as a testament to the power of art, a reminder that even in the most turbulent times, a single stroke of a pencil can illuminate the truth. Bashir Ahmad Bashir is not just a cartoonist—he is a storyteller, a historian, and a revolutionary whose ink will never fade.
The writer can be reached at sanjaypanditasp@gmail.com
