Mushtaq Bala
Despite a visible increase in cultural events, exhibitions, and artistic activities across the Valley, many local artists of Kashmir remain dissatisfied with the way these ventures are being carried out. Painters, musicians, theatre actors, filmmakers, artisans, and even freelance directors and producers say the current wave of cultural programming is failing to serve its purpose and has left them marginalized.
Artists from different fields argue that they are not being given due representation in programs held in the Valley. While prominent names from outside Jammu and Kashmir are regularly invited to headline events, many local artists—some with decades of experience and national recognition—find themselves overlooked.
“We are reduced to spectators at our own cultural festivals,” said a senior painter. Another young theatre performer noted: “The same limited set of people are repeatedly offered platforms. Fresh voices and new ideas are not allowed to enter the circle.”
A major criticism is that the growing commercialization of cultural programs has diluted the spirit of Kashmiri art. According to several artists, events are designed more to create spectacle and crowd appeal than to promote genuine traditions.
“The focus has shifted from heritage to glamour. It is more about ticket sales, sponsors, and stage lights than about Kashmiri identity,” remarked a theatre actor. Traditional expressions—folk songs, papier-mâché craft, woodwork, and Sufi-inspired performances—are often missing, replaced by generic entertainment formats.
Artists also point to weak institutional support. While cultural bodies and government departments have announced schemes to promote local talent, artists say these initiatives remain limited to paperwork. Grants and fellowships are either unavailable or distributed without transparency.
A young filmmaker observed: “We hear about schemes and policies, but on the ground, nothing reaches us. What we need are platforms and continuity, not just promises.”
Adding to the frustration is the plight of freelance directors, producers, and production houses once engaged by Doordarshan Kendra Srinagar or directly empanelled with the Directorate in New Delhi. For nearly 8 to 10 years, many of them have remained without assignments, leaving an entire segment of creative professionals idle.
“In the past, DDK was a hub of artistic activity. It provided livelihood and exposure to hundreds of us,” said one freelance producer. “Now, despite being empanelled, we have no work. The silence from Doordarshan has left production houses in crisis.”
A director who once contributed regular Serials, Documentaries and Telefilms for DDK Srinagar added: “Doordarshan was the only institution that supported us. Today, not only are we sidelined, but even local ventures fail to involve us. It feels like a complete shutdown of opportunity.”
Another source of dissatisfaction is the manner in which cultural programs are organized. Events are often conducted without proper planning, evaluation, or follow-up. Artists describe the programming as repetitive, with the same themes and participants dominating.
“Shows are held for the sake of being held. Once they are over, nothing changes for the artists or the audience,” said a musician. Without a structured cultural calendar, the impact of such ventures remains minimal.
Many believe cultural initiatives are being designed without meaningful dialogue with practitioners. “If the institutions do not take artists into confidence, these ventures cannot truly represent Kashmiri culture,” said a craftsman from downtown Srinagar. Artists stress the need for inclusivity, transparency, and fair opportunities in event planning and execution.
While the Valley has seen a rise in short-term programs and festivals, what is missing, according to artists, is a long-term cultural vision. They suggest that sustainable growth requires structured support through fellowships, residencies, training programs, and international collaborations.
“A one-day show cannot build a legacy. What we need is continuity,” said a senior poet.
Suggestions from the Artistic Community
Local artists and media professionals have proposed several measures to address current challenges:
Establishing a transparent system for selecting participants at events.
Ensuring opportunities for both senior and emerging talent.
Re-engaging freelance directors, producers, and production houses through Doordarshan or new cultural initiatives.
Integrating traditional Kashmiri art forms into programming alongside contemporary experimentation.
Building long-term platforms for training, mentorship, and international exposure.
Developing a cultural calendar to ensure continuity and avoid repetition.
The concerns voiced by Kashmiri artists underline a growing disconnect between the Valley’s cultural programming and its creative community. While the number of events has grown, the essence of Kashmir’s artistic heritage is being overshadowed by superficial showcases.
Artists, directors, producers, and artisans alike say they are not against cultural activity but against its current structure. Their demand is for representation, authenticity, and sustainability. Unless local talent is placed at the center, Kashmir risks losing the very soul of its artistic identity.
Mushtaq Bala is Editor-in-Chief of Kashmir Pen, an award-winning filmmaker, cultural commentator, and advocate for peace through narrative media.
