Luk Pather Centre

The Luk-Pather Center (LPC) is the name of an organization of Kashmiri folk performers who have preserved the Kashmiri folk theatre form known as Bhand-Pather, and who are popularly known as the bhands (or Bhagats) of Kashmir.
This group was established in 1975, and is based in a village called Yachhagam, 25 kilometers from Srinagar in the south-west district of Budgam of  Kashmir. The folk performers involved with the centre share a deep involvement with and knowledge of the folk music, dance and drama forms of Kashmir. Over the centuries they have been preserving
these forms of creative and artistic expression and have been earning their livelihoods by performing in numerous places ranging from remote villages to urban areas in Kashmir.Unfortunately, today there are very few groups of such bhands in existence. Most of the ustads and older performers are no longer alive and the new generation does not seem inclined to pursue this art form. Although traditionally it was only men who performed in the bhand-pather, playing both male as well as female roles, in recent times even girls have started participating in the performances. This inclusion is indicative of the altering socio-economic and cultural patterns of the region, and is an initiative that must be applauded as well as acknowledged.

Chhakri and Rouf - The chhakri is a form of choral folk singing that integrates the music played by five to seven singers-cum-musicians. The folk musical instruments used in this are the nout, tumbakhnari, sarangi, and rabab. Although originally the chhakri was sung by both men and women, in recent times it is rendered by only male singers and musicians, who are accompanied by modern inclusions like orchestras. The traditional item is performed on weddings, betrothals and other social festivals.
Every chhakri song sung to a fast rhythm and beat is called a rouf. Despite certain similarities, this folk style of singing is different from the rouve style of dance-singing by a female chorus.
Wanwunn - The wanwun occupies the position of being the most popular traditional item in Kashmiri culture. This is essentially folk poetry, sung in chorus on special occasions like weddings, betrothals, a child's circumcision, and at times even in honour of guests. It is rendered exclusively by women and has tremendous variegation in its content. In wanwun there are supposed to be two female groups of women in which one group sings a couplet which is then repeated by the other group. The singing continues along with the
ceremonies and ends only once the rituals have been completed. Much of the content of the songs is original and is made up to suit the relevance of the occasion. Often the chorus groups on the sides of the bride and the groom compete with each other, adding to the fun and festivities. The wanwun embraces all kinds of subjects and terminologies, ranging from the contemporary to the traditional, without diluting its own indigenous character. It is melodious and requires no musical instrument.

Bhand Pather - This folk form of Kashmiri theatre has its origins in centuries long past. During those times the bhands, or traveling performers of Kashmir, used to make a living by collecting grains and clothes during the harvest season. While doing so they would often be requested to perform and play their instruments at weddings, and gradually the 'pather', or
play, became an integral part of the bhand culture, bringing the tradition of the bhand-pather into existence. The folk performers involved in these performances often infuse great humour and satire into their performances, making them take on layered meanings for the audience. The pather or drama is supported by folk dances and music, with the main musical
instruments being the surnai, dholak, nagara, wasula, and on certain occasions even the Saz-e-Kashmir. There are many written pathers like Raza-Pather, Watal-Pather, Grees- Pather, etc, each one being rich in form and content. In addition to the above mentioned items, the artists of the Luk-Pather Centre will also perform the Damali, the Bachha Nagma, the Rouve & Hakiet, the Chirag Dance, Chorus songs, Ladi Shah and Dastaan.

Artists:
Gh. Nabi Baghat, Gh. Hassan Baghat, Mohd Ismail Baghat, Gh. Mohd Baghat, Ab. Rehman Baghat, Ali Mohd Baghat, Gh. Nabi Baghat, Irfana Akther, Ruhi Akther, Rafeeqa Akther, Meema Akther, Masrat Akther, Rukhsana Akther, Muneer Ahmad Bhat, Ishfaq Ahmad Rather, Sameer Ahmad Bhat, Sheeraz Ahmad Baghat, Muzaffar Ahmad Baghat, Muneer Ah. Baghat, Mohd Ashraf Bagghat, Ab. Hamid Baghat, Gh.Nabi Baghat (Group Leader).

Contact:
Luk-Pather Centre: Gulam Nabi Bhagat Yachgam, Budgam (Kashmir)
Ghulam Nabi Bhagat Ph. 09906595613

Contact:
Royal Chhou Academy : Balarampur, Purulia (W,B)
Pranoy Singh Ph. 09932674603

* Programme subject to change

Venue: NSD Premises Bahawalpur House, Bhagwandas Road, ND-1
Enquiry: 011-23389054 (23389402, 23382821 Ext. 37)