Delhi Public School Srinagar
Aftaab Zaar
An Editorial Board Initiative
Patron: Ms. Shafaq Afshan
Table of Contents
HERITAGE & FOLKLORE
1. Kashmiri Literature: A Beacon Of Environmentalism
2. The Everlasting Beauty And The Enchanting Hafiz Nagma And The Santoor
SEASONAL
1. Climate Change in Kashmir
2. The Botany of Kashmiri Spring & Summertime
1. Historical Kashmiri Ornaments
2. The Land of Music
1. Hourglass
2. Fatah e Kashmir
3. Kashmir: A Seat of Buddhist Revolution
4. Industrial Revolution- The Birth of Climate Change
Kundera, Camus and the Curse of Estrangement
1. The Treasure Trove of Kashmiri Folktales
2. Book Recommendations
1. Slade
2. Ink and Echoes: A Poet’s Odyessy
3. Travelogue
4. Her 5. A Bankrupt Billionaire
1. The Impending AI Energy Crisis
2. The Significance of the U.S’ Lawsuit against Apple
OP-ED
Sheneh Peto Peto, Bayi Yito Yito
From the frolic of tulip blooms to saffron decay; in times where displacement is rapid like urbanisation, where capital blindfolds conscience, something —like papier-mâché or handcrafted tilla —is slowly ‘dying’.
Pir Panjal is shrinking it’s walls, and consequently the room of our fragile eco-system. The rising waters of Jhelum where the reflections of temples and mosques meet, might engulf us too, given the heat waves that are eating away Kolahoi and Thajwas. The valley is choking on indifference. The intellectual ascendancy of humans over other species, avails their quest for the enhancement of their lifestyle while utterly risking the existence of others.
Following the big bang, every earthling stemmed from the same cell. In the direction that we’re heading towards, the temperature inversion is only bound to make way for haze and cloud the genealogy to indigenous flora and fauna.
But consumerism thrives off this detachment— of self from the other —to make it ‘ethical’ to have three SUV’s in your garage because you have a PUC certificate or to grant lands that have sustained Gujjars and Bakarwals for generations, to corporate ventures for ‘community development’. It is but an irony that man doesn’t even spare his own kind the misery that follows his never ending, avarice.
There’s a Kashmiri folklore about the bird, Streaked Laughingthrush, called Shin e Pipin locally. The bird’s cry is believed to be a symbol of approaching winters. Lore has it, that the bird had found solace and a friend in a fellow Pipin who flew away with the promise to return with the next snowfall. Speaking of promises, the one’s we’ve made to our homeland have always been hollow. The use of euphemism for nature ‘dying’ should end, we’re killing it with our eyes open, hands steady, pockets full and hearts beating just fine under our pherans. So yeah, as the story goes it did snow again. In fact, there was a snow storm. Perhaps because climate change wasn’t as drastic then and we hadn’t maimed nature yet. It might snow for us too, but the wounds will remain open.
As for the Pipin, it was too late.
His friend never returned.
Ayesha Ahmad
Heritage And Folklore
KASHMIRI LITERATURE: A BEACON OF ENVIRONMENTALISM
Khalid Khursheed, Class XII
The valley of Kashmir throughout the ages has been renowned as a seat of knowledge, let it be questions of metaphysics or physics, ethics or aesthetics, ontology or epistemology; Kashmir has always answered these intellectual calls, though the language of these conversations might not be Kashmiri rather Sanskrit in ancient times, Persian in medieval times or Urdu and English in the more contemporary times. There is a common consensus among scholars that throughout the ages the Kashmiri language has always been neglected by the ruling elites which has hampered its growth. Even after all these roadblocks the Kashmiri language has had luminaries producing works of high intellectual worth in the fields of history, polity or poetry. These works explore multiple facets of society and present various philosophical questions and assertions via simple imagery of rural and agrarian setups. Throughout Kashmiri literature, one theme in particular is recurrent yet at odds with the status quo.
ENVIRONMENTALISM
Environmentalism is a comprehensive philosophy and ideology that promotes the preservation, repair, and improvement of the natural environment and important earth system elements. The first mention of environmentalism in the West is seen in the work of the English Romantics in the early 19th century. Intellectuals such as John Ruskin, William Morris, George Bernard Shaw, and Edward Carpenter advocated for an early “Back-to-Nature” movement, which anticipated the romantic ideal of environmentalism. They were all opposed to consumerism, pollution, and other harmful activities to the natural world. The movement was a response to the urban circumstances of industrial towns, where sanitation was poor, pollution was unpleasant, and housing was extremely crowded. Idealists saw rural life as a mythical utopia and supported a return to it. All these ideas are seen as revolutionary in the West for their period but if we compare them with the standards of Kashmir they were nearly 500 years late because what they were saying as a reaction to the Industrial Revolution was already said in prediction by one man in Kashmir; Nund Rishi
NUND RISHI
Shaikh Nooruddin Noorani (1378-1438), also known as Shaikh ul-Alam, is one of Kashmir’s most revered and famous Sufi saints. His poetry, famously known as ‘Shaikh Shrukh’, is replete with metaphors and imagery of nature and the environment. There is almost no stanza in his poetry that is not contextualized by ethical, cultural, social, and geographical components. His words provide a message of peace between nature and man. Shaik ul-Alam has left an indelible mark on practically every field of study and created a symbol of understanding. He has various titles, including ‘Alamdar-e-Kashmir’, ‘Sheikh-ulAlam’, and ‘Nund Reshi’. He was a preacher, philosopher, and Sufi poet who advocated for love and preservation of living creatures, promoting ecocriticism over destruction, and emphasized the importance of nourishing and tending to the environment.His well-known and frequently repeated remark has become the environmental movement’s mantra in Kashmir. Ann poosh teli yeli waunn poshe, which translates as “So long as the forest lasts, so will food.”
Man was made out of the earth
And his frame was cast in clay
It is all out of the earth, that all bounties grow
It is earth, where man cooks his food
When life goes out, the body transfers into the earth
And earth gets mixed with earth for good
The aforementioned stanza reinforces the idea that humans are inherently weak and dependent on the soil for basic subsistence while also demonstrating the undeniable relationship between man and the environment through the use of landscape, bounty, clay, and other natural imagery. These elements also reflect viewpoints from green studies and ecocriticism. The following couplet comes in handy to display his commitment to the environment:
Will diamonds be found in marshy land?
Will birds chirp when caught in meshes?
Will the narcissus bloom amid a desert?
Will pearls be available in glassware stalls?
Sheikh-Ul-Alam is surely a landmark in the environmental Kashmiri literature but considering him as the sole claimant of this environmental legacy would be unfair to the generations of poets that came after him. One of the poets who came 500 years after Nund Rishi went on to revolutionize the opinions of both the intelligentsia and the masses of Kashmir, this poet was born in a poor family in Pampore and his name was Mehjoor.
MEHJOOR
Mahjoor’s gentle, calm, and majestic voice awakened all Kashmiris, literate or ignorant. His thought-provoking poems inspired Kashmiris to be proud of their heritage, national identity, and natural abilities. As a result, a sense of pride and love for one’s homeland grew. Mahjoor’s nazms revolve around Mother Nature, humanity, and their plight and contain Mahjoor’s message to his people. The throbs of the ordinary man bent under social and political injustice are frequently the subject of discussion. In his poem, “Our Country is a Garden,” he informs his fellow Kashmiris about their status and the location in which they dwell. He portrays the valley as a garden and then aptly emphasizes its beauty, encouraging Kashmiris to adore their “darling sweet garden.” Mahjoor also promotes the preservation of the magnificent valley with its natural scenery. The message to the common Kashmiri is that he should not only free his fellow citizens from the oppression of feudal lords but also save the motherland from external intrusion. Some of the excerpts of this poem are as follows:
The bulbul whispers to the flowers
Our country is a charming garden
Hyacinth tells the violet to shed Woodland isolation and come to the garden
A marble wall of snow-clad mountains
Surrounds our land, with lakes in the middle
Mahjoor’s poetry envisions a state of biophilic mutuality with all living creatures, which would result in the establishment of environmental justice. The premise behind the word “Environmental Justice” is that all people, regardless of race, colour, nation, or origin, have equal access to high levels of environmental protection. To understand Mehjoor’s poetry, one must examine the period in which he lived. During Imperial control, local Kashmiris were subjected to a variety of economic, social, physical, intellectual, political, and environmental constraints, resulting in famines, droughts, floods, and human mortality. Imperialism in Kashmir resulted in the transition of society from agricultural to feudal. Following the first Anglo-Sikh war in 1846, the British government surrendered Kashmir to Maharaja Gulab Singh following the Treaty of Amritsar. The Maharaja considered Kashmir his property and charged taxes on everything. Kashmiris were subjected to forced labour, causing tremendous misery. Their sole refuge was the natural world. Animals were slaughtered to produce shawls for the elites. Saffron was traded to other countries, and chopping trees was a frequent activity for revenue generation. Herbs and rare plants were brought to Western countries. Hunting wild animals for pleasure was a significant loss to the ecosystem.
Mahjoor’s famous poem discusses women and their situation in Kashmiri society. He not only sings about poverty, slavery, and freedom, but he also writes about the role of women in Kashmiri society. In his poem “An Unwanted Women’s Tale,” he portrays every step of a woman’s life, from birth to death, and how she is treated in Kashmiri society. She is born unwanted and then denied the opportunity to learn and grow. She is ready for marriage, but no one asks for her consent. She is a queen, like Habba Khatoon, and a profound philosopher mystic, like Lal Ded, yet she remains a victim of the patriarchal society. Mahjoor compares women to nature. Her presence is a symbol of creation in this world. She is humble and peaceful, as is nature. Mahjoor’s poetry promotes ecological justice. Ecological Justice aims to eliminateall types of societal injustice against women, nature, and children:
Uninvited and unsung
I came To this world. My near and dear on Felt unhappy. Why I was born
Without any purpose...
Without ascertaining my views
My parents gave me in marriage to a stranger.
Not minding The injustice. I accepted the fate. Like the blossomed bough, I gave birth to both flowers and thorns
The roses decreased and thistles Multiplied, putting me to shame
Mahjoor’s poem “Emancipated Bird” exemplifies a preacher who instils in his followers a sense of self-respect and dignity. He sets an example of nature for his compatriots. Birds, flowers, and bulbuls feel happy when they travel freely in nature. Nature provides the best example of a well-ordered and free life. Thus, the poet wants his people to follow nature and create a free and harmonious society. He, like other English romantics, is opposed to the industrial revolution. He envisions a simple life in the lap of nature, free of oppression and inequality.
CONCLUSION
According to scientific studies, Kolahoi, the largest glacier in Kashmir’s Jhelum Basin, is fast retreating as a result of temperature spikes caused by global warming and excessive pollution. According to Global Forest Watch, the undivided state of Jammu and Kashmir lost 4.09 thousand hectares of tree cover from 2001 to 2022. All this indicates that a grim situation is looming for the valley of Mehjoor and Nund Rishi unless concrete steps are taken by the civil society and government. Today one doesn’t need to imagine apocalyptic scenarios, one just needs to look around. This year only; Kashmir experienced extremely delayed snowfall, it’s difficult to tell apart spring from summer, farms from barren land and Kashmir from the rest of the world.
The Everlasting Beauty And The Enchanting Hafiz Nagma And The Santoor
Like a crown adorned with jewels, the words of the famous Persian poet Hafez can often be heard around Kashmir in a melodious tune performed alongside a dance form adding to the beauty of it all. Like any form of art needs a medium to express the creator’s thoughts and intentions, the poetry of Hafez has chosen the Hafiza as its dancer and the tune of the Santoor as its muse, thus giving birth to the Hafiz Nagma, a form of art which imbues the philosophical and spiritual aspects of Hafez’s works with the intricate dancing of a woman to the Sufi instruments.
The Nagma is considered to have been brought to the valleys of Kashmir through various cultural and academic exchanges around the 14th Century between the Persians and the diverse population of the subcontinent. Persian scholars, traders and travellers who had brought along with them the works of Hafez attracted the Sufi’s and their never-ending thirst for spiritual closeness with God. The Sufis of the times, with a particular belief in music’s role in spirituality, would not let the soulful recitations of the works of the Persian be without a fitting companion, and so they chose the Santoor from the Sufiana Mausiqi ensemble to be the partner of the performance. Thus giving rise to the Hafiz Nagma. The Santoor is a stringed trapezoidal instrument made traditionally from walnut wood. The roots of this instrument can be traced back to Mesopotamia and Persia. Eventually as if though its travels were guided by destiny, the Santoor, back then known as Shatatantri Veena, came to Kashmir, where it found its voice in the Sufi traditions and later the Hafiz Nagma.
With the flow of the sands of time, the art form changed. The performances were adjusted to fit the local environment, incorporating many features of Kashmiri culture as time went on. The Hafiz Nagma flourished particularly during the Mughal rule over Kashmir during which it was patronised. The beautiful performance was originally limited to Royal Courts and some significant cultural gatherings but eventually began to be performed more frequently and as a simple means of entertainment. However, with Kashmir’s changing climatic conditions, the performers had to adjust their performances accordingly. During the cold wintry days the musicians, dancers and narrators would move indoors near a hearth to keep warm and enhance on the spirituality of the whole ordeal. During hot summer days shaded spaces were ideal. The melodious Santoors used also had their own difficulties with fluctuations in the weather. The wooden instrument often contracted during the winter season and expanded to a degree where the instrumentalists had to store them with extra care and frequently adjust the instrument to keep it in tune.
In the present, the art form has changed, but its soul remains untouched and pure. Nowadays, while it is primarily expressed in other forms of Kashmiri dance with alterations, the Hafiz Nagma still lives on. The everlasting words of Hafez paired with the intricate dancing in the presence of the enchanting tunes of the Santoor continue to display how diverse and culturally rich the verdant valleys of Kashmir are, and will continue to be.
Seasonal Section
This report is based on an interview with Dr Farooq A. Lone (Professor, Environmental Science, SKUAST Kashmir) and Dr Nayar A. Kirmani (Professor, Soil Science, SKUAST Kashmir)
The seasons seem off-schedule these days, to a point where, in April we’re confused as to whether it is spring, summer or winter. Snowfall has been scarce for a couple of years now, but this year, there was barely any at all. Even Chillai Kalan, which is supposed to be adorned with blankets of white, was mostly dry. This is not just disappointing, but highly alarming, especially for a place like Kashmir.1 This change, Climate Change— something that seemed far-fetched a decade ago— is now increasingly seen and felt with every passing year. Unpredictable weather is not limited to winter, spring seems to be lost between days of summer and winter; and in summer we witness severe heat, followed by heavy rains. The average rainfall of the month is received in just two or three days with a dry spell for the rest of the month. These events— unpredictable snowfall, heat waves, erratic rainfall and so on—termed as extreme weather conditions, are an indication of Climate Change and their frequency has increased over the last few years.
A major consequence of Climate Change is observed in Wetlands, where little water is left now. As a result, the fish population has dwindled and cultivation of water chestnuts has declined in both wetlands and major lakes. This is a pollution problem associated with climate change and has affected the livelihoods of several people, especially women whose incomes depend on these chestnuts.2 Rain-fed crops in some areas are also affected due to irregular and insufficient rainfall during the growing period. Early flowering has been observed in ornamental plants due to temperature rise in March; but presently, there hasn’t been a drastic impact on agriculture due to variations in average weather. Severe weather, however, always affects plants. Further research needs to be conducted to analyze the influence on different plants. Climate change is not a regional problem, but a global one. It is caused at the global level and hence its effects are seen worldwide. Its major cause is the release of Greenhouse gases in the atmosphere. The developed countries of the world emit the most greenhouse gases, but the consequences of this impact the entire world.3 In Kashmir, greenhouse gases are mostly released due to burning of biomass to make charcoal. This practice is common, especially in winters but must be avoided. Instead, we need to look for efficient alternative sources of energy.
In Agriculture, the use of nitrogenous fertilizers must be reduced as they release nitrogen oxides and also degrade soil fertility in the long run. These should be replaced with manure and organic fertilizers. Sustainable and organic farming should be practised. To combat dry spells, rooftop rainwater harvesting should be implemented. Climate-resilient varieties of crops should also be developed that can grow in these changing weather conditions. SKUAST Kashmir has developed such a variety for Maize which can withstand cold weather conditions.4 Apart from these, there is a process called ‘Carbon Sequestration’ which simply means removal and long-term storage of atmospheric carbon dioxide in plants, soils, rocks and oceans. Kashmir has witnessed a change in land use pattern in the last few decades, people have converted their rice fields to apple orchards. This can help in mitigating climate change as trees sequester a lot of carbon during the process of photosynthesis. Rice, on the other hand, contributes significantly to greenhouse gas emissions.
Some may think that slight changes in temperature would surely not have drastic consequences; but the rise of just about 5° C was enough to end the last Ice Age. It may as well be the differenc between our planet as we know it, and a possible Fire Age. We must take steps in order to mitigate this crisis. This starts at the individual level; small steps lead towards a better environment. The most important action is to reduce our Carbon footprints*. An action as small as planting a tree goes a long way. Separating and composting biodegradable waste is beneficial for your garden and the Earth. Harnessing solar energy is profitable and sustainable. All these steps contribute towards a better future, one where the sun shines in summer and it snows in winter.
Climate Change in Kashmir 06
References
1. Times of India. “Why Kashmir and Ladakh are without snow and unusually warm this winter? Experts explain.” Times of India Travel, n.d. https://timesofindia.indiatimes.com/travel/travel-news/why-kashmirand-ladakh-are-with out-snow-and-unusually-warm-this-winter-experts-explain/articleshow/106978190.cms
2. Ahmad, Umer. “Shrinking Wular Lake shrivels water chestnut harvests in Kashmir.” Village Square, January 19, 2023. https://www.villagesquare.in/shrinking-wular-affects-women-water-chestnut-harvesters-li velihood/
3. Zargar, Safwat. “Interview: Kashmir not responsible for climate change, but bears its full brunt, says scientist.” Scroll.In, March 3, 2024. https://scroll.in/article/1063717/interview-kashmir-not-responsible-for-climate-change-bu t-bears-its-full-brunt-says-scientist#:~:text=Mountainous%20regions%20are%20more%2 0vulnerable,degree%20Celsius%20in%20the%20plains
4. Greater Kashmir. “SKUAST-K developed cold-tolerant maize variety released at national level,” May 6, 2023. https://www.greaterkashmir.com/kashmir/skuast-k-developed-cold-tolerant-maize-variety -released-at-national-level/
* You can calculate your Carbon Footprint here: https://www.carbonfootprint.com/calculator.aspx
The Botany of Kashmiri Spring and Summertime
Bird’s-eye Speedwell
Veronica persica
Sweet Williams
Dianthus barbatus
The Lady Tulip Tulip Clusiana
Hyacinth Hyacinth Orientalis
Bugleweed Ajuga
Baby’s Breath
Gypsophila
Primrose Primula vulgaris Geranium
Cornflower Centaurea cyanus
Zainab Iqbal, Class XI
Photostory
Bait-ul-Meeras Feature Photographs
Photography Zainab
Historical Kashmiri Ornaments
Zaara Farooq, Class XI
Like other arts and crafts, Kashmiri has had no less expertise in producing some of the finest and most exquisite items of jewelry. Massive workshops were set up in various villages, towns and cities for this purpose and people would toil hard to beautify metals into relics of beauty. The community dealing with manufacturing ornaments is locally known as ‘Zarger’ (goldsmith) and has been historically known for their craft. Most of the members of this community would be associated with the same business and would also enjoy a high status in the society. Little do we know that Kashmir’s history of ornaments is way beyond gold.
During a recent visit to Bait-ul-Meeras, I went treasure hunting. There would be no lie in saying that I truly found a treasury of Knowledge about traditional Kashmiri jewellery. There have been many speculations about the origins of Kashmiri jewellery and its usage. One of the biggest misconceptions that’s seen in the masses is the idea of the traditional jewellery being the same from all around the valley and from the parts of Jammu and Ladakh. As the exploration began I came across various different ornaments that were not only used for symbolizing power and wealth but also carried a deeper significance to them.
Besides the famous and known Kashmiri ornaments such as:
• Jiggni – silver or gold round tikka with tiny bead/pearl hangings
• Dake Tikk – Forehead ornament/ maang tikka.
• Kasaba – ornamental cap .
Neck Specific Jewels
• Halqaband/Alkavand – Large sectional necklaces where multi hole connectors that are linked by thread. A large pendant is often seen.
• Kanthi – short necklace
• sagalar – heavy silver necklaces
• Dolemaal – necklaces with additional talismans
• Nalehaar – amulet style necklaces with hollow pendants and fringes.
Ear Specific Jewels
• Bala
• Dor-hor
• Alkhahor and attahor – These are pairs of jhumkas that are connected by chain and are worn pinned at the head. It could be covered by a cap or a veil.
• Jhumka – newer versions of the Alkhahor, where the drops are worn without the chain through a piercing in the ear lobe.
• Kanavaji/Kannavazey/ Kann-Vazi – Coiled metal rings tied together and suspended on cord.
• Kanador – gold earrings, teardrop shape.
• Dejihoor – Gold earrings worn by a Kashmiri Pandit women after marriage.
Qamar Bandh: Qamar Bandh has been in style for the longest time. Moreover, Kashmiri women used to wear the Qamar Bandh with Firoz (turquoise) stones and intricate designing. The significance of Firoz stone traces down to the belief of it being a protecting and strengthening embellishment. Furthermore, it is believed that merely looking at Firoza can strengthen ones eye sight.
Wrist
• Hangaar
Specific Jewels
• Gunus – Heavy metal cuffs with animal head terminals
• Dulu
• Bangri – bangles
• Bangaar- bangles set with colored stones
There are certain features that make the jwellery distinctive from others. Due to its complex geometric shape,exquisite designing known as filigree and renouned craftsmenship the jwellery has long been coveted by both royalty and regular people. Certain distinctive features:
• Intricate filigree work
• Gemstone embellishment
• Engravings
Kashmiri Embroidered Jewellry
Kashmiri embroidered Jewellery is the mixture of embroidery and Jewellery designing talent. This form of Jewellery is made with a fabric where the embroidering is done on the fabric itself. Hence, being accompanied by precious stones and metals. Kashmiri embroidered Jewellery is a classic example of the fact how this tradition of this region has been evolving time and again.
Not to mention the existence of rich traditions that are inherited in Kashmir and still upheld now, Kashmiri jewellery is the ideal representation of the breathtaking cultural wealth, spirit, roots, and tradition that Kashmir holds. The unique quality, incredible delicacy, intricate designs, and flawless craftsmanship of Kashmiri jewellery continues to captivate people from all over the world.
The Land of Music
Hadi Imtiyaz, Class X
Kashmir, with its breathtaking landscapes and profound cultural heritage, has always been the land of music. The region’s traditional melodies, like the soulful Sufiana Kalam rooted in Sufi traditions, and the vibrant Chakri, often accompanied by the rabab and harmonium, reflect its deep artistic roots. Over centuries, Kashmiri music has seamlessly blended Persian, Central Asian, and Indian influences, creating a unique and rich soundscape. The valley’s serene beauty is mirrored in its music, which continues to evolve while preserving the essence of its storied past, captivating listeners with its timeless charm and emotional depth.
Every phase of Kashmir’s history has been marked by its own distinct musical score.
From Habba Khatoon’s “Roshay” to Mahjoor’s “Waloha,” Kashmiris have maintained a deep connection to music throughout the ages and have used it as a form of expression. Even today, when someone has to mourn, they cry in a very musical tone which showcases how deeply rooted music is in Kashmir’s nature.
Given its deep ties with music, it was inevitable that Kashmir would become a hub for unique instruments, and that is precisely what happened. Many beautiful instruments are closely associated with Kashmir, such as:
Rabab : The rabab is an instrument that needs no introduction. It is the first thing that comes to mind when we think of Kashmiri music. It is especially famous among contemporary musicians of
Kashmir, which adds to its popularity. Famous contemporary Kashmiri musicians such as Noor Mohammad, Alif, Yawar Abdal, and many more use the rabab regularly in their music.
The rabab is believed to have originated from Central Asia around the 7th century. It is one of the oldest known stringed instruments. The rabab is crafted from a single piece of wood, often mulberry or walnut, featuring a boat-shaped body with a stretched animal skin soundboard. It has a long, fretless neck and typically includes three to four main gut or nylon strings, with some variants adding sympathetic strings for richer resonance. A wooden or bone bridge is positioned on the soundboard to transmit string vibrations. This construction results in the rabab’s distinctive, resonant sound, integral to various musical traditions in Central Asia, the Middle East, and the Indian subcontinent.
Rabab
Sarangi : The sarangi holds a profound connection with Kashmiri music and culture, deeply rooted in historical exchanges with Central Asia and Persia. It has become integral to Kashmir’s musical traditions, accompanying Sufi music, classical ragas, and folk songs with its emotive and resonant tones. Used prominently in ceremonies like weddings and festivals, the sarangi enriches these events with its soulful melodies. Passed down through generations, its artistry symbolizes Kashmiri musical identity, reflecting the region’s cultural diversity and artistic heritage. The sarangi is meticulously crafted with a hollowed-out body from quality wood like tun or teak, forming a resonant chamber. Its front is covered by a goat skin or similar membrane, enhancing acoustic vibrations. The neck, fretless for smooth glissandi, extends from the body, ending in a pegbox with tuning pegs. Three or four main gut or synthetic strings, tuned differently, are complemented by sympathetic strings underneath, enriching its sound. Played with a gaz (bow) made of horsehair, the sarangi’s nuanced tones resonate through a small wooden bridge on the soundboard, showcasing its versatility in Kashmiri and broader Indian classical music contexts. As a cherished instrument, the sarangi continues to evoke deep emotions and preserve Kashmir’s rich musical legacy.
Santoor : The word “santoor” is derived from the Persian language, where “san” means “hundred” and “toor” means “strings.” Together, “santoor” translates to “hundred strings”. Originating from the Kashmir Valley, the santoor is a trapezoid-shaped wooden box crafted from woods like walnut or maple, adorned with metal strings across its surface. Played with curved wooden mallets known as “hammers” or “mezzrab,” it produces a resonant, melodic sound prized for its soothing qualities. Integral to Indian classical music, particularly in the Hindustani tradition, as well as Kashmiri folk and Sufi music, the santoor has evolved from its ancient roots as the shata-tantri veena. Its popularity extends globally, celebrated for its distinct sound and versatility across various musical genres, embodying cultural depth and artistic expression. Even today, Kashmir has some amazing Santoor players such as Abhay Sopori, that are keeping the beauty of kashmiri music alive.
The great valley of Kashmir holds a treasure trove of remarkable instruments, including the santoor, rabab, and sarangi, each imbued with its own unique charm and cultural significance. Beyond their musical prowess, Kashmir’s rich poetic heritage continues to inspire musicians today. The timeless lyrics, steeped in the region’s history and emotions, resonate deeply with listeners across generations, showcasing the enduring power of Kashmiri poetry to evoke profound emotions and connect with people through its poignant melodies and themes. Contemporary Kashmiri musicians have taken many old poems and created them into amazing songs, such as Habba Khatoon’s “Madano,” Lal Ded’s “hukus bukus,” and Mahmood Gami’s “Chani Bartal.”
The legacy of Kashmiri music is a testament to its enduring spirit and cultural richness. From ancient melodies to contemporary compositions, Kashmir has woven a tapestry of musical expression that resonates deeply with its landscapes and poetic traditions. Instruments like the rabab, sarangi, and santoor embody this heritage, each contributing its own distinctive voice to Kashmir’s musical narrative. As these traditions evolve and flourish, they continue to inspire artists and audiences alike, reaffirming Kashmir’s timeless identity as the cherished land of music, where every note echoes the soul of its storied past and vibrant present.
Santoor
Sarangi
HISTORY HOURGLASS
March 16, 1846
The signing of the Treaty of Amritsar occurred, which ceded the region of Jammu and Kashmir from the Sikh Empire to the Dogra ruler Gulab Singh. This treaty laid the foundation for the Dogra rule in the princely state.
April 17, 1961
A U.S.-backed attempt to overthrow Premier Fidel Castro of Cuba failed disastrously in what became known as the Bay of Pigs fiasco
May 6, 1527
The Renaissance ended with the Sack of Rome by German troops as part of an ongoing conflict between the Hapsburg Empire and the French Monarchy
May March
April
Kemmel Ataturk, Turkish leader
Born March 12, 1881
Otto von Bismarck, German chancellor
Born April 1, 1815
Born August 4, 1961
June 3, 1989
July 6, 1885
Louis Pasteur gave the first successful anti-rabies inoculation to a boy who had been bitten by an infected dog.
August 8, 1945
Soviet Russia declared war on Japan and sent troops into Japanese-held Manchuria.
Ayatollah Ruhollah Khomeini, leader of the Islamic Revolution in Iran, dies.
Fatah e Kashmir
Shah Mohammad Hayaan, Class VIII
It has been an era, an era of 436 years since the mighty Mughals conquered Kashmir. The first Mughal emperor as we know was, Babur who had conquered Delhi in 1526 after defeating the last sultan of Delhi sultanate. It took a generation for The Hukumran-e Hind to conquer this culturally rich valleyAkbar the Great, was the one who successfully annexed this mesmerizing beautiful valley, while the previous rulers of the empire did try to get control over it, but all of their military campaigns went unsuccessful. In 1578, Yakub Shah Chak the ruler of Kashmir sultanate, who is also more popularly known as Yusuf Shah Chak. Yusuf Shah was the third ruler of the Chak dynasty, the dynasty that ruled Kashmir for the last 15 years. Yusuf Shah, despite leading a life of luxury and ease, used to care for the welfare of his subjects . Today his name is etched in history books because of the love of life, Zoon. According to legend, Yusuf Shah was once out for a hunt on horseback when he heard a mel dious sound coming from a distance, he went forward to check who was singing so beautifully, it was when he met Zoon, under the shade of a chinar tree singing. Zoon was a poor girl born in the small hamlet of Chandhara, Pampore, Kashmir. Her life was miserable because of her mother-in-law and her abusive husband, whom she divorced because of the torture on her. After she met the Sultan of Kashmir, her life changed for good, as Yusuf Shah fell in love with her and both of them soon married each other. After marriage, Zoon changed her name to Habba Khatoon. The name ‘Habba Khatoon’ and her poetry are still alive in the hearts of Kashmiris to this date.
After a year of Yusuf Shah Chak’s rule, he faced a rebellion in his reign and was overthrown by the rebels in the battle of Eidgah. After the defeat, he was sent into exile which lasted for nearly 2 years with Habba Khatoon, it was during this period that he asked for help from the ruler of the Mughal Empire at that time, Abu’l-Fath Jalalud-din Muhammad Akbar, popularly known as Akbar the Great, to regain his throne. The emperor helped him in successfully regaining his thrown and crushing the rebellion. After this Yusuf Shah ruled Kashmir for another 5 years but this tenure would be cut short because the Mughals had smelled the weakness of the sultanate of Kashmir and social Darwinism ensued. In 1578, Akbar ordered Yusuf Shah Chak to surrender his sultanate to the Mughal Empire or face conquest with his imperial army. Yusuf Shah refused to submit, therefore the Mughal army marched towards Kashmir. The Kashmir sultanate, which was no match for the Mughals, struggled hard but was continually defeated, until Yusuf Shah Chak was imprisoned and banished to Bihar, never to return to his kingdom. Following his captivity, the Chak dynasty submitted to the Mughals in 1579. Akbar included Kashmir as part of his Kabul sub’ha (province).
It’s said that after Yusuf Shah Chak’s imprisonment in Bihar, where he spent rest of his life, Habba Khatoon became an ascetic and spent the rest of her life wandering across the valley singing her songs, often filled with the sorrow of separation, and are still popular across Kashmir. Habba Khatoon’s tomb lies near Athwajan at present. Habba Khatoon may have died hundreds of years ago but her sorrow and sadness still speak volumes and will continue to speak volumes,
In henna I have dyed my hands, When will he come?
I die, while he roams distant lands, My heart is numb!
O, where is now the days delight? I’ve waited long. The golden wine cups of the night To him belong!
Kashmir- A Seat Of Buddhist Revolution
Syed Imaad Class XII
The history of Kashmir has always been an amalgamation of numerous cultures and peoples. Some of it rather well known such as King Lalitaditya and his rule, The story of “Rishi Kashyap” and Kashmir being a learning Centre of Persian and Sanskrit, while a large part of it is still unfamiliar to most of the world. One such unchartered part of this treasure trove of history is “The Fourth Buddhist Sangiti” that was held in 72 AD near Kundalban. Sangiti, literally meaning “reciting together” refers to a Buddhist council. These councils were convened by Buddhist communities to settle ideological and disciplinary disagreements. Kashmir housed the fourth council under the patronage of Emperor Kanishka. This council was presided over by Va sumitra:A Buddhist Monk and Author of the Mahavibhasa, and Ashvagho sa:The First Sanskrit Dramatist. The purpose of this council was to settle the dispute between the Sarvastivada orthodoxy that had flourished in Kashmir and western Gandhara orthodoxy. The Abhidamma texts were also translated entirely into sanskrit from prakrit during this gathering.
Another major issue that was raised in this edition of the council was regarding the divinity of Buddha Himself, whether He was a human being that was enlightened or He was the divine Him self, this was something that plagued the minds of all Buddhist followers. After debate and discourse, no middle ground was able to be reached. This lead to one of the defining moments in Buddhist ideological history, The Buddhist school of thought was split into two sects, into two distinct lines of thinking. The first one believed in Buddha as the divine, and worshipped Him as such, along with other Boddhisatvas(Enlightened beings who put off their ascension to help others reach enlightenment.) They were present in the majority and have become the widely accepted school of thought,naming themselves “Mahayana”(Greater Vehicle). They are regarded as more liberal and having a wider outlook. The second division believed in Buddha as a human who received enlightenment and found a path to nirvana, they chose to follow his original teachings from his time when there were no sects, they were present in the minority and came to be known as “Hinayana”(Lesser Vehicle). They are regarded as being more rigid and having a more extreme outlook. These schools of thought still exist and function nowadays with several sub-sects having been formed, but all of this change can be traced back to the fourth Buddhist council and therefore, Kashmir. Hence we can clearly conclude Kashmir always has been and always will be a centre of progress and fascination, all the world needs to do is look, and it is our duty as members of Kashmiri society that we ensure the preservation of our rich history.
Industrial Revolution- The Birth of Climate Change
Abdul Muqtadir
Class IX
The dawn of the Industrial Revolution in the late 18th century became a turning point for mankind. It was a period characterised by the shift from rural economies to full-blown industrial and highly urbanised economies. While this era brought exceptional advancements in technology, manufacturing and transportation this also laid the foundation for the massive climate crisis we are facing today. The birth of this revolution can be traced back to the Georgian era of Great Britain, where a series of grand innovations such as the steam engine and the rise of factories, transformed the way of manufacturing. This revolution led to massive economic growth and an astronomic boost in production, however this revolution marked profound environmental impacts. One of the most significant changes was the tremendous use of fossil fuels. Coal became the primary source of energy, powering factories, trains and ships. The astronomic burning of coal released humongous amounts of carbon dioxide (CO2) and other greenhouse gases into the atmosphere. The increase in industrial activity also led to deforestation and changes in land use. Forests were cleared to make way for factories, mines and expanding urban areas. This deforestation reduced the number of trees that could absorb CO2, further exacerbating the greenhouse effect. Additionally, industrial processes released other pollutants such as sulfur dioxide and nitrogen oxide, which contributed to a humongous increase in acid rain and air pollution. As the revolution progressed, the consequences became more pronounced. The concentration of CO2 in the atmosphere begins to rise steadily. Studies have shown that CO2 levels have increased tremendously since the 18th century, correlating with the dawn of industrialization. This increase in greenhouse gases has been a primary driving factor of climate change, leading to rising global temperatures, melting ice caps and shifting weather patterns. The impact of the Industrial Revolution on climate change is not limited to the initial burst of industrial activity during the 18th and 19th centuries. The technological and economic foundations laid during this era have set the stage for continual industrial growth and a never-ending consumption of fossil fuels in the 20th and 21st centuries. The development of the internal combustion engine, the expansion of electricity generation and the proliferation of automobiles further accelerated the release of greenhouse gases. It is important to recognize that the Industrial Revolution brought myriad positive changes such as improved living standards, better healthcare and an increased life expectancy. It also kick-started a chain of environmental degradation. The challenge we face today is how to balance the benefits of industrialization with the need to protect our planet from further harm. In recent decades, there has been a growing awareness of the link between industrialization and climate change. Efforts to attenuate the impact of human activities on the environment have led to the development of renewable energy sources such as wind, solar and hydroelectric power. Additionally, there is a push for greater energy efficiency, sustainable practices and the reduction of carbon footprints. International agreements such as the Paris Agreement, aim to unite countries in the fight against climate change by setting targets for reducing greenhouse gas emissions. However, the legacy of the Industrial Revolution remains a noteworthy trial. The infrastructure and economic systems built around fossil fuels are deeply entrenched, making the transition to a more sustainable future arduous. Moreover, the repercussions of climate change such as extreme weather events, rising sea levels and biodiversity loss are already being felt around the world, accentuating the pressing need for action. In conclusion, the Industrial Revolution was a pivotal era that reshaped mankind as a whole. While it brought tremendous advancements, it also set in motion environmental changes that have accumulated in the current climate crisis. Understanding the historical roots of climate change is essential for developing effective strategies to address it. As we move forward, it is crucial to learn from the past, embrace sustainable practices, and work collectively to attenuate the impact of climate change, ensuring a healthier planet for future generations.
Fiction The Largest Tree
Imad Tahir, Class X
The little plant was dying quickly. It hadn’t received a drop of water for many days. It had the misfortune of being born around very tall trees whose deep roots took away all the water before it could reach the little plant.
“O, do I not deserve to live and grow and cherish, as do these other trees?”, the little plant exclaimed. Besides the plant stood a large tree, who couldn’t help but feel pity for this poor little plant.
“Indeed, you do deserve to live and grow like we do. Why must you die of thirst when I have more water than I need?” the tree told the plant. “Come, join your roots with mine and I shall give to you my own water.”
The plant eagerly did so, and therefore received a constant flow of water. Its stem became greener, its leaves more lively. It would miss no opportunity to show its gratitude to the tree, which not only saved it from death but also gave it a chance to live and grow. The tree felt even happier, satisfied from its simple act of kindness.
From the water of the tree, the plant grew. Whenever it required more water, it would simply join with more roots of the tree. It was now larger than most plants in the forest. Yet it became distressed.
“What distresses you, my dear plant?”, the tree asked one day.
“I do receive more water than any plant in the forest, yet I continue to starve for I cannot produce enough food to satisfy myself”, the plant replied.
“You are quite right, why must you starve when I have more food than I need? Join your branches with mine and I shall give to you as much food as you require.”
The plant again eagerly did so, and now received a source of food. “I remain grateful to you”, it said.
From the food, the plant grew even more. It became stronger and the girth of its stem started to increase. It had become a “very large plant” (however, it refused to use the word “tree”). The tree, however, had started to become weak. Nevertheless, it believed that the plant would one day become a strong and independent tree and would stop depending on it.
A few months had passed, and the plant again looked distressed.
“What distresses you now, my dear?”, the tree inquired.
“I have enough food to grow and become stronger, yet I do not receive enough sunlight for the trees around me are extremely tall”, the plant replied.
“My leaves are numerous enough to give me more sunshine than I require. You, however, cannot receive for yourself a single ray of sunlight.”
And so the tree shed the leaves that were blocking sunlight to the plant. The plant received its first rays of sunlight.
A few years passed, and the tree had long died of starvation. The plant had now become the largest tree in the forest.
Beside it was a little plant. It was dying quickly and hadn’t received a drop of water for many days.
“O, do I not deserve to live and grow and cherish, as do these other trees?”, the little plant exclaimed. Just then, the little plant felt something strangling its tiny roots.
“You do not”, said the largest tree in the forest
(Urdu Proverb) Kawkab Lone, Class XII
Not too long ago, I’d be sprawled across my mother’s grand divan, cups devoid every drop of wit, crown askew atop irreverent brow. The painter’s brush would cavort in hopes of capturing my sullen, cruel mouth while some bashful maiden sang of it. The halls would echo with her delicate music while the songbird herself reddened under deft gaze. I’d look across the littered chamber, there’d be many. Some lithe, some loathsome, too lovely, too honeyed. But never too many. Excess is no term to royalty. And then would enter the usher; in attendance, the painted jester. On shuffling feet the former would state while snickering would interrupt the latter:
“The Angered King calls on his—“
“Spartan seed, to be prince is no simple feat.”
Groaning, I’d stand and saunter. Walk up to my father—unaware of his too-soon-slaughter. But that was behind me, not unlike this gritty wall.
Over the past weeks, realisation has dawned. I’ve had all the time in the world.
It, thus, comes as no shock that I’ve been thinking. No matter that this is the first time I’ve been dragged to do something so lowly.
Thought, you will find, is the poor man’s meal. The rich man cannot find it in himself to sink to that depth, sink into thought; he resides from above it.
The poor man is scum by birthright. No namesakes take away his stench. Thinkers declare man to be created in God’s image and that is precisely how the poor man fashions himself king.
It is in this ambition of the poor man that one finds the root of all his suffering, and therefore, his baseness.
Why, just two nights prior, when the copper beat the paperboy bloody, I came across a fascinating tidbit. The frightfully grisly child had been named after the dead prince! Surely, no one believes that he and I could truly be similar!
Even in these filthy tatters, on this dingy street, against this blasted wall—that won’t stop digging into my spine—there is no hiding my identity. From the stretch of my limbs to the swell of my rib, it all bears witness to my breeding. Anyone with a half-decent education would recognise me as the sole heir to their overthrown kingdom.
Now, if for some miserable reason, you’d been tasked with beholding this paperboy, in all his unwashed glory, you would see that the poor man has it all wrong.
The boy’s limbs are knobbly, his gait unseemly. On his face rests an ugliness so forceful, the years of dirt do not hide it.
The only remote similarity he and I seem to share is the green in our eyes. Discernibly, it has no bearing. Where the green in my eyes marks me as my father’s son, it colours his features in all the more repulsion.
Truly, it is mockery to have the same name. More-so on his part than mine. It is laughable
I am, in all real sense, ruined. Where only months ago I’d been the crown prince, today I disguise myself as a beggar. The kingdom believes me dead and I let them for I have no other option. I am fleeing, I am in hiding. It is either the stench of these streets or the sword of the South. For the truth is that those southerners did murder my family, did steal my home. I would prefer my head atop my neck, and so would the hundreds that pass me by.
They stop in their tracks sometimes. It is so shocking to their senses.
“Why,” they think to themselves, “is this beggar so beautiful?”
They stare and they stare. I do not hold it against them. It is fundamental for the lowly to admire the divine. They are not wrong to find it odd, even unsettling, that someone as lovely as myself should be cornered like this.
Unconsciously, their baseness recognises my divinity.
Then to even hope that some half-witted boy, who gets routinely strong-armed for the degeneracy of his mother’s occupation, could ever be worthy enough to be me.
The poor man shall never cease to amaze me!
The morning goes as per routine, first arrive the dogs wagging their tails and barking their heads off. They will keep at it awhile after which, tired, they’ll roll in the mud. At noon, all their ears will twitch, and whistling will arrive the paperboy. His arms will be bruised from whatever skirmish he’d have gotten into today, and his yellow sleeves will be rolled up to his elbows. Having sensed him, the dogs will all run to him and he’ll pull out stolen bread from his pocket. Having fed them, he’ll walk back to wherever he came from.
So, when I hear the whistling at noon, I pull the rotten blanket up to my face and feign sleep.
A few minutes later, I experience a kick to my hip.
“Oi”
He pulls away the blanket.
Blinking, I say, “Yes?”
“Y’er new roun here. Me fancied ye died,” he reports enthusiastically.
“Yes, well, you will find that I am quite alive.”
He laughs at my diction, then promptly plops down next to me.
“Ye spoke likes them rich folk,”
Annoyed, I do not bother to lie. I do not have the strength to concoct tales.
“I am the prince, I shall speak however I please.”
But he doesn’t laugh like I expect him to, instead, he straightens and his face takes on a solemn expression.
It makes his eyes stand out.
He sits in silence for a few moments and then looks around conspiratorially. After ensuring there are no evident threats, he whispers to me.
“Me’s a prince too,”
A jab. I laugh.
“Are you?”
Nodding, he says, “Me mum’s tellin me when she’er alive. Me father’s the king, mum’s no queen. Them coppers don b’lieves me but the king’s wife got me mum’s killed”
He looks at me. When I do not respond, he goes on.
“He came ere once. The king. Sayin me has him eyes and som. When he’s left, mum’s tellin me real fancy—“
His brows pull deep in concentration, as though he’s trying very hard to recall.
“Mum’s sayin, ‘Let bygones be bygones’ ”
But if all bones are buried, what shall happen of the dogs?
Philosophy
Kundera, Camus and the Curse of Estrangement
Sualiha Khan, Class XII
Life, at its essence, is a symphony of indulgence—a tender, decadent hum that lures the rhythms of time into a fatal waltz composed by the distant hands of destiny. Hence, by its very nature, life demands indulgence, like a neglected toddler screaming for the attention of adults. The denial of said indulgence compels those distant hands of destiny to scratch the soul of Oedipus onto Life’s surface; and just like Oedipus was destined to kill his own father, life becomes destined to thrust the dagger of Estrangement into its Being ( i.e., the human). A divorce occurs between flesh and spirit, between life and being.
Most people succumb to this chasm, but some teeter on its fringes as spectators of Truth –Philosophy starts where Estrangement is born.
Modern Western philosophical attitude, similarly, begins where the works of Albert Camus and Milan Kundera are born. Camus’ protagonist Meursault, and almost all of Kundera’s primary characters (and perhaps the writers themselves) share this curse of Estrangement, where they enact their personas and invoke their desires, while life is Elsewhere.
As Kahlil Gibran would say, “They laugh, but not all of their laughter, and cry but not all of their tears”.
When Meursault, the culmination of humanity’s Estrangement, sits in his balcony, prying on life’s indulgence, does he desire to indulge too? And does this desire momentarily unite Being with life? Perhaps we may never know.
Estrangement whispers its demonic chants even onto the sanctified grounds of Love—for even at the melting point of Love, they find hollow slivers of their fragmented selves along the chasm of Estrangement like ash along volcanic emission.
This feeling is often solidified in Kundera’s works as being a prisoner of Love— wherein the flesh of the beloved forms the bars of one’s cage, while one still aches for the obscure, elusive love of one’s life. Hence, the characters again embody lovers and invoke passion, while Love is Elsewhere.
While there exist facades concealing the indifferent detachment of said characters, their Estrangement however, is like an open secret that slowly gnaws away at the lives of those around. Estrangement thus morphs into a smoke that stifles both the bearer and the onlooker. How then, is the emptiness of Estrangement satiated? I say, Estrangement demands recognition—again like a neglected toddler screaming for the attention of adults. Estranged individuals and characters wish to live their lives under a ‘look’. This look is often categorized into four types—the need for a look from an anonymous public, a look from the known eyes of many, a warm look from a single pair of familiar eyes, and finally, a look from the imaginary eyes of those who are not present.
This ‘look’ fills the purpose and content of their lives while they enact their personas for the eyes of the onlooker(s), like an amateur dancer passionately and incorrigibly twists the fibers of her being into the rhythms of her body, for reason no other but to appease to the eyes of the onlookers. Life’s Estrangement becomes its own muse, like the Estranged finger of Adam from that of God becomes the very foundation of Existence
GAASH LITERATURE
The Treasure Trove of Kashmiri Folktales Bazilah
Kirmani, Class XI
In the lap of mighty Himalayas, blessed with breathtaking landscapes, perennial rivers and lush forests, lies a piece of paradise. Kashmir, a tapestry of wonder, a treasury of culture, a land of mystics and myths. Even its origin has a mystical tale, a tale of a certain demon and a great sage. When reality is as fascinating as its very existence, one may be led to believe that fiction, try as it may, cannot surpass it. Well, when it comes to Kashmir, fact and fiction are intricately woven together, often mingling in ways that magic becomes real, and reality magical. Our stories are not merely a form of entertainment, they are a cherished tradition, a common thread that knit various communities together in a patchwork quilt. Kashmiri folktales are diverse, coming from numerous regions and religions, and yet the commonality of the Kashmiri way of life unifies them. The way these tales are told is as important as the stories themself, for without a good teller, even a great story loses its essence. Kashmiri folktales are traditionally told with verse and song adding to them a musical quality. A storyteller will often convey a story in a tone of inquisition, as if letting the audience in on a secret. Oniza Draboo, in her book The Legend of Himal and Nagrai aptly writes:
‘When a teller tells a story in Kashmiri, the interaction between him and the audience is spectacular. The dynamic between them is one where the teller holds something valuable that needs to be coaxed out of them.’
Kashmiri folktales combine the ordinary with the supernatural, blurring the boundary between the seen and the unseen. Mythology and mythological creatures live alongside mortals in these tales. Rantas, a witch who kidnaps and eats humans; Wan Mohniyu, the Kashmiri Bigfoot; and Daen, a sorceress whose feet are turned backwards, are popular characters in Kashmiri folklore. Another prominent being is Nag (or Naga), a creature that is part human, part serpentine and can turn into either. Nags are said to live in Pataal, the underworld, which one can enter through a spring (also called nag in Kashmiri). The most well-known legend about Nagas is a tale of love between Himal, a human princess and Nagrai, the king of Nagas. Another folk story is that of Shrishum Nag and his daughter, who escaped Patal Lok and lived in hiding in the human realm.
There is no shortage of fables in Kashmiri folklore. Folktales such as Katji bache te Ael byol, Gagur te Gager, Chhawij te tas sind bache and Shalkakh Malkakh are delightful fables with complex characters and themes. Katji bache te Ael byol explores the idea of poetic justice, while Shalkakh Malkakh follows a cunning fox, and Gagur te Gager depicts how momentary anger ruins relationships and has devastating consequences. In certain stories, humans are turned into animals and vice-versa. A particularly noteworthy tale of such kind is The Cat Who Became a Queen from James Hinton Knowles’ collection of Kashmiri folktales.
There are even stories behind everyday sayings and proverbs of Kashmiri language. The popular folk song ‘Bishte Bishte Byaro’ is based on the tale of Kashmir’s Robin Hood, Mahadev Bishta, a particularly skilled thief who mimicked the meowing, giving people the impression of a cat, who called out “Bishte-bishte” to shoo the cat away. Thus he never got caught and people nicknamed him ‘Bishta.’‘Hapat Yaraz’ comes from the story of a man who befriended a bear. They were great friends and often visited one another. One day, they had gone out for a picnic whereupon the man fell asleep. A bee sat on his nose, and the bear, not wanting to disturb his friend’s sleep, threw a rock at the bee. The bee fluttered away, but the man died. To this day, the idiom is still used to refer to a stupid friend. Folktales are forever evolving; with each retelling, they lose something and gain something, living and breathing in their tellers and listeners, in customs and beliefs, language, and life itself. They are thus alive in ways that material culture is not. They imitate society, and on a deeper level, life itself. Kashmiri folktales offer glimpses into Kashmiri society, history and lifestyles. From tales of love and betrayal, valour and wisdom, envy and kindness, to stories of longing and luck, these narratives offer profound insights into human nature and the strings of fate that shape our lives. They reflect our values, beliefs and superstitions; impossibly summarizing the herculean existence of a people in mere words— an ocean existing in a drop.
Literature Junior Book Reccomendations
“In the beginning, the Universe was created. This has made a lot of people very angry and has been widely regarded as a bad move.”
The Hitchhiker’s Guide to the Galaxy, by Douglas Adams
Arthur Dent finds out that his home planet, Earth, is being destroyed to build a “galactic highway”. Despite his protests, the project continues, and he has to be rescued by an alien, Ford Prefect. Together, both travel across the depths of the universe, meeting many different species while pondering upon the meaning of life and the universe. To guide them along this journey is an encyclopaedia by the name of The Hitchhiker’s Guide to the Galaxy.
“People think they’re living their lives, but actually they’re just reacting to stuff that’s already happened.”
The 1,000-Year-Old Boy, by Ross Welford
Alfie Monk looks like the typical 21st century teenager. However, his appearance never gives the impression that he was actually born in the 11th century. The 1000-year-old boy has lived for a millennium due a genetic condition, not only living through the 1066 Norman Conquest but also being an acquaintance of Charles Dickens. He befriends Aidan, a girl who soon helps him in uncovering the cure to his condition and breaking the millennial-old curse. The simplicity of the book manages to convey powerful feelings like loneliness and signifies the beauty of the present moment
“Everything I had worked for, all my years of study, had been to purchase for myself this one privilege- to see and experience more truths than those given to me by my father, and to use those truths to construct my own mind.”
Educated by Tara Westover
Educated follows the inspiring story of its author from growing up in an ultra-survivalist family to discovering the path to true education. Tarah Westover talks about the paranoia of government her parents had which meant that they didn’t allow her to attend school. However, she ends up educating herself against their wishes and attends the most prestigious colleges in the world, eventually obtaining a PhD from Cambridge. The book is not just inspirational but makes the reader understand the true meaning and value of education.
“He who spends more than he earns is sowing the winds of needless self-indulgence from which he is sure to reap the whirlwinds of trouble and humiliation.”
The Richest Man in Babylon
by George S. Calson
A collection of fictional anecdotes, this book talks about financial wisdom using the example of the fictional character of Arkad, the richest man in the ancient city of Babylon.
Poetry
Citadel Slade
Scattered in a crevice, speciously hedged
Within a bulwark reft of faith
Imbued with languor
Tantalized, left bleak deep within
No vent in sight, to evoke a mirage
In this arid pit of frost, ceaselessly glazing over Not a waver, nor any haste
For minutes are grey And elapse whilst they arise
Yet never a slumber do they stir
For the inky lantern they torch
That very light to be ink, the drafts our being
A scribe we seldom recall, though read through And arrive far too late, on the trail
Hounded, to lull to rest
The mites that we yet are Though none have been roused
Ahmad Abrar Giri
Class
Xth
Ink and EchoesA Poet’s Odyssey
I’ll tell you a tale today, Of divine love; a letter from heaven, Or hell?
In the land of myths, a nightingale was born, “Moon,” a gift to mankind, I must say, Her voice akin to silk upon a loom, With intellect of monks and the wit of a fox, Adorning roses with whispered sonnets, Forests her sanctuary, trees her confidants, Serenading them, inscribing her soul into their bark, Passing people looked at her in wonder and awe, But her beloved doubted her sanity, Oblivious to the future’s testimony, That ballads of hers would echo through ages, Valued as highly as kidneys and diamonds at auctions Beneath deceit’s guise, her spirit bled, A betrayal deep, where trust and falsehood wed, Yet amidst the darkness, celestial whispers came,
A shining armour came to rescue, The love of her life, her ultimate muse of ruin, Beloved queen now reigns a kingdom, Breathing her daydream of a life on paper. Tragedy’s alchemy plays its ace card, Realizes her worst nightmare, The wintry chill shadows the kingdom, The moon stays frozen, blackened, For a moment, it seems the nightingale lost her voice, People watch as she disappears, With only a pen in her hand left, She goes, to the land of forgotten dreams, Lives amidst the chilly mountains and haunted streams, Her legacy becomes a story of a fakir, Some say she became insane, I say she just became a poet, Bewitched by a letter from heaven or hell, That’s up for you to tell
Travelogue
I ventured far an endless hike enchantment left, filth it was fabled, dwindling still nestled amidst ruins i hoist them aloft, razed they were they crumble back, a windy touch a descent to my uphill stroll descried glimpses of waking grey tumble down into my gaze blindness struck, I touch the crest ended my hike, heaven i was denied bright as it was, the sun felt bleak and henceforth i am left to seek a dream of boyhood long gone by and yet have not seen a thousand miles but voids unkempt, tonight i fly -i stroll amidst clouds leave a broken fantasy behind
Ahmad Abrar Giri
Class X
An alluring butterfly she was
In seeming boundless bloom of florets
Her wings flapping and fluttering
The color so wild and elegant
Hastily emotive mist
The sweet and saccharine nectar it was
The drug stout enough to winnow
Her into dimensions
Of bizarre gayety
The drug dully thieving her color
As though a reciprocation of its favour
Snatching away the everlasting
Alike an eagle set to prey
Devouring the bits and pieces
Leaving embers of vacuum
All along
Airah Fatima
Class X
A Bankrupt Billionaire
A man can’t be sunken who’s already at the bottom of the ocean he can’t fix any ships who himself is in one broken
he’s filled with knowledge and wit perhaps someone who’s really rare despite whatever he has done he’s still the bankrupt billionaire
he knows every game of life how it turns joy into sorrow how fate meets someone today what legacy does to him tomorrow
he went out to solve the issues to fix all the pain he could’ve done it, he said if he weren’t a bankrupt billionaire
no matter how hard he’d try life was always against him even if he’d die trying his own self wouldn’t support him
He may be full of wisdom but he’s living in his own fear so, who was he to help people? for himself, he was a bankrupt billionaire
Rayan
The Impending AI Energy Crisis
A Need for Restraint amidst Reckless Growth
In early 2023, one name dominated the AI space - OpenAI. GPT-4, OpenAI’s newest LLM (large language model) was trained on 25,000 Nvidia A100 GPUs (graphic processing units). Servers with these GPUs use about 6.5kW each. This training cost OpenAI $100 million and totalled about 50GWh (50,000,000 kWh) in energy used. For context, that’s as much electricity as the Ladakh province can generate in 3 months. Such is the scale of electricity required only to train, NOT run, a single large language model.
Cut to 2024. With several players now establishing themselves in the AI space, including Google, Meta, and Microsoft, and other promising new companies such as Anthropic and Mistral, the energy demands of AI are ever-increasing.
Alongside obscene amounts of energy, data centres require water - to cool the power-hungry machines they house. In 2022 - just before the massive advancements in AI - Google, Meta and Microsoft’s water usage totalled 1.5 trillion litres. And their water demands keep on increasing. Naturally, this unprecedented usage of already diminishing natural resources has caused great concern among many individuals and environmental organisations.
The tech industry’s response to these concerns often faces criticism for being too little, too late. Companies are more focused on chasing profits than focusing on sustainability. This myopic approach not only contributes to environmental degradation but also exacerbates social injustice. Adding insult to injury, major companies are setting up data centres even in drought-prone regions, thanks to tax breaks and other incentives provided by the local governments.
This phenomenal demand for water and energy, if allowed to grow at its current rate, could cause unprecedented shortages in the near future. Big Tech is aware of this, but their relentless pursuit to create endless selling points for AI continues. They continue to incorporate AI into any product they can, even if using AI is a wasteful and inefficient approach. This behaviour of Big Tech is reminiscent of the dot-com bubble of the 1990s.
Ultimately, the responsibility of keeping in check the ambition of these giant corporations lies upon regulatory bodies and individuals like us. By demanding more sustainable AI solutions and not using AI for trivial tasks, we can signal to Big Tech that it’s time to step off the AI hype train before it gets derailed and ends up causing widespread and permanent harm to our already ailing planet.
Mohammad Hammad
The Significance of the U.S’ Lawsuit against Apple
Recently, Apple’s forced exclusivity has been suffering a rude shock. Over the past four years, there has been a notable divergence from their private ecosystem. The proprietary “Lightning” port, for example, which only Apple devices used, made any cables used for said devices useless for everything else. These ports, for context, were used in place of the micro-USB or USB-C ports found on other devices. However, in September 2021, the European Union enacted legislation mandating the adoption of USB-C by Apple. Sure enough, Apple devices now come only with USB-C in the EU. Apple’s strict control over the apps allowed on their devices has long contrasted with Android’s open market, which lets users install anything they can find on the web. Once again, the EU intervened, compelling Apple to do the same. Epic Games, an American game-maker, has also endeavoured to challenge this stringent control. Their ire is focused mainly on the policies of the Apple App Store itself. They managed to make Apple allow third-party payment systems. Previously, Apple blocked any apps that did not conduct payments through them, and those that did had to pay a 30% commission. Now, however, developers are free to push their own forms of payment. Last (for now) and definitely not the least, the US Department of Justice has sued Apple for anti-competitive practices. It alleges that Apple blocks multiservice apps, cross-platform messaging services, and third-party digital wallets, and even limits how well non-Apple watches work with Apple devices. While the case is still ongoing, it’s hard to imagine that the suit will fail to inspire change. Though the more significant advancements are currently confined to the EU, they show that there is hope — hope for a future where the excellence of Apple devices does not come at the cost of user autonomy.
The court of public opinion, when consulted on this issue, delivers an overwhelmingly positive reaction. After all, what’s there to complain about? This delivers just about every major change both consumers and developers have ever dreamed of. The consumer gets to use the same cable for all devices, both Apple and not; apps that haven’t made it to the App Store are now accessible, and soon, an iPhone will no longer restrict you to just an Apple Watch. For developers, this is also a huge victory – they don’t have to conform to the ever-stricter rules of the App Store, or pay Apple to receive their own money. All told, this marks the end of an era – the era of Apple’s monopoly. Very few will mourn it.
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Credits
EDITORIAL BOARD
Ahmad Abrar
Ayesha Ahmad
Bazilah Kirmani
Hadi Imtiyaz
Imad Tahir
Kawkab Lone
Khalid Khursheed
Mohammad Hammad
Shazia Fida
Sualiha Khan
Syed Imaad
Zaara Farooq
Zainab Iqbal
SPECIAL CONTRIBUTORS
Mohammad Saad
Mohammad Sawood Mir
Abdul Muqtadir Wani
ART EDITOR
Zainab Iqbal
IMAGE CREDITS
Cover illustration: Kawkab Lone
Zainab Iqbal rawpixel.com