I am a Kashmiri Pandit and why I don’t want to go back to Kashmir now

I am a Kashmiri Pandit and I don’t want to go back to Kashmir now. To hell with Kashmir and to hell with those who turned it into hell. Yes, I am saying this after yearning, praying and hoping for 30 years in forced exile that God will pave way for our return one day. But I don’t want to now, even if God tells me so.

Looking at the videos that have surfaced in the past few days, It looks like Kashmiri Muslims have turned into Zombies. All their brains are capable of doing now is to pick up and throw stones. They have lost all the power of reason. I remember a saying I had heard in childhood. It said, “Kashmiri Muslims have their brains in their knees”. I think the DNA mutation has pushed it further below.

And, Pakistan should take a bow. Their Kashmir policy strategists should be complimented for the successful implementation of their plan. They persisted with it for 30 years and it is bearing very tangible results now. When they started in late 80’s, they picked up the traditional methods of insurgency. They trained Kashmiri Muslim youth in Pakistan and geared them up for an armed struggle. India was successful to some extent to bring that in control in a decade or so. Make no mistake; it was only because of Indian army and not due to any political interventions. Kashmiri Muslims were also fatigued and had seen the futility of it all. They had started concentrating on their livelihoods and tourism was picking up. But then the very agile thinking strategists on the other side changed the strategy. Armed struggle had not given them legitimacy internationally. They introduced Intifada in Kashmir and see how well they have implemented it. They now have power to bring everything to stand still. This was not possible with guns. People would carry on with their work, even if there was a shoot-out in some area. But today, they are holding everyone to ransom and our forces are bearing the brunt on the ground. 

And, what did India do all this while? Slept over it!

And, why? Because our incompetent, lethargic, corrupt and self centered politicians never had a strategy to counter Pakistan. They didn’t even have a strategy to deal with the stooges of Pakistan in Kashmir. Pakistan carried a consistent policy for Kashmir across governments and political parties, even at the time of military rule. But, in India, there were contradicting views and plans all throughout. Every tall political figure and every political party experimented in their own stupid way. This includes everyone; Rajiv Gandhi, Vajpayee, Man Mohan Singh at center and Sayeed’s and Abdullah’s in Kashmir; BJP and Congress at center and NC, PDP in Kashmir. Shame! Shame! Shame!

When we left our homes and hearths, we were hoping that the great Indian nation would be able to set everything right in a matter of few months or a couple of years. It is now around 30 years and still counting.

These mainstream political parties (national and regional) and their leaders have failed all Kashmiri’s big time. They have turned Muslims into Zombies and Pandits into Nomads.

It is the people who make a place Hell or Heaven. Kashmir is no more Heaven on earth. It is for a reason that people today would prefer to visit places with lesser natural beauty than Kashmir. And, the reason is the native people of that place. This Kashmir is not the Kashmir of my childhood, the memories of which I carried all throughout. It is a hell and I don’t want to go back to hell.

I always prayed for our return. I will now pray for the destruction of everyone responsible for turning it into hell, irrespective of whether the person is from that side or this side

Rakesh Roshan Bhat (RRB)

Ritesh Shah -Mainstreaming the meaningful cinema!

It is a surreal feeling when you meet first time the person, who you have admired for a long time. Any writer worth his salt would not hesitate to call Ritesh Shah one of the best screen writers of our times.  As luck would have it, we decided to meet at Prithvi Cafe. To me it felt like a pilgrimage, as I entered the Mecca of Indian theatre in anticipation of meeting Ritesh. Being an amateur playwright myself, I was wondering why it took me 15 long years to come to this place. But, then I realized such things just happen and can’t be really planned. Just like this rendezvous with Ritesh Shah.

He comes across as a very unassuming, affable and affectionate person. I got comfortable the very moment I shook hands with him. He met me very warmly and we settled in a nearby café. Rather than being disappointed that we could not get a place in Prithvi Café, we were happy for the fact that café is doing this well to supplement the theatre. Here is an account of what transpired next

RRB – First of all, let me congratulate you for the well-deserved Film Fare award for Pink for best dialogue

Ritesh – Smiles. Yes, it was very satisfying.

RRB – Ritesh, when someone looks at your filmography, one feels pity on one’s ignorance. All these landmark and path breaking films like Namaste London, Kahani, Kahani 2, Airlift and recent Pink, are the movies that we all have loved and admired. But am sure, not many of us knew that the man involved in writing of all these novel films is you.

So, let us first start with your professional journey to get over this mystery. Please connect the dots for us.

Ritesh - It all started with theatre. I had an inclination towards acting, but nothing more than just a hobby. There was a very good theatre group ‘Act one art group’ in Delhi. People like Manoj Bajpayee, Ashish Vidyarithi and Piyush Mishra were part of that group. I was studying Arts in Hindu college aspiring for Civil services or an MBA. This group came scouting for fresh talent in colleges across Delhi including my college.It was around 1994 that I joined this group, working as an amateur actor and a back stage assistant. N K Sharma was the director. Many people from the group left for Mumbai to pursue their dreams. One day even Piyush Mishra left. He happened to be the playwright of the play I was acting in.

While rehearsing a scene, I suddenly stopped. My director N K Sharma asked. “What happened? Why are you stuck”

I said, “I don’t know my lines beyond this. The play is incomplete as Piyush has left for Mumbai.”

What he told me next, changed my life forever. He said, “So, that means you just parrot the lines you get. If you had understood the character well, you would have instinctively known what to say next.”

This realization struck me like a thunderbolt. I not just wrote lines for my character but completed the entire play in no time. I liked the whole process. I found writing more satisfying and in tune with my nature. And, then the real shot in arm was, my name on the poster. I decided to pursue playwriting more seriously. I started getting offers from well-funded theatre groups who also paid me well. One of my plays, an adaptation of Othello named Othello A play in black and white, received an award in Edinburgh festival Fringe. It is the largest arts festival in world.

RRB – How did films happen?

Ritesh - Although the natural progression would have been to move to films but I didn’t have confidence to move to Mumbai. However, my father was too supportive. But, as is the trait with all Kashmiri Pandit parents, he wanted me to formally study this art and then plan my next move. I attempted FTII and Jamia. I scored well in Jamia and joined Jamia MCRC. I passed out with first class.

Playwriting continued and I wrote around 20 plays. One of my plays named ‘What! What! What! Police! Police! Police became very popular in 1999 and some well-known people from film industry also came to watch it in Delhi. That included even Sanjay Leela Bhansali and a few other directors. There was a feeler that Ram Gopal Verma might adapt it into a movie. A friend of mine from our theatre group who was already in Mumbai from a long time, called me, and offered to introduce me to Ram Gopal Verma (RGV). N K Sharma prodded me and I landed in Mumbai for the first time.

Many of my friends from our theatre group were staying together in Mumbai and I joined them. They were all elated that I am getting to meet RGV directly without any struggle unlike them.

It was a Friday when I spoke to my friend.  He asked me to call him on Monday as he had fixed the appointment with RGV on that day. I kept calling him for about a week starting Monday but he didn’t answer me.

N K Sharma consoled me on phone that these things happen – move on. I was getting ready to leave next day when one of the friends in the flat asked me to accompany him to a story session for a new series on Sahara TV. This was a new episodic TV series starting on Sahara. As their story session was heating up, I also shared some thoughts and was enjoying the exchange of ideas. A person tapped on my shoulder and signaled to me to go to the adjoining room. The producer of the show was sitting there and had been listening to the conversation. He offered me the job to write some episodes for the show. I was not sure. I was caught up in a dilemma.I thought it wouldn’t be ethical on my part to take up a job which my friend was supposed to get. However, my friend himself eased me out of the situation and persuaded me to take it up. I was told to prove my mettle by writing. They liked and I was on. I was paid handsomely for that. That friend of mine later went on to write many successful movies.

This show was very high on content and production values, with least interference from the channel. Hence, some of the best talent in the industry ended up working in it. People like Murli Nair, Hemant Chaturvedi and Raj Kumar Gupta were part of it.

RRB – Very interesting. Please go on…

Ritesh –One of the episodes in this series was based on vigilante genre much on the lines of Wednesday movie. Anurag Kashyap happened to watch that. He encouraged me to try for films and even introduced me to many famed film makers like Rakesh Mehra, Nikhil Advani, Raj Kumar Santoshi and Vipul Shah. But nothing materialized for over 7 years.

RRB – Did I hear it right. 7 years?

Ritesh – Smiles, yes, 7 years.

RRB – It seems your share of struggle was reserved for films.

Ritesh – I reckon, yes. I continued for write for TV. Although, none of my work worked any magic on TV but by the grace of God I continued to get work. My writing was considered too niche and hence more appropriate for film.

During these 7 years, I started off on lot of projects but nothing really took off. One reason definitely was destiny. Also, Industry had not matured enough to produce the kind of films I or writers like me were capable of writing.

Finally, Home delivery with Sujoy Ghosh happened.

To be sure that the shooting has actually started, I secretly visited the set early in the morning. The movie got completed in 8 months and released in 2005. To my dismay, it was a big flop.

RRB – Yes, I know. That must have been a big dampener. Did it again take lot of time to get another movie?

Ritesh – Luckily, no. Some people noticed my work irrespective of the fate of Home delivery. I started Alladin in 2006. While I was writing Alladin, around April in 2006, I was referred to Preeti Ali by Anurag Kashyap. This was my big break. The movie was Namaste London. Vipul shah helmed it and it was to star Akshay and Katrina. I was again told to prove my mettle by writing 10 scenes. I gave it my all. Used my knowledge of North Indian culture and Panjabi language. And, it worked.

But the Jinx seemed to linger around.

I was told to accompany the crew and cast to London for shooting. But then 7-11 in Mumbai happened and visas were rejected en-mass. I could not go to London.

When the movie finally released it clashed with the India – Sri Lanka match in the World cup.

RRB – That must have been really unnerving

Ritesh – Yes, it was. I was anxious since morning on the day of release. I could not hold it anymore. In the evening, I asked my wife to accompany me to Chandan Cinema in Juhu to check the reaction of people. I was pleasantly surprised to find around 50-55% occupancy even while the match was on. The reaction of people also was encouraging. The movie went on to gross 64 crores in 2 weeks.

RRB- So, finally you had your first official hit movie.

Ritesh – But that didn’t result in lot of offers. I continued to get work only from people like Sujoy and Vipul. However, offers from outside this group still eluded me for some unknown reasons. It was 2011, when finally, my success streak started. You may also call it my second inning or breakthrough year

I met a very talented and interesting person Nishikant Kamat. We have lot of similarities and thus we connected very well. We did Force together which was successful. Then Kahani, D Day and B A Pass happened. I also did Lai Bhaari, a Marathi movie starring Ritesh Deshmukh. It is the third highest grossing Marathi movie after Sairaat and Natasamrat. Things started changing not just for me but overall in the industry too.

RRB - Past few years have witnessed an evolution of Indian Cinema and audience taste. There are no two ways about it. And, I believe you are an important part of this positive shift from the industry side. It would have been difficult to imagine a movie like Airlift or Pink about a decade back.

Ritesh – For both of these movies many things fell in place automatically. It was like the universe conspiring. Shoojit Sircar had done Piku with Amit ji and that is how we got to narrate the script to Amit ji. He agreed in Nov 15 and movie released in September 16.

Akshay was expanding his horizons and hence he was willing to do a movie like Airlift.

I am enjoying this second phase as long as it lasts.

RRB – Why are formula films not working any more. We have loved the formula movies of 70s and 80s. Something seems to be missing now…

Ritesh – The Manmohan Desai era formula movies used to have newness. There was something fresh about the characters which we loved. A movie like Sholay would feel fresh today too.

I think Indian cinema is seeing golden age after 70s. We produced around 20 good films last year. Many would not have done well on box office but all were appreciated. This, I think, is a very good sign

RRB – Do you write a movie keeping a particular genre in mind because the producer wants so or you just have a story to tell. Does the commercial aspect override the creative aspect at times?

Ritesh – For me, itis always the story first. I have been lucky to find people who believed in such subjects. We keep the commercial aspect in mind only from the reach perspective. We made Pink dramatic in second half only to increase the reach. This we managed to do without trivializing the issue. Two things are very important in this process; the intent and the technique. Our intent was to make good meaningful movies and the technique was to find a balance.

RRB – I can’t help but remark that it has been quite a journey from Anantnag to Airlift.

Ritesh – Smiles. Yes, indeed.

RRB – You belong to Anantnag in Kashmir, right? Were you in Anantnag itself at the time of exodus of Kashmiri Pandit Hindus from valley?

Ritesh –I was born in Anantnag. My Father worked in SKUAST (Sher-e-Kashmir University of Agricultural Sciences and Technology) as Asst. Professor. My mother was Head mistress in a school. We lived in Shah Mohalla in Anantnag. Then we moved to Srinagar and I studied in Tyndale Biscoe School. I was in 10^th standard when the turmoil started.

We lived in a relatively safer area near Residency Road and hence I wasn’t witness to the terror activities. But, a couple of terror killings in Anantnag including that of Pt. Prem Nath Bhat shattered us. Him and a few more relatives being killed resulted in our decision to leave.

Then there was mass exodus and our family also left Kashmir in April 90. That was a very difficult time. First we came to Jammu but after a few months, we moved to Delhi. It was very emotionally disturbing to start the life all over again. I went to Cambridge school first and then the Hindu College. And you know the story after that.

By nature we Kashmiri Pandits manage to find silver lining even in most adverse circumstances. That is the reason we moved on in life. We did get opportunities and we also progressed. But that is just one aspect of it. The damage it did to us is beyond measure. Not just us, but the whole place. Today’s Kashmir is not a place of my memories. The psychological damage is beyond repair. I think with age, the pain of being rootless seems to grow on us more and more. The two generations of our grandparents and parents were totally destroyed. They were achievers there but were rendered hapless after displacement from their homes and hearths. Our third generation may have managed to achieve something, but what about the cost! We have paid too heavily for it.

RRB – I can identify with every word of yours. I have seen the terror and pain from even closer quarters in Kashmir as well as Jammu. But, isn’t it unfair? Not a single good movie has been made yet in Bollywood which gives a correct account of our side of the story.

Ritesh – I think there are many aspects to it. If a Kashmiri Pandit is involved then the chances of bias or propaganda are seen by others. Then there are commercial considerations and so on. Having said that, I think the issue of Kashmiri Pandits has started to get visibility in recent times thanks to social media and some parts of mainstream media. I think Rahul Pandita’s book My moon has blood clots did a wonderful job to this cause. Probably, if Haider is based on Curfewed nights, a movie on KPs could be based on this book.

RRB – You mentioned bias. Do you think every writer has some bias? Can a writer totally be devoid of any political leanings?

Ritesh – If any writer is saying he or she is totally apolitical, then that is a lie. Having said that, I think every writer tries to balance things out. It is our duty. We should not let our ideology affect our truthful narrative. Two wrongs never make a right. Whoever is wrong, is wrong. We should not lose our objectivity. The problem today is people have started viewing everything from the prism of Right and Left. It is not a good sign. Our allegiance should be towards truth and justice

RRB – Have you been caught up in any such dilemmas because of the interference of producers or directors.  

Ritesh – I have been lucky to be associated with very intelligent people who understand the craft very well. I am not averse to suggestions if it is coming from a person like that and I don’t mind incorporating such suggestions. Today, I am involved in every stage of the movie till the trailer is cut. What more can I ask for?

RRB – Are you also having any plans to move to direction like many other writers.

Ritesh – No, I have no such plans. I have many stories left in me which I am very keen to bring out. I am happy that I am able to make a living out of my passion that is writing. Some writers move to direction for more fame, more money or to have better creative control. In my case I think I would be better off writing 4 movies in 2 years rather than directing one. Direction is very cumbersome. I don’t think I will enjoy that.

RRB – This one question I have been waiting to ask a film writer. Why do we have so many confusing credits for film writing like Script, Story, Screenplay, Dialogue

Ritesh – Even though I got the Filmfare award for Best Dialogue, I would still say that this credit should be done away with. In west, Screenplay and Dialogue is not seen separately. If one cannot write dialogue, one is not competent enough to write the screenplay. I guess the Dialogue credit was created because many non-Hindi (or Urdu) speaking people wrote and made movies. They needed help on dialogue. But it is about time that it is dropped. Person helping on dialogue should get second credit in screenplay.

RRB – Understood. So, who’s your favorite screen writer

Ritesh – Salim – Javed. Their body of work remains unmatched.

RRB – I had a wonderful time talking to you, Ritesh. We now know so much more about you. Now, when I look back at your movies, I can easily make out all those have been written by one person and that is you. Because, your movies too carry parts of you; character, sensitivity, depth and empathy.

We parted with the same warmth as we had met with.

Rakesh Roshan Bhat (RRB)

Can be reached for comments / feedback on rakeshroshanbhat@gmail.com

Living the legacy - Abhay Rustum Sopori

The story of every Kashmiri Hindu post their displacement from valley is a story of survival and resilience. Every story is unique in its own way. However, there is a common thread too. The common thread is, 'pain and hope'. I have found pain and hope in all conversations I have had with young achievers from the Kashmiri Hindu community. But pain can have positive manifestations too, and that is when it builds a stronger connect with hope. It can become a universal thread of empathy and compassion. Abhay Rustum Sopori's music reflects a lot of that. 

Talking to music maestro Abhay Rustum Sopori was an enriching and learning experience. It turned out to be a double bonanza as he talked not just about himself, but his illustrious family too. Not just an accomplished musician, he is an intelligent thinker as well. He has been the youngest recipient of all the awards that he has received including the prestigious Sangeet Natak Akademi’s first ‘Ustad Bismillah Khan Yuva Puraskar’, 2006 and ‘J&K State Award’ (the highest Civilian Award of the State of Jammu & Kashmir, 2011) in recognition of his outstanding contribution and achievements in the field of music. He has been bestowed with numerous other awards in India and abroad like Bharat Shiromani Award, Pride of India Award, Best Citizens of India Award, etc.

RRB – Abhay, we have met in your concert in Mumbai and I have seen you perform too. I have also read about you. But I want to know in detail about the musical legacy of Sopori’s which spans generations. Your grandfather Pt. Shamboo Nath Sopori is hailed as ‘Father of Music’ in J&K and your father Padma Shri Pt. Bhajan Sopori is a living legend …

Abhay –Alright, let me start by telling you that the roots of our Gharana span over ten generations. I am the ninth generation and my very talented little nephews are the tenth.

RRB – Incredible! Please tell me more about the style and unique aspects of your Gharana

Abhay –Gharana is basically a musical ideology or style which originates from a place and is nurtured, improved and carried forward through generations. It involves the presentation style and how you think and interpret the music. For instance, Tayyari is very prevalent in our Gharana, like it is prevalent in Patiala Gharana. But it is not as prevalent in Gwalior Gharana. Some other element of music is prominently prevalent there. A connoisseur of music can easily make out a Gharana because of its distinctive features and style. Sopori Gharana has also evolved with such distinct features that it stands out quite clearly.

The story of our Gharana is multi-faceted and over 300 years old. We have pioneered various styles and presentations. We have improvised and also invented the instruments and rhythms. Our music is deep and layered. On the face of it, it appears Sufiana but it you go deeper it has elements of Shaivism. It is spiritual and mystic. In fact, my great grandfather, the great music legend Pandit Samsar Chand Sopori, was known for healing aspects of his music. Hakeems and Vaids, as part of their prescription, used to suggest a particular piece of his music to patients for healing.

Our Gharana has been known as Sopori Gharana but I kind of rechristened our Gharana as Sopori-Sufiana Gharana. Sopori because we belonged to Sopore, also called the Chota London.

RRB – This is very interesting. But ironically, a place like Sopore famed for its apples and home to grand Sopori Gharana is now a hot bed of separatism and violence. How do you feel about that?

Abhay – I feel deeply pained. Arts has always suffered - be it any form of turmoil, in any part of world. Art and artists are the first ones to bear the brunt of any conflict.

RRB – Yes, that is true. Do you remember any of the happenings in 1990 when Kashmiri Hindus were forced to flee the land of their origin and ancestors?

Abhay – I do remember. It was very agonizing that our Sangeet Mahavidyalaya in Kashmir was burnt down in a bomb blast by terrorists. It was a grand institution and the first formal music institute of J&K State, which my Grandfather had established after shifting from Sopore to Srinagar in 1947. Around 35,000 students from all corners of India including South received training in Music and Dance from there. This great institution of music was right opposite the famous Tagore hall in Wazir Bagh, Srinagar. Our treasured instruments, some of them had passed on from generations, were burnt down to ashes. It was not just a loss to Sopori family, it was an irreparable loss to the legacy of Sufiana music in Kashmir. It was a direct assault to the composite culture and ethos of Kashmir. We suffered a similar fate during the 1947 raid of Pakistani tribals in Kashmir.

RRB – How old were you in 1990? Were you and your family also made to forcibly flee from the valley under those hostile circumstances?

Abhay – I studied in Tyndale Biscoe School till fifth standard. When the situation started worsening due to frequent bomb blasts, firings etc., my mother moved me to Burn Hall School in 1989 as it was situated in a relatively safer area. My parents had already moved my elder brother Sohrab to Jammu owing to some death threats. The night of 19 January was the last nail in the coffin. We also moved out of Kashmir on 24^th Jan like scores of other Kashmiri Hindus.

Abhay as a toddler with father Pt. Bhajan Sopori 1980

RRB - How difficult was it for you to cope up with life after displacement

Abhay – It was very difficult. I got admission in Modern School on Himayun Road in Delhi. Everything around me had changed. People, Culture, Language, Surroundings etc. – everything! But, in hindsight, I think; those difficult days, those horrifying situations, those challenging times, defined my personality. Everything I had to do, was outside my comfort zone. Every moment was challenging. I think that made me a very strong person. And, having seen and suffered so much pain, I empathize with everyone’s pain.

RRB – You are echoing my own sentiments and past. Am sure, every Kashmir Hindu child must have felt the same. But you just said something very important– that you still have lot of empathy. I think we all have empathy. We don’t carry hatred in our hearts. We still wish for the best of everyone, wherever we are and wherever we go!

Abhay – That is true! This is how our DNA is. We are peace loving. Especially for me, when I think of music, I have to think beyond religion because music transcends religion, region, race or for that matter any kind of man made differentiations.

RRB – Yes, I am aware of that. You are leaving no stone unturned to revive the folk music and art forms in Kashmir. That is how SaMaPa Aalap and Haft Rang happened and your path breaking concert with Zubin Mehta, right?

Abhay – We organized a very diverse yet inclusive series of concerts in February and March this year across Jammu and Kashmir. The festival is called SaMaPa Aalap Festival, an annual classical, folk and Sufi music festival started in the year 2005. We had musicians from almost all the districts of Jammu and Kashmir expect for Pulwama, Kulgam and Shopian. We did over 125 concerts over 3 weeks. Around 450 musicians from across the length and breadth of Jammu and Kashmir performed of which over 150 were new talent. The atmosphere was emotionally charged up and over 50,000 people witnessed the concerts. The musicians felt respected and cared for. Arts has ability to transform people. We have to work more in that direction to bring about positivity in the trouble torn state.

And yes, performing with the legendary maestro Zubin Mehta was indeed a privilege and honour. It was a matter of pride for J&K state too. It made Kashmiri folk international. The event was telecast live in 100 countries.

Kashmir - Abhay conducting with Mr. Zubin Mehta - with Bavarian State Orchestra and Sopori's Soz-o-Saaz ensemble

RRB –You seem to be taking a keen interest in the development of Arts and Culture in the J&K State. You recently got nominated to Central committee of JKAACL

Abhay – I feel I am blessed to be born in this family and having the privilege to learn music from such great Guru’s. I feel it is my duty to give back to music and to the musicians. What better a start than one’s own birth place especially when art and artists have suffered so much there. There is a rich folk tradition and immense talent in Jammu and Kashmir. But the music scene is marred with disruptions of various kinds. In order to perform in orchestras, you need to know how to write the music. I have taught musicians in Kashmir how to write music. I started with that and got them to a point where I could get them to perform with German performers on a stage with Zubin Mehta.

Government has also been supportive because they don’t see any self interest in my efforts. They understand that I am quite settled outside State and if I have any plans or suggestions for improvement of music scene there, they are purely out of genuine concern.

RRB – Tell me more about your family. Is training in music a must?

Abhay – It happens automatically. The sound of instruments, which could be noise for other kids, is music to even new born babies in our family. Soumil and Soham, my little nephews, are learning Piano right now. They are able to pick up the nuances which a normal kid of their age won’t be able to.

Education is very important in our family. Learning music is not an option. But taking it up as a profession is not a compulsion though. My father has triple Masters to his credit including one in English Literature and another in Western Classical music. Both of his brothers are doing very well in their professional careers in USA but are equally good in music which they pursue as their passion. Dr. Mohan Sopori, an immunologist by profession is a Sitar Maestro. Dr. Bhushan Sopori, a Solar Scientist runs a music school in Denver. Both of them have performed with me and my father in concerts abroad. All of my cousins are good at one or the other instrument.

My elder brother Sohrab is into advertising profession but he is an accomplished musician too. We have done lot of collaborations under ‘Rustum & Sohrab’ Productions.

Abhay with elder brother SOHRAB in Srinagar in 1985

RRB – What about you?

Abhay - I have studied Management and Computers. I was good in studies and also played hockey at national level. I once got badly hurt during a hockey match. When I recovered, my father insisted, “If you want to quit hockey, quit only after playing one tournament.” And, when I quit I didn’t quit because of the risk of injuries but because Santoor and Hockey didn’t go well together.

RRB – I have seen you and your father perform together. It was magical! It must be great to live, learn and perform with a legend like him.

Abhay – My father is an institution. He ushered in renaissance of music in Kashmir. Repetition of melody was typical of Kashmiri folk till early 70’s. My father changed that entirely. He recomposed folk forms like Chakkri, etc. and introduced choirs, orchestras, etc. He has composed around 5000 songs of which over 3500 are Kashmiri songs.

Abhay with father Pt. Bhajan Sopori and mother Prof. Aparna Sopori

RRB – Huge contribution, I must say!

Abhay – Not only that. Most of the legendary singers from Kashmir like Shameem Azad, Kailash Mehra, Vijay Malla, Munir Ahmed Mir and many others have trained under my grandfather and father. Papa also composed for them giving them a particular style of singing. He has done lot of research around the intricacies of sound. He is an authority in certain subjects and has taught in universities abroad. He recently performed in European Parliament highlighting Kashmiri music and culture.

RRB –Why have you not tried films yet? We Kashmiris' have a natural fascination for Cinema...

Abhay – I have composed music along with my father for one Kashmiri Film Bub. I have scored music for numerous serials and documentaries. But not taking a complete plunge into films was a trade-off. I would not have been able to do the work that I wanted to do for my State including works like Haft Rang, SaMaPa and other things towards the betterment of music and artists. But, I think I am ready to take full plunge now. There are a few projects I am currently evaluating.

Abhay, it was wonderful talking to you. I wish you all the best in all your endeavors.

Rakesh Roshan Bhat (RRB)

PS: Abhay on Social Media

Facebook

https://www.facebook.com/AbhayRustumSopori/

YouTube

1.       Abhay Rustum Sopori - Santoor – SaMaPa Delhi: https://www.youtube.com/watch?v=bjkSty3OwRI

2.       Abhay Rustum Sopori – Santoor – Italy: https://www.youtube.com/watch?v=dLa89A447bs

3.       Abhay Rustum Sopori & Legendary Maestro Mr. Zubin Mehta – Folk Music Ensemble - Bavarian State Orchestra & Kashmiri Folk Ensemble - Composed by: Abhay Rustum Sopori & conducted by Mr. Zubin Mehta & Abhay Sopori: https://www.youtube.com/watch?v=D9UlpbHdIyg

4.       Abhay Rustum Sopori – Santoor – Spain: https://www.youtube.com/watch?v=gCSagiaegmQ

5.       Abhay Rustum Sopori – Classical Fusion: https://www.youtube.com/watch?v=u7F4NsZOu18

6.       Abhay Rustum Sopori – Kashmiri  Sufiana: https://www.youtube.com/watch?v=fZ9gbp8fF_Y

7.       Abhay Rustum Sopori – BBC India (Hindi) interview: https://www.youtube.com/watch?v=-P6kjOYVbZ0

8.       Abhay Rustum Sopori – Shakhsiyat Interview – Rajya Sabha TV: https://www.youtube.com/watch?v=TIwFjZ_g96k