The papier-mâché craft in Kashmir has a rich and colorful legacy. For centuries, skilled artisans have been transforming simple paper pulp into intricate designs, creating everything from masks and toys to the famous Christmas decorations that have earned the region global recognition.

These creations, painstakingly made by hand, have become symbolic of the artistry and craftsmanship that Kashmir is known for. As the demand for these exquisite decorations grew in international markets, artisans were able to sustain their craft, ensuring its preservation for future generations.

Papier-mâché is a crafting technique where paper is combined with glue or paste to create a strong, molded material. This technique has been used for centuries to make various items, from sculptures to decorative objects. The process involves layering pieces of paper with glue and then shaping it into the desired form. Once dried, the object becomes sturdy and can be painted and decorated.

 The Process

1. Preparing the Pulp

Old newspapers or wastepaper are soaked in water for several days until they become soft. This mixture is then mashed and mixed with natural glue (like rice starch) and sometimes chalk powder to form a smooth pulp.

2. Shaping the Base

The pulp is applied over wooden or clay molds to form the desired shape—like balls, bells, Santas, or animal figures. Artisans smooth the surface by hand and let it dry completely. This is the first and most time-consuming step.

3. Drying the Moulds

Once shaped, the papier-mâché figures are kept aside to dry naturally. This may take a day or more depending on the weather.

When it comes to coloring papier-mâché objects, especially in intricate designs, the artwork often requires delicate attention. The minimal and precise application of colors, with detailed patterns, highlights the craftsmanship and patience needed for such pieces. The colors used in these designs are often vibrant, and the prints or patterns can range from traditional to modern, depending on the creator’s vision. The delicate nature of the designs, particularly in minimalistic work, adds an artistic and thoughtful touch to each piece, showing the skill and care involved in crafting the object.

4. Painting and Designing

 Skilled artisans use fine brushes to paint the figures with bright colors and detailed patterns—like flowers, dots, or traditional Kashmiri designs. This step shows the creativity and artistic skill involved.

“Papier mâché is a traditional art of Kashmir, but only about 1-2% of the youth are involved in this work. The younger generation often prefers outdoor jobs, which makes it challenging to sustain the craft,” Syed Amjad Ali, the owner of Shah Handicrafts said.

A local worker at Shah Handicrafts explains that once the painting is complete, a layer of varnish is applied to give them a smooth, glossy look, almost like a protective shield that enhances their charm and durability. However, he pointed out the challenges they face while painting. “The smell of paint often leaves us feeling unwell, causing colds and flu,” he said.

5. Finishing Touches

Once painted, the items are varnished to give them a shiny look and protect the colors. After this, they are ready to be packed or displayed.

Despite their hard work and the delicate craftsmanship that goes into creating these items, the artisan expressed disappointment over the declining demand. He said that exports have dropped significantly, making their efforts unrecognized.

Every year, as Christmas approaches, Kashmiri artisans in Srinagar craft papier-mâché Santa Claus figures, reindeer, angels, Christmas tree toys, crosses, and other festive ornaments. These handmade creations are exported to countries such as the United States, the United Kingdom, and France, where they are cherished for their uniqueness. This thriving export business has brought global recognition to Kashmiri craftsmanship. However, with the ongoing wars in the middle East- particularly the conflict between Israel and Iran-alongside the earlier impact of the Russia-Ukraine war, the once-thriving export business has experienced a dramatic decline in orders, leaving many artisans grappling with the consequences.

“Our papier mâché products are made based on demand, especially during Christmas, we receive orders for various items from foreign countries, starting in March, and are dispatched by September. We produce a variety of articles, ranging from 100 to 200 pieces, including Christmas balls, stars, moons, bells, and other decorations used to design Christmas trees.

These products are not usually sold in Kashmir; we export them internationally. But due to the ongoing Russia-Ukraine war, we’ve seen a 30-35% decline in orders, which has significantly impacted our export business,” said Syed Amjad Ali, owner of the industry, Shah Handicrafts, in Zadibal, Srinagar, Kashmir.

As the situation continues to evolve, the future of Kashmiri papier-mâché hangs in the balance. The fear of losing this unique cultural heritage is growing. However, despite the challenges, artisans remain committed to preserving their craft, working hard to adapt and sustain this cherished tradition.

For many artisans, what was once a reliable source of income is now facing challenges due to economic uncertainty and logistical disruptions. Orders, which once came steadily, now arrive less frequently. The owners, who have seen their families carry on the same craft for years, are working hard to ensure that their legacy continues. Despite the uncertainty, they remain committed to preserving this time-honored tradition and adapting to new opportunities for growth.

With the arrival of paddy sowing season, routine work has changed- women, men and children are excited to set foot in the water-logged paddy fields. The arrival of the paddy sowing season has brought joy on the faces of young children who skip school and get a few days off to help their families.

In the rural villages of Kashmir like Abadpura, grandparents push the younger generation in the family to participate and learn paddy sowing. Abadpura, a 10-kilometre drive from Budgam, is a remote village with a population of 800 people living in 150 houses. Most work as farmers and manage ancestral land that has been passed through and sustained the livelihood of generations.

The potholed roads that lead to the village cross dust-ridden apple orchards and paddy fields. On the entrance of the village lies a green signboard that reads “Welcome to Abadpura”.

As our group entered Mukdam Mohalla, we were led towards the main paddy fields. Walking through thin allies and crossing little wooden bridges, these pathways help the smooth transportation of paddy saplings to the fields. Alongside the paddy fields, the village has apple orchards and brick kilns.

“I feel suffocated in my village,” says 41-year-old farmer Mushtaq Ahmad Bhat. As the village has nearly 100 brick kilns; the major agricultural land is under its use. The rising smoke from brick kilns has polluted the air extremely and harmed all agricultural practices.

“It feels like we live in hell,” says Mushtaq. Apart from the effect on farming, the smoke rising from brick kilns has affected the daily life. Local villagers say there are sick people in every household with breathing problems.

Mushtaq, 41 works as a government employee with the Jammu and Kashmir Police. Sunday for him means a full day for work in the fields. He wakes up early in the morning to make proper use of his holidays. He arrives before his family to prepare the water-logged fields for smooth plantation, removing muck and slit from the field.

The paddy seeds are sown in a little patch of land called “Thaej Waan” in Kashmiri language. These little nurseries demand extra care and constant watering for 40 days. After the period of 40 days the nurseries turn lush green, with the saplings ready for plantation in the field. The saplings are taken out manually and transported to the paddy fields.

In Mushtaq’s family, his father, Gulam Rasool Bhat, 87, extracts the paddy saplings alone. He makes sure the family members do not face any shortage of paddy saplings, and the work is not halted.

Mushtaq’s father narrates his story- when he was 12 years old, he started working alongside his father, who was also a farmer. “I often used to sleep in the fields at night to fetch the water to our fields,” says Gulam Rasool.

As Mushtaq’s family arrives to begin sowing paddy saplings, his younger daughter Mehroob joined the team for the first time. “I was waiting to become 10 years old so that I could help my father,” says 10-year-old Mehroob as she practiced sowing paddy saplings for the first time.

While her school friends are on a picnic, she skipped the event to help her family. “This workday is no less a picnic for me.” Mehroob added in excitement.

As the family gears up to finish before dusk, Mehroob’s grandfather calls his son Mushtaq to take the saplings to maintain the flow of work. As the stock of saplings ended, the team got a chance to take a brief break and rest.

The younger son of Mushtaq lit a cigarette, after just taking a few drags Mushtaq arrived with a sack of paddy saplings over his shoulder. As the young boy’s cigarette plops into water, the team resumes the work.

Meanwhile, Mushtaq makes sure that Mehroob learns paddy sowing properly. Discussions over politics and society starts with the younger son Yawer, who believes the newly elected Lok Sabha candidate in their constituency will speak for the people and their demands in the Lok Sabha. His uncle Qasim disagrees and adds that political leaders have always exploited Kashmiris.

As the political debate heats up, Mehroob has a different question which she wants to ask her father: Why are people making new houses in the agricultural land and why are authorities permitting it? As her father opines that the new constructions in the agricultural land are because of the rising population, Mehroob’s question remains unanswered.

The lush green paddy fields are rapidly disappearing in Kashmir. The unchecked urbanisation and conversion of land are the two main factors that have affected the agricultural land use adversely. In the last decade, Kashmir has lost nearly 3,3309 hectares of paddy land, and is left with 1,29,000 hectares now, according to online data.

Interest in agriculture has also decreased among the natives. More non-local labour is being hired for paddy seed sowing these days. However, in the Abadpura village, the women work alongside men. As men and children work tirelessly in the fields, women also make sure to cook special meals and bring the lunch to the fields. “Lunch at the side of the fields saves time and gives me a good vibe,” says Yawer.

As the family eats lunch collectively on a yellow-printed tablecloth, Zubaida makes sure to examine her daughter’s work. While the positive feedback from family members satisfies her, she smiles and says that her daughter is a quick learner.

As the family finished lunch, the young lad went a few steps away to light the cigarette. Zubaida wraps up and collects all the utensils to head back home. “Now I will go home. Wash all the utensils and start preparing the Nun Chai (salted tea),” says Zubaida, to make sure to return on time. As she leaves towards the home, she balances a wicker basket over her head and walks along the thin patches of land between the fields.

After lunch, Mehroob left for home, and her young cousins joined her. As the gossip started again, Yawer’s cousin Ruwaid wanted to finish within the hour to enjoy the rest of the time watching a movie together at Yawer’s place. While the other cousin believes it will take them nearly three hours to finish the full work, they ended up finishing the full work within one and a half hours and left happily for home.

By: Sana Showkat and Snober Mehraj

November 28, 2024 – The journey of making a Samàwar starts with selecting premium copper or brass, known for their durability and shine. Skilled artisans then shape and engrave each piece, transforming it into a functional yet beautifully detailed vessel, ready to serve its purpose in homes and gatherings.

For generations, Ashiq Husain Khan and his family have been crafting Samàwars, blending artistry with tradition in each piece. However, as Ashiq points out, “Nowadays, everyone is drawn to government jobs, and no one wants to continue this craft. Even my younger ones aren’t interested in learning it. What was once an important part of our culture is now just a decorative item.” Another artisan, Mohammad Shafi, contrasts this by saying, “Despite the decline in making Samàwars, it can never completely vanish from our history, as it is a true symbol of Kashmiri identity.”

The first step in the process is preparing the raw material, which consists of flat copper sheets. These sheets are then shaped to form the various parts of the Samàwar.

A Samàwar takes four days to make and requires crafting 26 individual parts, such as the póng, heè, pèti, and thàp, each meticulously shaped and assembled to perfection.

Once the parts of the Samàwar are shaped, they are sent for engraving, where skilled artisans carve intricate designs onto the copper with great precision. Each section, including the head, body, and tail, is engraved separately, ensuring every detail is meticulously crafted. After the engraving is complete, the master artisan inspects the Samàwar, carefully removing any dents or imperfections to achieve a flawless finish. The parts are then dipped into acid (tezaab), a refining process that cleans and prepares them for the next stage of assembly, bringing the Samàwar one step closer to completion.

After the parts are refined, they are meticulously washed to ensure every detail shines with perfection. The washing process removes any remaining impurities and enhances the natural luster of the copper. Afterward, the cleaned components are carefully laid out and left to dry, allowing all moisture to evaporate completely. This step is crucial as it ensures the parts are fully set and ready for the next stage of assembly.

The parts of the Samàwar are polished to enhance their appearance and give them a refined finish. Then, all the prepared parts are carefully joined together and shaped into the body of the Samàwar, bringing the components together to create a nearly finished masterpiece.

Once finished, these Samàwars are delivered to shopkeepers, who carefully store them in transparent PVC covers to safeguard them from any potential damage.

The Samàwar, whether simple copper or intricately designed (Qandkaer), small or large, modern or traditional, holds a special place not only in Kashmiri households but also in the hearts of its people. Despite the rise of electric kettles and other modern appliances, the Samàwar remains deeply rooted in Kashmiri culture. As Tahira Begum, a resident of Hawal, Srinagar, shares, “On the second day of the daughter’s wedding, a Samàwar filled with almonds, cardamom, and saffron is sent to her in-laws as kàhwa khabar.” Recalling her own experience, she adds, “When my daughter got married, I made sure the Samàwar I sent was polished and filled with the finest ingredients because it’s not just a gift but a reflection of our love and traditions.” This enduring custom symbolizes warmth and hospitality, making the Samàwar a cherished emblem of Kashmiri heritage passed down through generations.

Historical Legacy of Gun-Making

The craft of gun-making in Kashmir traces its origins to the Dogra rule during the mid-19th century. In 1848, Maharaja Gulab Singh recognized the mechanical skills of the residents of Bandook Khar Mohalla, describing them as “engineers by profession.” British gunsmiths trained the locals under the Maharaja’s guidance. By 1944, Maharaja Hari Singh introduced a formal system for gun ownership and documentation.

In 1962, the Government of India mandated that all guns manufactured in Jammu and Kashmir be tested at Ishapore, West Bengal, to meet official parameters. This regulation forced many local factories to close. Of the 15 gun factories in the area, only two survived: the Subhana Gun Factory (established in 1925) and the Zaroo Gun Factory (established in 1940).

Nasir Ahmad, one of the owners of Subhana Gun Factory, recounts:
”In 1962, we had to send six guns for testing but initially forgot to include the documents. The guns didn’t meet the government’s parameters, but the factory stood strong despite the setback.”

Decline of a Craft

The Wildlife Protection Act of 1978 dealt the first major blow to the industry, banning hunting and significantly reducing the demand for guns. The situation worsened during the political unrest in 1989, when gun factories were temporarily shut down, leaving owners and workers in dire straits.
In 2016, the Arms Act imposed stricter guidelines, making it nearly impossible to acquire individual gun licenses. Although gun manufacturing remains legally permitted, the ban on purchasing firearms has rendered the trade unsustainable.

“The current policies allow manufacturing but ban purchases. This leaves us helpless,” laments Ahmad.

Skill and Legacy

Despite its challenges, the artistry of Kashmiri gunsmiths has been widely acknowledged. Walter Lawrence, the author of The Valley of Kashmir, praised their craftsmanship, noting:
”The well-known gunsmiths can turn out good guns and rifles, replacing parts so skillfully that it is difficult to distinguish between Kashmiri and English workmanship.”

The craft’s survival owes much to artisans who repair and enhance guns with intricate hand-carved walnut gun butts, a signature feature of Kashmiri gun-making.

Government Initiatives

In 2023, the PM Vishwakarma Yojana was launched to support traditional craftsmen, including gunsmiths. The scheme provides:

• Armourer certifications.
• Toolkits worth ₹15,000.
• Loans of up to ₹3,00,000 with a 5% interest rate.
• Training programs, including a six-day drill and an advanced 15-day course, during which artisans receive ₹500 daily.

However, local gunsmiths argue that these measures are insufficient without the issuance of individual gun licenses. “In the entire Kashmir Valley, only nine gunsmiths remain. Youngsters avoid this profession as it doesn’t offer financial stability. Without serious administrative steps, this industry will vanish,” warns Ahmad.

A Fading Tradition

The once-thriving factories, bustling with activity, now lie silent and outdated. Despite holding industrial registrations, these facilities were never converted into industrial estates. Artisans like Javid Ahmad Ahangar continue working on single-barrel guns, but with minimal hope for revival.
Showkat Ahmad, who left the trade to repair electrical equipment, expresses his grief:
”For generations, my family made guns. Out of 15 factories, only two remain. I had to leave the trade to support my family, but gun-making runs in my blood.”

Zareef Ahmad Zareef, a Kashmiri poet and historian, echoes these sentiments:
”The uncertain situation in Kashmir has led to scrutiny and harassment of gunsmiths. The violence has caused the decline of many traditional vocations, including this one.”

Lasjan, a developing area in Srinagar (south) tehsil, located 7.23 kilometres from the city centre, is home to various rock-making, sand, and other construction mills. Beneath the bypass flyover lies a mix of residential areas, including multiple slum communities.

According to the Detailed Project Report (DPR) under Rajiv Awaz Yojna (RAY), Srinagar has around 18,000 households across 77 slum pockets, with over 52 percent of the state’s slum population residing in the district. These informal housing clusters, often along highways, are predominantly inhabited by the service population.

The slum communities in Lasjan are part of this broader demographic, with most residents engaged in garbage picking, especially plastic waste. These communities have endured decades of living in extreme unhygienic conditions due to a lack of basic facilities. This photo essay captures the daily lives of these resilient individuals, from children playing in contaminated environments to families cooking meals amidst squalor.

Shabir Ahmed Khan, a local slum resident originally from West Bengal, has been living in Lasjan for the past 25 years. For survival, he and his community rely on garbage picking. “We are forced to live in these conditions for survival,” Shabir explains.

“We don’t even have proper water facilities like taps, and the hygiene conditions are especially dire during rainfall,” he further added. This stark reality underscores the daily struggles faced by these residents.

Due to financial constraints, the children in this particular slum don’t go to school. Instead, they stay at home and help their parents earn a living.

Others living in the slum say that although there is a lack of other amenities and hygiene, they have adapted to living like this now.

The head of a family residing in this particular slum, Manan Ahmed, shared that they don’t have many complaints about the living conditions. ‘We have been living here for years, through changes in administration and facilities, but we are content.”

Residents of the well-off houses in Lasjan help those in the slums by providing clean water from their taps. “We tell them to take water from taps around and also provide them with other essentials like food, etc.,” said Waqas Ahmed, a local resident.

Despite living in extremely unhygienic conditions, which would be intolerable for many city dwellers, the slum residents are grateful for the basic facilities they have. Now, there is an urgent need for their proper rehabilitation, providing them with essential facilities, and integrating them with respect into society.

By: Amaan Rasheed, Nazakat Aslam, and Faria Bhat

Srinagar, June 28, 2024  — Shakeel Ahmad Khan, a 58-year-old man, stands in his dimly lit workshop, surrounded by the fading aroma of paint and the remnants of his once-thriving business. His fingers, once skillful and confident, now move slowly over the last hand-painted board he might ever create.

“I’ve been in this field since childhood,” Khan reflects, his voice laced with both pride and sorrow. “This is more than just work to me; it’s my identity.”

History and Decline of this Art Form

Kashmir has long been renowned for its vibrant visual arts, where Urdu, English, and Persian languages beautifully converge on hand-painted boards. These durable boards, often made of wood or metal, feature meticulously painted scripts and motifs that represent the diverse culture of Kashmir. Beyond serving as practical signage, they are cultural artefacts that hold great significance in the community, symbolising the region’s unique identity and artistic heritage.

Today, however, the advent of digital printing is swiftly pushing this traditional craft towards extinction. Modern techniques offer speed and cost-efficiency, but at the expense of individuality and the artistic touch.

Artist’s Perspective

Khan’s journey began when he went to Delhi to hone his skills, before returning to Kashmir to continue the tradition of hand-painted advertising.

In 1984, he, along with a friend, established Do Bhai Advertisers. “I named this place Do Bhai because my friend and I started it together. Though we chose different paths later, the name stayed,” he recalls.

In the golden days of his business, Khan made thousands of hand-painted boards every year. “Each of them (board) was a piece of art, and was crafted with care and creativity,” Khan says.

The boards used to stand out so much that they became landmarks in their own right. “They were cherished by the community for their unique beauty and personal touch,” he adds.

But now, with the advent of faster, cheaper digital printing, Khan remains deeply concerned about the future of his craft. “Any board could be my last hand-painted one,” he says with a touch of sadness. “In today’s fast-paced world, no one has the time to appreciate art. Each piece I create might be the last of its kind.”

The Impact of Modern Technology

The rise of digital printing has significantly affected artisans like Khan. “We had exceptional artists who worked globally, but with the introduction of flex boards, their talents went silent,” he explains. Mass production using machines has led to job losses and a sense of purposelessness among artisans.

Local Perspective

Ridhwan Shafi, a 27-year-old engineer and former type designer, remembers the hand-painted boards fondly. “Growing up, I walked through the Bund near Polo View in Srinagar, captivated by signs of handicraft shops like ‘Suffering Moses.’ These signs were functional but also added a unique charm to the road,” he says.

Shafi believes digital prints, while convenient, lack the personal touch and individuality of hand-painted signs. “Each hand-painted board is a labour of love, showcasing the artist’s creativity and skill. Printed boards are standardised and impersonal, leading to a cultural loss,” he adds.

Efforts to Preserve the Heritage

Despite the challenges, efforts are underway to preserve this endangered art form. Kashmir Type Hunt (KTH), an open community project, aims to preserve and promote traditional Kashmiri design.

Co-founded by Waqar Qamri, Shariq Shah, and Waseeq Mir, three young designers, the initiative seeks to safeguard the visual heritage of Kashmir.

“The main idea was to preserve our visual heritage,” Qamri says. “In Kashmir, you see Nastaleek and Naskh scripts alongside Devanagari and Latin. Each artist brings their unique style to the boards, reflecting our rich cultural heritage.”

Building an Archive

KTH is creating an online library where anyone can upload photos of hand-painted signs, allowing the community to contribute to the preservation effort. “It acts as an open source library for anyone to use for their projects, research, or just to have a look at it,” Qamri explains.

Apart from this, KTH also organises walks throughout Kashmir on a regular basis. ” Our typewalks offer an immersive journey through Kashmir’s visual heritage, educating participants and documenting the unique typefaces that narrate our region’s story,” says Qamri.

Engaging the Community and Overcoming Challenges

“We utilise Instagram, a website, and a Discord channel to connect to our audience,” Waqar says. However, explaining their work to locals and police during ‘type walks’ has been challenging. “We had to clarify and simplify it as a project.”

Despite these hurdles, the community’s response has been largely positive, and the initiative has gained significant traction. Presenting their work at Typographics NYC has been a notable achievement for the KTH team. “It was amazing to introduce Kashmir’s design to a global audience,” Qamri shares. “They genuinely appreciated our work.”

Looking ahead, Qamri and his team plan to further support the craft by commissioning hand-painted sign creators to design typefaces that can be digitised and sold. “This will not only help preserve the art form but also provide a new revenue stream for the artists,” he adds.

The Road Ahead

The future of hand-painted boards in Kashmir remains uncertain. While digital and flex boards dominate the market, the efforts of preservationists like Kashmir Type Hunt offer a glimmer of hope.

Shakeel Ahmad Khan’s reflections underscore the urgency of these efforts: “If there’s no immediate intervention from stakeholders, this art form will become nothing more than a memory.”

Yet, the passion and dedication of those who value this art form may still keep it alive for future generations.

As Shakeel stands in his workshop, surrounded by the tools of his trade, he remains a symbol of resilience and hope. “No matter how things change,” he says quietly, almost to himself, “there will always be a place for the beauty of hand-painted art in my heart.”

Advertisement by Ibtisam, Madiha, Zubair, Shaizan

The two-day Film Fest organised by Department of Journalism & Mass Communication concluded at Government College for Women, M.A. Road, Srinagar on Saturday (June 17).

The event was organised in collaboration with Film Southasia (FSA) & Hri Institute for Southasian Research and Exchange. Several critically acclaimed documentaries were screened followed by interactive sessions. A workshop and an exhibition was also part of the two-day event.

Resource persons for the event included Ms. Laxmi Murthy, Mr. Alok Adhikari and Mr. Pawas Manandhar. The event was attended by students and faculty members of the college.

On the first day of the fest, four films were screened including ‘Taangh’ (Longing), ‘God’s Buffalo’ and ‘Gurkha Girls’. Besides, home production of the Journalism department ‘Ayesha’ was also premiered on the occasion.

On the second day, workshop on the theme ‘Reframing Visual Depiction of Women and Sexual Violence’ was held in which the students expressed their thoughts in creative forms including sketches and poems. It was followed by the screening of the documentary ‘City That Spoke to Me’.

Meanwhile, an exhibition titled ‘Create, Collaborate, Catalyse: Reflections on Sexual Violence in South Asia’ was also held on the sidelines of the event.

Earlier, in her introductory speech, Ms Laxmi Murthy spoke about the power of documentary films not only to highlight pressing societal issues but also challenge problematic narratives around issues like gender discrimination and violence.

About the workshop, she said the broader aim was to look at the depiction of women and sexual violence. “We are trying to reframe and change the way women are depicted in films, art works, news and entertainment media,” Ms. Murthy added.

Mr. Adhikari moderated the post-screening discussions while Mr. Manandhar moderated the workshop proceedings with Ms. Murthy.

At the valedictory ceremony, Principal, Prof. (Dr.) Ruhi Jan Kanth felicitated the resource persons and appreciated the journalism department for smooth conduct of the event. She also briefed the guests about the efforts of the college administration to uphold the rich legacy of the institution while constantly striving to improve its academic profile with key research and skill development initiatives.

On the successful culmination of the event, Ms. Murthy said, “We loved interacting with the students. They are full of talent, passion and optimism. We are so happy with the overall conduct of the event. We hope this is the start of a longer journey and collaboration with journalism department of the women’s college.”

While presenting Vote of Thanks, Head, Department of Journalism, Dr. Suhail Ahmad termed it a great learning experience.  He said the films screened as part of the fest celebrated the human spirit in the face of adversity.

Thanking the resource persons, he said, “The way they curated the overall event and particularly the workshop, it was quite engaging and thought provoking. We look forward to hold more such events on a bigger scale.”