It is often in the lush narratives of cinema where cultures converge, boundaries blur, and new alliances are forged. This phenomenon is epitomized by Ayash Arif, a name that resonates with familiarity in the households of Kashmir due to his prominent work in theater and television. With a rich career spanning over two decades, Arif has been an integral part of Kashmiri theatre and has donned various hats as a writer, journalist, producer, director, and iconic actor for Doordarshan, as well as a voice that’s graced radio shows. His credentials boast not just his experience but also his academic prowess, holding a PhD in Indigenous Folk Theatre of Kashmir and Electronic Media.
Yet, Arif is now poised to make ripples beyond his native Kashmir, venturing into unfamiliar territory with his upcoming collaboration with Karnataka’s renowned cinematographer Ashok Cashyap. The bilingual oeuvre, ‘Flowers from Kashmir,’ is their cinematic tapestry, offering roles to both Kannada and Kashmiri thespians such as Nagabharana, Sita Khote, GM Wani, Anju Matoo, Javid Khan, Imran Farooq, Mohumed Shahid, and Nishu Sharma. Scripting the screenplay is MS Ramesh while Ashok’s spouse, journalist Rekha Rani, lends her penmanship to the dialogues and also shoulders the responsibilities of story, direction, and cinematography.
Arif, a recipient of the Tagore National Scholarship and an alumnus of the prestigious National School of Drama, speaks with evident excitement: “We are excited about this film as it is a joint venture of four friends: Ashok, Masrath Khan, Mushtaq Wani, and myself,” he says over the phone from Jammu. The production company, coined Char Chinar Cinemax, pays homage to the famed chinar trees set against the scenic Dal Lake backdrop in Kashmir. Arif’s pedigree includes involvement at the Jammu and Kashmir Academy of Art, Culture, and Languages, illustrating a lifelong commitment to his craft and culture.
The challenges of shooting ‘Flowers from Kashmir’ were in no way minor or insignificant. The film, he reveals, was captured on the frigid backdrops of Kashmiri winters, where the biting cold tested both their mettle and commitment to preserving the emotional truth of their characters. Despite such trials, Arif and his team soldiered on, with even the climax scene ambitiously shot amidst the snowy peaks of Harmukh Mountain, a testament to their unwavering dedication.
Not just an actor, Arif has lent his talents to various Hindi and Kashmiri films, such as ‘Emergency’ with Kangana Ranaut, ‘Inqalab’, ‘Sajan’, and ‘Muthi Barkhaq’. His linguistic versatility shines as he shares, “For the Kannada version, I spoke in Kannada, while my fellow actors from Bengaluru spoke Kashmiri for the Kashmiri version.” This cross-cultural exchange underscores the universal humanity and friendship deeply ingrained in the fabric of the film.
Their camaraderie dates back to 1989 when Arif and Cashyap collaborated on a Doordarshan documentary centred around Kashmir and its distinctive floating gardens. Through countless Kashmiri serials following that endeavor, Arif found a kindred spirit in Ashok’s profound grasp of Kashmiri culture, traditions, and language. This shared affinity laid the groundwork for what would become ‘Flowers from Kashmir’, initially conceived as a narrative springing from Dal Lake and slated to feature Mumbai actors, but evolved into its current form when pre-production languished.
Arif’s journey with Doordarshan began in 1974, his voice becoming a familiar presence as an A-Grade artist on both Doordarshan and Radio Srinagar. As someone who has witnessed the myriad tribulations that have befallen Kashmir, Arif views his creative talents and films as mediums that offer solace and healing. “My aim is to use my creativity and films as a platform to tell stories that act as a balm to the people of Kashmir,” he says. The intention behind ‘Flowers from Kashmir’ is explicit: to bridge communities through the storytelling art form and honor those who have had to leave their homeland behind.
The splendor of Kashmir has long captivated filmmakers, yet Arif laments that the beauty of Kashmir’s rich culture and tradition is sometimes overshadowed by the portrayal of negativity in some films. Through ‘Flowers from Kashmir’, he endeavors to showcase the generous spirit, courtesy, and profound hospitality that defines the Kashmiri people.
As audiences anticipate the release of ‘Flowers from Kashmir’, with the Kashmiri version nearing the end of post-production and set to premiere before its Kannada counterpart, there lies a fervent hope that the film will not only entertain but enlighten, knitting tighter the fabric that binds all people: the shared threads of humanity.
