Musical Voices of Kashmir: Lal Ded and Beyond
As Saba Azad and Soni Razdan brought the story of Noor Begum (inspired by Raj Begum) to life on screen in Songs of Paradise, my thoughts travelled back to my childhood in Kashmir. My own musical abilities were always modest, but my cousins and aunts could burst into song at any moment. As I listened, music felt like it belonged to everyone but me. Yet, the ancient Kashmiri hymns somehow settled deep within my chest, transporting me home even now.
These melodies remind us that Kashmir’s musical tradition far surpasses the voice of any one singer. For us, Kashmir’s music is more than entertainment: it is woven into history and memory, connecting generations through joy and longing.
Kashmiri music has occasionally made its way into Bollywood, but nothing compares to hearing the sacred words of saints, sung by mothers, whispered by rivers. These songs tell stories of love, loss and the enduring spirit of Kashmir, quietly evoking a sense of belonging. They urge us to reconnect with our past, our community and ourselves.
Lal Ded and Nund Rishi
Picture Source: A Lotus in the Mud
Centuries before Radio Kashmir broadcast melodies across the valley, the foundation for Kashmiri musical identity was shaped by Lal Ded (Lalleshwari) and Nund Rishi (Sheikh Noor-ud-Din Noorani).
Though He is One, Alone, and All,
Yet I am caught in the War of Two.
Though He has neither colour nor form,
Yet I am caught in His wondrous forms.”
Lal Ded, believed to have lived between 1320 and 1392 came to be known as the mystic poetess of Kashmir who created Vakhs (remarks, utterances), a word derived from Sanskrit word ‘vac’ or ‘vakya’ which means ‘speech’ or ‘sentence’. Her vakhs were verses of deep spiritual wisdom and among the earliest composition in Kashmiri language. Lal Ded’s poetry blended Kashmir Shaivism and the emerging Sufi traditions and often reflected themes of spiritual growth, transcending religious boundaries.
I, Lalla, took this to heart and naked set forth to dance“
Revered as Lalleshwari or Lal Ded by Hindus and Lal’ Arifa by Muslims, she united Kashmir’s spiritual traditions. Her vakhs were not written down but sung and handed down through generations, influencing Kashmiri language and at the same time making philosophical ideas accessible to all.
Picture Source: The Wire
Closely following Lal Ded’s spiritual footsteps was Nund Rishi (1377-1438). The revered patron saint of Kashmir, also called Sheikh-ul-Alam and Alamdar-e-Kashmir, he is known to have been the founder of the Rishi order, a distinct Kashmiri Sufi tradition blending Islamic mysticism with Kashmiri spiritual heritage. His Shruks, poems 4 to 6 lines in length, spread teachings of peace, unity and environmental consciousness.
One of his most famous verses, “An Poshi Teli, Yeli Wan Poshi” (Food will thrive only as long as the woods survive), resonates strongly with current sustainability ethos. Like Lal Ded, he delivered his teachings in Kashmiri rather than Farsi or Arabic, thereby broadening access to spiritual knowledge. Tradition maintains that Lal Ded’s poetry had a significant impact on him, with their spiritual connection symbolised by the account of Lalleshwari nurturing the infant Nund Rishi.
Persian Influences and Sufiana Mausiqi
The arrival of Sufi saints from Central Asia and Persia during the 14th and 15th centuries is believed to have been quite influential to the evolution of Sufiana Mausiqi in Kashmir. Nund Rishi and Mir Sayyid Ali Hamadani are credited with helping Sufism flourish and become part of Kashmir’s classical scene. Sultan Zain-ul-Abidin’s reign was a high point, with music schools blossoming and musicians from distant lands blending new modal scales (the maqam system) with local sound.
Sufiana Mausiqi, supported by both royal and Sufi patronage, grew richer over time. Musical instruments also evolved, with the santoor at its core, joined by the Sehtar, Saaz-e-Kashmir and Tabla.
The Santoor, Rabab and Beyond
https://ragajunglism.org/ragas/instruments/santoor/
Kashmir’s music wouldn’t be complete without its beautiful, handmade instruments, each shaped by generations of craftsmen.
Santoor, a trapezoidal string instrument, played with wooden mallets is the pride of Kashmiri music. Believed to have originated in Persia, it arrived in India with travellers and traders. Today, it stands at the heart of Sufiana Mausiqi, famous for its meditative tone. Pandit Bhajan Sopori (1948-2022) elevated the Santoor to national prominence, developing the “Sopori Baaj”, a distinctive playing style that incorporated elements of both Sufiana Mausiqi and Hindustani classical music. The movie Songs of Paradise showcased how traditional santoor can speak to modern sensibilities while honouring its roots.
Yet, tradition faces threats. Ghulam Mohammed Zaz, perhaps the last santoor maker in Srinagar, struggles to keep the seven-generation family craft alive against machines and changing musical tastes.
Rabab, another Central Asian musical import, features prominently in Kashmiri folk music. Supported by the sarangi, harmonium, tumbaknari and dholak, these instruments form the backbone of both Sufiana Mausiqi and folk traditions.
Chakri, Rouf and Wanwun
Picture Source: Greater Kashmir
Beyond the concert halls, Kashmir’s folk music thumps and sways through everyday life.
Chakri represents one of the most popular folk music forms, performed with harmonium, rabab, sarangi and nout. Traditionally, Chakri served as a narrative medium, telling fairy tales and famous love stories like “Laila-Majnun”. The music builds to fast-paced notes called rouf, creating an exhilarating climax.
Rouf or Wanwun, meaning “chorus”, is Kashmir’s oldest singing tradition, performed exclusively by women during weddings and joyful gatherings. The lyrics praise the bride and groom, greeting families and bestowing blessings.
The tradition has deep roots across religious communities. Butt-e-Wanwun (Hindu wanwun) uses Sanskrit terminology, while Musalman Wanwun incorporates Persian phrases.
Despite the influence of Bollywood, traditional wanwun endures and no wedding is complete without it.
The Poet Queen: Habba Khatoon
Picture source: Observer Voice
The 16th century offered Kashmir a new icon: Habba Khatoon, the Nightingale of Kashmir. Born Zoon, she learned to read and write young, a rarity for women at the time. Poetry was her passion and even after family difficulties, she found her greatest love singing beneath a chinar tree, where Yousuf Shah Chak crowned her queen.
Their love story was shaped by tragedy. The Mughal emperor Akbar tore them apart, sending Yousuf Shah into exile. Left alone, Habba Khatoon’s poetry of longing and grief still fills the valleys.
My Yusuf has been snatched away, my grief has reached the sky.
A storm has taken over my house, leaving me in lurch.
My eyes long for him, my tears flow incessantly”
Habba Khatoon introduced a new form of poetry called lol (similar to English lyric) to Kashmiri literature, making Kashmiri music more personal and versatile. By blending Persian and Kashmiri styles, she expanded what music could express, earthly love, spiritual longing and the heartbreak of separation.
Raj Begum and Women's Public Voice
Image source: First Post
Fast forward to the 1950s, Raj Begum (1927-2016) became Kashmir’s first female playback legend, singing in a culture where women’s voices were meant to be private. . She was discovered in the midst of Srinagar’s busy neighbourhoods and sang for weddings and celebrations, breaking taboos with every performance. Her high-pitched, passionate voice shifted the landscape for women, proving that musical tradition could honour freedom and self-expression.
Despite challenges, Raj Begum joined Radio Kashmir Srinagar in 1954 and performed until 1986, earning top honours like the Padma Shri. Alongside singers like Naseem Akhtar, she made history not only for women in music, but for Kashmir’s spirit itself.
The Soul That Sings On
Songs of Paradise highlights that Kashmir’s music is not just melodies but reflects the region’s resilience and spiritual depth. Influenced by Shaiva philosophy, Sufi saints, Persian poetry and local traditions, Kashmir’s musical culture blends spiritual and earthly themes, transcending religious boundaries. Modern artists fuse tradition with contemporary styles, ensuring this legacy continues to inspire. Ultimately, Kashmir’s rich musical heritage stands as a universal testament to beauty, meaning and the enduring power of art.
Sheetal Raina
Dr. Sheetal Raina is the founder and editor of ISBUND, an immersive platform dedicated to preserving and celebrating Kashmiri culture. Deeply connected to the heritage and traditions of Kashmir, she brings a distinctive voice to cultural discourse - blending academic insight with heartfelt commitment to her roots.
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Sudha Koul
Beautifully written! A soulful tribute to Kashmir’s rich musical and spiritual heritage.