Origins of Folk Music in Kashmir

The folk music of the Kashmir Valley represents the collective voice of its people—rural and urban, Muslim and Hindu, the older generation and the young. Rooted in everyday life, agricultural rhythms, mountain pastures, rivers, love, sorrow, celebration and ritual, it has been passed down through generations. According to a cultural overview of Kashmir, folk and dance traditions are “expressions of emotion, storytelling, and spiritual connection”.

One of the oldest forms is Wanvun (literally “chorus”), which is sung by women at certain life-cycle rituals (marriages, post-Ramadan) in a fixed-beat chant style. Another is Ladishah, a narrative-ballad folk style sung by travelling minstrels using humour, satire and melodic storytelling.

These forms connect the listener to the land, the community, the intangible memories of Kashmir’s past and present.

Key Folk Styles & Songs

• Chakri: A popular folk song style in Kashmir, often performed in weddings and festivals. It features a circular rhythm and is accompanied by instruments like the sarangi, rabab and tumbaknaer.

• Wanvun and Rouf (a dance-song form) are closely associated with women’s gatherings and weddings.

• Songs such as “Gul Gulshan”, “Valayi Kasturiyeh”, “Chunri”, “Bhumbro Bhumbro” are cited among the more popular folk numbers in modern re-performances.

Instruments & Musical Texture

Folk music in Kashmir uses a combination of unique instruments and rhythmic forms:

• The santoor (sometimes spelled santur) – a hammered-dulcimer instrument, used in both folk and classical/fusion contexts.

• The rabab – a plucked string instrument, often used in folk music and for accompanying singers.

• The sarangi – a bowed instrument, adding expressive melodic depth.

• The tumbaknaer – a goblet-shaped drum providing rhythm.

• Sometimes simple percussion like the clay pot (nout) or hand-claps in women’s Wanvun sessions.

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Social & Cultural Role

Folk songs in Kashmir serve more than mere entertainment—they are memory-keepers and identity carriers. For instance, the article in Kashmir Times describes how folk and Sufi forms preserve shared values, history and help bring solace in times of distress.

In weddings and festivals, folk songs function as communal glue—women singing Wanvun, men chanting, dancers in Rouf, minstrels performing Ladishah. The melodic motifs carry local dialect, metaphor and narrative of the land.

Preservation Challenges & Revival

With modernisation, media saturation and conflict-disrupted life in Kashmir, many traditional forms were at risk of fading. Wanvun was noted by the Indian Council for Cultural Relations as declining in use because of changing wedding practices.

However, revival efforts are underway: young musicians, cultural organisations, digital platforms are bringing folk songs into contemporary streams, often fusing with modern styles (which we will address later).

Listening Recommendations

If you wish to explore Kashmiri folk songs, here are a few suggestions:

• Seek out recordings of Wanvun performed by women’s groups.

• Look for Ladishah performances (often with minimal instruments and strong narrative voice).

• Explore modern reinterpretations of folk classics like “Bhumbro Bhumbro” or “Valayi Kasturiyeh”.

• Attend cultural festivals in Kashmir (or virtually) where live folk music is performed.

Sufi Music & Instruments