Society must move beyond measuring success solely by salaries or government posts. Instead, we should value creativity, innovation, entrepreneurship, and contribution.
By Aadil Gulzar
Recently, Jammu & Kashmir Entrepreneurship Development Institute (JKEDI) organised bootcamps in different colleges of the Kashmir Valley, as part of the J&K Startup Idea Challenge, with the aim “to foster innovative ideas among students, promote entrepreneurial thinking, and encourage youth-led innovation in the region”. One such boot camp was organised at the Government Degree College Ganderbal in the last week of August. In this event, the principal of the college, Prof Fouzia Fatima, presented the welcome address and applauded the efforts of JKEDI in promoting innovative ideas among young minds, and encouraged students to explore startup opportunities. After the resource persons of JKEDI and J&K Bank delivered their motivational and inspiring lectures on various aspects of the event, an interesting Q&A session followed.
One such question was related to the revival, on modern terms, of traditional handicrafts, as it is generally observed in society that educated youth who have ventured into their family business of handicrafts/artistic work are looked down upon. Many derogatory remarks are passed about them, like “PADHA LIKHA BANDA AUR DUKAANDARI KAR RAHA HAI”.
In Kashmiri society, a tribalising mindset has taken root: one that looks down upon educated individuals who engage in traditional forms of work, such as shawl weaving, tilla (embroidery), papier-mâché, or handicrafts. The very occupations that have kept Kashmiri culture alive for centuries are now being branded as “low status” when pursued by the educated class.
The irony is striking. On the one hand, we proudly market Kashmiri handicrafts to the world as symbols of our rich heritage. On the other hand, when a graduate or postgraduate chooses to sustain this heritage by working in these trades, society often responds with whispers of disappointment and “labels of failure”. This reflects not only a deep-seated stigma but also a misplaced notion of what dignity of labour truly means.
Take the example of Adil, a PG in commerce from Srinagar. After years of chasing a government job, he decided to modernise his family’s business (of shawls). He introduced online marketing, collaborated with designers, and within two years, his sales reached markets in Delhi, Mumbai, and even Dubai. Yet, back home, negative whispers followed him.
Saima Shafi, popularly known as “Kral-Koor”, is a ceramic artist from Kashmir who, despite being a government employee working as a civil engineer, chose to revive and preserve the dying art of Kashmiri pottery. Similarly, Mudasir Rashid, a management graduate, turned his attention towards Kashmiri handicrafts and heritage. He worked to document, promote, and innovate traditional crafts like woodwork, papier-mâché, and other artisan skills.
All of them showed that being “PADHA LIKHA” (educated) does not mean abandoning roots. Rather, their example proves that modern knowledge can be used to revive, innovate, and globally promote Kashmiri heritage.
Looking at the struggles of qualified youth for a decent livelihood with a closed vision of “only government jobs” has made them more dedicated and committed to their decisions of reviving family businesses of handicrafts and artistic work with a modern mode of outreach.
Another example is that of Ghulam Muhammad Magray (50). Hailing from central Kashmir’s Ganderbal district, he has been honoured with the prestigious UT-level award in 2016 for his exceptional mastery in Kaani work, a traditional craft highlighting willow wicker artistry. The award was given to him specifically for creating a willow-wicker wall clock. Though specially-abled, Mr Magray’s work demonstrates his talent and dedication to his craft. It is great to see that he is dedicated to preserving the traditional art. It is vital to support and recognise the work of skilled artisans like Magray. By continuing to create high-quality products and sharing his skills with others, Magray is helping to preserve this vital aspect of J&K’s cultural heritage.
What becomes evident from the above is that education is not meant to distance us from our roots. Instead, it should empower us to uplift traditional industries with innovation, better marketing, modern business skills, and strategies. It is time to challenge this stigma. Kashmiri society must learn to respect every form of work, whether intellectual or manual, traditional or modern. What matters is not the type of job, but the honesty, innovation, and contribution behind it.
If we want Kashmiri culture to survive, we need educated hands and minds in these industries. An educated artisan is not a symbol of “backwardness” but of resilience. Such people are the bridge between tradition and modernity. Society must stop measuring success only through salaries or government posts. Instead, let us value creativity, innovation, entrepreneurship, and contribution.
The writer is a civil service aspirant
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