“Dogra Culture in the Digital Age: Between preservation and gradual erosion”

Nitin Kumar, IIMC, Jammu

“As language, art, and traditions struggle for survival, Jammu’s youth face the defining challenge of protecting a living heritage in a rapidly modernizing world.”

Jammu : where the chimes of temple bells dissolve into the morning breeze, and the Shivalik hills stand tall, holding centuries of stories within their folds is the birthplace of Dogra culture. This culture is not merely a collection of customs and traditions, but a living identity shaped by centuries of struggle, valor, and aesthetic richness. Yet today, a pressing question stands before us: is the younger generation of Jammu able to preserve this glorious heritage, or is this invaluable legacy slowly fading away in the winds of modernity?

The Dogra community, primarily belonging to the Indo-Aryan lineage, has its roots deeply embedded in the ‘Duggar’ region of Jammu. The term ‘Dogra’ is believed to have originated from ‘Durgar,’ meaning ‘invincible,’ as referenced in an 11th-century copper plate inscription. The renowned poet Amir Khusro, in his work Nuh Sipihr (1317 CE), mentioned ‘Duger’ (Dogri), highlighting the antiquity of this language and culture. Maharaja Gulab Singh, himself a Dogra Rajput, established the princely state of Jammu and Kashmir in 1846 under the Treaty of Amritsar, during whose reign Dogra culture reached its zenith. The Dogra Regiment, a part of the British Indian Army, displayed exceptional bravery in both World Wars and, after independence, became an integral part of the Indian Army, continuing to symbolize Dogra pride.

Dogri, the soul of this culture, received constitutional recognition in 2003 and was later included as an official language under the Jammu and Kashmir Official Languages Act, 2020. However, this recognition has not translated into practical usage. According to the 2011 Census, around 2.596 million people spoke Dogri, but ground realities present a worrying picture. In rural areas, about 56% of people actively speak Dogri, yet only 15% can write it. The situation in urban areas is even more alarming only 45% speak the language and a mere 4% can write it. Most concerning is the fact that among youth under the age of 20, the ability to read and write Dogri is nearly nonexistent. A survey revealed that 48% of respondents believe the government has not taken adequate steps for its preservation, while 43% of youth consider Dogri economically irrelevant, preferring Hindi and English instead. Linguists warn that India has lost over 220 languages in the past 50 years placing Dogri at the brink of a similar fate.

Similarly, Basohli painting, which originated in the Kathua district of Jammu and flourished during the 17th and 18th centuries, is struggling between recognition and relevance. Known for its vivid colors and depictions of Hindu mythology, Radha-Krishna themes, and the Ramayana, this art form uses natural pigments derived from minerals, plants, and semi-precious stones. It received a Geographical Indication (GI) tag on March 31, 2023 an important milestone. Despite the establishment of training centers and production units by the Handicrafts Department, awareness and interest among the youth remain limited. While GST reductions have enhanced its competitiveness in international markets, the art will remain confined to a few hands unless young people begin to see it as a viable livelihood.

Dogra folk traditions such as Kud dance, Heren, Jhanji, and folk songs have long been the heartbeat of social life, yet today they are gradually fading. Dogri theatre, in particular, is facing serious challenges due to limited institutional support, declining audience interest, and financial constraints. In this context, initiatives like SPIC MACAY’s heritage walk, “Stories of the Temples of Old Jammu,” emerge as rays of hope, reconnecting youth with their cultural roots.

Tourism, on the other hand, presents a powerful opportunity for cultural preservation. The tourism sector in Jammu and Kashmir generates over 70,000 jobs and contributes around 15% to the region’s GDP, with tourist numbers steadily increasing. Heritage sites such as Bahu Fort, Raghunath Temple, Mubarak Mandi, and Gharana Wetland are not only historical landmarks but can also serve as centers of cultural tourism. By involving local youth as guides, performers, and entrepreneurs, tourism can simultaneously promote heritage and livelihood.

In this direction, IIM Jammu’s ‘Bandhan’ initiative offers an inspiring model, where students live with local Dogra families to experience their culture firsthand. This program not only familiarizes outsiders with Dogra traditions but also rekindles pride and awareness within the local community. Additionally, efforts by institutions like the Dogra Art Museum and scholars continue to promote cultural awareness among the younger generation.

It is evident that the future of Dogra culture will not be determined by policies alone, but by the youth who are shaping their identities in a digital world. If Dogri is strengthened in education, if traditional arts find space on digital platforms, and if artisans are connected to online marketplaces, this heritage can not only be preserved but also evolve in a modern context.

Ultimately, Dogra culture is not a static relic but a living stream. Preserving it does not mean confining it to museums, but allowing it to flow and adapt with time. When the youth of Jammu create podcasts in Dogri, transform Basohli art into digital formats, or proudly perform Kud dance at cultural festivals, they become true inheritors of their legacy. Progress does not mean abandoning one’s roots, but deepening them while moving forward and that responsibility lies with every individual who feels pride in saying “Jammu.”