Category Archives: Travel & Tourism

The last of eight generations of Rogan art in Kutch

Arts, Culture & Entertainment, Business & Economy, Travel & Tourism, World Opinion, , , , ,

Nirona Village, (Kutch District ),  GUJARAT :

Abdul Gafur Khatri at work at his residence in Nirona village, Kutch | Photo Credit: Vijay Soneji
Abdul Gafur Khatri at work at his residence in Nirona village, Kutch | Photo Credit: Vijay Soneji

The Khatris have practised the art for eight generations now

Sitting on the floor, Abdul Hamid carefully twists a thick spool of yellow paint around a metal pin. Stretched out before him is a piece of red cloth, pinned on either side to the legs of his trousers. He dabs the paint on the heel of his left palm — it’s a gummy mass and has to be worked into something more malleable. Hamid then brings the tip of the pin a few inches above the cloth, and as it hovers, an elastic strand of colour streams on to the surface. And the magic begins: an intricate pattern grows beneath the swirling pin that never touches the cloth. The floral design looks like needlework.

Hamid then folds the cloth and, just like that, a flawless mirror-image of the pattern appears and an exquisite piece of Rogan art is born.

“We have practised Rogan for eight generations now,” says Hamid. “The first six generations did not get their due for preserving the art, but now, finally it is widely recognised and we couldn’t be happier.”

‘Rogan’ in Persian means oil: the paint is made with castor oil. Rogan art is believed to have originated in Persia some 300 years ago and was traditionally used to embellish bridal trousseaus. As it crossed borders, it began fading from the collective memory of its creators. But nine members of the Khatri family in Nirona, a small village in Gujarat’s Kutch district, are the last surviving custodians of the art form.

The Khatri community once did Rogan work on the clothes of local animal herders and farming communities. But as machine-made textiles became a more affordable alternative and Khatri youth lost interest in learning the art, Rogan began to disappear. “But our family revived it in 1985,” says Hamid. In fact it is Hamid’s elder cousin, Abdul Gafur Khatri, a national award winner, who is credited with resurgence of Rogan art.

P.M.’s pick

The ‘Tree of Life’, an intricately patterned tree with hundreds of dots and dashes, is their signature painting and most in demand. A 14×17” painting can take 12 days to complete— Prime Minister Narendra Modi chose one to gift to the then U.S. President Barack Obama during his U.S. visit.

“Rogan art is 100% an artist’s imagination on a piece of cloth,” Gafur bhai, as he is better known, explains. “There is no tracing, no drawings to refer to.”

But preparing the base from castor oil is a laborious process and can take two days. The oil is heated and cooled in a (special) vessel and continuously stirred so it doesn’t burn. After two days, the residue left behind is mixed with cold water and it thickens into a sticky paste called rogan. Natural colour pigments are then added to the oil base. “Yellow, for instance, comes from a particular stone that is ground,” says Hamid. The pigments are added to the castor oil base and stored in earthen pots.

Wall pieces made by Abdul Gafur Khatri in Nirona village, Kutch | Photo Credit: Vijay Soneji
Wall pieces made by Abdul Gafur Khatri in Nirona village, Kutch | Photo Credit: Vijay Soneji

The nine artists have six national awards and six State awards between them. They proudly show me photographs of celebrities — politicians, film stars, sports stars — who have either bought their art work or felicitated them at awards functions.

Men last longer

It strikes me as odd that all nine members of the family working on the art form are men. This could perhaps do with the belief that women, once they get married, would pass on their knowledge to their husband’s families, threatening the art with dilution. But as Rogan faces extinction, Gafur bhai, has taken upon himself the task of teaching the technique to 200 girls from his village. And this has breathed fresh life into the dying art.

“We taught most of these girls for free. They can now create at least the basic designs,” Gafur bhai says, adding that 25 girls also help the family with their work. In another effort to popularise Rogan, the family conducts live demonstrations for every visitor at their doorstep. During the 30-minute demonstration, artists patiently answer questions and explain the techniques they use. On an average, the family gets 150 visitors a day. And between November and February, during the Rann Utsav — the Kutch desert festival — the numbers shoot up to 250 or 300.

No tough competition

Unlike other forms of textile art such as Ajrakh that face are under threat by factory-made products, Rogan faces no such competition, but meeting market demand has been a challenge.

“You will not find Rogan art the way you find other arts in the markets. It’s not because we don’t want it to go out to the people, it’s because we have limited resources,” says Gafur bhai. We go to five or six exhibitions around the country in a year, and rest of the time we are at home, working.”

It has been a long journey for the Khatri family: from reviving the art to creating public interest to recovering from the Bhuj earthquake setback. But today, they are only seeing a huge resurgence of interest.

The writer is an independent journalist based in Gujarat. When not researching her stories, she is busy spinning tales for her toddler.

source: http://www.thehindu.com / The Hindu / Home> Society – Rubric / by Azera Parveen Rehman / January 20th, 2018

The Pathan who saved Pathra’s temples

Arts, Culture & Entertainment, Community Involvement / Social Issues, Travel & Tourism

Pathra, Midnapore District, WEST BENGAL :

Pathra’s ancient temples | Photo Credit: Ashok Nath Dey
Pathra’s ancient temples | Photo Credit: Ashok Nath Dey

Today, 19 of the 34 temples in Pathra in West Bengal have been restored to their former glory

“Bash on.” That’s probably what Yeasin Pathan says to himself when he wakes up every morning. You just can’t miss his never-say-die attitude when you meet the frail 66-year-old. How else do you explain the grit of a Class IX dropout, and a devout Muslim, who has been crusading for the conservation of 34 temples for the last 42 years?

Pathan has been in love with Hindu temples ever since he was a child. Looked upon with suspicion by both Hindus and Muslims for this long love affair, Pathan is today inured to the jibes, threats and hurdles.

The story begins when Pathan was a child. Captivated by the terracotta temples he chanced upon in Pathra, a village close to his own, in Midnapore district of West Bengal,  their dilapidated condition set him thinking. And by the time he was 17, he had kick-started his ‘save the temples’ mission. This was in 1971. He had no archaeology or history degree to show on his CV, but Pathan realised the temples were “part of our heritage, and people should be prevented from walking away with bits of it.”

Garnering support

To start with, Pathan got the villagers together, Hindus, Muslims and Adivasis. He told the people of Pathra it was in their hands to preserve their heritage for posterity. As expected, Pathan found himself up against opposition. People from his community were enraged he was advocating the preservation of structures where idols are worshipped. “The Hindus of the area were miffed too, because I prevented them from stealing the bricks off the temples and selling them,” he says, smiling.

Statues for sale

Even the descendants of the zamindars who had built the structures were trying to make money by selling carvings and statues. Pathan was, clearly, surrounded by a ring of fire. That’s when innate wisdom told him he must give the locals a vision to aspire for: that if Pathra became a tourist destination, “the village and its adjoining areas would get roads, electricity, water, and business.” The semblance of a truce followed.

Under his leadership the local community set about first clearing the wild growth of weeds around the monuments. Then, Pathan mobilised rallies at the district headquarters in Midnapore to demand funds. There were scuffles, and he would rush to Midnapore to bring the police to Pathra.

Yeasin Pathan | Photo Credit: Ashok Nath Dey
Yeasin Pathan | Photo Credit: Ashok Nath Dey

But his efforts began to bear fruit.

Money started trickling in; IIT Kharagpur stepped in to help with the conservation. Pathan set up an NGO, Pathra Archaeological Preservation Committee, which, apart from its core agenda, also became a forum for communal harmony. The then Planning Commission Deputy Chairperson, Pranab Mukherjee, sanctioned ₹20 lakh for Pathra. The biggest victory for Pathan was when the Archaeological Survey of India (ASI) took over restoration work in 2003.

Guide for tourists

Meanwhile, Pathan realised he needed a steady source of income. He now had a wife and four children. To make ends meet, in 1974 he became an attendant in a school in Hatiholka, his village. He also worked as a stringer for newspapers, and when curious tourists visited Pathra, Pathan became their guide. But he never wavered in his mission to conserve the temples.

Although Pathra’s residents acknowledged his pioneering work over the years, he has faced testing times. Gasping for breath ( he has two blockages in his heart), he recounts how he had to go into hiding after the Babri Masjid demolition in 1992. “Muslims wanted to lynch me for protecting temples while Hindus were breaking mosques.”

Only one guard

Today, 19 of the 34 temples in Pathra have been restored to their former glory. All under the eagle eye of Pathan, who says ruefully: “Such a big area, and only one guard to protect it.” Some 9.5 acres around the temples are being beautified by ASI. Pathan’s new fight is to get 70 farmers their compensation for the land they had to give up around the temple.

“You know how it is… unless we make a noise, the state will take its own sweet time,” he says.

Dressed in a cotton shirt, trousers and chappals, the bespectacled Pathan retired from his school job in 2012, and gets a pension of ₹9,600 per month. His family wants him to take it easy now. The years of travel, the erratic sleep and irregular meals, have all taken a toll on his health. He can’t afford treatment for his heart and kidneys.

“Stay at home; rest, they say. But if I stop now, all those years of fighting will go down the drain. Now is when everything should fall into place,” says a tired but eternally optimistic Pathan.

Professional procrastinator and looker out of window, the writer works at O.P. Jindal University.

source: http://www.thehindu.com / The Hindu / Home> Society> Rubric / by Priya Kannungo / October 27th, 2018

A monument of generosity

Arts, Culture & Entertainment, Community Involvement / Social Issues, Leaders, Travel & Tourism, , , , , , , , , , , , , , , , , ,

Lucknow, UTTAR PRADESH / NEW  DELHI  :

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In the Bara Imambara which was built to employ people struck by a famine in 1784

I grew up in Lucknow amidst magnificent Nawabi architecture, in the syncretic and gentle culture of Awadh. It was a way of life where others were given more importance over the self. “Pehle aap (you first)” was a commonly used phrase while speaking. It is always a pleasure to return to the city that is said have once been ruled by Lakshman; where excavations show a continuous settlement dating from the first millennium BCE through the early Gupta, medieval and modern periods.

In 1732, Mughal emperor Muhammad Shah appointed Saadat Khan Burhan-ul-Mulk as the governor of Awadh. With Faizabad as his capital, Burhan-ul-Mulk was first in the line of rulers, known as the Nawabs of Awadh, whose contribution to Indian culture and history is invaluable. Asaf-ud-Daula, the fourth Nawab of Awadh, shifted the capital from Faizabad to Lucknow, and from 1775 to 1856, Lucknow was built by the Nawabs as a unique architectural city with a syncretic culture.

Features of Nawabi architecture

The geography of Lucknow meant that stone and marble, the main features of Mughal architecture, had to give way to lakhauri brick-and-lime plaster buildings. The main features of Nawabi architecture were bulbous domes, vaulted halls, chhatris and double arches, with the inner one pointed and the outer one foliated, but the main improvisation given the resources and the unavailability of stone was the beautiful stucco ornamentation on buildings along with plaster decoration in the interior. The stucco work gave a deep relief even on flat walls, but unfortunately, much of it has been lost in repairs and whitewashing. The variety of motifs ranging from floral designs, false arches and false domes that produce an exceptional surface articulation of walls, columns and ceilings remain for us to marvel at.

Many stunning religious and secular buildings were constructed, but as the Nawabs were Shia, magnificent imambaras were their special contribution to architecture. An imambara is the place where congregational assemblies are held to commemorate the sacrifices of Imam Hussain, the grandson of Prophet Muhammad who was martyred along with friends and male members of his family in the Battle of Karbala by Yezid, the ruler of Syria.

Of these buildings, nothing is grander than the Bara Imambara, built as a relief measure for a populace stricken by famine in 1784. Construction continued till the famine ended. It was a hard time for all, including the elite. To ensure that they were not embarrassed to be seen working for daily wages, it is said that payment was made at night. This gave rise to the saying, “Jisse na de Maula, use de Asaf-ud-Daula (he who doesn’t receive from Allah is provided for by Asaf-ud-Daula)”.

Nawab Asaf-ud-daula (1775-1797 CE) chose Kifayatullah as the main architect. The place chosen had the hut of an old woman, Laso Saquum, in which she kept a small tazia, a replica of the shrine of Imam Hussain. She was reluctant to give her land but when Asaf-ud-daula promised to keep her tazia in the imambara, she gave the land for free. The tazia is kept there even today. The architect only asked for land for his burial as fees. He is buried, along with Asaf-ud-Daula, in the central hall of the imambara.

Inside the Imambara

One can enter it through one of the two three-arched gateways separated by a grassy forecourt. Once you enter the second gateway, the sheer size and magnificence of the Bara Imambara affects you. On the left is the exquisite seven-level Shahi Baoli (stepwell), initially dug as a well during construction. As it was a perennial source of water, it was built as a guesthouse later. On the right is the Asafi mosque on a raised plinth flanked by minarets with an impressive flight of steps. It faces Mecca.

The main hall with its vaulted roof is one of the largest of its kind in the world. It is unsupported: no column, pillars, wood or iron was used here. Its unique architectural design gave birth to the famous bhool bhulaiyya, which is above the hall and came about unintentionally to support the weight of the building. This is a labyrinth of more than 1,000 passageways and 489 identical doorways. It is among the few existing mazes in the world. Its acoustics are such that a match being struck on the other side of the hall can be heard. I like exploring it but always with a guide. After all, one must live to explore another day!

source: http://www.thehindu.com / The Hindu / Home> Opinion> Columns> Where Stones Speak / by Rana Safvi / October 28th, 2018

Ateeqa Bano And Her Collected Pieces Of History | #IndianWomenInHistory

Amazing Feats, Arts, Culture & Entertainment, Community Involvement / Social Issues, Travel & Tourism, , , , , ,

Sophore, Srinagar , JAMMU &KASHMIR :

AteeqaFPMPOs27oct2018

In the summer of 2014, as I walked past colourful stalls at Srinagar’s exhibition ground, the quiet and less colourful one in a corner caught my attention. Its tables were decorated with vintage Kashmiri crafts, coins, and manuscripts. The stall belonged to Meeras Mahal, a privately run museum.

Image Credit: Meeras Mahal Blog
Image Credit: Meeras Mahal Blog

As I and a fellow acquaintance went closer, we were warmly welcomed by an elderly woman. She made us sit and introduced herself humbly. “Ateeqa Bano, founder of Meeras Mahal,” she said. She walked us through the collection and told us stories about her journeys to get each of these artefacts.

Ateeqa’s narration clearly revealed her love for her collection. She also learnt that my friend had preserved a handwritten Quran at his place. She took his contact and invited us to her museum at Sopore, nearly 52 km from Srinagar.

Weeks later, she appeared at his doorstep with a hope to acquire the handwritten Quran. She was unable to strike a deal here but she never gave up on her other pursuits. Her failure here demonstrates how difficult the curation of items was.

The journey of forming a museum took a shape after Ateeqa’s retirement from government services in 1998. 2001 onwards when the museum was set up, it meant everything. It was initially set up in a small room in BEd college at Noorbagh in Sopore and later shifted in 2008 it to present building, all run and maintained by her expenses.

AteeqaMPOs27oct2018

She would convince people to donate things to them and when the days weren’t all sunny, she would offer something in return. The goods would then be indexed and preserved.

Ateeqa’s looks resembled that of an ordinary Kashmiri woman but her hard-work and foresight went way beyond. I was never lucky enough to hear her story from her but even months after her death, the museum and the collection are reminiscent of her.

A corner in photo gallery contains collage pictures of famous women from Kashmir or who are in some ways associated with Kashmir. The wall, very diligently, compels one to think about the women from Kashmir who always remain unrecognized and unacknowledged and teaches us something that most other museums or schools don’t.

Her compassion for women’s rights was also revealed to me through the caretaker of the museum who said that Ateeqa had given her space to live close to the museum along with her children after she had been ousted by her in-laws. She recalls her days with Ateeqa Bano as a golden phase that she would never forget.

Ateeqa02MPOs27oct2018

Ateeqa Bano chose an unorthodox way of life. After her father’s death, she decided to live forever with her mother and never marry. The decision to not marry is still a rebellious one in Kashmiri society and for her to make this choice decades back must have invited criticism from all. Apparently, she never budged and continued doing what she loved doing the most – her work.

From Sopore in the North to Shopian in the South to every district in Kashmir, Ateeqa travelled to collect things that represented Kashmir in many ways. She would travel for days and nights to obtain seemingly mundane goods and preserve them as a way to preserve the past for forthcoming generations.

The travels were not always easy. “At times, she would walk for miles altogether and ride a horse too when roads were not motorable,” says Maryam Masoodi, wife of her nephew. At times, she would be dissuaded by family, considering the effort it required. Maryam remembers how she would tiptoe inside the house in evenings when she got back home late from her work, fearing reproval from the family members.

On one occasion when Maryam accompanied her to her house in Kupwara, she went to rooftops to look for collectables. Maryam and others at the museum were fascinated and realized that no one else could have done it.

Image Credit: Kashmir Life
Image Credit: Kashmir Life

Today, at the museum, the caretakers refer to visitors as guests and regale them with stories of Ateeqa Bano. Before her death, she would spend days here. She had also built a blueprint to develop the museum on modern lines. However, because of her illness, she couldn’t accomplish this task. Her nephews are very keen to make her dream come true while she rests in her grave in the lawns of the museum.

source: http://www.feminisminindia.com / Feminism In India – FII / Home> History / by Arshie Qureshi / December 27th, 2018

Uncommon gesture: Minister tips cook Rs. 25k, trip to Umrah

Arts, Culture & Entertainment, Community Involvement / Social Issues, Karnataka (under research project), Leaders, Travel & Tourism, , , , , , , , , ,

KARNATAKA :

Image Courtesy: The News Minute
Image Courtesy: The News Minute

Mangaluru :

Impressed by the culinary skills of a Mangaluru cook, Karnataka minister gifts a cash of 25,000 as a tip and a pilgrimage to holy Makkah to perform Umrah.

According to reports, the Minister for Food and Civil Supplies BZ Zameer Ahmed Khan on Thursday (October 18) was in the coastal district for an official review meeting.

He went to ‘Fish Market,’ a seafood restaurant in Lower Bendoor for lunch along with the President of Wakf Committee UK Monu, Former MLA Mohiuddin Bawa and UT Iftikhar Ali, brother of minister UT Khader.

Haneef Mohammed, the 48-year-old chef and co-owner of the restaurants served the minister the local delicacies such as stuffed Pomfret and Green Tawa Pomfret along with rice preparations.

Such was the flavour and aroma of the sumptuous meal that the minister made the cook sit next to him, fed him a mouthful from his own plate.

“As I entered, the minister greeted me warmly. He made me sit next to him, fed me a mouthful of food and told me that he had never eaten such an appetising course of fish,” said the father of six, reported TNM.

Post lunch, he promptly handed over a hefty tip of Rs 25,000 to Haneef with a promised that he would pay for his Umrah (Islamic pilgrimage) as well.

Haneef, who has been a chef for the last 18 years, serving fish as his speciality said he never come across by such benevolent offer.

He distributed Rs 25,000 out of the tip to all the employees at his restaurant.

The legislator, who holds the post of Minority Welfare alongside the portfolio of Hajj and Wakf, famed for his generosity.

source:  http://www.siasat.com / The Siasat Daily / Home> Bangalore> Featured News> News> Top Stories / by Safoora / October 23rd, 2018

British Currency May Soon Have Picture Of Noor Inayat Khan, A British-Indian Spy During WWII

Amazing Feats, Karnataka (under research project), Leaders, NRI's / PIO's, Travel & Tourism, World Opinion, , , , , , , , , , , , ,

UNITED KINGDOM :

British Indian World War II spy Noor Inayat Khan may be the next face of British currency. A campaign for the same is gaining momentum wherein people are demanding the spy to be featured on a redesigned 50-pound currency note.

The Bank of England had recently announced plans for a new polymer version of the large denomination note to go into print from 2020 and indicated that it would invite public nominations for potential characters to appear on the new note.

An online petition in favour of the campaign has already garnered over 1,200 signatures by Wednesday, calling for Khan, a descendant of Tipu Sultan and daughter of Indian Sufi saint Hazrat Inayat Khan, to be considered as the first ethnic minority British woman to be honoured on the currency.

“I am absolutely delighted that the story of Noor Inayat Khan has inspired so many people and that she has become an icon. Noor was an extraordinary war heroine,” said Shrabani Basu, the author of Khan’s biography ‘Spy Princess’ and founder-chair of the Noor Inayat Khan Memorial Trust.

NoorInayatKhan01MPOs21oct2018

The trust was set up in 2010 to campaign for a memorial in honour of the war-time spy, who had been recruited by Britain’s Special Operations Executive (SOE) and infiltrated beyond enemy lines before being captured and killed by the Nazis in 1944, aged only 30.

Khan’s memorial bust now has a permanent home at Gordon Square in central London, with the trust also lobbying for a commemorative blue plaque to mark the house nearby where she spent time with her family.

“I am very happy to support the campaign for Noor Inayat Khan on the 50-pound note. It is a way of keeping her memory alive and taking this story to the next generation. It will certainly make a big statement internationally because Noor was someone who believed in breaking down barriers,” Basu said.

The campaign has found the backing of prominent political leaders, historians and academics in the UK, with many taking to social media to voice their support.

“The new 50-pound note could have anyone on it. I’m backing Noor Inayat Khan. She volunteered for SOE, served bravely as an agent in occupied Europe, was eventually captured and murdered. A Muslim, a woman, a hero of WWII. This would celebrate her courage and all SOE,” said Conservative Party MP Tom Tugendhat, who is currently leading the UK Parliament’s Global Britain and India Inquiry.

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“Just returned from both East Africa and the Western Front and am more than ever aware of the shared service and sacrifice of men and women of many backgrounds. I would love to see Noor Inayat Khan on the new 50-pound note,” said Melvyn Roffe, Principal at George Watson’s College in Edinburgh.

Noor Inayat Khan, born in Moscow to an Indian father and American mother, was raised in Paris and Britain. As a Sufi, she believed in non-violence and also supported the Indian independence struggle.

But she felt compelled to join the British war effort against fascism and went on to become the first female radio operator to be infiltrated into Nazi-occupied France before she was captured, tortured and killed at the Dachau concentration camp in Nazi Germany.

“In this age, when we see a rise in anti-semitism, anti-Muslim hatred and intolerance, it is important that we continue to build bridges and show positive contributions from Britain’s ethnic and religious minorities, not least one of World War II’s almost forgotten heroes, a British Muslim woman,” said social activist Zehra Zaidi in the online petition she started to campaign for Khan as the face of the new banknote.

The 50-pound currency will be the final redesigned note to go into circulation after notes in the denomination of 5 and 10 have already been reissued in polymer. The new 20-pound polymer note will go into circulation from 2020 when the 50-pound is set to go into print to be circulated later.

“The bank will announce a character selection process for the new 50-pound note in due course, which will seek nominations from the public for potential characters to appear on the new note,” the Bank of England said.

With Inputs From PTI

source: http://www.indiatimes.com / India Times / Home> News> India / October 18th, 2018

Mohammed Hussain’s Mawa jalebi is a huge hit in the month of Ramzan

Arts, Culture & Entertainment, Business & Economy, Travel & Tourism, , , , , , , , , , , , , ,

Mumbai, MAHARASHTRA :

In a narrow lane, Burhanpur Mawa Jalebi is a 4×4 sq ft shop, no bigger than a kiosk.

Peak hours of business during Ramzan begin after 10 pm for Burhanpur Mawa Jalebi. (Source: Express photo by Vasant Prabhu)
Peak hours of business during Ramzan begin after 10 pm for Burhanpur Mawa Jalebi. (Source: Express photo by Vasant Prabhu)

Tight coils of pale yellow turn dark brown within minutes. As soon as they rise to the surface in the kadhai of hot oil, cooked to their thick core, Mohammed Hussain scoops them out with a frying ladle and deposits them in a shallow dish of thick sugar syrup. Immediately, the customers that have, until now, been watching Hussain intently, close in for the mawa jalebi.

During the month of Ramzan, Mohammed Ali Road in Mumbai wears a festive look. By 6 pm, the air is thick with a mix of aromas as all shops and stalls in the Khau Galli light up with fairy lights. Walk down the crowded lane and one notices that the jalebi is curiously missing from the scene. “That is because Mohammed Ali Road has only one jalebi shop, and not the regular variety but mawa jalebi, available at Burhanpur Mawa Jalebi,” says the cashier at Suleman Usman Mithaiwala, which sits at the Khau Galli junction.

In a narrow lane, Burhanpur Mawa Jalebi is a 4×4 sq ft shop, no bigger than a kiosk. Hussain and his brothers Mohammed Yusuf and Mohammed Hissar cater to the thickening crowd. “Mawa jalebi is a specialty from Madhya Pradesh,” says Yusuf between taking orders. “Our shop introduced Mumbai to this sweet, which is distinct,” he adds.

Made using mawa, arrowroot and milk, it is closer to gulab jamun in taste. “Its crispness comes from arrowroot, which gives the batter a better hold. Unlike the other jalebi, this doesn’t have the tinge of sour taste,” says Hussain.

Burhanpur Mawa Jalebi was started a decade ago by his uncle Nooruddin. “The recipe is original, passed on by a karigar in Mathura to our maternal grandfather,” says Hussain. This shop is a branch of the original, which has been in Burhanpur, for 45 years.

Open from 3 pm to 3 am during Ramzan and till midnight on other days, Burhanpur Mawa Jalebi prices its specialty at Rs 240 a kg. “With a hike in the rates of mawa and other ingredients, we will increase its price after Ramzan,” says Yusuf. Why not during the festive season, when they are bound to do good business? “Ramzan is a holy month; a time to reflect, cleanse self and do good. Acting greedy will bring us sin,” says Yusuf. Upon hearing the azaan at the nearby Minara Masjid, he takes a break and heads in the direction. It is time for namaaz before he breaks his fast.

source: http://www.indianexpress.com / The Indian Express / Home> Lifestyle / by Dipti Nagpaul D’Souza, Mumbai / July 09th, 2015

The palace of delights

Arts, Culture & Entertainment, Books (incl.Biographies - w.e.f.01 jan 2018 ), Travel & Tourism, World Opinion, , , , , , , , , , , , , , , , ,

Mandu (Dhar District), MADHYA PRADESH :

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No rainy day can be better spent than roaming around Mandu’s Jahaz Mahal, with Jahangir’s words as guide

“What words of mine can describe the beauty of the grass and green flowers? They clothe each hill and dale, each slope and plain. I know of no place so pleasant in climate and so pretty in scenery as Mandu in the rainy season,” wrote Jahangir in his memoirs.

On a misty morning in July, we entered the hilly kingdom of Mandu with these words echoing in my mind.

In 1401, Dilawar Khan, the governor of Malwa who was appointed by the Delhi Sultans, took advantage of the chaos resulting from Mongol attacks and declared his independence. He shifted the capital from Dhar to Mandu (Mandav) and renamed it Shadiabad, or City of Joy. When Ghiyasuddin Shah (1469-1500 AD) came to the throne, he decided that his father, Mahmud Shah I, had expanded the kingdom enough. All he wanted to do was enjoy life. Handing over the affairs of the kingdom to his son and heir, Nasir Shah, Ghiyasuddin Shah gave himself up to a life of delights. He was a connoisseur of food, and his recipes are sealed in an illustrated book, Nimatnama, that is with the British Library and has been translated into English by Norah M. Tiley as The Sultan’s Book of Delights.

A life of pleasure

Ghiyasuddin Shah wasn’t joking when he declared that he wanted to devote himself to a life of pleasure. He filled his harem with women who were trained in various disciplines for which they had an aptitude. While some were singers, dancers, painters and chefs, others were trained to be his guards and personal soldiers. He established a madarsa and educated the women to be proficient in religious as well as secular subjects. There were Qazis, schoolmistresses, hunters, scholars, embroiderers, and accountants among them.

We drove straight to Jahaz Mahal, a stunning building, named as such because its shape, when it fell on the water tanks surrounding it, looked like a ship.

All the guides and stories will tell you that Ghiyasuddin Shah built it to house his harem. A probably exaggerated figure of his harem was given by Jahangir, who wrote it as 15,000. That figure is gleefully quoted by local guides, with perhaps a hint of envy on their faces.

After Dilawar Khan established the Malwa dynasty he got architects and craftsmen from Delhi. The early buildings bear a stamp of the Tughlaq and Khilji architecture of Delhi.

The Jahaz Mahal, however, is a flight of imagination and takes yours along with it. I could see girls dancing and singing in the rain on the rooftop and in the courtyards, their shadows reflecting on the Munj Talao and Kaphur Taloo surrounding it.

The strains of Megh Malhar were flooding my senses, and in my mind’s eye I could see the arcades being lit up by the lanterns and lamps that were floating on the water, glimmering and dipping along with the wind, glowing like fireflies.

I could smell the heavily laden kadhais (woks), with samosas and baras being fried. As the illustrations of the Nimatnama show, the Sultan took a keen interest in, and was perhaps supervising, the correct temperature of the oil, the salt in the filling. How golden was the result?

Who knows? All I know is that I was transported back to the 15th century as soon as I entered the long, double-storied Jahaz Mahal through its main arched, marble entrance. At the back, every arch of the continuous arcaded 360-feet building opens on to Munj Talao. I don’t know how close it was originally to Kaphur (Camphor), now called Kapoor Talao, but now this is quite a distance from it. There are manicured lawns between it.

Initially it was decorated with glazed tiles and colourful friezes. Now we have the unfortunate graffiti that people are wont to inscribe on monuments. The cool corridors and pillared compartments were made for dancing and singing.

Nur Jahan accompanied Jahangir to Mandu in 1617 and the palace complex of Mandu enchanted the royal couple.

A magical bubble

Jahangir sent Abdul Karim in an advance party to repair the buildings. He was so pleased with the result that he rewarded him with the title of Ma’mur Khan (architect Khan). Mandu is a treasure house of water harvesting. There are also bathing tanks. There are two in this palace, on both the floors, shaped like a tortoise with steps going in. Now devoid of water, one can imagine women going to the toilet there, with roses and lotus flowers floating in the perfumed waters.

The roof has a few open pavilions and kiosks on its four corners. While I was there on the wet, open terrace, the mist came and blotted out everything around. We were trapped in our very own magical bubble.

source: http://www.thehindu.com / The Hindu / Home> Opinion – Where Stones Speak / by Rana Safvi / September 03rd, 2017

Mumbaiwale: Four local Islamic landmarks to check out – each with its own colourful history

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Mumbai, MAHARASHTRA :

An adult cinema turned mosque, a Muslim home turned film museum, a gorgeous blue masjid & a dargah cops love.

The one that now houses a film museum

National Museum of Indian Cinema, Pedder Road

On Pedder Road, one Muslim-owned mansion has been converted in a someday-to-be-opened museum for the movies. Gulshan Abad, the Victorian-Gothic villa, was built in the mid-1800s (a time when the main entrance itself offered a view of the Arabian sea) and was home to the Gujarati businessman Peerbhoy Khalakdina. The five-acre estate was eventually inherited by a relative Cassamally Jairazbhoy, whose third wife, Khurshid Rajabally, hosted cultural gatherings at the home in the 1920s.

Rajabally’s filming of a Haj pilgrimage makes her one of India’s earliest documentary filmmakers. Her son Nazir Ali made documentaries about Indian classical and folk music.

The home served as a hospital for WWII soldiers and in 1949 was briefly rented out to Jai Hind College before the institution found a permanent campus in Churchgate in 1952. But in 1950, the government confiscated the estate, declaring it an evacuee property after Partition.

The home, now restored, holds artefacts from India’s rich cinematic history. Alas, the launch has been tied up in bureaucratic red tape, and you can only get as far as the entrance.

The one that used to be an adult movie theatre

Deeniyat centre, Mumbai Central

The Deeniyat educational and charitable trust couldn’t be more wholesome. It aims to educate children, men and women in basic Islamic tenets and moral teachings related to the Koran and Sunnah. But the institution and mosque are housed in a building that once screened films of less salubrious taste.

In 1914, Ardeshir Irani and Abdulally Esoofally, both instrumental businessmen in early Indian cinema, bought a theatre near Nagpada junction on Bellasis Road. By 1918, they’d named it Alexandra Cinema and converted it into a movie hall, screening films from India and abroad. The single-screen movie hall screened films through the decades – silent films, new talkies, Technicolor hits, epics, Amitabh’s angry-young-man phase and blockbusters. But by the 80s, it was largely where you’d go to watch a B-grade or adult film.

In 2011, a developer bought the 15,000sqft property, turning it over to the non-profit. Deeniyat has spruced up the interiors, and even added a mosque inside. But the exterior – tiled roofs, wraparound verandahs – stays largely the same.

The one where the cops go to worship

Hazrat Makhdum Fakih Ali Mahimi dargah, Mahim

The scholar-saint who lived between 1372 and 1431, was the first commentator of the Koran in India. His books have focus on the philosophy of time and space. He was the Qazi or judge for the Muslims of Thana district.

But what makes him the patron saint of the Mumbai Police? Because he lived at a time when the Portuguese had possession of Salsette, the islands north of Mahim. A Portuguese sergeant would seek his advice and help on many cases. Many also believe that the site at which the Mahim police station stands is said to have been the saint’s home.

Until today, during the annual urs or fair held in his honour, it’s the policemen who lay the first ornamental sheet over his tomb at the dargah. On the urs days, devotees can also walk into the police station premises to pay their respects.

The blue one that catches the moonlight

Masjid-E-Iranian, Dongri

I first saw what is locally called the Mughal Masjid on a local-history tour of Bhendi Bazaar back in 2005 (Yes, I was a nerd before it was fashionable). I was lucky. It was a cool full-moon night and the blue tiles seemed to glow in the dark. For a minute, this tiny corner of Mumbai seemed like Morocco.

The mosque is 158 years old, built by a wealthy Iranian merchant, Haji Mohammad Hussain Shirazi, in 1860 and is maintained by a trust set up by his descendants. It has no dome, but two minarets, and a mosaic of blue tiles of every hue and pattern.

Inside, if you do get permission to enter is a lawn, a pond, a fountain, crystal chandeliers in the inner sanctum and Koran verses inscribed on the walls.

source: http://www.hindustantimes.com / Hindustan Times / Home> Mumbai / by Rachel Lopes, Hindustan Times / October 05th, 2018

Mosques in Dravidian-Islamic style: About the Islamic architecture in Tamil Nadu

Arts, Culture & Entertainment, Books (incl.Biographies - w.e.f.01 jan 2018 ), Community Involvement / Social Issues, Travel & Tourism, World Opinion, , , , , , , , , , , , , , , , , , , ,

TAMIL NADU :

The 17th Century Kilakarai Jumma Mosque
The 17th Century Kilakarai Jumma Mosque

The kallupallis are reminders of the region’s cultural and architectural traditions

Among the many inscriptions at the Vaishnavite shrine of Adhi Jagannatha Swamy at Thirupullani, about 10 km from Ramanathapuram in southern Tamil Nadu, there is one about a grant for a mosque. This particular inscription of the late 13th Century by the Pandya King Thirubuvana Chakravarthy Koneri Mei Kondan, describes the grant made to the Muslim Sonagar, to build a mosque at Pavithramanikka Pattinam. While no one today has a clue as to the exact location of Pavithramanikka Pattinam, the region has many ancient mosques like the rest of Tamil Nadu. What is unique about these mosques is that they were all built of stone, in the Dravidian architectural style with Islamic sensibilities.

Unlike north India, Islam came to the south through maritime spice trade even as it was spreading across Arabia in the 7th Century. The Muslims who were traders enriched the country with precious foreign exchange, and hence were accorded a special place by the Tamil rulers of the day, and often received grants to build mosques, like the one at the Adhi Jagannatha Swamy temple.

As mosques are called Palli Vaasal in Tamil, and they were built of kal, the Tamil word for stone, they came to be locally known as kallupallis. These kallupalliswere essentially built more like mandapams, better suited to Islamic requirement for the congregation to assemble and stand together in prayer.

Engraving of Tamil calendar for prayer found inside the mosque
Engraving of Tamil calendar for prayer found inside the mosque

With guidelines for the construction of mosques being simple – such as prayer facing Mecca, no idol worship and clean surroundings, the masons who worked on these mosques under the supervision of religious heads restricted themselves to carving floral and geometrical motifs instead of human figures as in a temple. “While the raised ‘Adisthana’ of the Hindu temple was retained, there were no ‘Garbha Grahas’ and no figurines carved on any of the pillars” says Dr.Raja Mohammad, author of Islamic Architecture in Tamil Nadu.

For more than a millennium, hundreds of such mosques built in the Dravidian Islamic architectural style came up across Tamil Nadu, often with the help of grants from the rulers of the day, ranging from the Cheras, the Pandyas, the Venad kings and the Nayaks to the Sethupathis of Ramanathapuram. Across Tamil Nadu, wherever Tamil Muslims lived in large numbers, from Pulicat near Chennai to Kilakarai, Kayalpatnam, Kadayanallur, Kottar, Tiruvithancode, Madurai, etc., one finds these beautiful kallupallis.

Amongst these kallupallis, though not the oldest, the most beautiful mosque is to be found at Kilakarai, near Ramanathapuram. A medieval port town with a predominant Tamil Muslim population, Kilakarai has many mosques built during different eras spanning many centuries. The one built towards the end of 17th Century is the most beautiful of them all. It is believed to have been built by the great merchant and philanthropist Periathambi Marakkayar, also known as Seethakkathi, whom the Dutch records speak of as a great trader having considerable influence with the Sethupathis, the then rulers of Ramanathapuram.

The mosque built in the Dravidian architectural style of the late Vijayanagara period, has elements that are specific to native traditions. Like many other kallupallis, this mosque too has Podhigai, the floral bud detailing on the pillar corbels, which represent positivity and auspiciousness, an essential part of the cultural beliefs of the land. An interesting engraving found in this mosque is the Tamil calendar for prayer.

What is unusual about this calendar is that, timings for prayers in the various Tamil months are marked in Tamil numerals, a rarity, found in just a few other mosques in southern Tamil Nadu.

These mosques, deeply embedded in the Tamil culture, were also places where Tamil flowered. Further down south, at the Kottar mosque in Nagercoil, an early Tamil Islamic literary work, Mikuraasu Malai, was presented to the assembled congregation by Aali Pulavar in the late 16th Century.

Mikuraasu Malai, a palm leaf work
Mikuraasu Malai, a palm leaf work

Mikuraasu is a Tamilised form of Mihraj, and narrates a significant event in the life of Prophet Muhammad (Pbuh), his ascension to the heaven. Even after 400 odd years, the tradition of singing Mikurasu Malai on the eve of Mihraj continues to this day at the Kottar mosque. Other literary works such as Seera Puranam, a Tamil epic on the history of the Prophet, are also recited across mosques in Tamil Nadu.

The Kallupallis in Tamil Nadu stand as proud reminders of not just an architectural tradition but also of cultural traditions, where Islam effortlessly adapted itself to the native customs.

source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture – Anwar’s Trail / by Kombai S. Anwar / November 23rd, 2017