Monthly Archives: November 2013

Soldier from Badami killed in freak accident

Salim Walikar, a soldier of the Indian Army and a native of Khaji Budhihal village in Badami taluk, was killed in a freak accident during weapons testing in Nagpur on Tuesday. His mortal remains will be laid to rest with full military honours at his hometown on Thursday.

Walikar, who had married four years ago, is survived by his wife Mumtaz Begum, two children and parents Fakruddin Saab and Jaibunnisa. Salim, who had joined the Army in 2002, had visited his home in August to celebrate Ramzan.

source:  http://www.deccanherald.com / Deccan Herald / Home> State / Bagalkot , DHNS / November 28th, 2013

New kid on the block: Shariq Hassan

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He’s just going to turn 19 next month. But looks like he’s already chosen the career he wants to pursue. And there are  no prizes for guessing what that is. With actor parents Riyaz Khan and Uma Riyaz Khan, the young Shariq Hassan has also found his way into films, with a debut in Kalsan Movies’ Pencil.

The youngster reveals that it’s not just his parents who are actors.  “My maternal grandmother Kamala Kamesh is a character actor, who  has acted in around 400 films in various languages.” But surprisingly enough, being an actor was the last thing on Shariq’s mind. “I wanted to be either a football player or a cinematographer, since I play football regularly and love photography,” he says. The youngster is currently pursuing a BSc in animation. Shariq  has modelled for Univercell and Neengalum Vellalam Oru Kodi, earlier. It was director Mani Nagraj, who is a friend of his father, who made the offer after seeing his photos. “The offer came on my dad’s birthday. He had seen my photos on Facebook. We met up the next day at a coffee shop. I was quite nervous about the idea of acting on big screen. But when I heard that GV Prakash is debuting as hero in the same film, I was excited  since it would be a new experience for both of us. It seemed like the perfect project, with a character I could easily get into as well,” he says with a smile. Shariq plays  a schoolboy with various shades in the movie. So what advice did his parents give him? “Dad told me ‘don’t be nervous. Just be casual and be yourself. Above all, be dedicated to your profession. It’s a new life for you now,’ “ he signs off.

source: http://www.newindianexpress.com / The New Indian Express / Home> Entertainment> Tamil / by Rinku Gupta – ENS / November 27th, 2013

Amitabh Bachchan congratulates Salman Khan!

Shehanshah of Bollywood Mr Amitabh Bachchan congratulated Dabangg superstar Salman Khan  who recently completed 25 glorious years in the industry.

Mr Bachchan and Salman have worked together in films like Baghban, Baabul and were last seen together onscreen five years ago in God Tussi Great Ho.

While the two stars have not shared screen space as often but they both have always maintained cordial relationship. So when we caught hold of Mr. Bachchan at Kaun Banega Crorepati press conference, he didn’t shy away from acknowledging Sallu’s achievement.

“My best wishes to him. 25 years in Bollywood is not a small thing. Today he is one of the top male actors in the industry. So congratulations to him” said the superstar.

source: http://www.timesofindia.indiatimes.com / The Times of India / Home> Entertainment> Bollywood> News & Interviews / by ANI / August 26th, 2013

‘Salman bhai has the power of forgiving’

Sajid, 42, and Wajid, 40, are real brothers who are not just bonded through their music, but also through values instilled by their father. While Wajid composes, Sajid  arranges, melody being key to both. They are both protective about each other and while Sajid is most attached to Wajid, Wajid’s soft corner is clearly his mother. While they won their first Filmfare award for their music in Dabangg, Deewana and Partner too remain their favourite albums. Even though their music of Jai Ho is still to release, their song Saamne Hai Savera from Bullett Raja is already a hit. Over an hour-long conversation with TOI they speak about their father’s khuddari, Sonu Nigam’s hoshiyari and Salman Khan’s dildari. Excerpts: 

You come from a musical family. Let’s talk about your childhood? Sajid: While we were both born and brought up in Mumbai, our grandfather Ustad Abdul Latif Khan sahab was a musician from Peshawar, Pakistan, who moved to Saharanpur post partition as my grandmother was from India. Our father Sharafat Ali Khan, from a very early age, played the dholak and by the age of 10, he became famous as the leading dholak player in Western UP belt and decided to move to Mumbai. He was picked up by top music directors and travelled the world, performing shows with Ashaji and many other leading artistes. Our nana Padma Shri Fayaz Ali Khan sahab from Kirana gharana was a big man, who at that time owned a flat in Mumbai and taught music to half the industry. He heard my father perform and decided to get his daughter married to him. From a young age, I learnt the tabla and Wajid, the guitar, and as children we would sit with my nana and play with big artistes without realising that. Even though our father was uneducated, he was a thorough musician and knew how to impart musical education to us. He did that throughout his life till four months back, when he passed away at just 63, due to a second bypass surgery that he could not survive.

Let’s talk about your father? Sajid: My father being a top musician never had time, as he always had so much work. While usually kids go to class to learn music, we got everything on a platter and learnt informally and unknowingly, a lot. We were never tied up to music and were introduced to music, ranging from Michael Jackson’s Thriller to Nusrat Fateh Ali Khan sahab’s music. He would say, ‘You should be a versatile artiste, whether you are a singer, musician or a music director. He was a believer in melody and would always say that in a song the ‘aha’ comes only if it has melody. And he instilled the importance of melody in our minds. Papa wanted us to always be perfect. He would demoralise us even when we would make great songs and say, ‘halka hai’. Wajid would often stay up all night practising and perfecting himself, always thinking why his father said ‘halka hai’. When we were young and if we were wrong, he would never hit us. Even if he hit us, he would hit us very reluctantly thinking that we shouldn’t get hurt. But if I was down, and if I cried, that is the time he would slap me really hard and say, ‘Mard bache rote nahi.’ He wanted us to be men. For him, being a man was loving your people, being responsible and always giving. He was a liberal man, who just wanted us to be independent and not be dependent on anybody. He would always encourage us to share our knowledge and would say, ‘Allah gives only a few people the luck to be responsible and look after others. He gives courage to people who have the heart.’ In our hearts, we know today that we are responsible. He was our father, but also our friend. Before dying, he hugged us and said, ‘In this world there is no bigger wealth than brothers staying together and being together. There is nothing greater than blood.’ We both bought our flats due to his confidence that he would stay with the both of us, but he died before that. Today, nobody in the world can control me, except for my father, and I miss his domination. I get scared now that I don’t feel scared of anybody. I never used to show him that I was scared of him but now that he is not there, I feel scared that he is not there to control me.

Did he play with you as a musician in your shows? Sajid: He was very khuddar. Even when we became Sajid-Wajid, he would insist on going for shows with us only as a musician and not as our father. I would feel shy of him performing with us and felt that he being our father should accompany us as our father and not as a musician. He got annoyed and said, ‘Partner, you better give my payment and take me as a musician.’ He would want us to deduct money for my mother’s ticket if she accompanied us as according to him she was his wife and his responsibility. He would never come as our father and never wanted any money from us.

Both of you are quite different. Do you fight? Wajid: Sajid bhai, being the oldest, was allowed more liberties and was my father’s favourite child. He is very impulsive and can be easily misunderstood as many a time he will not think before speaking, is happy-go-lucky and a lovely human being. I am usually calm and try and listen before I judge people. As a brother, I know him well and understand him, but knowing his nature I have to take more responsibility and know that there are ways in which you can speak the truth. How you put it across makes a difference.

Sajid: We do fight a lot, but in today’s world, you don’t get brothers like Wajid. God has stopped making them. He is extremely respectful and I love him the most in the world.

Wajid: There came a time when I would get irritated with Sajid bhai. Salman bhai sensed that and I told him, ‘I don’t like when people misunderstand Sajid bhai.’ Salman bhai said, ‘If you want to be happy, leave him alone.’ From then on I have groomed myself to let go.

How did you meet Salman Khan? Sajid: I would get chucked out of the house by my father often. I was in college when on one such occasion, he again told me to leave the house as I had had an argument with him at the time of riyaz in the morning. I went to a pool place in the afternoon where I found myself to be all alone. I was very upset wondering why my father did that to me even though I tried as much as I could to listen to him. Suddenly, I saw Salman bhai walking in and there was just the both of us. Even though he did not know me and I was a stranger to him, we ate lunch together. That was his greatness as only he can do that with a stranger. We formed a friendship that was God send. After so many years of knowing him, I can say that ‘Zingadi mein koi toh hai jisko main apna bada bhai bol sakta hoon.’

How did you get your first break in Pyaar Kiya Toh Darna Kya? Sajid: Sohail bhai gave us our first break. Sohail bhai used to play pool and we were in the same group and became friends. At that time, we were struggling music directors. The next day I would call him as a struggler and seek time as a music director without telling him that we played pool the night before. This would continue for some time where at night we would play pool together and the next morning again, I would call him asking for time as a struggler and he would make excuses till one day he gave into my perseverance and called us. He laughed when he saw me and of course gave us our first film to compose music for.

Salman has had a big role to play in your life. What is he like? Sajid: He is like any elder brother you look up to. After God Almighty and our parents, it is Salman bhai for us and we have learnt a lot from him. His standards for music are very high and he pushes you to do your best. Many of our songs have become hits due to his suggestions. Salman bhai is very giving and has the power of forgiving.

He can shock you with the range of songs he likes and he will always go with the best song for the situation as his understanding of scripts is very deep. Once you are associated with him, he is protective about you. He is possessive about people he loves, as he is about his brothers. The special thing about him is that he is not possessive about your freedom.

Who is your favourite singer? Wajid: Sonu Nigam. More than a singer, I love him like a brother and respect him. He is somebody who you can count on in difficult times. He is very musical and knowledgeable and is both a teacher and a student. He is open to a lot of discussion as far as music is concerned and never ceases to surprise you as a singer.

source: http://www.timesofindia.indiatimes.com / The Times of India / Home> Entertainment> Musice> News and Interviews / by Priya Gupta, TNN / Wednesday – November 27th, 2013

‘I like to work leisurely’

Full Circle: Imran Khan. / Photo: V. Srinivasa Murthy / The Hindu
Full Circle: Imran Khan. / Photo: V. Srinivasa Murthy / The Hindu

Actor Imran Khan remembers growing up in Bangalore, reveals where his comic timing comes from and tells us what traits he shares with uncle Aamir Khan

Everyone sees a little bit of Aamir Khan in him. He has played young Aamir in his films. While Imran Khan is remembered for his deadpan sense of humour in Delhi Belly, he has also played the Casanova in I Hate Luv Storys. He partners with the same producer-director team of Karan Johar and Punit Malhotra in Gori Tere Pyaar Mein, playing a south Indian. In Bangalore recently for the promos, he talks of how he enjoyed time in a city he’s familiar with. Excerpts.

Where does your sense of comic timing come from?

I actually grew up watching old British comedy. My dad is a huge fan of it…so I grew up watching Monty Python kind of things. My taste is a result of that. I used to read, and still read, a lot of P.G. Wodehouse so all of this moved my sensibilities and tastes towards slightly dry deadpan British humour.

How often do you get to use it in films you do?

Infrequently. Something more broad-stroke and louder, generally, is what is expected. Because that is generally our cinematic language. It’s a bit of an adaptation…

How similar are you to your mamu Aamir Khan?

I wonder, truth be old. I think there are a lot of similarities. I think we both are very stubborn people. Both of us are extremely particular about doing things in a certain way. I think I’m more easy going than he is in a lot of ways.

And what’s with the dramatic punk haircut?

I was bored last night. I had nothing to do. I don’t have any shooting commitments right now. My hairstylist who’s a very close friend of mine, was over for dinner. I was like ‘Listen let’s do something fun’. She was like ‘How fun?’ I said ‘Go wild’. Yeah so I have a mohawk now …

You play a south Indian in Gori… and you’ve covered most stereotypes…the veshti-mundu, wearing vibhuti, …what else? Eating noodles with curd too?

No, we haven’t done that. Sriram (his character in Gori…), although he’s technically south Indian, he doesn’t really fit in. He’s grown up abroad. He’s considered the black sheep of his family because he has a kind of aversion to his own culture.

Did you do any “research” for this film?

Actually none. I grew up in Bangalore. It was a nicer time then. Bangalore was where I had my first girlfriend and my first breakup. I did my schooling here, a part of it, at the Valley School between 1998 to 2000. It’s actually sweet. We started filming in Bangalore and we finish the last day of film promotions in Bangalore. We’ve come full circle.

Where did you shoot in Bangalore? Did you get time to revisit old favourites?

While shooting, I took the cast to my favourite joints. I used to hang out in Nagarjuna on Brigade Road… When we landed here, that was my first priority. I wanted to take them all there. First day we went there, everyone lost their mind, and thereafter we were there at least twice a week. They have two levels in the restaurant, and upper level was unofficially reserved for Dharma Productions. We shot outside Bangalore, at Tamarind Tree, then we shot our club song ‘Dhat teriki’ in Skyye Lounge Bar in U.B.City, Hardrock Café, a bowling alley called Blu-O in Orion Mall, and lot of stuff on the streets. Then I took them to Corner House. Death by Chocolate gets a lot of press, it has a great PR agency, but their Cake Fudge is actually better.

Are the kind of roles coming your way what you really want to do?

I’m getting to do very interesting stuff. Perhaps not the kind of stuff exactly suited to me but stuff you would not really see me in. Films like Matru Ki Bijleee Ka Mandola and Once Upon Ay Time in Mumbai Dobaara! — these are roles that you would not think of casting me in.

Your next project?

Next, I’m doing Bhavesh Joshi directed by Vikramaditya Motwane…and that’s it for the year. I like to work at a more leisurely pace. . It takes a bit of time for me to get into and get out of a film. This year I’ve gone from Matru…, to Once Upon…, into Gori… and turned into a cake fudge. I’m actually on a strict diet. I’m doing a body transformation programme. I have a very cruel trainer…. You should see it under here (he motions towards his jacket with a straight face). It’s all sexiness.

source: http://www.thehindu.com / The Hindu / Home> Features> Cinema Plus / by Bhumika K / November 25th, 2013

Zaheer Khan returns to Test squad, Gautam Gambhir ignored for South Africa Tour

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Veteran pacer Zaheer Khan made a comeback to India’s Test side after close to a year but opener Gautam Gambhir was ignored as the selectors today announced the squads for the Test and ODI tour of South Africa starting December 5.

The 35-year-old Zaheer, who had been battling fitness issues and was even dropped from the BCCI’s list of contracted players, was chosen in the 17-member Test squad after taking 13 wickets in three Ranji Trophy matches at an average of 19.84 this season.

Gambhir, however, had no such luck as the opener, who has been downgraded to group B in the list of contracted players, failed to find a place despite a healthy average of 74 plus in the ongoing Ranji season. “His name was discussed, in fact, we discussed a lot of things. Even skipper M S Dhoni was consulted and all the players were selected unanimously,” BCCI Secretary Sanjay Patel said after a meeting of the selection committee here.

The month-long tour featuring three ODIs followed by two Tests is India’s first international assignment after the retirement of iconic batsman Sachin Tendulkar.

Baroda batsman Ambati Rayudu, a seasoned domestic player, has been named in both the Test and ODI squads, while veterans like Virender Sehwag and Harbhajan Singh continued to remain on the sidelines. The 28-year-old Rayudu, who is currently a part of the team in the ongoing ODI series against the West Indies, has played four one-dayers for India.

There were no major surprises in both the squads with the selectors opting to go in for a pace-heavy bowling attack considering the conditions in South Africa.

Pacer Ishant Sharma, who has been struggling for form, was retained in both the squads. The gangling speedster took a match-haul of nine wickets in Delhi’s win over Haryana in a Ranji Trophy match yesterday.

Another fast bowler Umesh Yadav, who had been dropped due to poor form in the recent series against Australia and West Indies, has been recalled in both the Test and ODI squads largely becaue of his ability to bowl fast.

An off-colour Yuvraj Singh has managedt o hold on to his ODI spot despite having an indifferent show against Australia and the ongoing series against West Indies.

Rookie Haryana pacer Mohit Sharma has also been included in the 16-member ODI squad. Wriddhiman Saha, a regular in the overseas Test tours, was retained as a reserve wicketkeeper, pipping Tamil Nadu’s Dinesh Karthik and Gujarat’s Parthiv Patel. The Test squad has seven specialist batsmen, two wicketkeepers, five pacers, two spinners and one all-rounder in Ravindra Jadeja.

While Shikar Dhawan and Murali Vijay are certain to open the innings, Virat Kohli is expected to take the number four slot vacated by Tendulkar. Cheteshwar Pujara will bat number three, while Rohit Sharma will take the number five slot, followed by Ajinkya Rahane or Ravindra Jadeja depending on the team combination. Zaheer is expected to feature in the playing XI while the quartet of Mohammed Shami, Ishant Sharma, Bhuvneshwar Kumar and Umesh Yadav will be vying for the two remaining slots. R Ashwin is expected to mantle the spin duty and bat at number eight, while Pragyan Ojha may get a chance depending on the pitch conditions.

The three ODIs are scheduled to be held in Johannesburg, Durban and Centurion on December 5, 8, 11 respectively. This will be followed by a two-day practice match against South African Invitational XI at the Willowmoore Park in Benoni. The first Test match starts on December 18 at the New Wanderers while the ‘Boxing Day’ Test from December 26 will be played at the Kingsmead in Durban.

Test squad: Mahendra Singh Dhoni (captain), Murali Vijay, Shikhar Dhawan, Cheteshwar Pujara, Virat Kolhi, Rohit Sharma, Ajinkya Rahane, Ambati Rayudu, Wriddhiman Saha, Zaheer Khan, Bhuvneshwar Kumar, Mohammed Shami, Umesh Yadav, Ishant Sharma, R Ashwin, Ravindra Jadeja, Pragyan Ojha

ODI Squad: Mahendra Singh Dhoni (captain), Shikhar Dhawan, Suresh Raina, Yuvraj Singh, Virat Kolhi, Rohit Sharma, Ajinkya Rahane, R Ashwin, Bhuvneshwar Kumar, Mohammed Shami, Umesh Yadav, Ambati Rayudu, Ravindra Jadeja, Ishant Sharma, Mohit Sharma, Amit Mishra.

source: http://www.dnaindia.com / DNA / Home> Sport> Report / by PTI / Monday – November 25th, 2013

Cocoon art in full bloom

The recently concluded Krishi Mela in Bangalore had a head-turner. Displaying bouquets of multihued flowers, garlands and greeting cards, all created out of used and damaged cocoons, the Cocoon Craft stall was stunningly attractive. Holding bunches of artificial flowers modelling tulips, dahlia and rhododendron, the stalls were swarmed by many a well-heeled women who were attracted to the novelty of the art.

CocoonMPos26nov2013

Cocoon shells, either damaged or discarded from silk reeling units, have traditionally been considered a waste product which are dumped in compost pits for their protein content. But no longer so. They are being turned into art by a growing breed of students pursuing sericulture.

The project to make art out of cocoon shells is the brainchild of Dr Fatima Sadatulla, a teacher in the Department of Sericulture at the University of Agricultural Sciences (UAS) in Bangalore. Fatima says the idea of using such an unusual material for craftwork came to her by chance. During her days as an undergraduate student at the UAS in the late 1980s, sitting amid cocoons scattered all around her, she would cut a few shells into various shapes, paint them and create artistic motifs for greeting cards. The pastime grew into a hobby, and, still later, began to take shape as an artistic skill.

Having joined the department as a teacher a few years later, she began to train her students into collecting damaged or waste cocoons from granages and cut them into various patterns, chiefly flowers. She began training students of sericulture four years ago under an entrepreneurship scheme. She would collect damaged cocoons from the Central Silk Board office in Madiwala to teach students. She would even train women farmers during her project work in sericulture farms.

The production of this craft has also been undertaken on a larger scale at the College of Sericulture in Chintamani by Vijeyendra who teaches there and was among the early trainees at the UAS. The college has even organised training camps  in several villages around Chintamani. He says two NGOs, Aadhar and Swabhimana Sangha in Chintamani and Kolar taluk respectively, have begun producing bouquets and garlands in large quantities and are selling them in shandies in the nearby towns of Andhra Pradesh and Tamil Nadu.

Several physically disabled persons too have been trained in the art. The college which received finance from the UAS towards a revolving fund, is now able to generate enough revenue to sustain its activities. Vijeyendra says the bouquets and garlands could have a shelf life of two years. But careful preservation under glass cases can ensure a life span of ten years.

The transformation of cocoon shells into such arts and crafts certainly signals the emergence of a new art form. With districts of Old Mysore being the bastion of silk farming, the new art form has unlimited prospects for expansion.

source: http://www.deccanherald.com / Deccan Herald / Home> Supplements> Spectrum / by M A Siraj / DHNS – November 26th, 2013

‘The Great Akbar’ of Independence struggle

Azad’s greatest gift was to postulate an equation between Islam and Indian nationalism on the one hand, and between Islam and the universal principles, on the other

Height about 5’ 5’’; exceptionally thin; noticeably fair; age about 33 years; has practically no hair on his face though he does not shave; long sharp face with prominent nose. This is the “official” description of Maulana Abul Kalam Azad, the golden boy of the Independence struggle. With his confidence, charm and sincerity, Azad impressed people of his age group with his sharp and swift mind. Later in years, he especially cultivated a look of venerable age to give a suitable background to his learning. His genius and method were too individual to found a school, but his writings and lectures exerted a profound influence owing to the breadth of view and patient learning. Rajaji described him as ‘The Great Akbar of Today’.

Unease with conformity

The study of Azad’s early life is, however, hampered by a deficiency of data. But there is ample evidence to indicate his discomfort with the traditional order of things. This was enough to rouse his scorn. So is his unease with taqlid or conformity. Is Islamic doctrine so rigid and dogmatic that it leaves no room for intellectual creativity? With this bent of mind, he broke off the shackles of fossilised theology, and critiqued all those elements in theology that inhibited the progress of empirical science and the unlimited process of their utilisation. His views on the spread of a materialistic way of life and the stagnation and retardation of religious life became well-known, but this phase in his life — when he “saw in religion only ignorance” — proved to be momentary. Once he regained his faith, he worked out a synthesis between the reformist and orthodox philosophies. He did not go too far in this journey, but went far enough to disturb thestatus quo.

The awakening at Aligarh’s M.A.O. College fostered ideas on reforms, interpretation, and innovation among the Muslim intelligentsia. Syed Ahmad Khan moulded young Azad’s thinking. He did his very best to read his writings and admired them. He also admired Shibli Nomani, founder of the Nadwat al-ulama in Lucknow. And when the Nadwa alim turned pan-Islamist after the European intervention in the Balkan States, Azad too stressed that the bonding with the Turks was unique insofar as they were a part of the Islamic community as well as its last political centre.

One has only to cast a glance at some of Azad’s early writings to realise that he entered the valley of doubts and uncertainties to demolish the suppositions that had guided theologians. He opposed the ‘scripturalists’ or the ‘literalists,’ because they advocated rigid adherence to the fundamentals of Islam, as literally interpreted from the Koran and the Sunna. His interest in the externals of religion, too, diminished. At the same time, he was consistent in his authentic inward piety. Just as he was ready to comprehend the whole Koran within the verses of the first Surah, so he conceived and pursued the politics of Islam within the Koran’s dimension of piety.

The Muslim communities were divided by geographical situation, by differences of dialect and custom and, in some cases, by the deeper chasm of sectarianism, but pan-Islamism inflamed their passions, a feeling that, although they had been ground down under the wheels of history, they thought of themselves as a mighty society spread worldwide. Azad, for one, was attached to the common inheritance of Islamic culture and explored the treasures of thought and emotion which belonged to the umma. He proceeded naturally from the conviction that education, liberalism and faith in progress were requisites for Muslim empowerment.

Setting a great example of moral leadership during World War I, Azad became the soul of the Congress party. He opposed Partition heart and soul, while a great body of his compatriots clamoured for a Muslim nation. He could not conceal the contempt that he felt for them, and at no stage in his public career did he stoop to compromise. The spectacle of Indians working out a new way of life and boldly defying the accumulated prejudices and animus of the past was one which aroused his interest and curiosity. Without looking around to find a mirror that might reflect radical faces, he identified pluralism to be the weapon of the strong and the weak against the British. He preferred the conviction of Dara Shikoh, the eldest Mughal prince and a victim of Aurangzeb’s conspiracy, that in the search for the ultimate Truth, mosques as well as temples validly mediate the one candle’s light.

Harmonious and creative Islam

Azad’s greatest gift was to postulate an equation between Islam and Indian nationalism on the one hand, and between Islam and the universal principles, on the other. He did so to enlarge our conception of what is possible, enrich our intellectual imagination, and diminish dogmatism which closes the mind to ijtehad. With his belief in an integrated, harmonious and creative Islam, he adumbrated the outlook of a religious humanist, very much in the line of the humanism embodied in the classical Persian Sufi poetical tradition. He envisaged an Islam not of sectarian belligerence but of confident partnership in a cultural and spiritual diversity where a strident divisiveness would be its betrayal.

Maulana Abul Kalam Azad, Minister of Education in free India and sponsor of an ‘official’ history of the 1857 Rebellion, referred to the two communities standing ‘shoulder to shoulder’ to liberate themselves from the British yoke. Why did Azad and others think that it was worth their while to make this point? Probably, to record the regret that “the British swept away and rooted out the late Mughals’ pluralistic and philosophically composite nationalism,” and to bemoan that they ensured that common action by Hindus and Muslims would in future not be accomplished easily.

Shakespeare’s view of life in one of his plays is that, “round the lonely great ones of this earth there is inevitably a conspiracy of envy and hatred, hatched by the base and common sort.” On December 30, 1941, the gates of Naini prison outside Allahabad opened for Azad; on August 9, 1942, the new gate of the old Ahmednagar Fort prison closed behind him.

Earlier, its mention would invariably bring to his mind several forgotten footprints of time and presented, page after page, six centuries of history. And yet, “in this world of thousand caprices and moods, so many doors are opened to be closed and so many are closed to be later thrown open.” Hence, between July 15 and August 5, 1942, he went around the country for consultation with the Congress leaders.

Azad spent a total of 10 years in jail. Thrown into a new world whose geography did not extend beyond a hundred yards and where the population was no more than 15 faces, he was overwhelmed by the morning sunlight and the evening darkness. Like Antonio Gramsci, Azad conceived of writing something that might absorb him and give a focus to his inner life. For this, he read a great deal. He drew the guidance and motivation from the reading of Scriptures. It is important to realise — and important particularly for the full knowledge and comprehension of times past — that internment kindled Azad’s Islam into warmth and fervour. Like Aurobindo Ghose who found God as a result of the wrath of the government, he felt comforted and serene. And like the future sage of Pondicherry, he found it impossible to explain the love of motherland or sacrifice to the thick-skinned Britons in India.

Independence came with Nehru’s ‘tryst with destiny’ speech, but Partition plunged Azad’s spirits into depression. “There is no more certain test of statesmanship,” wrote H.A.L. Fisher in his History of Europe, “than the capacity to resist the political intoxication of victory.” Though hurt and wounded by a colossal tragedy, the otherwise distraught Azad carried his tribulations with a stoical dignity and pursued his active role through stresses of inner disquiet. Ultimately, he suffered for the sake of truth. He had noted in one of his many elegant passages that, “the flowering trees whose offspring once represented beauty and grace were now lying in a heap in a corner, like burnt out bushes and trampled up grass.” The story which opened with the bright colours of the Al-Hilal and Al-Balagh closed in deep shadow.

Like the Urdu poet, Mir Taqi Mir, Azad could only voice affirmation of the historical process or protest against the iniquities of time and the suffering it caused to the sensitive mind and soul. He had indeed no small talk, and no time for it, or for little human foibles, but in his famous speech after independence at the Red Fort in Delhi, he lambasted those Muslims who threw themselves more and more deeply into the communal vortex. At the same time it must be said to his credit that, in the turmoil raging around the Muslim communities, Azad secured them the comfort of peace and security. Lesser men found conflict in the rich variety of life, but Azad was big enough not only to see the essential unity behind all that diversity but also to realise that only in this unity can there be hope for India as a whole and for those great and varied currents of national life.

(Mushirul Hasan is a historian of modern India. He has edited a book Azad’s Legacies: Islam Pluralism and Nationhood (forthcoming)

source: http://www.thehindu.com / The Hindu / Home> Opinion> Lead / by Mushirul Hasan / November 08th, 2013

On 125th birth anniversary, Maulana Abul Kalam Azad lies a forgotten man

Bengali political theorist Manabendra Nath Roy (1887 - 1954) addresses the Indian National Congress, circa 1940. On the right is Muslim statesman Abul Kalam Azad (1888 - 1958), the President of the Congress
Bengali political theorist Manabendra Nath Roy (1887 – 1954) addresses the Indian National Congress, circa 1940. On the right is Muslim statesman Abul Kalam Azad (1888 – 1958), the President of the Congress

Its red sandstone boundary walls are defaced with posters and betel juice marks. Shopkeepers hang cases full of clothes and jewellery on them. Inside the walls the dry fountains gather dust and filth. This is the state of the maosoleum of Maulana Abul Kalam Azad, independent India’s first education minister, whose 125th birth anniversary will be observed Monday.

Situated in the heart of the bustling Meena Bazar, the garden-tomb of India’s prominent independence leader and close associate of Jawaharlal Nehru, the country’s first prime minister, the mausoleum is surrounded by numerous shops selling food, mobiles, CDs, clothes and other knick-knacks. Open sewers and a dump yard nearby tell a tale of unbelievable civic and governmental neglect.

Apart from the apathy of the authorities in maintaining the site, what stands out is that even most residents are not even aware about the mausoleum of a leader who is credited with establishing a national education system and modern institutes of higher education, including the Indian Institutes of Technology. His birth anniversary is also observed as National Education Day.

Walking down the winding by-lanes in search of the mausoleum, one is startled to learn that most of the locals are oblivious of his name, leave alone the location of the memorial. It’s indeed ironic how the man who persuaded thousands of Muslims during partition to stay back in India is now a forgotten man.

The boundary walls of his mausoleum have become billboards for local politicians, quacks and restaurants, while the temporary stalls adjacent to these walls have further damaged it by hammering nails and creating deep holes in places.

The gate has a lock, but it might as well not have one.

As you enter the small black iron-gate, a short staircase leads to a garden where people, mostly shopkeepers, are having lunch or a siesta. It is perhaps the only place offering peace and tranquillity in the midst of a maddening market and has thus become the resting place for many. That is another reason why the mausoleum is at least still maintained, though empty packets and wrappers of eatables and plastic bottles are scattered around the boundary walls.

In one corner is the mausoleum made of white marble with a patch of green grass on top. A canopy and a short boundary wall, both made of white marble, cover it from rain and sun – and more importantly, bird droppings. The fountains and pools, on the front and on the sides of the mausoleum, are empty and full of dust and filth, while the garden has patches of grass. Lichen covers the trunks of many trees.

The famous Urdu Park in front of the mausoleum, where Azad along with Sardar Patel, independent India’s first home minister and now much in the news, and C. Rajagopalachari, India’s first governor-general, delivered the historic 1942 Quit India address, is a playground for amateur cricketers during daytime and a haven for drug addicts and drunkards at night.

Sadly, it seems no one cares. For the locals, the mausoleum was just what it was – a mausoleum. “I know it’s a mazar (mausoleum) but I don’t know whose it is,” Abdul, a shopkeeper selling blankets near the boundary wall of the memorial, told IANS.

Similarly, tourists who come in droves to visit the nearby Jama Masjid and Meena Bazar, famous for affordable women’s apparel and accessories, give the memorial a miss as they are oblivious of its existence and importance.

Azad’s grandnephew Firoz Bakht Ahmed is not surprised at the neglect. “Since independence, he (Azad) never got the importance that he deserved. The government as well as the people have forgotten him. It’s a tragedy,” Ahmed told IANS. He said leaders like Azad, Patel and many more deserved much more recognition and respect. “There should be chapters in schools where students are taught about them and not just a handful of freedom fighters,” he said.

Talking about the poor maintenance of the memorial, Ahmed said that squatters should be removed from near the site and proper security arrangements put in place. “He was a freedom fighter and a nationalist leader known for his secular thoughts and was one of the few Muslim leaders who strongly opposed the partition of India. But sadly, he is not remembered now,” he added.

source: http://www.dnaindia.com / D NA  / Home> India> Report / Agency: IANS / Sunday – November 10th, 2013

Rare self-portraits by MF Husain on display in Dubai

Dubai : 

An exhibition containing 25 rare self-portraits by MF Hussain, in commemoration of his birth centenary has been put on display here.

Husain, who died in 2011, spent a number of years in the city, is being honoured with the exhibition titled ‘Maqbool’, to mark his 100th birthday. The exhibition, curated by Dadiba Pundole, will run until December 12 at the Sovereign Art Gallery .

Six other art works by Husain are also on display at the same venue. The self-portraits show various stages of his life participating in different activities.

The exhibition also showcases the vast range of mediums that Husain used in his work — pencil sketches, oil paintings on canvas, and several mixed-mediums including the use of Arabic calligraphy.

source:  http://www.timesofindia.indiatimes.com / The Times of India / Home> India / PTI / November 25th, 2013