Category Archives: Amazing Feats

Forgotten martyrs: Nawab Kadar Ali, his companions were hanged by British at Sitabuldi fort in Nagpur

Nagpur, MAHARASHTRA :

More than seven decades after India achieved independence, the role of innumerable martyrs and freedom fighters who gave their blood and offered lives for the motherland, needs to be remembered. 

Many of them got harsh punishments, didn’t get proper last rites, remain forgotten and even those whose sacrifices are known, don’t have monuments or memorials built in their memory.

The martyrdom of Nawab Kadar Ali, and his companions, who planned attack on residency and to take on the East India Company forces in Nagpur, also needs to be recalled. They were hanged here for their role in 1857–the first war of independence.

Though there is no monument named after them and no big memorial, they remain heroes in public memory. The fort that had been a base of 118 Infantry Battalion for years, is opened on three days including August 15 and January 26. Thousands of people arrive on these days, and also pay visit to the grave and offer their respects.

The flame for independence was already lit. History books mention that soon after Meerut, the anger was palpable among soldiers and citizens in this region too. On June 13 1857, a large gathering took place near Mission High School. The soldiers too were anxious and ready. 

Scared, some of the East India Compnay officials ran towards Kamptee Cantonment, while others went inside the Sitabuldi Fort. It was due to treachery that the attack plans had been leaked and the news reached British officers. More EIC forces were called from other places to control and overpower the rebels.

Rani Baka Bai, wife of late Raghoji II, was supporting the British and issued a warning that anyone abetting or aiding the revolutionaries would be arrested and handed to the East India Company. It’s a long story and how the soldiers and citizens suffered, refused to name the leaders of the movement. 

Historical texts say that the signal of a fire balloon was decided. But after the traitors gave information to East India Company officers, Plowden, the commissioner, ordered a regiment to move into the city. The irregular calvary at Tali was dismayed. Major Arrow tried to get information from ring leaders but no one gave names.

Baka Bai summoned all her relations, and dissuaded them with threats. This chilled the spirit of public. However, later when Company officials’ strengthened their hold, the rebels were identified. Arms were collected and after inquiry, Dildar Khan, Inayatullah Khan, Vilayat  Khan and Nawab Kadar Ali were tried and executed.

KILLED, HANGED, BURIED IN A COMMON PIT

The Gazetteer briefly mentions that ‘tucked away between the easter walls of the inner fort and the barracks is a large grave known as Nav Gazah Baba…the grave of Nawab Kadar Ali…and his eight associates..who were killed and hanged by the ramparts of the fort due to their role in the war of independence”. 

“They were all buried in a common pit, nine yards long. The fort recalls to our mind the memory of the brave soldiers who fought in an attempt to preserve the independence of the mother land”. It was treachery that was responsible for the arrests and the punishment.  Those who helped the British, got ‘jagirs’ as rewards.

Ghulam Rasool ‘Ghamgeen’, the poet, wrote these lines in Farsi :

Choo.n Qadar Ali Khan Ameer Kabeer
Shud-az-tohmat, ahl-e-balwa aseer

Bajurm shiraakat girafaar shud
Chau mansoor, Hallaj, bar-daar shud

Duaa’e shahaadat ba-raahe Khuda
shab w roz mi kard aa.n mahtada


Khirad guft ee.n misra-e-silk-e-noor
Za-daar-e-jafaa shud ba-daar-e-suroor

The last couplet of this long Persian verse, brings out the ‘tarikh’, the year of execution. The complete verse is mentioned in Dr Mohammad Sharfuddin Sahil’s book ‘Tarikh-e-Nagpur’. It shows the impact of the hangings on the people in the region. Nagpur is geographillcally considered to be a part of Central India and is the biggest city in Vidarbha region of Maharashtra.

The fort for a long period remained the base of 118 Infantry Battalion of Territorial Army. Every year, on August 15 and January 26, fort is opened for public so that it can pay respect to the freedom fighters. It’s also opened on May 1 i.e. Maharashtra Day. [Illustration is representive]

source: http://www.newsbits.in / NEWS Bits / Home> Top News / by Shams Ur Rehman Alavi / August 15th, 2021

Eva Fathima Basheer Receives India Book of Records Award

Aramboor (Sullia, Dakshina Kannada), KARNATAKA / Sharjah, U.A.E :

Sharjah, UAE: 

Eva Fathima Basheer, a Grade 3 student of GEMS Millennium School, Sharjah, has been recognised by the India Book of Records for her exceptional feat of reading English storybooks for the longest uninterrupted duration by a child.

At just nine years old, Eva read aloud from six English storybooks for 4 hours, 31 minutes, and 38 seconds without a break. She received the India Book of Records Achievers Award for this accomplishment at a ceremony held on 29 March 2025 at the organisation’s centre in Faridabad, Haryana.

Apart from this record, Eva has excelled in academics, securing gold medals in various national and international Olympiads conducted by reputed institutions. She is also actively involved in extra-curricular and social activities, including cleanliness drives, environmental awareness campaigns, fundraising efforts, and promoting safety practices.

Eva’s interests extend to writing stories, poems, and articles, as well as drawing and singing.

She hails from Aramboor in Sullia, Dakshina Kannada, and currently lives in Sharjah with her parents.

source: http://www.english.varthabharati.in / Vartha Bharati / Home> Gulf / by Vartha Bharati / March 29th, 2025

Why Guru ki Maseet in Punjab has no Muslim worshippers

Hargobindpura, PUNJAB :

Guru ki Maseet at Hargobindpura, Punjab

A 17th century mosque in Punjab declared declared as a symbol of religious tolerance by the UNESCO and UNDP has no Muslim worshippers. Called Guru ki maseet (Mosque of the Guru) it is being looked after by the Sikhs.

Its story dates to the early 17th century. When the sixth Sikh Guru, Hargobind Singh, took over the throne, Emperor Akbar’s efforts to bring all religions together had already failed. In the reign of Jahangir, animosities based on religious difference had begun to surface across India.

Soon, Hargobind Singh realized that in the midst of growing tension and threats, only spirituality would not work.

With this idea, Guru Hargobind Singh started wearing two swords on his body. He called them the swords of Piri and MiriPiri referred to spirituality and Miri to power. He also raised an army to fight wars.

In one of his armed campaigns, his army camped on the banks of the Beas River. Soon a big settlement came up here and it was called Hargobindpur. Today one can reach this place while travelling on Hoshiarpur-Batala Road in Punjab.

The township had people of all religions. Soon a temple and a Gurudwara were built there. There were only a few Muslims there and they had no place of worship. As their numbers were low, building a mosque was not feasible at the community level.

They went to Guruji and told him their problem.

Guru Hargobind Singh instructed his authorities to build a mosque for the Muslims to worship. In no time the mosque was built on a small hillock on the banks of the Beas River. The sound of Azan from the mosque reverberated in the air for the next several hundred years.

Guru ki Maseet at Hargobindpura, Punjab

However, after the partition of India and many Muslims leaving for Pakistan in 1947, this mosque was deserted. All the Muslim families of Hargobindpura had left for Pakistan.

As the mosque was related to Guru Hargobind Singh, the Nihang Sikhs built a Gurudwara there. Today, the sounds of Gurbani resonate there the place every morning and evening.

In the last decade of the twentieth century, Muhammad Rizwanul Haq of the Punjab Waqf Board visited the town and met many Sikh leaders. He requested the Sikhs that since this mosque was built on the orders of Sikh Guru it should be allowed to remain a mosque.

The Sikh leaders consulted historians; they too concurred with the idea of the place being retained as a mosque.

Soon a consensus was reached. Once again the kar seva started and the mosque was renovated. Some people from the Punjab Waqf Board also came there but most of the kar seva was done by Sikhs.

Nihang Sikhs who look after the mosque sitting outside Guru ki Maseet

The mosque was restored to its original shape in 2002.

For its inauguration, the locals invited Imam Maulana Hamid Hussain Qasmi of Amritsar’s Jama Masjid to lead the Eid-ul-Fitr prayers at the mosque.

Even today there is no Muslim living in Hargobindpur and yet the mosque stands tall. Today, Guru ki Maseet is cared for by Nihang sevadars.

In 2003, this historic mosque gained international recognition when UNESCO and the UNDP’s Culture for Peace project highlighted its importance as a symbol of religious tolerance. 

(The author is a senior journalist)

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Harjinder / April 01st, 2025

Jamia Millia Islamia hosts exhibition on rare Quran calligraphy from the 15th to the 20th Century

NEW DELHI :

New Delhi

Jamia Millia Islamia has launched a special week-long exhibition showcasing rare and ancient Quran manuscripts at its Dr. Zakir Husain Library during the holy month of Ramadan. The exhibition, titled “Muqaddas Quran,” was inaugurated by Professor Mazhar Asif Sheikh-ul-Jamia and features a diverse collection of calligraphy spanning from the 15th to the early 20th century.

Through meticulously crafted posters, the exhibition traces the development of Islamic calligraphy from the 7th to the 14th century, offering a comprehensive visual exploration of how Quranic calligraphy evolved over time.

Alongside the manuscripts, the exhibition presents an impressive collection of printed Qurans in various national and regional languages, including Malayalam, Kannada, Hindi, Urdu, Tamil, and Bengali. The display also includes translations in foreign languages such as Chinese, Japanese, German, Turkish, Russian, English, Spanish, Albanian, Myanmar (Burmese), and Persian. A special Quran in Braille was also featured, emphasizing the importance of inclusivity and ensuring that visually impaired individuals can access the sacred text.

Professor Mazhar Asif, Sheikh-ul-Jamia(Vice Chancellor )of Jamia Millia Islamia, expressed his satisfaction with the exhibition, saying, “It is a privilege for the university to open its rare collection during the holy month of Ramadan, allowing people to benefit from the teachings, knowledge, and moral values of the Quran. The Quran promotes helping the poor, equality, and justice, and by presenting this exhibition to the public, we aim to encourage accountability, bringing people from darkness to light.”

The exhibition also showcases rare Arabic manuscripts, including Tafseer Baizawi and Tafseer of Ibn Abbas, both from the 16th century. Additionally, books in eleven foreign languages and six regional translations illustrate the rich diversity of Jamia’s collection.

Professor Asif highlighted the rarity of the Japanese translation of the Quran, which was produced by the Islamic Society of Koshikawa in Tokyo, calling it an extremely rare edition globally.

Professor Mohammad Mahtab Alam Razvi, Registrar of Jamia Millia Islamia, emphasized the significance of the exhibition. “This collection reflects our rich heritage of Quranic manuscripts and printed copies from the 15th century to the early 20th century, including small Quranic manuscripts. With thirty-five rare handwritten manuscripts and twenty-seven printed translations, the exhibition offers valuable insights into the evolution of Quranic script.”

Dr. Lucas S. Nigrale, who also participated in the event, spoke about the importance of such exhibitions during Ramadan, a time for reflection, devotion, and learning. “This exhibition shines a light on the Quran’s timeless wisdom and universal message,” Dr. Nigrale said, expressing hopes for future exhibitions that further promote awareness and cultural dialogue at the university. The Dr. Zakir Husain Library holds a total of 2,243 Quranic manuscripts.

The exhibition serves as an important platform for enhancing public understanding of the Quran’s linguistic, intellectual, and literary traditions. It highlights the eternal teachings of the Quran in a contemporary context, fostering greater cultural and educational dialogue.

source: http://www.indiatomorrow.net / India Tomorrow / Home> Education / by Mohammad Akram / March 30th, 2025

Assam: CRPF chief visits family of martyr Nasiruddin ahead of Eid-ul-Fitr

Banbaria Village (Barpeta District), ASSAM :

CRPF DIG Sunanda Kumar with the family of late Nasiruddin Sarkar

As Muslims around the world prepare for the joyous culmination of Ramzan into Eid-ul-Fitr celebrations, for many families, especially those of national martyrs, it’s a painful experience to celebrate the day without their loved ones.

Uneasy calm prevails in a household in Assam’s Barpeta district in the last days of Ramzan. The house, located in the remote Banbaria village under the Bhella police station area, is throbbing with grief and painful silence.

The house belongs to the Late Nasiruddin Sarkar, a brave CRPF jawan who laid down his life in the line of duty on April 27, 2024.

Sarkar was deployed along with his other colleagues in Manipur during the elections when suspected Kuki militants attacked a CRPF convoy in the Bishnupur district of Manipur on April 27. Sarkar was among the two CRPF personnel who laid down their lives fighting extremists.

CRPF DIG Sunanda Kumar arriving at the house of Martyr Nasiruddin Sarkar

However, a team of CRPF officials recently visited Sarkar’s house in Banbariya village and wished his family Eid-ul-Fitr.

The CRPF team included CRPF’s Deputy Inspector General (DIG), Lower Assam range Sunanda Kumar, Area Commander of the CRPF’s 10th Battalion Deepak Kumar Singh, and others, who met the family members of Sarkar including his wife, son and daughter.

“Our colleague Nasiruddin Sarkar had attained martyrdom last year while working in Manipur. In CRPF we have a rule that we never leave the family of our soldiers alone. Every year, our senior officers visit such families in March and note down their problems and try to help them,” CRPF DIG Sunanda Kumar told this journalist.

“Similarly, in the case of Late Sarkar also we came here to take care of the family. Sarkar was the breadwinner of the family. So definitely there are issues faced by the family. We came here to talk to them and ensure that they never feel lonely particularly when the grand festival like Eid-Ul-Fitr is coming. We hope that the family of Nasiruddin will enjoy this Eid,” said Kumar.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Karabi Sharma, Barpeta / March 28th, 2025

From the Land of ‘Gangs of Wasseypur’, Ekhlaq Gets Top Rank in GATE

Pathardih (Mohan Bazar, Dhanbad District) , JHARKHAND :

Ekhlaq Sarwer with his parents

Patna: 

On March 19, Ekhlaq Sarwer, a B.Tech. (Mining) student, received his Eid gift a little earlier this year. He secured an impressive All India Rank of 4 in Graduate Aptitude Test in Engineering (GATE) 2025.

GATE is widely regarded as the key to securing admission to postgraduate courses in India’s top engineering colleges and opens doors to jobs in Navratna Public Sector Undertakings (PSUs).

Ekhlaq’s score in GATE was 904 out of 1000, with a remarkable mark of 69 out of 100.

Hailing from Pathardih, the semi-urban town of Mohan Bazar (around 16 kilometers from Dhanbad), in Dhanbad district, Ekhlaq is presently pursuing his B.Tech. from BIT, Sindri (Jharkhand) in the Mining Engineering branch in 2021-25 batch. His hometown, which has gained notoriety for its association with violence, served as the backdrop for the Bollywood movie ‘Gangs of Wasseypur’ that highlighted the region’s troubled history.

Ekhlaq’s father, Eqbal Sarwer, works as an informal medical practitioner (RMP), and his mother, Khurshida Parween, is a homemaker.

Speaking to TwoCircles.net, Eqbal expressed immense joy and gratitude. Noting the timing of his son’s achievement during the holy month of Ramadan, he said, “I feel elated as a father when I recall my childhood, which lacked proper resources. My father passed away early, and we had to struggle. But I ensured that my sons received a proper education. Although it was beyond my means to afford an English-medium CBSE school, I made sure Ekhlaq was enrolled there, cutting down on other expenses to make it happen.”

He continued, “Ekhlaq has always been good at studies, and we encouraged him every step of the way. He has consistently ranked at the top since grade 7. He secured 97% marks in 10th grade and 95% in 12th grade board exams under the CBSE system.”

The Sarwer family celebrated their son’s success by distributing sweets, with plans for a grand celebration after the fasting month of Ramadan ends, marking a “double Eid”.

Ekhlaq’s father proudly said, “We are thrilled that a place once infamous for ‘Gangs of Wasseypur’ is now in the news for such achievements. The area is improving, and it fills me with pride.”

Ekhlaq Sarwer

BIT Sindri, where Ekhlaq is currently studying, is an engineering college under the Jharkhand government. Admission to the prestigious institution is based on the Joint Entrance Examination (JEE), which also opens doors to top institutions like the IITs.

Ekhlaq had scored around 90 percentiles in his first attempt at JEE Main, securing his place at BIT Sindri. Initially uncertain about his choice of Mining Engineering, he now expresses a deep fascination for the field.

Despite being busy with his academic projects, Ekhlaq shared his preparation strategy for GATE. He began preparing for the examination in September 2024, all while also preparing for his final B.Tech. exams.

“My parents were my inspiration for GATE. My professors at college were immensely helpful, and my friends always encouraged me. I used PYQs (Previous Years’ Questions) and relied on textbooks. I also took test series to keep myself on track,” he shared, expressing his hope to join a PSU of his choice when the opportunity arises.

Ekhlaq also emphasised the importance of having a structured routine. “I made a schedule for my preparation, designating specific hours for watching preparatory videos and solving test papers,” he explained.

He added that focus and time management are essential for anyone hoping to clear GATE. “One needs to be clear about what he/she wants to study. Time management is crucial, as is practice,” he advises. “Shedding nervousness is also important.”

The BIT Sindri community celebrated Ekhlaq’s success. Dr. Pankaj Pal, the director of the institution, and Dr. PK Singh, head of the Mining Engineering Department, along with other faculty members, congratulated Ekhlaq and the other students for their academic achievements. “Ekhlaq has made the institution proud with such a stellar rank,” they said, underscoring the significance of his success.

Ekhlaq Sarwer’s journey from a troubled region to an outstanding academic achievement is not only reflective of his dedication but also to the unwavering support of his family and the transformative power of education.

source: http://www.twocircles.net / TwoCircles.net / Home> India News> India Politics> Indian Muslim> Lead Story> TCN Positive / by Sami Ahmad, TwoCircles.net / March 25th, 2025

Renowned cancer surgeon Dr Majid Ahmed Talikoti made Honorary Health Commissioner by India-GCC Trade Council

Shakhapur Village, KARNATAKA / NEW DELHI / Bokharo, JHARKHAND:

Dr. Majid Ahmed Talikoti

The India GCC (Gulf Corporation Council) Trade Council has announced renowned oncologist surgeon Dr Majid Ahmed as its Honorary Health commissioner.

Dr. Talikoti was recently recognised as one of the 100 most influential Indian Muslim figures by Muslim Mirror. He is a chairman of a ‘Medicant Hospital’ in Jharkhand’s Bokaro. The hospital is known and praised for treating patients at very affordable fees.

In an event in Delhi, Dr. Talikoti was presented with the appointment letter of honorary health commissioner. The India-GCC Trade Council presented the offer recognising his contributions in the field of oncology and his health initiatives between India and Gulf countries.

Accepting the letter, doctor talikoti said the role offered to me is a significant step and I am eager to contribute to health initiatives that bridge India and Gulf countries together. Let’s work to build strong diplomatic ties and healthy Nations across borders.

Earlier, Dr Talikoti had gained recognition in Dubai and was awarded with Healthcare “Excellence Asian Arab Award 2025.”

From pumpkin to sitar

Miraj (Sangli District), MAHARASHTRA :

Move over, Cinderella. The humble pumpkin has a higher purpose to fill.

As a small team working to push the boundaries of Indian art, Darbar recognises that many musical milestones are only made possible while standing on the shoulders of giants—people essential to the industry who often have hidden histories and aren’t acknowledged in the public eye. Music Behind the Scenes spotlights the less visible, but no less instrumental, people and processes that help Indian Classical Music thrive.

The sitar is one of the most prominently recognised instruments in Indian Classical Music, and stands as a symbol for the exoticised, reverberating sound of the East. Conjuring up images of celestial delicacy, few sounds evoke the entire canon of Indian Classical Music—and, by extension, Indian tradition and culture, as the sitar. It consists of a resonating chamber made from a gourd (often ornately and exquisitely carved) attached to a large, hollow neck fitted with frets.

And yet, it is so much more than a string instrument. Almost aspirational in its appeal, it’s the unofficial sound of the nation, as synonymous with India as bagpipes are with Scotland. Scientists have struggled to enscapsulate the complexity of the instrument’s total acoustic environment using mathematical modelling alone. Past masters have constantly re-contextualised the landscape of the sitar, adding their decadently harmonic interpretations to the tradition of the instrument. Listen closely, though, and you will hear undertones of the nuanced history it represents .

But where does the sitar come from? Who are the makers, the artisans—dare we say, magicians—turning gourds into godly musical instruments and dedicating their lives to the craft?

Nestled deep in the heart of the Sangli District in southern Maharashtra, India, Miraj is a famed centre known for its finesse in instrument making, particularly sitars. Altaf Mulla and Zakir Mulla are fourth generation sitar-makers in Miraj. Their work begins a hundred kilometers from their hometown, in the fields of Pandharpur and Begampur, where pumpkins are cultivated especially for use in sitar making. They make the yearly trek to attain this crucial raw material. The entire process to complete one sitar can take 25 to 30 full working days, and each step shines with specificity, refinement and idiosyncrasies, as the sitar-maker’s labour is one of both dexterity and painstaking precision as well as unbridled love. Read on to learn about the dramatic transformation from humble pumpkin to regal sitar.

Interview with Zakir Mulla of GS Musicals , manufacturers of Indian instruments since 1904.

Editor’s note: This conversation has been condensed, restructured and edited for clarity.

Could you tell us how you started making sitars?

Started? I feel we were destined for this. My brother Altaf Mulla and I are fourth generation sitar makers. Our great-grandfather, the founder of GS Musicals, was Siraj Yusuf Mulla, our grandfather, Ghudulal Siraj Mulla, continued the legacy, and my father, Yousuf Mulla, taught us. Today, we make many instruments including the tanpura, dilruba, esraj, taus, santoor, swarmandal and sitar—sitars are our specialty.

I’m not sure how to articulate it, because it’s like we unknowingly internalised it. It becomes an instinct almost. My father, bless his soul, educated us, and I tried adjusting to employment opportunities ‘out there’ for a while—I was equipped with the skills to do so—but this way of life was so deeply entrenched within me that ‘dil hi nehi laga’ (my heart wasn’t in it). The type of satisfaction the artisan gets when making a high quality sitar…the self-actualisation we feel…no conventional employment can rival that. Our village, Miraj, is humble and quaint, but it’s one of the hubs of sitar-making.

Why is that?

Because of the tradition this place is steeped in. New places can’t recreate it or duplicate our centuries of tradition. Making sitars is our way of life; we often start going to the shop with the elders when we’re five or six, so we learn the tools of the trade early. These technicalities would take one or two years to learn, but we imbibe them—almost through osmosis—before we even start. Other localities could potentially become efficient or popular, but I don’t think a new centre could emerge as a hub simply because of our history and the way it’s part of our genetic makeup, almost. Our soil is infused with hundreds of years of collective experience, and we also have a strong community led by innovation, passion and continuous discussion and improvement.

What does innovation look like within your community?

I’d say there are about 150-200 people involved in sitar-making in Miraj. Of course, the quality of the work or individual speciality varies, but we’re all united by this one passion. It’s not a board room or an official meeting where we gather to innovate, but a mindset. We sit with a cup of chai in the evening and have healthy discussions—this wood is posing a certain problem, or we’re facing this idiosyncratic demand from a client. When you’re all cut from the same cloth, bound by the same thread, innovation is inevitable.

But my brother and I took it a step further to try to create bespoke sitars to our customers. I had this customer…he was about 4 foot 9 inches, and I knew that the standard size wouldn’t suit him. That got us thinking about how much the physique matters, and what a pivotal difference it makes to have a customised instrument. That’s what gives pleasure in the hand of the musician. Girls might naturally have daintier hands, and for some of the sitars we export to European countries, the hand span might be broader than a typical Indian physique. You need the comfort of your own size, so your height and build all come into play. My brother and I try to have a consultation meeting with the artist before we even start making the sitar to understand who they are and their temperament. At the very least, we ask for a picture of the musician.

So tell us about the journey from pumpkin to sitar.

The process starts with the pumpkin, or the gourd. These aren’t the typical pumpkins you’re used to seeing and eating, though. In fact, this type of gourd is so bitter that even animals don’t consume it. We make a yearly visit, usually between March and May, to the special fields in Pandharpur to get our pumpkins. Preparation actually starts before our visit, as the farmer carefully cultivates the crops according to our requirements. You see, there might be 15-20 pumpkins on one vine, but overcrowding doesn’t let the pumpkin become big enough. Farmers retain only three or four pumpkins per vine till maturity. The pumpkins the farmers cultivate are between 40-60 inches, so we group them into categories and classify them according by circumference. 40 to 44 inch pumpkins are used for the sitar, with the 47 to 48 range reserved for the female taanpura, 50 to 51 for the surbahar and 54 to 60 inch pumpkins for the gents taanpura. We suspend the pumpkins after sorting them, and leave them for four to five months to dry. We never put them on the floor. And subconsciously, even within our sitar category, we’re sorting out the most superiorly shaped pumpkin. After all, being able to join the neck to a gourd at the right angle is much easier and makes for the most unadulterated tone.

Right, what happens next?

Then we source the wood. In the Karnataka stretch of Sakleshpur, amid coffee and tea gardens, there are Tunna Cedara trees. We’ve found that this is less susceptible to bacterial infection Tunna Cedara is a resilient wood—and has a superior ability to project sound. That’s what we use for the galaa or the neck. Joining the neck to the gourd is a veritable art. Our forefathers used naturally sourced Falcon resin adhesive, or a heavily whipped mixture of flour and water, as an adhesive. But these days we have powerful glue in the market. It’s a commonly held belief that you need to get the joining right the first time. The more you adjust and redo it, the more compromised the sound will be. That’s the crucial step, and we can start decorating it next.

How is the sitar decorated?

We use the French polishing technique, dipping cloth in spirit and shellac and hand-polishing the instrument, which can take three to four days. But the decoration and carving takes place before that. Usually, we adorn our sitars with grapes, roses or traditional paisley motifs. Is there any symbolism behind these designs? Not that I know of, but they nestle nicely on the shape of the gourd. There’s wood carving, which requires great patience and dexterity, and the pen carving on plastic or cellulite. Then, the final fitting of the pegs can take place, and we start checking the tone.

How long does the complete process take?

25 to 30 full working days, working for eight hours a day. But it’s our family work, and we have six to seven people all trained perfectly in their part of the process, so we’ve all specialised and divided our labour. Everyone’s an expert at their own thing. Sometimes we can anticipate orders or running items in advance and partially prepare the pieces for assembly, but we always do the final fitting after receiving the order. It’s rare to find a fully prepared sitar at our shop, unless it’s a student version for a lower cost. But that’s not an artist’s sitar.

Can you describe what constitutes a good sitar?

It’s in the details. Right down to the selection of the pumpkin or the grains of the wood. A good sitar isn’t made on a whim. It’s beckoned by the musician—he or she summons it. A discerning musician is concerned with the quality of sur, tone quality, depth of resonance, the friction on frets and overall stability in the sitar. How many notes are on one fret? When he or she plays one note, will it dissipate quickly or will it reverberate deep within the hollow of the gourd? How is the resonance? A superiorly made sitar will allow the notes to resonate and circle within the gourd and linger before they fade out gracefully.

Some musicians want a more robust tone, whereas others want more resonance. It’s a matter of diagnostics really. We aren’t musicians in the sense that we could play an entire raag, but this work teaches us the sur and we can tell when a note sounds true. Fitting the frets and checking the tone is a finicky process, but almost like trying to unravel a thrilling mystery.

What’s a typical day like for you and your team?

We’re literally family, but when we’re working, we’re joined by this higher purpose. I always try to make sure that we eat and pray together. When one of us is feeling low or has had a hard day at home, we don’t do major things like joining or checking the resonance that day. If you’re not in the right head space, the joint will appear ‘masculine’, or the tone won’t sit right, or the sur won’t sing as beautifully. The more you adjust an instrument, the harder it becomes to redeem its essence and sound. But if everything connects, it’s like God’s gift to the world.

What is something music connoisseurs and beginners alike might not recognise as an essential part of the sitar making process?

You can’t have a cookie-cutter, one size fits all sitar. It’s not plastic or something dead. These are grains. Gourds. Wood from every part of the tree. Jaan hai is me’ (There’s life in all of these things). It’s so important to match the life of the raw materials to their musical destiny. And that’s not a formulaic calculation. It’s learnt from experience, from what I absorbed while watching my father and grandfather or stowed away in the recesses of my mind while they spoke to me as a child.

For example, the annual growth rings inside a tree trunk bend of their own volition, and the distance between them varies. Have you ever wondered why? It’s because each of those rings is testimony to phases in the tree’s life. When there’s a drought, those grains are thinner…they veer in different directions and they’re sparse. But when the tree gets ample rainfall, those rings are a reflection of optimal conditions. They’re closer together then. In fifty years of the tree’s life, you’re not going to get the same annual rainfall pattern or mean temperature, so the patterns inside will also vary. And those, in turn, affect the sound and tone. It’s the same with the soil. You need to respect where the disparate parts came from to appreciate the harmonious whole. It’s a process with a million nuances, but it doesn’t end when the sitar is ready.

Really, how so? When do you feel like you can see the final fruit of your labour?

Even when we’ve fully prepared the sitar, it’s only half done. Then, it’s the artist’s job to play it, and to play it well. That’s when it becomes seasoned and perfect. All those things, the decoration, polish, sound, fitting, pumpkin selection and wood grains all burst forth with this impetus and fulfil their calling.

It feels terrible when we pour our soul into a beautiful instrument and it ends up on a mantle or in a museum. It’s when it’s played that we get satisfaction. When the instrument comes back after a year or so for maintenance like Jawari work, that’s when we know how it’s doing.

What changes are you witnessing?

Well, social media makes it easier for us to share things; we can get clients, conduct consultations and see our instruments being played in concert. In my grandfather’s time, things were a lot harder. There wasn’t a concept of a payment advance, and people often wrote letters commissioning sitars. It made it harder to receive payment on time and lags were common. Compared to that epoch, these are small conveniences we have today. But e-commerce also makes the process commercialised, and the customisation option isn’t always available.

Do you hope your children will continue this legacy?

I have two sons, and Altaf bhai has a son and a daughter. We’re both teaching them about sitar making, but also educating them in school. The scope for sitar making is shrinking. And it’s up to them if they want to choose this path less taken or opt for mainstream employment. Ultimately, they have to want it, if they don’t have that passion, they’ll produce ‘ghatiya’ (slang for terrible and lousy) work.

How do you feel about advances in the electric sitar?

With the advent of Indo fusion, I suppose it’s inevitable. Classical music is also trying to reimagine itself in the domain of fusion. But the pumpkin takes sound inside the depths of its once-living soul. You don’t get that with a fully electric sitar; the bass takes over. There’s always the inherent danger that with an electronic tanpura, you might learn the wrong notes if the voltage fluctuates. I don’t support fully electric instruments, because with some natural elements, there’s still life in it, you know?

What keeps you doing this work?

Making a sitar is like raising a child. When the musician says, “Wah! Sitar bariya banaya hai!” (Wow! You’ve made a lovely sitar!), then it’s just the most exhilarating feeling. Conscientious parents are always on the lookout for any potential character flaws. We’re like that with our sitars also. There are times when the wood might let us down, or the joint may be compromised. But there are also times when the sitar is adjacent to divinity. The artisans and enthusiasts give us great respect and ask for our good blessings before taking the sitar home. We get so much innate satisfaction. That’s why we work tirelessly to do this work for them.

Would you like to say anything else?

Creating art like this is only possible when your stomach is full. We don’t wish for a lot, we live hand to mouth but we can educate our children and feed our families, That’s enough. But the financial repercussions of Covid have left things strained, and I often worry about the last ten to 20 years of life. It’s that last stretch that I’m concerned about. There’s no security.

Music will always stay alive. But it’s important to keep the makers alive.

source: http://www.darbar.org / Darbar / Home> Articles> New to Indian Music> General / by Aysha Imtiaz

Sahitya Akademy awardee Aatash wrote 10 books despite poor eyesight

Nanil Village (Anantnag District), JAMMU & KASHMIR :

Ghulam Nabi Pandith alias Ghulam Nabi Aatash

“Jayakanthan has focussed on the downtrodden people of South India. His works highlight the life and aspirations of the poor”, said Ghulam Nabi Pandith, known by his penname Ghulam Nabi Aatash, whose book has been selected for the annual Translation Prize for the 2024 Sahitya Akademi award.

Speaking with Awaz-the Voice from his home in Nanil village of the Anantnag district, about 70 km South of Srinagar, Aatash said “This (Jayakanthan’s) novel among his umpteen works also focuses on the same issues like the social and religious life of the people”.

Ghulam Nabi Pandith, popularly known by his penname Ghulam Nabi Aatash has been selected for the Sahitya Akademi Prize 2024 for his translation of the well-known Tamil writer Jayakanthan’s novel Oru Manidhan Oru Veedu Oru Ulagam” about the life of the poor people in South India. The book’s title in Kashmiri is “Akh Insaan, Akh Gharre, akh Duniya” (A Man, A Home, A World).

Ghulam Nabi Aatash receiving his Sahitya Akademy Award on an earlier occasion

He said the recipient of the Jnanpith in 2002 and Padma Bhushan in 2009, Jayakanthan is known for his works, many of which have been translated into different languages.

However, this is not the first Sahitya Akademi award for the Kashmiri writer and poet, Aatash, 76, who has been active in the literary circles of the Valley for over five decades.

His falling health during the past two decades has not deterred his literary activities.Despite this and praticularly his poor eyesight, Aatash has at least 10 manuscripts ready to be published. These include two books in Urdu and eight in Kashmiri languages. He told Awaz-The Voice that he would get his works published soon.

So far his 80 works including poetry collections, Research and Criticism, Folklore, Children’s literature, translations, and monographs have been published.

He was conferred the Sahitya Akademi award for Kashmiri language in 2008 and Bal Sahitya Puraskar (Sahitya Akademi) in 2011 for children’s literature. He was also the recipient of the international Soviet Land Nehru Award in 1981.

He first got the Best Book award from the J&K Academy of Art, Culture, and Languages in 1979 at the age of 30 year for his Kashmiri poetry collection “Zool Amaaran Hund (Illumination of my wishes)”.

He received the Best Book Award from the J&K Academy of Art, Culture, and Languages in Kashmiri criticism and research work “Sarmaaye teh Saam”. So far he has received at least 19 awards from literary and academic institutions and many felicitations from literary organizations and educational institutions.

These include at least 14 works in Kashmiri folklore and 13 works in children’s literature. His notable works include translations of foreign travelers’ travelogues on Kashmir. At least ten such works include “Kashmir ghair mulky sayaahoon kay safar naamon mein” (Kashmir in the travelogues of foreign travellers) and a publication in the English language entitled “Intangible Cultural Heritage of Kashmir.

As a school teacher, he nurtured his literary activities along the banks of the Lidder stream flowing from the upper reaches of Pahalgam in South Kashmir into river Jhelum.

Aatash retired as a Lecturer in higher secondary school 18 years ago.

Aatash taught in different schools at various levels for more than three decades during which he also worked as Zonal Coordinator of SSA, District Coordinator of Cultural Education Wing, Provincial Level Teacher Trainer/Resource Person.

He also helped many Ph D scholars and researchers in accomplishing their assignments.  

Aatash was a member of the Expert committee constituted by the J&K Board of School Education for deciding the syllabus and textbook of Kashmiri language, and played a vital role in conceiving, compiling, and drafting all the textbooks”.

He has worked as a member of the Revision Committee of Urdu textbooks as well.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Ehsan Fazili , Srinagar / March 19th, 2025

Amazing: Kolhapur car mechanic repairs helicopter in 30 minutes

Kolhapur, MAHARASHTRA :

Indians keep on doing extraordinary things, surprising not only the world but also themselves sometimes.

Feroz Momin (L). In the background is the helicopter he repaired. (Image source: Twitter)

Indians keep on doing extraordinary things, surprising not only the world but also themselves sometimes. One such example has been reported from Kolhapur in Maharashtra where a car mechanic repaired a helicopter recently, making it fly-ready in just 30 seconds.

India Today reports that the incident happened at the late Congress leader DY Patil’s residence in Kolhapur. Some guests had arrived at the bungalow in a helicopter but when they were ready to leave, the chopper couldn’t fly.

When they contacted the helicopter company, they were informed that an engineer would take at least two hours to reach the spot. Then someone remembered a local mechanic Imtiaz Momin, who had in 2006 made a car that could move in water along with his brother Feroze Momin. The brothers had then also given a demo of their car by driving it in a pond. They had won accolades from several quarters for their effort.

When someone went to call Imtiaz to repair the helicopter, only Feroz was present at their garage. Feroze had never even touched a helicopter. However, after some persuasion, he agreed to take a look. The report says that Feroz repaired the helicopter in just 30 minutes after taking some inputs from the pilot. The pilot first took a test flight and then left the city with the guests.

Kolhapur is home to several brilliant car mechanics. At one point of time, the city was famous for having the maximum number of luxury Mercedes cars.

source: http://www.financialexpress.com / Financial Express / Home> Business News> India News / by FE Online / November 01st, 2016