Iram Feroze had a knack for cooking right from her childhood but her parents would dissuade her saying the profession of the chef was “not meant for women from good families”.
Srinagar woman defies all odds to become ‘youngest Kashmir woman chef’
Srinagar (J&K):
Iram Feroze had a knack for cooking right from her childhood but her parents would dissuade her saying the profession of the chef was “not meant for women from good families”. Years down the line, Iram, a young woman from the Natipora area in uptown Srinagar has defied all the odds by emerging as a promising woman chef from Kashmir.
After passing out from the Institute of Hotel Management (IHM), situated in the Rajbagh area of Srinagar on the banks of River Jhelum, Iram has joined a well-known private hotel in the city and has already made a mark for her culinary skills. “Whenever my mood was off at home, I used to cook something which the family members used to appreciate.
But they did not give their consent to me taking it as a professional chef,” Iram recalled. She said that despite resistance from the family, she enrolled herself at the IHM and completed a short-term course in cooking. Iram said the teachers at the IHM saw her aptitude in cooking and recommended her to a one-month cooking course outside the Valley.
However, as always, Iram’s family resisted the move. “But I prevailed upon my parents. My cousins supported me and I pursued the career to become a chef. It is unconventional but I did it,” Iram says proudly. She thanked her teachers at IHM for becoming what she is today. Iram also enrolled in Indira Gandhi National Open University (IGNOU) to pursue Masters in Sociology.
“The parents said that my studies must also continue with cooking,” she said. Iram is grateful to the Institute of Hotel Management, Srinagar, for becoming the “youngest female chef in the Valley”. She said the IHM has played a vital role in making her dream come true. “Guidance is important. If you get a proper guide, you can do wonders in your life,” she said.
source: http://www.etvbharat.com / ETV Bharat / Home> State / by ETV / November 12th, 2022
Sabsit Village (Bagnan Town, Howrah District) , Kolkata, WEST BENGAL :
Prof Sheikh Maqbool Islam with his latest book on Lord Jaganath
Meeting Professor Sheikh Maqbool Islam is like sitting in the cool shade of a Banyan tree. In my first meeting with this Kolkata academic in his mid-fifties, my feeling was akin to that of a traveler who finds shade on the banks of a cool river in the middle of his journey on a hot day.
Professor Sheikh Maqbool, Bengali language professor of St. Paul’s College of Kolkata is an expert on Shrimad Bhagwat Gita, the ancient scripture of Hindus as well as the Holy book in Islam the Quran, and of the Christians the Bible.
Besides he is an expert on Bhagwan Jagannath of Puri (Odisha), who is the reigning deity of the Eastern States.
Prof Islam feels he is a born Sufi as he is the son of Sheikh Sajad Ali, a Sufi, and his mother Hazra Khatun. However, growing up he never imagined that one day he would write as many as 65 books.
Sheikh Maqbool Islam in his study
Prof Sheikh Maqbool Islam’s mother tongue is Bengali but he knows Hindi, Hindustani, Bengali, Oriya, Assamese, and English languages.
He says, “When I was two and a half years old, I met Sufi saints in my village. My father Sheikh Sajad Ali was himself a Sufi, so Sufi saints and scholars visited our house.”
“In the village, we had many Sufis and a large number of Vaishnav people. So when I was four and a half years old, I gradually started getting influenced by both. At this age, I also came to know about Shri Jagannath Bhagwan of Puri (Odisha).”
He says, “As I grew up, my mind opened up. I started knowing a little bit about all religions and cultures. “It felt as if I was finding the path to freedom from illusion.”
Prof Islam was born in the Sabsit village of Bagnan town of Howrah district, which is two and a half hours from Kolkata.
Prof Sheikh Manzoor Islam with Lord jaganath and other deities in his study
He came to the city (Calcutta) in 1985 holding the hands of his father.“I have been living near Howrah station since 1985. I studied all through in Calcutta.”
The author of 65 book, Prof Sheikh Maqbool Islam says he has Surdas (the 16th-century devotional poet who was blind)), Tulsidas, (Author of the epic Ramcharitramans, the story of Lord Ram in the Awadhi language) and Meerabai (the 16th century Saint who is known for her devotion to Lord Krishna close to in his heart.
Some of his most widely read books include ‘Gita-Quran Comparative Study’, ‘Tattva Chinta of Folk Culture’, and research subject ‘Lok Sangeet Vigyan’ .
He holds a D.Litt in ‘India-Odia Cultural Relations’ from Utkal University of Odisha in the year 2015, then PhD in ‘Comparative Study of Bangla-Odia Folk Literature’.
Professor Sheikh Maqbool Islam has also been a ‘Senior Research Fellow’ at the Asiatic Society of Calcutta. It is the largest center of oriental studies in our country.
Professor Sheikh Maqbool Islam in his study
Since 1997, he has been working as an Associate Professor at Calcutta’s oldest St. Paul’s Cathedral Mission College. He teaches Bengali language and literature in this college, which was established in 1865.
Professor Sheikh Maqbool Islam believes that the fight over religion is meaningless. The main reason for this is the lack of culture.
He says, “It is very important to have a culture to create brotherhood. It needs to be understood properly, otherwise we will keep fighting.”
Prof Sheikh Maqbool Islam, who has traveled to the Philippines, Thailand, Malaysia, Sri Lanka, Bangladesh, and Nepal, has received many awards.
He was awarded Odisha’s highest honour ‘Navakalevara Award’ in the year 2015 for his research work on Lord Jagannath.
Prof Islam was given this award by Puri’s Shankaracharya Swami Nischalananda Saraswati.
Prof Sheikh Manzoor Islam with the author
He says, “He has a total of 14 books on Jagannath.’ Among these books, ‘Shri Jagannath: Bengali Manas and Lokayat Jeevan’ is the most popular. Professor Sheikh Maqbool Islam has also done research work on Ramakrishna Paramhansa and Sri Chaitanya.
Professor Islam is doing a new research on the spread of Vaishnavism in South Asia and South East Asia
He considers Jagannath, Sri Chaitanya, Tulsidas, and Guru Granth Sahib as his idols, and is currently researching ‘How did Sri Jagannath and our Vaishnavism reach South Asia and South East Asia?’
These countries include the Philippines, Cambodia, Thailand, Indonesia, Malaysia, Sri Lanka, Bangladesh, Nepal, Myanmar, Singapore and Japan. He says, “I have been to some of these countries. Some are still left. I have been engaged in research for a long time.”
Prof Sheikh Maqbool Islam eats vegetarian food. Leaving his library with countless books, I remembered the following lines of Iqbal Sajid:
Suraj Hoon, Zindgi ki ramak choor jauga; Mein Doob bhi gaya tou shafak chod jaonga
(I am the Sun, I will leave behind the joy of life. Even if I set, I will leave behind the dawn)
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Jayanarayan Prasad, Kolkata / August 18th, 2024
Edited excerpts from an essay by the translator of the renowned writer and poet’s novel ‘Scene 75’.
The first thing I read when I opened Scene: 75 was the ‘Vasiyat’ (‘Will and Testament’). I was so moved, I kept going back to it until, finally, I took a picture and pasted it on my laptop screen so that I could see it every time I opened my computer. At that time, all I knew about Rahi Masoom Raza was that he was a highly respected poet and novelist, though his success as a writer of Hindi films had somewhat overshadowed his literary accomplishments. But what eventually eclipsed everything – at least in the popular imagination – was that he was the writer of the majestic dialogues for the blockbuster TV series Mahabharat. Over time, as I read more and more about him and his life, I realized that the ‘Vasiyat’ was a true mirror of the kind of man he was: an unsparing critic of fundamentalists and hypocrites of every hue, with deep roots in his hometown in Ghazipur, Uttar Pradesh. All this found reflection in his writing, which also had a strong dose of biting humour that made you laugh out loud and wince at once.
Satire about the stars
Scene: 75 itself is a darkly funny, surreal novel in which Rahi sahib casts an unsparing, satirical look at the Hindi film industry of the 1970s and also writes about Hindu–Muslim relations with his customary blistering honesty. The book begins with Ali Amjad, a struggling scriptwriter from Benares, trapped in a lonely Bombay flat, and ends with him still trapped in that lonely flat. But in the middle is a teeming, intertwined, untidy throng of cynical and manipulative characters and their equally fantastic stories, narrated with a no-holds-barred candour by Rahi sahib. Unscrupulous film producers and ambitious clerks rub shoulders with wealthy lesbians and bigoted middle-class social climbers. There are few lovable characters. When I finished the novel, I realized that the only character I cared for was Ali Amjad (Rahi sahib himself, I think) – nevertheless, all of them held my undivided interest. They made me laugh even as I shook my head in disbelief at their doings.
Rahi sahib wrote several novels between 1966 and 1986, the best-known of which is the first one, Aadha Gaon, a vivid, true-to-life depiction of the Shia community in a village, Gangauli, in the United Provinces at the time of Partition. The lives of Muslims in India and their relationship with Hindus formed the central motif in many of Rahi sahib’s works, including the brilliant Topi Shukla (1968) and Os Ki Boond (1970). Even in Scene: 75, this fraught relationship is thrown into sharp focus. Ali Amjad is hunting for a house and can’t find one because he is a Muslim. He is asked to pretend he’s a Sindhi by a prospective landlord, but Ali Amjad refuses:
“‘I am a Muslim and I also work in films,’ Ali Amjad said. He thought it was necessary for him to say this. He was not a religious man. He didn’t believe in Allah. He didn’t do namaz. He didn’t fast during Ramzan. He was an uncompromising critic of organizations like the Muslim League and the Jamate-Islami … But he was not ashamed of the fact that he had been born into a Muslim family. And he did not want to insult himself or his country by hiding his name and identity.”
Dialogue with cinema
Rahi sahib came to Bombay in 1967 to try his luck in Hindi films, and lived and worked there until his death in 1992. He wrote the script and dialogues for over 300 films, including enduring hits such as Mili (1975), Main Tulsi Tere Aangan Ki (1978), Gol Maal (1979), Karz (1980), Lamhe (1991) and many others. But he is best remembered for his dialogues for the 94-episode mega TV series, Mahabharat, in the late 1980s. There’s an interesting story about how Rahi sahib took up this challenging project. According to his close friend and colleague at Aligarh Muslim University (AMU), Kunwarpal Singh, when filmmaker B.R. Chopra requested Rahi sahib to write the dialogues, he declined, saying he didn’t have the time. But B.R. Chopra went ahead and announced Rahi sahib’s name at a press conference anyway. In no time, letters of opposition from self-styled protectors of the Hindu faith arrived: Were all Hindus dead that Chopra had to give this task to a Muslim? Chopra promptly forwarded the letters to Rahi sahib. Ever the champion of India’s syncretic culture, Rahi sahib called Chopra the next day and said, ‘Chopra sahib! I will write the Mahabharat. I am a son of the Ganga. Who knows the civilization and culture of India better than I do?’
He was born in 1927 in Ghazipur in eastern Uttar Pradesh, on the banks of the Ganga, and retained a deep attachment to his childhood home all his life. (Poet and lyricist Javed Akhtar said in an interview that Rahi sahib found a way to introduce his hometown into every conversation, even if it was about the United Nations Security Council.)
After finishing his school education in Ghazipur, Rahi sahib went to Aligarh for higher studies and did a doctorate in Hindustani literature. By the early 1960s, he had got a job as an Urdu lecturer in AMU. Javed Akhtar, in an interview, says, ‘Rahi sahib was a cult figure [on the campus]. He enjoyed a huge fan-following among the students, boys and girls both, owing to his charming and stylish persona. His admirers would walk by his side whenever he roamed [around] in the campus. He would limp a bit, for he had been affected by polio in his childhood, but his elegant sherwani, which he would never button, and the classy kurta, would make it clear that he was no ordinary man. He was a star.’
Moving to Mumbai
If things were going so swimmingly in Aligarh, why did he uproot himself and shift to Bombay? According to Kunwarpal Singh, this decision was triggered by his wedding to Nayyar Jahan in 1965. She had been previously married, but Rahi sahib fell in love with her and, despite opposition, went ahead and made her his wife. A fullblown scandal erupted and Rahi sahib lost his job at AMU (though Kunwarpal Singh says that the scandal merely gave his rivals and foes an excuse: they had always been opposed to his attempts to introduce Hindi courses in the Urdu department and vice versa).
Aadha Gaon had been published by then. It had brought him renown but was of no help in securing a livelihood. Nadeem Khan, Rahi sahib’s son, says that it was filmmaker Ramesh Chandra, an Aligarh acquaintance of Rahi sahib’s (also the older brother of actor Bharat Bhushan), who invited him to come to Bombay and try his luck in the film industry.
And that’s what he did. Initially, there was no work. He tided over that difficult period with the help of his writer friends like Kamleshwar (who was editing the magazine Sarika then) and Dharamvir Bharati (who was editing Dharmyug). His writings were published in their magazines; often they paid him in advance. But slowly, he began establishing himself in the film industry. He worked closely with film-makers such as Raj Khosla, B.R. Chopra, Yash Chopra, Hrishikesh Mukherjee and others. He became acquainted with the art of writing dialogues. Kunwarpal Singh recounts how once Rahi sahib had to write the dialogues for a Raj Khosla film. When the latter came to read the script, he kept saying, ‘Kya baat hai! Bahut khoob!’ as he turned the pages. At the same time, he kept cutting the dialogues. In the end, he kept just two or three lines out of every two pages. Rahi sahib learnt his lesson – in cinema, you don’t need verbosity; pages of dialogue can sometimes be communicated through a single close-up on screen. Over time, he became a consummate practitioner, winning two Filmfare Awards for Best Dialogue (for Main Tulsi Tere Aangan Ki and Mili).
Nadeem Khan remembers how he got his third award. Rahi sahib had written the dialogues for Lamhe and was very disappointed when it performed poorly at the boxoffice. He was proud of the work he had done in the film and had hoped for a Filmfare Award. But soon after Lamhe released, he passed away. He was just 65. Not long after that, Nadeem Khan, who was then working as the cinematographer for a Rakesh Roshan film, King Uncle, got a call from Filmfare. Rahi sahib had won the Best Dialogue Award for Lamhe posthumously. Khan remembers going to the function and collecting the award on his behalf. Jeetendra, the actor, was on stage and started crying. Khan says he felt his eyes welling up too. ‘As I came down, there was B.R. Chopra on one side and Yash Chopra on the other. Both kept hugging me,’ he recalls. ‘I went home and put the award in front of Rahi sahib’s photograph.’
The masterful dialogues for Mahabharat and the decision to make Samay (Time) the narrator were what elevated the series to another plane. The production values and acting left much to be desired, but the powerful dialogues by Rahi sahib made the show the astounding success that it was. He coined new words, such as ‘Pitashri’ and ‘Matashri’, which became so popular that people thought this was how characters must have spoken in ancient times. The truth is that Rahi sahib adapted these words from the way family members are addressed in Urdu – ‘Ammijaan’, ‘Abbajaan’ and so on.
Nadeem Khan says that those years of writing the Mahabharat took their toll on Rahi sahib: ‘He aged fifteen years in that time. It was very stressful – he couldn’t afford to take one wrong step,’ he says. ‘After Mahabharat, he was supposed to write another TV show, Om Namah Shivay (he was a great Shiv bhakt). But that was not to be.’
Excerpted with permission from Scene 75, Rahi Masoom Raza, translated by Poonam Saxena, HarperCollins India.
source: http://www.scroll.in / Scroll.in / Home> Book Excerpts / by Poonam Saxena / December 30th, 2017
How do we celebrate our achievements, especially when it is an academic milestone? For many, it is posting a proud announcement on social media, celebrating with family and friends and sharing the moments with the world. But for Noorjahan, a 37-year-old woman from Malappuram, the celebration of her doctorate was a unique affair — one that blended tradition, personal triumph and community spirit in a way rarely seen. Instead of a quiet reflection or a typical party, she hosted what she called a ‘Ph.D. wedding’, erecting a grand pandal (a traditional tent used for large gatherings) outside her home and inviting close family, friends and those who had supported her journey.
She wanted to highlight the significance of the occasion in a way that went beyond the usual. “Why not celebrate an academic achievement like we celebrate a wedding, the arrival of a child or a baby’s first haircut?” she asked, reflecting on the importance of her journey.
Noorjahan invited not just her friends, but also those who had been part of her research or who had supported her along the way. “We always focus on the results, but we do not often talk about the process that leads to them,” she told TwoCircles.net. Her aim was to open a conversation about that very process —the often-overlooked work behind the doctorate.
Despite her active presence on social media, she chose not to post about the event herself. Instead, the world learned about her unconventional celebration through the posts of her friends and well-wishers. It was one of these posts that led to the term “Ph.D. wedding”, coined by writer and social critic Emmar Kinalur, who attended the event. In his Facebook post, Kinalur recalled the loud applause that followed when Noorjahan spoke about her journey, particularly from the women and girls in the audience.
Dr Noorjahan with her PhD thesis
The Everyday Lives of Malabar’s Muslim Women
For Noorjahan, the uniqueness of her celebration mirrored the unconventional nature of her research. Her thesis, titled Negotiating the Everyday: A Study on Marital Practices in the Patrilineal Kinship System of Malabar Mappila Women, delves deep into the lives of Muslim women in the Malabar region of Kerala. What inspired her to choose this topic? For Noorjahan, the subject was deeply personal and autobiographical.
When she began her Ph.D. journey in 2014, the societal discourse was dominated by debates over reducing the marriageable age of Muslim girls to 16. This reminded her of the negotiations she herself had to make to pursue higher education. “I had to convince people at every stage of my life — why I was doing a Ph.D.; why I was going to Mumbai; and whether it would delay having children,” Noorjahan explained.
The decision to pursue her research at the Tata Institute of Social Sciences (TISS) in Mumbai was also a negotiation, as the institution offered an off-campus option for those with an M.Phil. She was one of many women balancing education, work and family, all while negotiating the pressures of everyday life.
Noorjahan’s research journey was not an easy one. It took her a decade to complete, during which she juggled the demands of raising two children, teaching in colleges, working as a psychiatric social worker, co-authoring a book on a prominent Kerala journalist and contributing to social media and magazines. “This process has elevated my perspectives beyond skill development and knowledge growth,” she wrote on her Facebook wall. “Looking through that lens, this was also an evolutionary process; and I am proud of it.”
Guardianship and Widowhood
When asked about the most significant findings from her research, Noorjahan pointed to two key aspects: guardianship and widowhood. These issues, though long present in society, took on new meanings in the context of her work. She explored the concept of wali (guardian) in Islamic law, a role typically filled by a father or brother, but in the absence of a male guardian, a qazi or judge assumes this position during the wedding ceremony. However, Noorjahan highlighted how, in practice, this system often lacks real responsibility, and the role of the guardian is reduced to a ceremonial one.
Dr Noorjahan speaking at the ‘PhD wedding’ function held at her home
Equally important in her research was the issue of widowhood. Noorjahan pointed out that the traditional practices surrounding widowhood in the Malabar region have been influenced by Brahminical patriarchal systems, despite Islamic principles that allow widows the freedom to decide their future once the iddah (waiting) period is over. Instead of offering this autonomy, society often seeks to rehabilitate widows within the same patrilineal framework, framing their inclusion as a virtuous act of charity. “While we call it charity or virtuous deeds, it is women who suffer under this framework,” she argued.
The Support of Women in Her Life
Throughout her academic journey, Noorjahan found steadfast support in the women around her, particularly her mother, Saleemath V – a retired teacher from their hometown in Areekode. Saleemath was a constant presence, travelling with her daughter to Mumbai, caring for the children when Noorjahan was busy and offering her moral and emotional support. “My mother was also learning and changing in her own way, just as I was evolving through my education,” Noorjahan said, underscoring the importance of familial support for women pursuing careers or higher education after marriage and children.
Saleemath herself reflected on her daughter’s resilience, saying it was Noorjahan’s determination and steadfastness that had enabled her to complete her Ph.D. despite the many challenges, including the demands of family life. “Many women give up halfway, but Noorjahan did not,” she proudly noted.
The ‘PhD wedding’ function at the home of Dr Noorjahan
Empowering Women
Now, Dr. Noorjahan works as the head of the Department for the Child and Women Resilience Project at Thanal – an NGO in Kozhikode run by the Daya Charitable Trust. The project aims to improve the lives of widowed, deserted, divorced or separated women and their children in the Wayanad and Kannur districts of Kerala.
Noorjahan’s work continues to reflect her dedication to empowering women and advocating for their rights, a theme that runs through both her academic research and her professional life.
Through her unique “Ph.D. wedding” and her groundbreaking research, Dr. Noorjahan has not only celebrated her own academic achievement but also sparked a wider conversation about the roles of women – especially in the context of the Malabar Muslim community. Her work, her resilience and her commitment to her community continue to inspire those around her — especially the women whose lives she seeks to improve.
source: http://www.twocircles.net / TwoCircles.net / Home> India News / by Najiya O, TwoCircles.net / November 17th, 2024
Thahaani Hashir released her 3rd book at the SIBF on Sunday afternoon. Kamal Kassim/Gulf today
Sharjah International Book Fair (SIBF) on Sunday was full of hustle and bustle. Lots of beautiful minds landed in Sharjah to regale audiences in the evening.
Celebrated Indian writer Chetan Bhagat inspired his fans, while Bollywood star Huma Qureshi mesmerised her audience. Malayalm actor, author and presenter Aswathy Sreekanth also arrived at the book fair on Sunday evening to talk about her latest book “Kaali.” She also enchanted her fans with her exciting talk.
On the other side, Writers Forum of the SIBF was swarming with school-going children in the afternoon. They were all chirping and giggling with excitement and joy. They were at the venue to cheer their young friend and classmate Thahaani Hashir. Thahaani’s journey to the world of writing is indeed incredible. Her brush with pen and paper started very early in life.
We expect a 16-year-old student to read books to develop his or her intellect, but Sharjah-based Indian student Thahaani Hashir was gracing the podium of SIBF with her third book of poetry, “Made For Love,” in the presence of a huge gathering, who were constantly clapping for this young girl. It was indeed a moment to behold.
Thahaani is an 11th grade student of Our Own English High School, Sharjah. Born and brought up in the UAE, she hails from Kollam, Kerala, India.
Thahaani made her debut at the age of 10 with her book “Through My Window Panes.” The book was released in 2018 and she became the youngest author at the SIBF. She received lots of praise for her debut book. Her second book of 30 poems “Flames That Never Died” came in 2021, while she was 13.
Talking to Gulf Today before the launch of her book, she said, “I always had the habit of writing. I must have been six years old when my class teacher noticed the talent in me. I would write short stories or something in song format. I did not know then how a poem looks like. But it was my class teacher Madhavi ma’am who saw this talent in me and she encouraged me to carry on and that’s how I got into writing.”
Thahaani’s ability to express her emotion with so much of maturity at this age is what makes her a shining star.
“Made For Love” is a compilation of 60 poems written by Thahaani Hashir and illustrated by Ashar Gandhi. Each of the 60 poems are depicted through one line illustration (entire illustration is drawn with a single continuous line, the pen is only lifted when completed). It is a rare occurrence to see all the poems in a book depicted through one line art.
Talking about her book she said, “Majority of my poetry is about love.” When asked how much time it took for her to complete her third book, she informed, “After my second book, I did not write for a good while for some reason. It could be writer’s block sort of thing. But in the last one year I could find my rhythm back and here I am with my new book.”
When asked to reveal her favourite author, she said, “Palestinian poet and author Mahmoud Darwish is my all-time favourite.”
Daughter of a civil engineer father and journalist mother, Thahaani has received several accolades.
Praising Thahaani, one of her teachers, who was present at the event said, “While she was in Grade 1, she was brilliant in all the subjects. She would always come to meet me with different ideas. Everyday she would write and show to me. I really have no words to express her talent and I am extremely happy to have been her teacher.”
The 12-day cultural extravaganza, organised by the Sharjah Book Authority, is themed “It Starts with a Book,” and has in store 1,357 activities for children and adults alike. It will come to a close on November 17 after playing host to 2,520 publishers from 112 countries.
source: http://www.gulffoday.ae / Gulf Today / Home> Culture / by Raghib Hassan, Staff Reporter / November 14th, 2024
Muhammad Musthafa is an award-winning director and actor who predominantly works in the Malayalam film industry.
Muhammad Musthafa is an award-winning director and actor who predominantly works in the Malayalam film industry. The critically acclaimed actor-turned-filmmaker made his directorial debut with the 2020 film Kappela. The film earned Anna Ben the Best Actress Award and Musthafa the Best Debut Director Award, respectively, at the 51st Kerala State Film Awards. Additionally, its production design by Anees Nadodi was honored at the 68th National Film Awards. Musthafa also won a special mention for his performance in the film Ain at the 62nd National Film Awards.
Musthafa’s second movie, Mura, with all its tropes of a gangster drama — revenge, high-end action, and bloodshed — is running in theatres now. The film features Suraj Venjaramoodu and All We Imagine As Light-fame Hridhu Haroon in the lead roles. Mura also stars Maala Parvathi, Kani Kusruti, Kannan Nayar, among others.
Musthafa talks to Maktoob’s Nikita Ramanarayanan:
Nikita Ramanarayanan:Mura takes a raw, intense portrayal of violence and revenge, marking a shift from the subtle suspense and drama in your debut work Kappela. What inspired this gritty new direction?
Muhammad Musthafa: After Kappela, I wanted to explore something more visceral and intense. The scriptwriter and I had been discussing various subjects, and ultimately, we felt most drawn to a story rooted in the raw realities he had witnessed in his hometown. He brought with him a wealth of experiences and observations from his own community events and stories he had seen or heard, each carrying an edge of realism and grit.
By weaving these together, we shaped a story that felt grounded yet powerful. This approach not only only allowed us to create a narrative that is genuine and impactful, but also gave us the opportunity to work with new talent.
Nikita:Mura features elements of Trivandrum’s local culture, especially in its use of dialect and slang. Could you share how you approached the cultural aspect of the film and why it was important to root the tale in Trivandrum?
Musthafa: Our screenwriter, who is from Trivandrum, drew heavily from his own observations of the city. The culture, stories, dialect, colloquial slang, and mannerisms of the people he grew up around naturally influenced the story’s setting and language, adding a layer of authenticity that we aimed to preserve, resulting in a narrative that feels raw and relatable.
However, while the essence of Trivandrum is embedded in the film, we wanted to creatively craft a story that could resonate with it. By setting Mura in Trivandrum, we were able to showcase a side of the city that often goes unseen, using the dialect and local flavor to bring a distinct realism to the characters and story.
To further root the film in Trivandrum’s culture, we chose actors with ties to the location. We held auditions there to find emerging talent who could bring the local nuances to life. Also we were fortunate to have talented actors like Hridhu, Suraj, and Mala Parvathy, who also share ties with Trivandrum. Their performances brought depth to the characters, helping us capture the city’s spirit in a genuine way.
Nikita: You brought in new talents for this film. The friendship between the four main characters is central to the plot, how did you approach directing this group dynamic?
Musthafa: Working with fresh talent was a rewarding experience, and I was genuinely impressed by how quickly they adapted to the demands of their roles. Although most of them were newcomers, they didn’t let that hold them back. To build their confidence and help them develop a natural rapport, we organized a 10 day workshop before filming. This preparation was essential for addressing any initial camera fear, allowing them to fully embrace their characters and form a close bond as a group.
Hridhu, the only one with prior film experience, played a key role in this process. We brought him into the workshop, so he could help guide and support the others, allowing them to feel more comfortable in front of the camera. His presence was a big boost to their confidence, and it set the tone for the group dynamic we wanted to achieve. Suraj also visited the workshop to interact with the cast and share his insights.
By the time we started, the actors had developed a beautiful camaraderie that felt genuine and natural on screen. Their friendship became the heart of the film, adding depth to the story. Despite being new to acting, they brought a raw, candid energy to their roles.
Nikita: The film incorporates powerful visual motifs that enhance the storytelling and highlight the film’s deeper themes. Could you talk about the visual choices and how they contribute to the overall mood of the story?
Musthafa: The pre production phase was absolutely key in developing the visual motifs that shape Mura. We dedicated significant time to brainstorming and experimenting with visuals that could subtly convey the film’s deeper themes and emotional tone.
There was a strong sense of dedication across the team, with everyone committed to making the film as visually and emotionally compelling as possible. By the time filming began, the visual motifs had become an essential storytelling tool, allowing us to communicate the film’s underlying themes.
Nikita: character of Ani, portrayed by Suraj Venjaramoodu, acts as a mentor figure for the younger men in Mura. And why did you choose to place Rema Devi, a female character, as his superior in the power hierarchy?
Musthafa: When the scriptwriter first shared the story, Rema Devi’s character already stood out as a strong, commanding presence. Her role was envisioned with a sense of dominance and authority. In many recent cases, there’s often a significant, sometimes unexpected, influence of women in positions of power or control.We wanted to reflect this complexity.
Rema’s position not only adds depth to the narrative but also challenges typical power structures. Her authority brings a new layer to the story. Ani, a seasoned figure himself, respects and even defers to Rema’s judgment, reflecting her formidable influence.
In developing Rema’s character, we aimed to craft a figure who could embody both strength and a touch of mystery, someone whose actions and decisions are respected, even if they may seem unconventional. Audiences have started taking notice of Rema, which is encouraging.
source: http://www.maktoobmedia.com / MaktoobMedia.com / Home> Film & TV / by Nikita Ramanarayanan / November 17th, 2024
An adaptation of Benyamin’s 2008 best-selling Malayalam novel, ‘Aadujeevitham: The Goat Life’, starring Prithviraj Sukumaran, follows the real-life story of Najeeb, a Malayali immigrant labourer in Saudi Arabia.
Music composer A R Rahman. | Photo Credit: Velankanni Raj B
A.R Rahman has won the prestigious Hollywood Music in Media Awards 2024 for the background score of Aadujeevitham: The Goat Life in the Independent Film (Foreign Language) category.
Director Blessy who received the award on Rahman’s behalf at the gala ceremony in Los Angeles shared the news with The Hindu.
The HMMA Awards are considered the bellwether award for the Oscars. Earlier this week, Blessy told The Hindu that he was holding screenings in the US to make a bid for the Academy Awards in the general category.
“I truly believe Rahman has woven magic with both the songs and the background score. The BGM alone captures the character’s struggle, the raw emotion of their fight for survival in the desert. In a way, the score itself tells its own story, mirroring the depth of the character’s emotions,” he had said.
In a strong field, Rahman was competing against Segun Akinola for Girl You Know It’s True, Arli Liberman and Tiki Taane for Ka Wahawhai Tonu, Hao-Ting Shih and Tae-Young Yu for Mongrels, Karzan Mahmood for The Seed of the Sacred Fig and Sandro Morales-Santoro for The Shadow of The Sun for the jury’s nod.
An adaptation of Benyamin’s 2008 best-selling Malayalam novel, the Malayalam film follows the real-life story of Najeeb, a Malayali immigrant labourer in Saudi Arabia. The film stars Prithviraj Sukumaran and Jimmy Jean Louis, K.R. Gokul and Amala Paul.
source: http://www.thehindu.com / The Hindu / Home> Entertainment> News / by The Hindu Bureau (headline edited) / November 21st, 2024
Bihar is on top of the list of Sahitya Akademi Awardee for 2020. Three litterateurs including Anamika of Muzaffarpur figure in the coveted national list. She is the first woman in the country to receive the Sahitya Akademi Award in Hindi for her poetry collection.
The 80-year-old Kamalkant Jha, who hails from Jayanagar in Madhubani, would get the award for his story collection ‘Gachh Rusal Achhi’ published in Maithili language.
The most discussed award is that of the famous storyteller Hussain-ul-Haq of Urdu, who lives in New Karimganj. He was awarded the Sahitya Akademi Award for his novel Amavas Mein Khwab. (Dreams in dark night).
Chief Minister Nitish Kumar has congratulated Hussain-ul-Haq for getting Sahitya Academy Award. In a message to all three, the Chief Minister said it was a matter of great pride for Bihar that three of Bihar’s writers were named to receive the Sahitya Akademi Award. The entire Bihar is proud of them,” he said.
Hussain ul Haq has not been keeping good health. He returned home from Delhi where he had gone for treatment. This honour has brought cheers to the family. They shared happiness by distributing sweets.
Haq’s younger brother Dr Ain Tabish is Head of the department of English in Mirza Ghalib College, Gaya. Tabish told Awaz-the Voice, “Bhaiya receiving this honor is a big day for the family. It will inspire young writers and also make people realise that writing on social issues is relevant.”
Hussain ul Haq’with family and his books
Born in Sasaram in 1949, Hussain ul Haq’s writings are mostly on human bond and the middle-class society. According to Ahmed Sagir, a young writer who is close to Haq, in 1991, Hussain ul Haq’s first novel ‘Bolo Mat Chup Raho’ (Don’t speak; keep quiet) made waves. His second novel,‘Farat’ published in 1994, got him more limelight and recognition. For some reason, Hussein-ul-Haq didn’t write for a long period. The third novel ‘Amavas Mein Khawab’ hit the stand in 2071 and it sold like hotcakes. It made a great impact in the world of Urdu literature. He has been awarded the Sahitya Akademi Award for this novel. The novel is based on a story about the changing socio-political environment in the time period between 1930 and 1950.
Hussain-ul-Haq has a deep affinity with Sufism. His family is the successor to the legacy of a great Sufi Saint and also the caretaker of his tomb – khanquah. His father, Maulana Anwarul is a well-known personality of Sasaram. Hussain ul Haq says he has imbibed the thinking and the way of understanding things from his father.
Though the family is settled in Gaya, their relationship with Sasaram remained intact. The influence of Khanqahi culture and Sufiism has played role in Haq’s focus on human bonds in his writing.
Hussain ul Haq, who retired as head of the Urdu department and proctor of Magadh University has also published eight story collections, three novels, and half a dozen other books.
After Abdul Samad, Mazhar Imam, Ilyas Ahmed Gaddi, Professor Jabir Hussain he is the fifth Urdu writer from Bihar to receive the Sahitya Akademi Award.
Hussain ul Haq’speaking at a function
Friday brought in a lot of happiness in the Haq family. In the morning, the first news came that Hussain ul Haq has been awarded the Shamim Nikhat Memorial Fiction Award in UP and he will be honored on 13 March at Lucknow. The organisation confers writers with a sum of Rs 50,000 and a memento. Haq will skip the award due to his ill health.
By the evening came the news of the Sahitya Academy Award filling the home with happiness and joy.
Ain Tabish says this award will have a big impact in the Urdu world as the message that writing based on serious issues and principles is still valued today.
Sahitya Akademi Award is the top award for Indian literature and is given away for 20 Indian languages. Among the recipients of this award are senior Congress leader and former Union Minister of Karnataka Veerappa Moily.
source: http://www.awazthevoice.in / Awaz, The Voice / Home>Story / by Seraj Anwar, Patna / March 13th, 2021
Manki Village (Honnavar Taluk,Uttara Kannada District), KARNATAKA / Medina, SAUDI ARABIA :
Riyadh:
Abdulqadir Mohammed Meera Shaikh, a student from the Islamic University of Medina and hailing from Manki village in Honnavar Taluk, Uttara Kannada district of Karnataka, has won the first prize in the prestigious Arabic Language and Culture Competition.
Held in Riyadh and organised by the King Salman Global Academy for Arabic Language, the competition saw over 1,000 students from various nationalities showcasing their skills in Arabic language proficiency and cultural understanding.
Abdulqadir’s exceptional performance earned him a gold medal and a significant cash prize.
The sudden demise of veteran bureaucrat and author Shehzad Mohammad Khan, widely known as S.M. Khan, has left many in shock and grief. Social media is flooded with tributes, with admirers remembering him as a person of “utmost humility and generosity,” reports the ATV.
S.M. Khan passed away on Sunday at the age of 67 after a brief illness. He is survived by his wife and three children. His last rites took place today in his hometown of Khurja in Uttar Pradesh’s Bulandshahr district, according to family sources.
Khan’s passing marks the end of an era in the Indian Information Service (IIS) and public relations field, where he set benchmarks for loyalty and dedication throughout his illustrious career.
Born on June 15, 1957, in Khurja, S.M. Khan completed his education at Aligarh Muslim University and the University of Wales, England. Joining the IIS in 1982, he held several critical roles over the years.
One of his most prominent assignments was serving as the spokesperson for the Central Bureau of Investigation (CBI) between 1989 and 2002. During this time, he skilfully handled media communications for high-profile cases such as the Harshad Mehta financial scandal, Bofors scandal, and Rajiv Gandhi assassination case.
From 2002 to 2007, Khan served as Press Secretary to President Dr. A.P.J. Abdul Kalam. His tenure included managing the President’s media relations and accompanying him on national and international tours. Inspired by Dr. Kalam, Khan authored Awami Sadar (The People’s President), which shed light on lesser-known aspects of the former president’s life.
Khan also played a pivotal role in shaping Indian media through his work as the Director General (News) of Doordarshan, where he oversaw coverage of significant events such as National Film Awards and Dada Saheb Phalke Award. Additionally, he served as Director of the Directorate of Film Festivals (DFF), representing India at prestigious platforms like the Cannes and Berlin Film Festivals.
Beyond his professional achievements, Khan was deeply involved in fostering interfaith harmony as a trustee of India Islamic Cultural Centre (IICC). Elected Vice President of the IICC in 2019, he dedicated himself to promoting mutual understanding across communities.
S.M. Khan maintained a strong bond with his alma mater, Aligarh Muslim University, serving as a member of its Court and the Executive Council. His efforts in promoting education and cultural understanding continue to inspire many.
His passing is a significant loss to the nation, leaving behind a legacy of excellence, humility, and dedication.
source: http://www.radiancenews.com / Radiance News / Home> Obiturary / by Radiance News Bureau / November 19th, 2024
