Category Archives: Arts, Culture & Entertainment

J&K artists weave life back into the antique shawl

JAMMU & KASHMIR :

Silken touch: Experts display the skill at the special event at Srinagar’s SPS Museum. | Photo Credit: The Hindu
Silken touch: Experts display the skill at the special event at Srinagar’s SPS Museum. | Photo Credit: The Hindu

Workshop to revive Valley’s vanishing breed of master darners

Once sought after by Mughal emperors for their finesse, Kashmir’s master darners, known as rafugars, have become an endangered species. The Jammu & Kashmir government is now making efforts to revive this dwindling breed of craftsmen whose rare ability to repair expensive antique shawls is in great demand across the country and abroad.

J&K’s Department of Archives, Archaeology and Museums and the Indian National Trust for Art and Cultural Heritage (INTACH) have decided to identify and expose these traditional Valley darners to the market.

Toward this end, at least 25 master darners and embroidery artists have been invited to exhibit their skills at a six-day workshop, organised from September 17-22, at Srinagar’s SPS Museum. Two masters from Uttar Pradesh’s Najibabad are among those sharing their knowledge.

J&K’s Handicraft Department says, of the 56 traditional skills (such as wood-carving), only 26 are practised today. One indicator of the decline: a post for ‘Darner Instructor’ in the department has been lying vacant for many years.

Rafugari survives

“Among the surviving skills is rafugari, which is also dying. Darners from Kashmir once impressed the Mughal emperors, who hired them to keep their shatoosh and pashmina shawls intact,” said Saleem Beg of INTACH’s J&K chapter. The workshop, Mr. Beg said, was aimed at transmitting the art to the next generation. The museum has displayed 63 rare shawls, many dating back to 1893, including one with a map of Srinagar on it.

“The darners will understand the artwork that our artists had mastered in the past. They should be able to identify problems and suggest methods of restoration. This exercise will help them hone their skills,” Mr. Beg said.

Master darner Muhammad Rafiq Kozghar, in his mid-50s, has been repairing antique shawls and sarees for 40 years now. “I picked up the skill from three teachers in Srinagar. All of them have passed away. I am the only student alive, taking it forward. Darning requires fine hands and eyesight. A darner dies once his eyesight fails him,” said Mr. Kozghar, who works in Delhi.

Mr. Beg said that there was great potential for textile conservation in Srinagar. “We need to upgrade the skills of the existing rafugars and needle work artisans to create a market for textile conservation,” he added.

source: http://www.thehindu.com / The Hindu / Home> News> States> Other States / by Peerzada Aashiq / Srinagar – September 20th, 2018

Lucknow: Now, ‘water gateway’ to Chattar Manzil unearthed

Lucknow, UTTAR PRADESH :

Slice of history: Nawabs probably used fish-shaped boats for transport in 17th century, says historian.

The ongoing excavation work at Chattar Manzil reached another level on Monday as workers unearthed a ‘water gateway’ leading to this iconic structure.

The UP Rajkiya Nirman Nigam (UPRNN), the construction agency engaged in the restoration of the structure, termed it one of the major discoveries so far.

Officials said workers engaged in the excavation stumbled upon a ‘cylindrical structure’ that was lying buried for years.

On clearing the debris, it was found that the structure made of lakhauri bricks was a tunnel, which connects the over 200-year-old Chattar Manzil to river Gomti, flowing just a few metres away.

“This tunnel is around nine metres beneath the ground,” said Nitin Kohli, the contractor supervising the excavation work.

The task is being performed under the supervision of a high-powered committee comprising Archaeological Survey of India (ASI), Abdul Kalam Technical University (AKTU), State Archaeology Department and officials of the civil engineering department, IIT BHU.

Experts said once they are done with the excavation work, they would explore details like the total length of the tunnel and where it leads to.

Officials said the discovery of the tunnel would unravel another chapter from the history of Chattar Manzil and Kothi Farhatbaksh.

The tunnel would also demystify myths and folklore about the Nawabs using water boats to sail within the palace complex, they added.

However, historians have a different take on this tunnel.

PC Sarkar, a noted historian, said: “The structure seems more of a water gate than a tunnel.”

He said some old timers who have been to Kothi Farhatbaksh (Lakhi Pera), residence of major general Claude Martin, had mentioned the structural uniqueness of the twin structures. “In fact, it is on record that the structures were easily approachable from the northern (river Gomti) side by boat also,” added Sarkar.

“After Nawab Saadat Ali Khan bought the fortress-like structure, it was remodelled into a palace-like structure. However, the river side entrance remained the principal one, with the Nawab adding pavilions in the middle of the river itself,” he said.

He said Gomti was the main channel of transport – the nawabs used barges (boats) of various shapes and sizes, some looking like fishes, crocodiles, for transport in the 17th century. The famous ‘More Pankh’ boats were in vogue during that era, said Sarkar.

He said ‘water gates’ may sound unique now, but they were common in the olden days.

The Lucknow Residency too had a ‘water gate’. But it became defunct when Gomti changed its course and more means of road transport came up, he said.

source: http://www.hindustantimes.com / Hindustan Times / Home> Lucknow / by Oliver Fredrick, Hindustan Times,Lucknow / November 20th, 2018

The mystery of the two saints

Hyderabad, TELANGANA :

The structure lies in neglect | Photo Credit: Serish Nanisetti
The structure lies in neglect | Photo Credit: Serish Nanisetti

Forgotten and vandalised tombs show the sorry state of heritage

The tip came last week. “There are these maqbaras in Balapur. One of them is double-storied, like that of Jamsheed Quli Qutb Shah. They must belong to someone important. We could climb up and the decoration is largely intact,” said P N Praveen, who teaches architecture. He sent a location map. A satellite map showed a square open area with two round structures.

The location turned out to be beyond the Barkas area in Old City. Beyond the shanty town of Rohingya refugee camps is the open area where the two domes pierce the sky. If shouts and laughter echo from one side where children gather to play cricket, on another side a Greater Hyderabad Municipal Corporation vehicle comes to dump garbage from the surrounding areas. “I make four or five trips per day,” says the driver of the garbage tipper. When the garbage reaches a certain height, he sets the heap alight. The fire and smoke envelop the area.

The two domes are raised on a square platform. The small, low and squat, more ornate dome would easily fit into the landscape of the Qutb Shahi tombs complex at the foothills of Golconda Fort. The other one appears to be double-storied, but with something amiss with the symmetry. “It lacks a defined parapet with battlements,” says Prashant Banerjee, a conservation architect after seeing a photograph.

“These tombs belong to the Qutb Shahi era. Two Sufi saints Bhole Shah and Bhale Shah are buried here. Over time people have vandalised and removed all signs of the graves but they are buried inside the tombs,” said Muhammad Shareef, who is secretary of the Roushan Ud Dowla Masjid, that abuts the tombs. A sign painted in Telugu speaks about the property being under the care of the Waqf Board. How these two tombs slipped out of the net of the memory of the city is anybody’s guess. The tombs are from a layer of history which hasn’t got much attention from historians.

Golconda/Hyderabad has been attacked multiple times. After Aurangzeb’s final conquest, he oversaw its sack by staying put near the eastern side of Charminar. All the glorious palaces draped with glazed enamel tiles with seven colours were pulled down in the hunt for the fabled treasure.

One of the Qutb Shahi palaces was a seven-storied one which was a marvel for even a well-heeled traveller like Jean Baptiste Tavernier. Now, nothing of that era remains, save the four ceremonial arches, the Charminar and the fountain in the royal piazza. Later, Hyderabad was subjected to a series of raids by the Marathas. The sacking, the raids, the unsettled conditions meant that the once grand city and its surrounding areas slipped into a state where people were only bothered about saving their life and limb. Not surprisingly, religious and spiritual monuments survived intact and in some cases emerged grander and more powerful. But how these two tombs in Balapur, despite being associated with Sufi Saints, slipped into disuse and became a den for vagabonds remains a mystery.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Hyderabad> Living Hyderabad / by Serish Nanisetti / November 17th, 2018

Meet Rafia Rahim, First Woman Radio Jockey In Kashmir’s Budgam

Charari Sharief, Budgam District , JAMMU & KASHMIR :

Rafia Rahim, the first woman RJ in Kashmir’s Budgam, has become a household name in the Valley after she hosted various local programs on the radio station.

Rafia Rahim studied in the University of Kashmir.
Rafia Rahim studied in the University of Kashmir.

Srinagar :

Like a positive ray of sunshine, 24-year-old Rafia Rahim has become the first woman radio jockey from Kashmir’s Budgam district. She lives in Charari Sharief town and has now become a household name after she hosted various local programs on the radio station.

Rafia, who has become the first woman radio jockey on a private radio station, is a 2016 pass out from the Media Education and Research Centre in the University of Kashmir.

Rafia Rahim lives in Charari Sharief town.
Rafia Rahim lives in Charari Sharief town.

Long before she enrolled in the journalism programme at the University of Kashmir, Rafia Rahim hosted Good Morning Jammu and Kashmir on Doordarshan, a show that comprises debates on social issues.

Rafia Rahim joined a local English daily as a paid intern. Later, after going through an audition, she got selected for the said radio station as an RJ.

“In February, I got selected for Radio Jockeying. I received proper training in Chandigarh from the radio station. With my program, I try to entertain people and take away all their tensions, sadness and tiredness,” she said, adding that she wants to entertain the Kashmiri audience.

“It feels nice when people recognise me due to my work. I feel very grateful,” she added.

source: http://www.ndtv.com / NDTV / Home> Sections> All India / by ANI / November 16th, 2018

Vizag girl wins Google doodle contest

Visakhapatnam, ANDHRA PRADESH :

Daniya Kulsum, the winner of the Doodle 4 Google-2018 contest
Daniya Kulsum, the winner of the Doodle 4 Google-2018 contest

3 Sri Prakash students among the finalists

Daniya Kulsum, a student of Sri Prakash Vidyaniketan, has won the Doodle 4 Google-2018 contest in the Group-3 category.

Twenty 20 doodles from the ones made by 70,000 participants were selected for the finals and among the finalists, three are from Sri Prakash Vidyaiketan. Daniya Kulsum, a fifth standard student, won the contest with the theme ‘What Inspires me’. The other two finalists were 2nd standard student C. Jayavant Kamesh and Bogaruapu Saathwik of sixth standard.

Felicitated

All the three finalists were felicitated at the Google office in New Delhi in presence of the noted artist Rob. Later, they were presented with a citation of recognition, a certificate of achievement, a Googley Swag and a Google Home, along with a stay at Taj Hotel with free air tickets.

School director Chitturi Vasu Prakash congratulated the students on the achievement.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Visakhapatnam / by Special Correspondent / Visakhapatnam – November 15th, 2018

Vilayat Khan: The man behind the maestro

KOLKATA / MUMBAI / U.S.A. :

VilayatKhan01MPOs16nov2018

Namita Devidayal’s book on Ustad Vilayat Khan is an interesting account of his life and musical journey

Writing the life sketch of a legendary musician such as Ustad Vilayat Khan is no easy task. Going by his lineage, stature, proficiency and lasting influence, summing up his music and personality in 252 pages is like exploring a raga in five minutes. Yet, such an attempt is important to enable young musicians to imbibe from his distinctive style and virtuosity.

The book, The Sixth String of Vilayat Khan, has been authored by Namita Devidayal, who had earlier penned the bestseller, The Music Room: A Memoir. Namita says she has tried to create an impressionistic fluid portrait — of a magnificent artiste and a fragmented human being. “I have tried to imagine him and tell a story anchored in fact but narrated with poetic license, like improvising on a jazz standard. It would be a mistake to regard this strictly as a biography.”

The book is an outcome of Namita’s long discussions with people who were close to the Ustad and his family and through interviews, archival records and photographs.

Vilayat Khan was 10 when his illustrious father Enayat Khan passed away, but not before inducting his son into the legacy of the greatest sitar gharana (his grandfather was Imdad Khan, who undertook the tough 40-day chilla ritual, when the musician does not step out of the house and only practises).

As a young lad, living in Calcutta, in a house named ‘Riyaz,’ Vilayat had only the sitar for a friend. He was eight when he performed at the All-India Bengal Music conference and earned immense praise. The Megaphone Recording Company even came up with a 78 rpm featuring the father on one side and the prodigious son, on the other. But his father’s untimely death left Vilayat shattered, both monetarily and musically.

The book gives a detailed account of how Vilayat fought hardships to become one of India’s foremost musicians. One night, he left home with his sitar, swearing to return only as an accomplished musician. He boarded a train to Delhi and reached his destination thanks to kind-hearted ticket collectors.

He went straight to All India Radio; the station director recognised him as Enayat Khan’s son and gave him refuge in the station’s garage. He used to have food from the canteen and clean instruments in the studio. He was delighted to see eminent artistes walking AIR’s corridors and listen to the recordings of musical greats.

VilayatKhan02MPOs16nov2018

Packed with interesting anecdotes and providing insights into the artistic ambience of the time, the author takes the readers through Vilayat’s training under his maternal grandfather (Bande Hasan Khan) and uncle (Zinda Hasan Khan), who were vocalists and would come to Delhi to teach him. Sometimes, Vilayat visited their house in Saharanpur. Bande Hasan Khan was also a wrestler and took his grandson to the akhada to build his stamina.

Vilayat’s mother Basheeran Begum was happy that her family had undertaken the responsibility of his training, but her son’s growing fondness for singing worried her. She warned him about breaking the family tradition. A distraught Vilayat approached his uncle, who advised him to make his sitar sing instead. So he began to consciously nurture the gayaki ang in his instrument. The Ustad, who was also an accomplished surbahar player, once said, “When I sit down on stage to play, everything comes to me in the form of a vocal performance. It just happens.”

An entire chapter is devoted to the 1944 Vikramaditya Music Conference in Bombay, where a sitar maestro called Vilayat Khan was born. Soon he became a regular at prestigious festivals and private concerts. At the same time, another sitar exponent, Ravi Shankar was making a mark too. Though stories of their rivalry were spoken about in music circles, both had tremendous respect for each other.

VilayatKhan03MPOs16nov2018

Vilayat’s tryst with fame, money and the film industry (among his close friends were Naushad and Madan Mohan) began when he moved to Bombay. It was also where he met his disciple Arvind Parikh, who came from a Gujarati business family. A devoted shagird, Arvindbhai also became his close confidante. By 1950, Vilayat Khan began touring the world.

His preparation for concerts included planning his attire. The book talks about how he would often have a dress rehearsal in which the entire family would be forced to participate. Even his silver and carefully-designed paan box had to be set the night before a performance. He loved the good life, traditional when it came to his art, while preferring to be up-to-date in his appearance. From Bombay, he moved to Shimla, to enjoy the quietude of the hills, and then to the U.S.

While drawing the portrait of an older Vilayat Khan, Namita touches upon his uneasy relationship with his son Shujaat Khan, a well-known sitar player and his younger son Hidayat Khan’s struggle to live up to his father’s expectations.

In 2004, after traversing the highs and lows of life like the notes of his strings, the Ustad died of lung cancer. In his hands, the sitar gained a beautiful voice.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Music / by Chitra Swaminathan / November 08th, 2018

Why we can’t talk about sexual violence without asking why men rape

Mumbai, MAHARASHTRA / Manhattan, U.S.A :

Sohaila Abdulali was the first Indian woman to write about being raped, in 1983. In a new book, she raises tough questions about how we view sexual violence.

SohailaMPOs15nov2018

Who rapes? Just as we can have fixed ideas about victims, we have them about perpetrators as well.

Are all men capable of rape? In my own life, I cannot accept this. Here is what one man said when I asked him if he thought he could imagine raping someone. “For myself, I would say no,” he said. “There’s a level of empathy that would make it impossible for me.” I believed him.

I can imagine murdering, but not raping. Murder is worse than rape, I know, but there are lots of reasons to do it. If I were in a state of out-of-control rage, if someone were threatening to harm me or someone else, if killing someone were the only way to avoid some terrible catastrophe…I know, this is a weird, weird paragraph. But think about it – there is no reasonable reason to rape. You’re either doing it explicitly to cause damage, or because you want sex and don’t understand or care that the other person does not want it.

Justifiable homicide exists (for instance, if you’re killing someone to stop a rape), but justifiable rape? Do you ever need to rape someone to stop any other crime? The only people who openly justify rape are those who run blatantly woman-hating societies, where women are objects.

Speaking of which, let’s talk about objectification. In my days of clarity and righteousness as a college student, I wholeheartedly believed the conventional feminist wisdom that men objectify women in order to rape them. The logic goes like this: if you deny someone’s humanity, you can abuse them.

But perhaps it’s your own humanity you have to deny. Or at least your own positive humanity. Cruelty and sadism are also very human.

Social scientists Alan Fiske and Tage Rai have studied the moral motivations of violence. Rape often has a (twisted) value component. You value your own needs more than your victim. You want to teach someone a lesson. You want to feel powerful. You feel you deserve to humiliate someone. All these values and emotions only apply to other people. We don’t usually feel the urge to humiliate objects. It’s precisely because someone is a human being that it matters how you treat him or her.

Paul Bloom wrote in the New Yorker about Fiske and Tage’s analysis:

In many instances, violence is neither a cold-blooded solution to a problem nor a failure of inhibition; most of all, it doesn’t entail a blindness to moral considerations. On the contrary, morality is often a motivating force…Moral violence, whether reflected in legal sanctions, the killing of enemy soldiers in war, or punishing someone for an ethical transgression, is motivated by the recognition that its victim is a moral agent, someone fully human.

The men who raped me were very clear that they were angry at me. Don’t ask me to explain why, and they’re not available for comment. I just know that they were enraged. I had no right to be out with a boy, they said. They would teach me a lesson. This is what happens to bad girls. At no time was I just an object. At worst, I was a whore who had to be put in her place. At best, I was a fool who had to be taught a lesson. But I was definitely a person.

I babbled like a parakeet on speed through the whole ordeal, trying to get them to show some mercy. Talking about myself and my life and trying to get them to see me as worthy of compassion – all that went nowhere. I was a wicked, clueless girl and had to be taught. But one thing did have an effect – when I started talking about them. “We are all brothers and sisters,” I ranted. “You are my brothers.” That infuriated them. They didn’t want to be reminded of their humanity.

This is just one story. But I think it’s worth considering the idea that other rapists have equally distorted views of themselves and their victims.

Audrey, the young British woman who was gang-raped in Italy, told me that one of her rapists said in his police statement that he didn’t need to rape to get women; he was so naturally attractive that women just flocked to him. In his mind, it wasn’t even rape. She was just lying there, clearly fine with it, so what was the problem?

We’ve got a long way to go when we can’t even agree on what is rape.

Audrey went on to say that the judge in her case sided with the rapists. “The judge and prosecutor seemed to share this perspective to an extent – that rape was something only real psychos jumping out of bushes did, or losers who couldn’t get sex any other way; it was not something that good-looking, well-dressed young men needed to resort to. I guess I would respond today that rape is really not about sexual attraction or having sex in the first place. Especially when you’re talking about a group, there’s a different dynamic at play, one that is more about humiliating someone and treating her as inferior…at least, this is the conclusion I have reached.”

Consider the Stanford rape case. Undergraduate Brock Turner sexually assaulted an intoxicated woman and left her unconscious. A woman friend of his wrote a letter to the judge, which said, “Where do we draw the line and stop worrying about being politically correct every second of the day and see that rape on campuses isn’t always because people are rapists?”

Rape on campus is always because people are rapists. We just don’t want to think about the uncomfortable truth that a rapist is just a guy, any guy, who rapes.

“Does anyone enjoy raping?” Kalki Koechlin wanted to know when we were trying to figure it all out. “What’s going on?”

Patriarchy is to blame, says writer bell hooks.

Provocative women are to blame, say the Iranian morality police.

Alcohol is to blame, says the Campus Sexual Assault Study, prepared for the US National Institute of Justice. The woman who was raped by Brock Turner, the Stanford student who infamously got a ridiculously light sentence for his crime (from Santa Clara County Superior Court Judge Aaron Persky, who lost his position two years later), wrote a powerful letter to be read out in court. She talked about alcohol:

Alcohol is not an excuse. Is it a factor? Yes. But alcohol was not the one who stripped me, fingered me, had my head dragging against the ground, with me almost fully naked. Having too much to drink was an amateur mistake that I admit to, but it is not criminal. Everyone in this room has had a night where they have regretted drinking too much, or knows someone close to them who has had a night where they have regretted drinking too much. Regretting drinking is not the same as regretting sexual assault. We were both drunk; the difference is, I did not take off your pants and underwear, touch you inappropriately, and run away. That’s the difference.

Brock Turner’s father also wrote a letter about his son, to the judge. It is a devastating testament to rape culture:

Now he barely consumes any food and eats only to exist. These verdicts have broken and shattered him and our family in so many ways. His life will never be the one that he dreamed about and worked so hard to achieve. That is a steep price to pay for twenty minutes of action out of his twenty-plus years of life.

Some rapists have permission to take what they want. Some rapists have had terrible lives full of abuse and despair. As a friend who was raped by a troubled man said, “You get a lot of shit on your plate – it starts to affect you.” It’s not an excuse, but a reality, like witnesses of domestic abuse who grow up to beat their partners. But then, there are the men who’ve had perfectly healthy, wholesome lives and commit rape anyway. What about them? Or the men who abuse their power, like those I’ve talked about in Washington, and Hollywood, whose penises have spent an inordinate amount of time outside their owners’ pants.

It’s time to throw one idiotic notion overboard – the notion that men can’t stop, that there’s a point of no return once you’re sexually aroused.

We keep talking about women’s agency, but men have agency too. Guys, tell me this: if you were in the middle of hot sex and really, really into it, and your grandmother walked into the room and peered at you over her glasses, would you stop, or would you keep going?

Rape is like a go-to hobby for men of all types. Godmen in Goa. Daddies in Denmark. Teachers in Tanzania. Boyfriends in Britain. Ski instructors in Switzerland. Priests in Prague.

This doesn’t necessarily contradict my earlier point about rapists dehumanising themselves. Violence has so many motivations. There’s damage rape (you want to cause pain) and there’s casual rape (you want sex).

When you look around at the whole panorama, it’s difficult to muster up wholesale abhorrence of all abusers.

They’re so aggravatingly human. So few have bulging red eyes, uncontrollable drooling, and fifteen heads. A therapist told me about how he took on the case of a fourteen-year-old boy who had raped a twelve-year-old autistic girl. “Everyone at the clinic thought he was a monster, and nobody wanted to take the case.” The therapist wondered how he would deal with this twisted teenager. “And then, this sweet young kid walked in.” He had been terribly sexually abused and brutalised himself, all his life, and he was “doing the only thing he knew.”

Why they do it is interesting, but after a point I’m more interested in moving along from this unevolved state of human interaction. I don’t want to care about rapists’ motivations. They should just stop. Whether it’s wired in or because their daddy didn’t play with them or they’re just jerks or they’re sexually frustrated or they do it because they can or they do it because they can’t not do it or they’re normal or they’re abnormal, who cares? They should just stop what one superior babysitter once called this “third-class behaviour.”

Unfortunately we do have to spend time trying to understand, if we’re going to stop it. So yeah, we can’t talk about rape without talking about why men rape.

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Excerpted with permission from What We Talk About When We Talk About Rape, Sohaila Abdulali, Penguin Random House India.

source: http://www.scroll.in / Scroll.in / Home> Book Excerpt / by Sohaila Abdulali / November 14th, 2018

Iqbal’s works to the fore

Hyderabad, TELANGANA :

Iqbal Academy has 6000 books on Iqbal | Photo Credit: By arrangement
Iqbal Academy has 6000 books on Iqbal | Photo Credit: By arrangement

Hyderabad-based Iqbal Academy brings to light unpublished works of Allama Iqbal

Die-hard fans of Allama Iqbal, one of the greatest of Urdu poets, can now look forward to reading his little known and yet unpublished verses. The Iqbal Academy, Hyderabad, has planned to bring out this 200-page book titled Baqiyat-e-Iqbal in India. After much deliberations, the Academy took this decision on the occasion of the poet’s 141st birth anniversary on November 9.

The poet-philosopher has a huge fan following in the Urdu world, particularly in the sub-continent. Many theories abound as to why these verses were not published during the lifetime of the poet. Some say these were early poems of Iqbal and naturally lacked the philosophical profundity of his later works. Therefore, they were not included in the published works. Some believe that Iqbal had dropped these early verses as his thinking and philosophy had changed a lot by the time his celebrated book Bang-e-Dara was published. Whatever be the reson, these early poems have the distinct stamp of Iqbal — thestyle, diction and the unique choice of words.

Though the Baqiat-e-Iqbal was published in Pakistan way back in the 1950s, it remains unavailable in India. “We will have the credit of publishing it for the first time in India,” says Ziauddin Nayyar, vice president, Iqbal Academy.

Interestingly it was in Hyderabad that the first works of Iqbal was published by Abdul Razzak in 1916. The first Youm-e-Iqbal (Iqbal day) was also celebrated in the city on January 7, 1938 and the Bazm-e-Iqbal, the first Iqbal society was set up here. Also, Hyderabad’s connection with the poet who penned the famous nazm Sare jahan se accha goes deeper. He had visited Hyderabad thrice, first in 1910. He was the guest of the then Prime Minister, Maharaja Kishan Prasad. During his brief visit Iqbal was taken to the Qutb Shahi tombs where he penned the poem Gorastan-e-Shahi mirroring the rise and fall of kingdoms.

The Iqbal Academy, which has a collection of 6000 books on the poet, proposesto set up a research centre and extend all facilities to scholars who intend to do doctoral theses on Iqbal. Last weekend a programme was organised at the Academy’s premises in Gulshan-e-Khaleel complex, Masab Tank to commemorate Iqbal’s birth anniversary.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Hyderabad / by J S Ifthekhar / November 13th, 2018

‘I write constantly, consistently’: Andaleeb Wajid

Bengaluru, KARNATAKA :

Relatable ‘I wanted to write stories about people like you and me.’ | Photo Credit: Poornima Marh
Relatable ‘I wanted to write stories about people like you and me.’ | Photo Credit: Poornima Marh

‘My characters’ Muslimness is secondary to the story’

Andaleeb Wajid is a household name in Bengaluru, with a large oeuvre —18 novels and counting — that spans genres like Young Adult, romance, sci-fi and horror. Recently, a couple of her books have been optioned by film production houses. Wajid started off with slice-of-life stories about young Muslims but has broadened her scope with each book. Over the years, she has honed her craft well but is still writing from the heart. Excerpts from an email interview:

You are one of the most prolific published authors in the country today. What drives your pace and output?

I write constantly and consistently. After I wrote my first novel Kite Strings, I took a break, waiting for it to get published. When that happened three years later, I realised I’d been an idiot not to have been writing in that time. So I got down to writing continuously, making up for lost time!

Does contemporising your stories with its mainly Muslim milieu come easy or do you work at setting up and sustaining a specific atmosphere?

The Muslim milieu part was not deliberate at first, I was just writing stories from the lens through which I perceived the characters. But things changed along the way. If you read my earlier books like My Brother’s Wedding and the more recent ones like The Crunch Factor or Asmara’s Summer, there’s a decided shift in the way my heroines behave and think. There is lesser assimilation of what society expects and more assertiveness in the characters. This was a deliberate choice. I wanted to write stories everyone could relate to, and not just a ‘this is what happens behind closed doors in Muslim houses’ story which exoticises and otherises Muslims.

You are a publisher’s dream because you play a major part in promoting your work on social media and off it. Is this part of the job for you?

Well, I like to be involved in all the aspects of publishing because, at the end of the day, I want more people to read my books. I’m happy that there are new mediums available today to promote books.

It’s a combined effort — publishers have social media teams who come up with some excellent book-related creatives, and I try to push them as much as I can, on the different platforms I’m comfortable with.

The Muslimhood of your characters is kept light… is this deliberate?

Yes. My characters’ Muslimness is secondary to the story and sometimes, even incidental. Some of my recent books (It WaitsNight at the Warehouse) don’t have Muslim characters at all because I think the story comes first, everything else is secondary.

Continuing with Muslimhood, there is no mention of the problems Muslims face today in any of your books. The conflicts are all internal, not external. Would that be a conscious decision to steer clear of controversy?

To be honest, I haven’t given this much thought. I wanted to write stories about people like you and me. I’ve lived quite the cocooned and privileged life and have not faced the amount of discrimination others have faced. Maybe that has shaped my consciousness into writing narratives that are ‘normal’ rather than filled with conflict. Then, I don’t like controversies because at the end of the day, I don’t want anything to come in the way of my writing.

“I am flabbergasted when I meet with questions like, why didn’t you write this book in Urdu? How come you wear a burkha? There seems to be a big disconnect between my work and my personal appearance.” This is what you had told me years ago, in an interview for your first book, Kite Strings. Have things changed for you since then? Or have you changed?

Both. Things have changed because I think people have stopped seeing my burkha when they see me, which is what I’d wanted all along — people to focus on my work and not my appearance. I too have changed in the sense that I’m more tuned in to the world around me, especially in the current political climate. If I don’t feel comfortable wearing a burkha somewhere, I don’t. The choice is mine and it always has been, actually. I just didn’t know that with as deep a conviction as I know it now.

Tell us about the MAMI Word to Screen sessions you attended last year and this year.

MAMI Word to Screen is a great opportunity for content creators from films and web series to learn about authors and their books. Two of my books were shortlisted last year and I had to pitch them on stage, for producers and content creators. I went in with no idea of anything and came back having learned quite a bit. This year, my books were only longlisted, which meant I didn’t have to do the stage bit but could still meet producers and others who showed interest. Seema Mohapatra’s StoryLoft Productions has already optioned Asmara’s Summer and The Crunch Factor to adapt for web and feature film, and there’s been a lot of interest from platforms and production houses like Netflix, Amazon, Sony Pictures, etc. Apart from these, a few production houses like Hotstar, Jio have picked up some of my work for reading and evaluation; but of course, these things take time.

What’s up next?

As of now, there’s House of Screams, which was published by Penguin Random House last month. I have a romance novel, A Sweet Deal, which will be published by Fingerprint next year. I’ve pitched a couple of ideas to my publishers and I’m waiting for the go-ahead before I can start working on them.

The interviewer is a manuscript editor and novelist based in Bengaluru.

source: http://www.thehindu.com / The Hindu / Home> Books> In Conversation / by Sheila Kumar / November 10th, 2018