Category Archives: Arts, Culture & Entertainment

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

KARNATAKA :

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

Mangaluru :

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

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

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

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

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

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

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

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

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

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

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

Another historical for Kannada

KARNATAKA :

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Chandrashekhar Kambar’s new historical play, Mahmoud Gawan, based on the life of the merchant who arrived in Bidar and later became the Prime Minister of the Bahmani Sultanate, will be released on Sunday

The word “global” is something that we come across not infrequently in literary discussions in recent times. It seems to be used in a very complimentary manner too. When we study it more closely, we see its multiple uses, ranging from the highly complimentary to the particularly disturbing connotations (especially, in the political and economic aspects of the so-called “globalization” phenomenon). Depending on the context, the philosophy implied in this use is vastly interesting.

In this context, dipping into pardonable autobiography, I must confess that my early acquaintance with the kind of writings I found in Chandrasekhar Kambar (this was back in 1964) was very new to my navya taste-buds of those days. This was around the time he wrote Helatini Kela . But, by the time Jokumaraswami arrived, I had begun to sense the fascinating spread of his literary intentions. The play seemed to insist on a message of passion (closely related to sexuality, the body, as well as the body politic!). The legitimacy of this passion was far more powerful than any petty legal correctness, or any mundane understanding of what constitutes the “moral” in our society. I was of course reminded of Lawrence. Kambar was utilizing passion as a powerful motive-free force, and constantly pushing at obstructions in its way. I became an avid follower of Kambar’s growth as a writer. His use of “sexuality” as a central and powerful theme and his struggle out of its grasp.

The latter part of his career witnesses an attempt to cover areas of creativity which could not be accommodated inside the constrictions of this strong force (note, however, a sliver of this sexuality is noticeable even in his latest play,Mahmoud Gawan ). I would assert that it is this constant and consistent presence which turns all of Kambar’s writing into his legitimate oeuvre.

Here was a writer, who, on the one hand was close to the North Karnataka folk and at the same time could engage the political and the modern predicament of our lives. You see this everywhere beginning from Helatini Kela , Rishyashringa , or Jokumaraswamy to the recent works like Shikharasoorya , Shivana Dangura orMahmoud Gawan . I would like to go back to what I began with, the idea of the “global” in relation to Kambar’s works. In what sense is Kambar global? It is true that at least in one of the recent novels globalisation and neo-colonialism figure predominantly (in Shivana Dangura ).

Could we try to identify an effort, more indirect, and subtler perhaps, to highlight an earlier moment in history, a moment that marked the international and inter-cultural ferment that characterised North Karnataka in his play, Mahmoud Gawan ? Interestingly, the choice of language in Gawan is not the kind of North Karnataka folk that Kambar worked with in say Helatini Kela or Jokumaraswami. I would describe the language of Gawan as Kambar’s idea of “neutral” Kannada, a conscious avoidance of the folk dialect. Again, look at the choice of the central figure in this play, Gawan. Hee is a foreigner, a non-Kannada person. He enters the world of Bahamani politics in the North Karnataka of fourteenth and fifteenth centuries. All these, I would venture to suggest, point towards a movement, a possibility, beyond the strictly local and Kannada contexts. In other words, Kambar is found testing his talent in handling something beyond what could be identified as exclusively Kannada, Karnataka. The significance of this kind of language use is for Kambar like playing a field without his arch-player—the folk tongue! Does he succeed in working this language, playing in this new field? Perhaps in a manner that is different from say Jokumaraswamy , where he is using sexual passion in order to design and project the drama experience, he is trying to move into other spaces in which his choice of an “other” Kannada could function adequately. This kind of language lends itself more easily to translation across other linguistic contexts. The absence of localism in itself is a strong pointer towards achieving such a global presence.

Could we simply say perhaps that Kambar moved from passion to politics—apparently, it seems so. This also begs the question, why? It is my opinion that an author like Kambar, a writer of immense literary imagination, constantly feels the need to move out of his familiar area of creativity and attempts to work in other new areas. As a result, politics becomes the main driving force in a play like Gawan . Overall, he succeeds in creating a layered experience of such historical and political play-fields. In Gawan , you see an extension of the literary Kambar, of Kambar’s entire literary oeuvre. And to say that is to acknowledge a serious happening in contemporary Kannada literature.

Finally, I invite my reader to look at Mahmoud Gawan, the protagonist. Here is a foreigner, theoretically foreign to the land and its language. His wisdom and his calming presence, his overarching ambition to unite people, places, religions, and gods—these are things crucially and painfully relevant to us and our times, times of cruelty and abhorrent insensitivity. In times where you see the cream of the population failing to respond to the degradation of all that is human, all that is noble and valuable in human experience.

In Gawan’s cosmos, Allah and Vitthala still fuse brilliantly—one as the implied presence and the latter as the explicit presence in the final scene. The play moves towards a certain sense of legitimization of this conclusion, the hope of better times to come. In a way, the encompassing presence of Gawan—the philosopher, educator, the saint, foreigner, and a soldier—should take us back to the classical idea of the function of literature, what literature should do—“to educate and entertain.” A closer look at the play would also perhaps clear our hearts and minds, making us look around at our own times with a sharply critical eye.

(Mahmoud Gawan by Chandrashekhar Kambar will be released on October 28 at 10. 30 a.m., Indian Institute of World Culture, B.P. Wadia Road, Bangalore).

(The author is a critic and musician of repute)

source: http://www.thehindu.com / The Hindu / Home> Features> Friday Review / by Dr. Rajeev Taranth / October 26th, 2018

This man feeds 300 people outside hospitals

Bengaluru, KARNATAKA :

Serving compassion

Nimhans saviour
Nimhans saviour

Syed Gulab, an automobile spray painter by profession, is a saviour for many who live on the pavement outside NIMHANS and nearby hospitals.

He has been serving free lunches to over 300 people for the last two years.

People come from across the country to admit their family members at these hospitals.

But with very little savings they tend to skip meals for days to afford the treatment at the hospital. The hospitals only provide food for the patients and not their family. Unable to afford accommodation the relatives also sleep on the pavements or  sheds outside the hospital. Pained by this scene while visiting a relative at a hospital in 2015, Gulab started serving the meals.

“The sight would pain me and I wanted to do something about it,” said Gulab who has set up the Roti Charity Trust for carrying out the initiative.

Gulab started it with the support of some of his friends. “We started by serving lunch on Sundays as the nearby hotels would remain closed at noon. I was inspired by Azhar Maqsusi from Hyderabad who has been feeding destitute people every afternoon for the last six years in the Old City,” he added.

When Maqsusi met Gulab on his visit to Bengaluru he was impressed by the initiative and said he will also support Gulab. He then started sending 30 bags of rice weighing 25 kg each to Gulab every month.

“It was due to his encouragement and support that we were able to make it a daily service,” Gulab added.

Gulab has now rented a small house near Jayanagar to store his materials. The lunch is cooked by 1 pm and a van takes the food to the hospital to be served by 2 pm.

They started serving breakfast — idli and chutney — a few months ago.

Gulab said they have never sought for donations but many people have come forward with donations.

Sharath Kumar from Kolkata has admitted his child at the Indira Gandhi Institute of Child Health for a kidney disease for the last two months. “Gulab is a blessing in disguise. It is because of him that people like me are able to get our meals,”  Kumar said.

source: http://www.deccanherald.com / Deccan Herald / Home> City / by Aparna Karthik, DH News Service, Bengaluru / October 20th, 2018

Amer Ali Khan releases book on ‘Karbala’

Hyderabad, TELANGANA :

KarbalaMPOs24oct2018

Hyderabad:

Mr. Amer Ali Khan, News Editor of Siasat Urdu Daily released the Sovenir of “Zawia Adab” society.

It is the first book of the society. In his speech, Mr. Amer Ali Khan told that the incident of Karbala is the eradication of evil forces and support of the values of Islam.

On this occasion, he made a references to various literary books published in English, Hindi and Urdu right from Meer Taqi Meer to the present day.

At the beginning of the function, Mr. Mazharul Haq, President of the society highlighted its aims and objectives.

Present on the occasion were Mr. Ali Anjum Sadiq, Mr. Ali Inayat, Mr. Baquer Mehdi Abedi, Mr. Akhtarul Hasan and Mr. Meer Haider Ali.

Mr. Faraz Rizvi thanked Mr. Amer Ali Khan and the audience.

source: http://www.siasat.com / The Siasat Daily / Home> Hyderabad / by Sameer / October 23rd, 2018

Rich tributes paid to founder of Jamia Hamdard Hakeem Abdul Hameed

NEW DELHI :

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New Delhi:

Birth anniversary of noted Hakeem Padma Bhushan Hakeem Abdul Hameed was celebrated on September 14, 2018. Former Rajya Sabha MP and noted journalist Shahid Siddiqui delivered the lecture on ‘Hakeem Abdul Hamed, a great thinker, philosopher and his role in the construction of the nation’ as Chief Guest. The programme was presided over by Prof Syed Ihtesham Hasnain Vice Chancellor Jamia Hamdard. Prof Ihtesham Hasnain said late Hakeem Abdul Hameed was ‘Hamdard’ in the real sense.

Pro Vice-Chancellor Prof Ahmed Kamal, registrar Saud Akhtar, relatives of Hakeem Abdul Hameed from India and Pakistan, a large number of teachers, officers and students were present on the occasion.

Late Hakeem Abdul Hameed, a renowned physician, was the Founder-Chancellor of Jamia Hamdard, which he established with his own resources. A great philanthropist, thinker and visionary, he set up several institutions with the funds of Hamdard Wakf Laboratories. Some of the esteemed institutions established by him include Hamdard National Foundation, Hamdard Education Society, Hamdard Study Circle, Hamdard Public School, Hamdard Institute of Historical Research, Ghalib Academy, Centre for South Asian Studies and Business & Employment Bureau.

Hakeem Abdul Hameed was honoured by several national and international awards including the Avicenna Award presented by the erstwhile USSR in 1983. He was conferred with Padma Shri and Padma Bhushan by the Government of India. He was also an honorary member of the Academy of Medical Science of the Islamic Republic of Iran and Chancellor of Aligarh Muslim University, Aligarh. In October 2000, the Research Centre for Islamic History, Art and Culture (IRCICA) Istanbul, Turkey, presented IRCICA Award for Patronage in Preservation of Cultural Heritage & Promotion of Scholarship to Hakeem Saheb posthumously.

source: http://www.siasat.com / The Siasat Daily / Home> India> News  / by Rasia / September 15th, 2018

Stitch by stitch, homemaker weaves dream into reality

Bengaluru, KARNATAKA :

It takes Dadu two weeks to complete an order.

Nusaiba at work (Photo | Pandarinath B)
Nusaiba at work (Photo | Pandarinath B)

Bengaluru :

Nusaiba, the sole working woman from her family, runs her own boutique on Commercial Street. A fan of Sabyasachi and Manish Malhotra, she was once recognised as a homemaker alone, but today aims to turn her designs into a brand one day. Her journey till this point, she claims, has been a result of maintaining a fine balance between her household expectations and her passion for her dreams. “My kids were young and I had to attend classes to learn more about designing. It was tough but I had my mind set on opening a boutique, so I managed it,” she recalls.

One of Nusaiba’s designs
One of Nusaiba’s designs

Now, she says, her kids are proud of her. “Their school bus passes by my store. They feel happy to tell their friends that this is their mother’s store. On the opening day, my daughter struck off my occupation as ‘housewife’ and wrote ‘fashion designer’ in her school diary.”She also goes on to give credit to her family members, saying, “My husband, a businessman, is a great support. All my family members are supportive,” she adds.

Popularly known as Dadu, the passionate fashion designer has named the boutique on Promenade Road after this nickname. “My customers ask me about the name of the boutique. They say it is intriguing,” Dadu says with a smile.Speacialising in Indo Western wear, Dadu provides customised services. “I discuss client requirements and design the attire accordingly. I show them my colour charts and once it’s all finalised, we work on designs. I give my suggestions and draw them out for my customers,” she explains.

It takes Dadu two weeks to complete an order. “It takes time because we source fabrics from Kolkata and Mumbai. We source white fabrics, dye them to the client’s preferred colour, and then polish them,” she says. Behind this successful woman, is a team of 15 who aid her.

“Only after the trial is done and the fitting is right, we deliver the order,” she says, adding that she always maintains client relationships even after orders are delivered.On an average, she gets at least four to five orders a day. “We have many regular customers. I have customers from the UK and the US as well, who have liked the designs I share on social media, and have gotten in touch with me. I have been getting a good response,” she says.

Dadu is a diploma holder in fashion designing, with a one-year diploma course in Calicut and another 1.5 year diploma course in Bengaluru. With the sky as the limit for her dreams, she is planning to expand her venture to Kochi, Hyderabad and Chennai in two years.

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Akhila Damodaran, Express News Service / October 23rd, 2018

Md Saaduddin a scrap metal artist

Hyderabad, TELANGANA :

Md Saaduddin is on an artsy journey where he utilises scrap metal to construct purely artistic as well as functional sculptures.

I was always inclined towards art but I never had the nazakat that is needed to wield a paint brush. The hammer and grinder are a better fit for me. (Photo: DC)
I was always inclined towards art but I never had the nazakat that is needed to wield a paint brush. The hammer and grinder are a better fit for me. (Photo: DC)

It is quite common for a young boy to fall in love with machines. But what is not so common is translating that love into beautiful art. Although Md Saaduddin is today an artist, he does not work on canvases, but with scrap iron, steel and sometimes copper to make beautiful sculptures and functional art pieces like lamps and furniture, some set in the backdrop of interesting storylines.

With Saad’s father being a vintage car restorer, he, along with his brother Hamzauddin, grew up around machines, albeit with a unique perspective. On how he took up the hobby, the mechanical engineer and  self-made artist says, “I was always inclined towards art but I never had the nazakat that is needed to wield a paint brush. The hammer and grinder are a better fit for me. I love it also because of the physical work that is involved in creating it.” Saaduddin spends time on his artwork in the evenings, after work, and has made furniture for a couple of breweries in the city.

Explaining his style of work, he shares, “I try to incorporate a sense of movement. A bird just about to take flight, for instance! I’ve learnt the art by watching other people online and practicing. I used to help my dad in his workshop, and that’s how I got introduced to it. Just once a year, my brother and I collect all our savings and build a modified bike. We ride it around to our heart’s content and then sell it.”

He further reveals, “I’m also getting into blacksmithery now; I usually make the handles of spatulas and ladels with this. People appreciated my work and said I should get on Instagram. That’s how I started IRONic”

His brother, Md Hamzauddin is another bundle of talent, whose digital art is recognised around the world. He goes by the name ‘Hamerred’. Hamzauddin’s works have been showcased in countries like the US, Mexico and many others. In fact, he was also one of the only 13 artists from around the world to display their art at the Oil and Ink Expo, a motorcycle art show.  Hamza’s signature style features paint dripping from motorbikes.

source: http://www.deccanchronicle.com / Deccan Chronicle / Home> Lifestyle> Books and Art / by Nikhita Gowra, Deccan Chronicle / December 04th, 2017

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

Mumbai, MAHARASHTRA :

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

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

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

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

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

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

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

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

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

‘Nur Jahan is the history of India’: Historian Ruby Lal on her new book

INDIA :

In an interview with Indianexpress.com, Lal spoke about the incredible achievements of Nur Jahan. Remnants of imperial orders issued by her, coins minted in her name, paintings that paid ode to her sovereignty and bravery are all evidence of the enormously powerful figure she was.

Left- Cover of the book ‘Empress: The astonishing reign of Nur Jahan’ (wwnorton.com) Right- Historian Ruby Lal (personal website of Ruby Lal)
Left- Cover of the book ‘Empress: The astonishing reign of Nur Jahan’ (wwnorton.com) Right- Historian Ruby Lal (personal website of Ruby Lal)

For four centuries, from when she was at the centre of one of the largest empires of the world, Nur Jahan, the twentieth and supposedly the most loved wife of Mughal emperor Jahangir, has been a household name in the Subcontinent. Though she was not officially the ruler of Mughal India, Nur Jahan has been noted by historians to be the real power behind the throne. A politically astute and charismatic figure, she ruled Mughal India as a co-sovereign of Jahangir and is known to have been more decisive and influential than he ever was. Historian Ruby Lal in her latest book, ‘Empress: The astonishing reign of Nur Jahan’, dives deep into the intriguing world of the only woman to have helmed the Mughal empire. Tracing her life in great detail, Lal attempts to rip apart narratives of romance and exoticism that surround the image of Nur Jahan and focus upon what made a Muslim woman living in seventeenth-century India, one of the most authoritarian figures in Indian history.

In an interview with Indianexpress.com, Lal spoke about the incredible achievements of Nur Jahan. “People say she always sat right next to Jehangir in the court and that if some cases or decisions came up and if she agreed with him, she would pat him on the back and he would say yes to that decision,” says Lal who is Professor of South Asian Studies at Emory University in Atlanta. Remnants of imperial orders issued by her, coins minted in her name, paintings that paid ode to her sovereignty and bravery are all evidence of the enormously powerful figure she was. Charting the life history of Nur Jahan, and placing her in the background of the pluralistic cultural space that Mughal India was, Lal puts together an evocative biographical account of the queen.

Here are excerpts from the interview with Lal.

Popular perception of Nur Jahan is somehow constricted to the romantic relationship she shared with Jahangir. Why is that the case?

There is a very long history of the erasure of Nur Jahan’s power that I chart in the book. As she traveled through the length and breadth of the country with Jahangir – issuing imperial orders, hunting a killer tiger near Mathura, discussing the expansion of the empire- she rose to being the co-sovereign. This does not mean that in her own time people did not raise eyebrows. In 1622, her stepson and Jahangir’s son Shah Jahan had risen in revolt. The catalyst for his revolt was the moment when Nur Jahan arranged a match for her daughter from her first marriage, Ladli; she chose the youngest prince, Shahriyar for her. About that time, Shah Jahan went into rebellion against Jahangir. And its is very clear that he felt threatened; he knew about the power of Nur Jahan. In fact, Shah Jahan and Nur Jahan had been closely aligned. The year 1622 is when certain chroniclers begin to write about the chaos that Nur Jahan Begum had raked up between the father and son.

“There is a very long history of the erasure of Nur Jahan’s power that I chart in the book,” says Ruby Lal. (Wikimedia Commons)
“There is a very long history of the erasure of Nur Jahan’s power that I chart in the book,” says Ruby Lal. (Wikimedia Commons)

So the early criticism appears to begin around this time. The other major moment of critique of Nur’s power was when they were on their way to Kashmir and Mahabat Khan (who went on to capture Jahangir later in 1626) goes on the journey with them to a certain distance and according to one of the chroniclers he says to Jahangir that a man who was governed by a woman is likely to suffer from unforseen results. In 1626, she, completely visible, goes to save Jahangir (sitting upon an elephant on a roaring river), commanding all men including her brother Asaf Khan. She stratergises and eventually saves the emperor. After this, we begin to come across a word called Fitna, in the records.

Fitna is a very loaded term in Islamic history. It is used for the first time during the Shia-Sunni split for civil strife. It was also used against Ayesha, Prophet Muhammad’s favourite wife, when she went on a battle against Ali who was eventually the leader of the Shias. Over time, the word came to be used against women’s visibility, their sexuality and so on. Following 1626, this is one word that is used repeatedly against nur – that is to say that her power produced chaos.

Later, in the Shahjahanama, we find that at one point that the chronicler lists her power as a “problem”: the Shahjahanama reverts to the male inheritance of power and completely undoes her co-sovereignty with Jahangir.

Then there were also visitors to India like Thomas Roe, the ambassador of James I of England who follows Nur and Jahangir through the camps in Gujarat and Malwa. He calls her the Goddess of heathen impiety.

In the 19th century orientalist renditions of the romance of Nur and Jahangir become very important in the histories of the time; later, the colonial renditions highlight and forward such stories. Nur Jahan becomes classic oriental queen. Thus, a long-standing history of the erasure of the power of an astonishing emperess. It is certain that the erasure of Nur’s power travels into modern times and we only hear about her romance with Jahangir, not about her work as co-sovereign of the empire.

Jahangir is often compared with Akbar and criticised for being an uncompetitive, flamboyant king, who spent much of his time in drinking and merrymaking. But the fact that it was during the reign of Jahangir that a woman became so powerful, what does it say about his attitude towards women?

You are right, this is how Jahangir has come to be imagined. There are a range of scholars who for sometime now have been rethinking Jahangir’s reign, his philosophical and artistic engagements. My book foregrounds the ways in which Jahangir seeks to go differently from how Akbar articulated his sovereignty. If you look at the reigns of Babur and Humayun, there was no stone harem: the kings were nomadic and forever on the move. During Akbar the Great, for the first time in Mughal history, the imperial harem is built in stone in Fatehpur Sikhri. For the first time in the Ain-e-Akbari, women are declared as ‘pardeh-giyan’ which means “the veiled ones.”

“My book foregrounds the ways in which Jahangir seeks to go differently from how Akbar articulated his sovereignty,” says Ruby Lal. (Wikimedia Commons)
“My book foregrounds the ways in which Jahangir seeks to go differently from how Akbar articulated his sovereignty,” says Ruby Lal. (Wikimedia Commons)

But what Jahangir does is that he goes back to the ethics of Babur. He was constantly wandering, he was constantly moving. The ethics of a peripatetic life and movement, which contributed to the co-sovereignty of Nur Jahan. Nur Jahan is the biggest example of Jahangir’s attitude towards women. An 18th-century chronicler that advances the Jahangirnama to the end of Jahangir’s death had suggested that the emperor had once claimed that he had given the sovereignty to Nur Jahan Begum and that he was quite content with his wine and meat. It’s an allegorical statement: and one indicates his admiration of Nur, something that he chronicles in his own memoir

Would Nur Jahan be this powerful had she not been married to Jahangir or had she not been part of the Mughal empire?

I think, Nur Jahan, looking at her whole life history and context, would have expressed her power differently in other circumstances. Her life history shows her dynamism and boldness. Of course, as I have been saying, and detail in the book that the plural landscape of Hindustan was very important- in that that it fostered experimentation and all sorts of ways of being (alongside war other challenges of co-existence of multi-confessional identities). We should also remember that she comes from an important Persian family background, deeply invested in poetry, arts, calligraphy. Then her own initiative must be highlighted: there were other women in the harem – and indeed Nur walks in the tracks of these women’s power – but no one becomes a co-sovereign. That speaks something about her boldness, her endeavours and of course her ambition.

Islamic societies are often noted to be more regressive compared to others in their treatment of women. In your book do you try to subvert this notion?

I Am trying to suggest that Nur Jahan is the history of India. She was a Shia married to a Sunni Muslim who was also half Hindu Rajput. Further, Nur Jahan is the only woman ruler among the great Mughals of India (there are technical signs of being a sovereign and informal signs, both of which I detail in the book). That is the history of India. As far as Islam is concerned, people should know that there were incredible and powerful women in Islamic history all the way through. We have Ayesha, Raziya, we have Nur Jahan Begum, we have any number of powerful women. It is also the multicultural world. In the modern world, we tend to think in terms of fixed identities. People in early modern times were much more open. Jahangir was engaging with Siddichandra, a Jain monk. Nur Jahan used to tease him about the pleasures of the flesh.  What does this tell you? It tells you about an open engagement. It tells you about how experimental Islam is, how mixed Islam is, how vibrant Muslim women are and how Islam is so deeply attached to India.

‘Empress: The astonishing reign of Nur Jahan’ has been published by W.W.Norton in the United States earlier this month and will be published by Penguin Books in India soon.
source: http://www.indianexpress.com / The Indian Express / Home> Research / by Anrija Roychowdhury, New Delhi / July 11th, 2018

Brand dame

NEW DELHI :

ShahnazHussainMPOs15oct2018

Entrepreneur, under-the-radar philanthropist and an over-the-top personality — the relevance of Shahnaz Husain 40 years after her first formulation

Shahnaz Husain’s press kit weighs 12.3 kilos, and contains press clippings from around the world. But then everything about her is over the top, and it’s not just her red hair threaded through with gold ribbons. Of her 58 homes, one is in Delhi’s tony Greater Kailash. There is a Rolls-Royce and a Jaguar parked up front, while inside is a sort of Midas-touch shocker. There are swans, a Ganesha, cushions, high-backed chairs, window valances, all in gold. There is an MF Husain on the wall that the artist did especially for her, large urns in the corners taller than people, horses sprinting across the carpet. Curios clutter, and I imagine a dusting nightmare.

She is not short on staff though. There are at least 15 people I have counted, and I am there just for a couple of hours. They appear, to offer food, tea, more food, juice; and to take instruction each time Shahnaz rings her bell to show me something — her first husband’s photograph, a letter from romance novelist Barbara Cartland’s friend’s son whose eyesight she cured, a picture of a man she picked up off the street because he was lame. They are dismissed soon after, with a wave of Madam’s hand.

She is wearing a blue-and-leopard print cassock-like garment, and holds forth for the next couple of hours. While she knows just what to say to the media, often telling the same stories, there is a certain warmth I feel, even as she holds my hand, her 70+ years, showing only in her hands.

Cosmetic shift

She begins with the first of many stories (these are her forte, not the dates or the details): when on a course with cosmetics entrepreneur Helena Rubinstein, she had a friend whose mother would come and sit outside the class because she was blind and had no one to take care of her at home. “She’d been a sought-after model who had worked for an eye make-up company,” says Shahnaz. She had modelled a new line, complaining to the manufacturers that her eyes would feel blurred after use. “They told her to wash them and put Optrix.” The blurring continued, until she simply could not see any more.

Shahnaz was learning what she calls “chemical beauty” at the time — Arnould Taylor, London; Christine Valmy, New York; Lancome, Paris; Swarzkopf, Germany; Lean of Copenhagen, Denmark. “There was no school I hadn’t been to, until Rubenstein started to say ‘we have nothing to teach you’.” She had funded herself through her writing work. Married at 15 to Nasir Husain, who was director foreign trade in the State Trading Corporation, she was determined to study. She did, for eight years.

Back in India when she was about 24, she set up a small factory in Delhi’s Okhla (that she still has) and “employed a yurvaids . I gave them the chemical formulations and asked them to convert them”. She also recruited chemists to make products for “treatment and cures” — falling hair, acne, pigmentation, dark circles, stretch marks. She asked people who came to her home salon to test them and give her feedback, tweaking each product as she went along. They retailed out of Sahib Singh Chemists in Connaught Place, in little white bottles with green caps and handwritten labels. That is the thing, she says. It has never been about beauty, but always about Ayurveda, in the days before it became a marketing tool.

Thinking beyond business

There is no marketing, in fact. At an address at Harvard Business School in 2015, she spoke about how she created a successful business sans advertising. Two years ago she told the same school in an interview how she entered Selfridges and broke a 40-year record, selling products worth £2,700 (approximately Rs. 2,63,500) in the first two hours, even as she displaced half of the space allocated to Pierre Cardin.

Her way of entering a foreign market is often through the Indian government (as in Selfridges, where Ingrid Bergman bought 12 of her cactus cleansing creams at the Festival of India), and by liaising with the press. She says wherever in the world she goes, ambassadors are happy to organise a press conference. She will talk Ayurveda, distribute samples, and get enormous press coverage. She is clear that the future is Ayurveda, not chemicals.

In fact, even as a young girl travelling the world studying, her father, Nasirullah Beg, a chief justice of the Allahabad High Court, would write to the ambassadors in various countries so his daughter could stay with them through the duration of the course.

But it is not just running a business; she is happy to dole out products made for cancer patients free of cost, especially those with patches of alopecia, and will pick people off the street, offering them jobs, connecting them to medical specialists.

Today, the company invests in R&D, with customers from salons testing them out, though it is not clear whether they know they are part of the research. She also talks in terms of “prescriptions” and “fairness creams”, a throwback to an era where protocols, both medical and social, were not as strict.

The label life

Earlier this year, the Shahnaz Husain brand was relaunched, with a new store at Delhi’s Select Citywalk, with new branding that seems rather mixed, with large pictures of flowers all over the frontage. Her face is still on some of the packaging, not retro-styled, but much like how it would have been done in the ’90s. She is not about to sell out or have anyone invest in the company. The brand is present in 40 countries today, including Iceland and Vietnam.

I dare not ask, ‘What after you?’ For Shahnaz is the brand.

As we conclude, she declares, “I think you have enough for a book now,” in her alto. Then she asks for her matching blue-and-leopard print bag, as we sit in her foyer, surrounded by a garden of plastic flowers, taking photos, with a couple of photographers jumping into the fray, seemingly from nowhere (waiting in the wings for this moment, perhaps). “Now we are best friends,” she declares, after we cut a cake, the done thing when a guest comes to her house for the first time.

She says wherever in the world she goes, ambassadors are happy to organise a press conference. She will talk Ayurveda, distribute samples, and get enormous press coverage. She is clear that the future is Ayurveda, not chemicals.

source: http://www.thehindu.com / The Hindu / Home> Features> Weekend / by Sunalini Mathew / October 13th, 2018