Category Archives: Arts, Culture & Entertainment

Working with Muslims: Beyond Burqa and Triple Talaq review: Life on the margins

NEW DELHI :

BookFarahNaqviMPOs15jul2018

A look at the processes of social exclusion which have led to the economic, educational and political decline of Muslims

The urgency with which a batch of homologous petitions have been filed against halala and polygyny this year, and the media attention that instant talaq received last year, would make anyone think that these are big, and the only issues facing Indian Muslims.

The reality, however, is different. Instant talaq despite its atrociousness was never a major problem and its setting aside by the apex court had rendered halala too redundant. There is also no statistical evidence to show that polygyny is widely prevalent among Muslims.

Thankfully, Farah Naqvi’s latest book Working with Muslims: Beyond Burqa and Triple Talaq written in collaboration with the Sadhbhavna Trust makes a spirited attempt to pierce the veil of nescience shrouding real Muslim issues. It looks at the complex historical processes of social exclusion which contributed to the economic, educational and political decline of India’s single largest minority.

Comprehensive study

The book catalogues the findings of a seminal study conducted between 2011 and 2013 of 359 NGOs working with deprived Muslims in eight states and Mewat, a region that straddles Haryana and Rajasthan. Naqvi’s reasons for profiling these NGOs are perceptive. She points out that while Dalits and tribals were constitutionally defined as “development subjects” to overcome the historical discrimination that had affected their progress, Muslims were imagined as “cultural subjects” and constitutional commitments to them were restricted to protection of their religious freedom and personal law.

This allowed the state to absolve itself of responsibility towards Muslims and instead locate the blame in the “religious-community space” where the community is faulted for its own backwardness. It is no wonder that even years after the formation of the Ministry of Minority Affairs and release of the path-breaking Sachar Committee Report, government attitude hasn’t changed.

To prove her point, Naqvi cites Amitabh Kundu’s Post-Sachar Evaluation Committee report of 2014 which inter alia warned that government interventions were not big enough to address the huge deprivation of the Muslims and that implementation structures had not been designed to directly and effectively benefit the minorities.

Hence, says Naqvi, there was never a greater need for the NGO sector in India to take forward a long overdue engagement with the Muslim community especially its women who are invariably seen through the typical tropes of shariah and hijab and never as persons deserving education, health, employment and public representation.

In this context, her study explains the difficulty of addressing Muslim deprivation in terms of their religious identity. Naqvi writes that although NGOs do not discriminate against any community on the basis of religion they were very reluctant to talk about their work with the Muslims. Their fear was that they may come under the CBI scanner or their funds may get frozen.

Climate of fear

Some NGOs openly suspected the stated objectives of Naqvi’s study. They thought her research team was spying for the state and wanted to hide the fact that they were working with deprived Muslims. In other words, the NGOs were able to “walk the walk” but did not have the courage to talk.

Yet Naqvi and Sadbhavna Trust were able to locate 76 NGOs who primarily work with Muslims out of the 359 they mapped. The rest worked with other groups including Dalits, tribals and Muslims. Working with Muslims also contains 30 fascinating stories from across India of the great work done by dedicated NGOs for the Muslims in areas such as women’s rights, rehabilitation of sex workers, education, urban and rural development, child and disability rights, health, access to credit, and democratic participation.

Nonetheless, Naqvi decries the climate of fear under which the NGOs seem to be working for Muslims. She feels the prevalence of such fear amounts to denying that Muslims face a development deficit which polarises and isolates them selectively. Therefore, if a minority community is subjected to such treatment on the basis of its religious identity then that identity calls for secular recognition.

Naqvi’s earnest appeal deserves to be taken seriously because secularism cannot be used as a pretext to ignore discrimination on grounds only of religion or caste which is prohibited under Article 15 of our Constitution, or to violate the spirit of this Article by neglecting to make special provisions for the advancement of any socially and educationally backward classes of citizens. Canadian political philosopher Will Kymlicka in his book Multicultural Citizenship states that “a comprehensive theory of justice in a multicultural state will include both universal rights, assigned to individuals regardless of group membership, and certain group-differentiated rights or ‘special status’ for minority cultures.”

In this regard, Working with Muslims is a trailblazing contribution to the study of Muslim marginalisation in India. It not just encourages the Indian state to not let religion hinder affirmative action programmes for Muslims but serves as an invaluable source of information for those genuinely interested in knowing if Muslims have issues beyond polygyny, triple talaq and halala.

Working with Muslims: Beyond Burqa and Triple Talaq; Farah Naqvi, with Sadbhavna Trust, Three Essays Collective, ₹450.

source: http://www.thehindu.com / The Hindu / Home> Books> Review / by A. Faizur Rahman / July 14th, 2018

Remembering the magic of Taufiq Qureshi’s ‘Rhydhun’

Mumbai, MAHARASHTRA :

Beat master: Taufiq Qureshi invited a score of other musicians to guest on his debut album Rhydhun.
Beat master: Taufiq Qureshi invited a score of other musicians to guest on his debut album Rhydhun.

Taufiq Qureshi revisits the music of his debut album that set the benchmark for world music

It’s been 18 years since percussionist Taufiq Qureshi released his debut album Rhydhun – An Odyssey of Rhythm under the FreeSpirit Entertainment label. Firsts are always of course, special especially since it pushed the boundaries of drumming patterns. The album featured a galaxy of guest musicians like Qureshi’s father Ustad Allarakha, brothers Zakir Hussain and Fazal Qureshi, wife Geetika Varde, vocalist Shankar Mahadevan, violinist L. Shankar and percussionist Nitin Shankar.

The magic of Rhydhun will be recaptured when Qureshi, Varde and their son Shikhar Naad Qureshi perform this evening. They will be joined by Sridhar Parthasarathy on mridangam, Vijay Prakash and Sandeep Patil on vocals, Aditya Paudwal on keyboards, and Nitin Shankar and Dipesh Verma on percussion. “We have been thinking of doing this for some time,” says Qureshi referring to this evening’s show that revisits the album that began it all. “We will adapt some of the pieces to give them a more contemporary feel, but the flavour of the original compositions will be retained.”

Born in a family of tabla greats, Qureshi was basically trained in that instrument and then in Carnatic rhythm styles. Later, his interest in world music inspired him to take up the Western drum kit, bongos and batajon, and eventually the African djembe. That gave him the idea of adapting the African djembe using patterns of the Punjab gharana of tabla playing. “I was fascinated by the djembe, and got the idea [of adapting patterns] while recording Rhydhun,” says tabla maestro Qureshi. “It took me three or four years to get the thought process in action. The tabla is a double drum and the djembe is a single unit. So I had to work hard on the adaptation.”

Naturally, Qureshi’s son Shikhar Naad took to percussion at an early age. Now at 21, he plays the djembe and drums, and regularly accompanies sitar exponents Niladri Kumar, Ravi Chary and Purbayan Chatterjee. “Rhythm flows in the family, and my parents and uncles have encouraged me a lot,” says Shikhar Naad.

With a long career in music, Qureshi points out his father has always been his biggest inspiration. “He encouraged people to do things differently,” says the musicians. “After all, rhythm is universal. This is something I encourage [students] at my Sion institute to do too though they have to master the basics first.” He tells all his ‘bandhus’, as he addresses his students, to keep an open mind and never copy anybody. According to Qureshi, there has been a huge interest among the young to learn the djembe in the last few years.

The audience this evening can expect favourites off Rhydhun such as ‘The Tree Of’, ‘The Other Rhythm’, ‘Nand’, ‘Ear To There’, ‘The Rhy In You’, ‘1/2 to 16’ and the Maharastrian lezim-flavoured ‘Jiji Rhy’.

Taufiq Qureshi & Shikhar Naad and others will perform at The Quarter this evening at 9 p.m., see insider.in for details.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Music / by Narendra Kumar / July 12th, 2018

Lapataganj actor banking on upcoming films!

Lucknow , UTTAR PRADESH :

Making a comeback, Lapataganj-fame actor Abbas Khan will next be seen in not one but three films. The Lucknowite has already shot for Partho Ghosh’s ‘Dosti Zindabad’, Rahul Shukla’s ‘Is She Raju’ and has completed the first schedule for ‘The Legend of Peacock in Varanasi’.

Actor Abbas Khan in Lucknow.(Dheeraj Dhawan/HT Photo)
Actor Abbas Khan in Lucknow.(Dheeraj Dhawan/HT Photo)

Making a comeback, Lapataganj-fame actor Abbas Khan will next be seen in not one but three films. The Lucknowite has already shot for Partho Ghosh’s ‘Dosti Zindabad’, Rahul Shukla’s ‘Is She Raju’ and has completed the first schedule for ‘The Legend of Peacock in Varanasi’.

“While Lapataganj was about to conclude in 2014, I suffered major back injury which kept me out of action for 2 years. I did ‘Super Cops v/s Super Villian’ on TV for six months and shot for 100 Days fame director Partho’s comeback film in Lucknow; it has been nearly two years but the film is yet to release. Now, I am banking on these three films,” he says on his short visit to his hometown.

Abbas Khan during the recent shoot of The Legend of Peacock in Varanasi.
Abbas Khan during the recent shoot of The Legend of Peacock in Varanasi.

He plays a naughty writer in Is She Raju while in The Legend of Peacock he plays a ‘dilphek aashiq’ (lover boy). “Legend… is an international project which will go to film festivals first and then will be released in cinemas. It’s about a foreigner girl who has travelled around the world and is in India for self-realization. I play a hotel owner who falls in love with her and is madly after her. It’s loosely a comic version of an obsessed lover played by Shah Rukh Khan in Darr,” he says.

After playing the iconic role of Biji Pandey, in extremely popular show Lapataganj, he is looking for a good role on TV. “The roles I want to play are not coming my way. After you play a character which is a big hit, one gets typecast and similar roles come your way. I don’t want to do same thing again and again. I am not still able to break that mould. I wish to do a negative role but people are not coming out of my screen image,” he says.

He is in talk for a Star Plus show. “Since it has not been finalized, I can’t talk much about it. But, it’s a ‘kamal ka character’ of Noor Miyan. Let’s see how it shapes up,” he says.

Abbas was scheduled to shoot a film in Lucknow with Lapataganj co-actor Sucheta Khanna. “We wished to make a film and also opened a production company for that but the financers backed out. Things have not worked for me but this is a phase and I hope to come out strong from it. With these films in kitty and two more films in pipeline, I hope things will change. Rest, I have left all on Allah!” he says.

The actor says one of his next films is scheduled to be shot in Delhi and the other in Kanpur. “UP has become the destination for film industry. One of our makers wants to shoot in Kanpur. The subsidy incentive is working very well and the state has become very film friendly. It’s a very happy scenario for people in UP,” he says on a signing off note.

source: http://www.hindustantimes.com / Hindustan Times / Home> Cities> Lucknow / by Deep Saxena,Hindustan Times,Lucknow / July 05th, 2018

”Taj – A Monument Of Blood”: New Series On Mughal Empire In The Pipeline

Agra, UTTAR PRADESH :

The series will capture the dark side of the story of the Mughal empire and had emperors like Akbar, Jehangir, Shah Jahan and Aurangzeb.

Mumbai :

“Taj – A Monument of Blood”, a period drama series on the rise and fall of the the Mughal empire, is set to be produced by Applause Entertainment in partnership with Contiloe Pictures, who are confident of presenting a story with a mix of blood, betrayal, power, beauty, deceit and heartbreak.

The series will capture the dark side of the story of the Mughal empire, which ruled India for just over 3 centuries and had emperors like Akbar, Jehangir, Shah Jahan and Aurangzeb. Writing is currently underway.

The tale will be told over 5 seasons of twelve episodes each, using the birth and death of Shah Jahan as bookends. It will delve deep into the Mongol origins, bloodlines mixing with Persian and Rajput royalty, the court and palace intrigues, the repeated purging of aspirants to the throne, and the arrival of the British and Portuguese.

Sameer Nair of Applause Entertainment calls himself a big fan of revisionist narratives of history.

“Our history books have been written by victors and often paint very two-dimensional pictures about past empires. When Abhimanyu Singh (Contiloe Pictures) and I first discussed this idea, we immediately moved away from a typical historical to a darker and edgier version of the Mughal empire, a version in which symbolically the Taj is more a monument of blood, than a monument of love,” Mr Nair said in a statement.

Mr Singh, who has produced a slew of historicals for the small screen, says the new series will show viewers the historic journey through a fresh lens.

“It will take viewers on a historic journey showing them an unseen perspective of this illustrious dynasty which lead to their rise as the greatest empire in medieval times and the quest for power, within it, that finally lead to its downfall.”

source: http://www.ndtv.com / NDTV / Home> All India / by  Indo-Asian News Service / July 12th, 2018

Portraying a bond that transcends identities

Kochi, KERALA :

A still from the documentary Sarah, Thaha, Thoufeek
A still from the documentary Sarah, Thaha, Thoufeek

Documentary Sarah, Thaha, Thoufeek shows a moving relationship

A few years ago, a researcher from Belgium, who was scouring the Jewish sites in Kochi to learn more about the vintage Belgian glasses and ceramic material used in the city’s ancient synagogues, was surprised by a local’s understanding about them.

“Are you Jewish?” she asked him.

Thaha Ibrahim, a Muslim from Fort Kochi, smiled, shaking his head. Thaha and his friend Thoufeek Zakriya, a professional chef in Dubai and a master in Hebrew calligraphy, have a deeper connect with Jewish life in Mattancherry, courtesy their bonding with the senior most Kochi Jew, Sarah Cohen, in her late 90s.

The moving relation is portrayed in Sarah, Thaha, Thoufeek canned by Sarath Koottikkal, who followed the trio for a few years. The teaser of the hour-long documentary was released by Kochi Biennale Foundation secretary Riyas Komu at an event at Mocha Art Café, Mattancherry, on Tuesday.

“It’s an emotional work for me as well and nothing in this has been staged. It has candid shots capturing the touching relationship, which cannot be described in words or etched in a film in its entirety,” says Sarath.

He had known Thaha for sometime when one day Thaha causally told him about taking Sarah ‘aunty’, then 93 years and with no kin around, to a swanky new mall at the far end of the city. Ms. Cohen, who runs an embroidery shop in Mattancherry’s Jew Town, found news about the mall fascinating. On cue, Thaha, who has been close to the Cohen household for nearly two decades and taking care of the nonagenarian after her husband Jacob Cohen died, made a trip to the mall with ‘aunty’ and his family.

“The gesture moved me. We live in an age when aged parents are treated like an appendage, but this chap had the heart to heed to a wish by someone who’s 90-plus and not even a relative,” says Sarath, adding that the relation is thicker than blood.

“Thaha is like a son to Sarah aunty,” says Thoufeek, whose Hebrew calligraphic skills and knowledge of the religion, brought him close to Ms. Cohen in 2009. “She’s like my grandma, showering me with love and care. She happily relates things to me and reserves special dishes for me,” says Thoufeek.

Thaha’s cheerfulness and ability to inspire happiness and care won him a close pal in Thoufeek, someone less than half his age. “He’s like my brother and stays in close touch wherever I’m. We pursue our research on the Jews and Muslims of Kochi in right earnest,” maintains Thoufeek.

‘References coincidental’

As Sarath reveals, the film’s sharp focus is on bond binds the trio and not their religions. “If at all there are references to it, it’s all been coincidental.”

Candid shots, some of which were canned by Thaha himself — who took to photography inspired by Ellen Goldberg, co-author of The Last Jews of Cochin – form a remarkable feature of the film.

More than technical brilliance, accidental meetings, serendipitous moments and spontaneous conversations characterise the film, says Sarath. A point underscored by Thaha, who got to film Ms. Goldberg and her husband Nathan Katz, 30 years after he first met them at the Cohen household, and several such visitors and remarkable occurrences.

In the final stages of production, the film is set to be ready in the first week of August.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Kochi / by S. Anandan / Kochi – July 10th, 2018

Chikankari Embroidery

Lucknow ,  UTTAR PRADESH :

Rehana Begum, a master of Chikankari work. Photo: R. Shivaji Rao | Photo Credit: R. Shivaji Rao
Rehana Begum, a master of Chikankari work. Photo: R. Shivaji Rao | Photo Credit: R. Shivaji Rao

A pantheon of craftsmen and their art are on display at Kaivalam, under way in Chennai. Rashmi R.D. introduces us to some Living Legends of Indian crafts. Meet Rehana Begum

“I learned from my father Shree Hasan Mirza, who received a national award in 1969 for his craftsmanship,” says fifty eight year old Rehana Begum.

Hailing from a long line of chikankari exponents, Rehana Begum began her work with this form of embroidery at the age of thirteen.

Chikankari dates back two centuries. The word chikan is thought to be derived from a Persian word; one theory is that the form travelled to India when its artisans migrated from Persia in search of better patronage. I t is believed that these artisans found a patroness in Mughal Empress Noor Jahan, wife of Emperor Jehangir, and that she did a lot to promote and popularize this craft form.

Rehana Begum works from her home in Thakur Ganj, Napier Road, Lucknow. “We are Lucknowi, born and bred.” Her whole family is involved with making Chikankari embroidery. They work as a group in one room which has become the embroidery room of the house.

“When I was younger we embroidered kurtas, topis, angarkhas jaise nawab log pehn te te (just like the nawabs used to wear). Now we do saris, suits (salwar kameez), ladies tops, whatever the new styles of dressing are in fashion now we embroider.”

Chikankari, she says, was traditionally done only on pure, un-dyed white shazaada cotton or Dhaka ki mulmul, both sourced from Dhaka, Bangladesh. The katcha daagha, the thread used for the embroidery, was also white and procured from Calcutta or Dhaka. Rehana Begum defines Chinkankari in her terms as ‘white on white’ embroidery.

“The first thing I made all by myself was a table cover. It took me one and half years to complete.”

And how long does it take to embroider a sari? “About two years. We usually work six to eight hours a day. My eyes aren’t what they used to be, so now I only do about two hours of embroidery work a day. I spend the rest of the time supervising the work of my apprentices and teaching them the various stitches.”

Rehana Begum takes her inspiration for her embroidery motifs from Mughal architecture. The delicate marble jaali (trellis) pattern of Mughal-style windows and parapet walls is transposed onto the fabric as a fine gossamer trellis of thread work. She also replicates the inlay patterns from Mughal monuments on the fabric she embroiders.

Chikankari has six basic stitches and over thirty-five other traditional stitches used in various combinations based on what the pattern to be embroidered requires. The names of some of these stitches are phanda, chana patti, ghaas patti, bijli, jaali, tepchi, bakhiya, hool, zanzeera, rahet, banaarsi, kharau, keel kangan, bubul and hath kadi. Depending on the type of garment and the pattern to be embroidered the entire process happens in a series of stages over a period of months or even years. Also, the embroidery itself is divided among the artisans, with pairs or groups of three or more specializing in one particular stitch. When one group completes their particular stitch for a garment, it is passed on to the next group to add their specialty stitch. One group may also have mastery of two or more stitches.

The pattern to be embroidered is stamped onto the fabric by hand with a wooden pattern block that has been coated with neel (indigo). The fabric now has the outlines of the designs that will be embroidered into the delicate ‘shadow’ embroidery motifs that are the defining feature of Chikankari.

“I would like to open a shop of my own someday,” Rehana Begum says hopefully. “What we kaarigars (artisans) get at the end of the day, after the shops and agents have taken their percentage—it isn’t much. I’d like to be able to meet directly with people who want to buy our work. Maybe we should have something like a kaarigar market…”

She and her family do travel extensively to participate in national textile fairs and handicraft exhibitions, but though sales are good, the travel costs add up. The price of raw materials has increased too, with good quality cotton and thread getting steadily more expensive.

“I love what I do,” she says emphatically. “There’s no way I could have done this for so long if I didn’t. I get a lot of satisfaction when I finish a piece. I have a large sample swatch that I take with me to exhibitions or when I get called to travel abroad. It took me three years to embroider. When I show it to people they are always amazed by the work. I feel very happy when I see their reactions.”

Rehana Begum has been invited to show case her work in Hamburg (Germany), Ireland, Cuba, Dubai and Muscat (Oman).

In 1976, she was given a State Award from the Uttar Pradesh government, and her work has been on display in the Crafts Museum of Uttar Pradesh. In 2003 she received the Shilp Guru award for her contribution to Chikankari.

“I am excited about coming to Chennai in October. I haven’t been to that city in a long time. I see it as an opportunity to show the international artisans who will be attending this event that Hindustan has great craft talent. They will be able to see what a wealth of kaarigars we have. Jo bhi kaarigar waha maujood honge, hum sab milkar hamare desh ka naam roshan karenge. (All of the artisans who gather for this event, together we will make the name of our country shine).”

source: http://www.thehindu.com / The Hindu / Home> Indian Crafts> Crafts / by Rashmi M.D. / Chennai – October 10th, 2012

Refugees crisis of our time

Kolkata, WEST BENGAL :

MokterMPOs10jul2018

The world saw its worst refugee crisis between 1988 and 1994, coinciding with the end of the so-called Cold War, increasing globalisation and civil wars along ethnic lines.

After two decades of relative ease, 2015 and 2016 again witnessed an upsurge in refugee population, starting with the Syrian crisis and the latest, the Rohingya exodus from Myanmar.India is home to nearly 2 million refugees, with a large percentage coming from China (including a large number of Tibetan refugees) and Sri Lanka (which was torn by civil war from 2006-09).

A book called “Dui Hazar Ekush”for the Refugees worlwide is published today at Kolktata Press Club. Renown Poet & Journalist Mokter Hossain Mondal has written this book for the Refugees people in Mynanmar and Syria. He dedicated this book to the refugees people across the globe.
The cover of this book has been unveiled by Ayesha Noor, three time gold winner in karate championship who dwelt in a slum area in Kolkata.
The life story of the footpath dwellers and the life story of the Refugees of Syria, Somalia & Rohingya people were narrated in this book. Here the poet tried to make the way to solve their problems.
This book has been published by Disha Prakashani.
source: http://www.financialsamachar.com / F Samachar / Home> Metrolife / July 05th, 2018

KT Impact: Dubai honours Indian boy for using Eid money to send out green message

Dubai,  U.A.E :

(KT File / Kiran)
(KT File / Kiran)

Mohammed distributed hand-decorated reusable ‘World Cup’ bags to a number of groceries.

A 10-year-old Dubai student who turned his love for the World Cup into an innovative way to reduce plastic bag waste, has been honoured by the Dubai Municipality (DM).

Following the Khaleej Times article on June 25, ‘Boy uses football frenzy to send a message against plastic waste’, Abdulmajeed Abdulaziz Saifaie, director of waste management department, was keen to meet the boy behind the story , Faiz Mohammed. And during a meeting between the two on Tuesday, he named the youngster one of the municipality’s ‘Sustainability Ambassadors’.

Using his own Eid money, Mohammed distributed hand-decorated reusable bags to a number of groceries near his home in Karama, after he grew tired of seeing so many plastic bags being wasted on home deliveries.

His own investigations revealed that on average, each small grocery was using about 1,200 bags a month to deliver goods. To combat the excess wastage, he distributed the free tote bags in replace of plastic ones. And it was that smart and sustainable thinking that caught the attention of Saifaie.

“I was so proud and happy to see the story. If you keep doing what you’re doing, we will see big change. Going forward I want you to keep in close contact with my team and give more ideas to help tackle waste here in the UAE,” Saifaie told Mohammed.

The municipality’s Ambassador for Sustainability initiative was launched in 2013 with the aim to train students on how to carry out lectures and workshops on various environmental topics.

“The fact that this boy didn’t use that Eid money to buy a ball, toy, something for himself, is commendable. He has a good hobby. If his family and community keep encouraging that, he will have a good future and so will the environment.”

Discussing different ideas to work on together in the future, Mohammed said his plan is to scale up his reusable bags initiative to groceries across Dubai. Only this time, Saifaie told him that the DM will help fund his move.

“We will visit you at your school and speak to your fellow students to spread awareness about what you are doing. We spend millions per year to bring this idea of sustainable practice into students’ minds, but you are doing it on your own. We will support you. You do not need to take money from your own pocket anymore.”

Thanking the municipality for the opportunity, Mohammed said he felt honoured to be named a Sustainability Ambassador.

“I feel so glad to be here. It gives me much encouragement to meet the director of waste management. He has been telling me to continue in my path to help curb waste so I will keep urging friends, family and shop workers about the importance of using reusable bags in place of plastic ones.”

kelly@khaleejtimes.com

source: http://www.khaleejtimes.com / Khaleej Times / Home / by Kelly Clarke , Dubai / July 04th, 2018

Dine Like a Nawab of Bengal

BENGAL :

BengalNawab01MPOs08jul2018

Mir Qasim Ali Khan Bahadur was the Nawab of Bengal between 1760 and 1763. He is most famous for his dealings with the British: he was put on the throne through the intervention of the East India Company, but a few years later was defeated by their forces at the Battle of Buxar. This defeat marked the decline of the political power of the Nawabs of Bengal and was an important moment in East India Company imperial consolidation in Bengal.

All of this is important, of course, but I’m here to discuss a far more pressing question: what did the Nawab and his contemporaries eat?

I encountered this manuscript, titled Khwan-e Nimat, “The Beneficent Table,” at the library of Jamia Millia Islamia here in Delhi. Composed in Persian, the text promises its readers a description of “the art of cooking from the private kitchen of the chef of Nawab Qasim Ali Khan Bahadur.”

BengalNawab02MPOs08jul2018

The text describes how the Nawab’s chef prepared fish kabab with rice, several types of meat kababs, fried eggs, sweets made with almonds, a few different types of pickles, pulao, khichri, qorma, various dals, mango jam, sheermal (a sweet bread), and on and on.

Although I originally encountered this work in manuscript form at Jamia, after some hunting I discovered that a lithographed version was printed in 1871 in Lucknow.

BengalNawab03MPOs08jul2018

The printing was done by a small press, but it means that there was at least some awareness of and interest in the text in the late nineteenth century, a century after the political power of the Nawabs of Bengal had waned. As such, it offers us insight into not only the culinary preferences of Mir Qasim and his court, but also the culinary interests and understanding of food history among North Indians in the high colonial era.

Over the course of my research I’ve stumbled on several cookbooks written in Persian and Urdu over the course of the eighteenth and nineteenth century, but I’ve found there is very little written on colonial-era traditions of writing about food in these languages. Many of the Indian food histories written on this period focus on the British adaptations of Indian cuisine, and exchanges between British and Indian cooks and palates. This text and its later publication tell an alternative (and I’d argue more interesting!) story: that of Indian interest in various local cuisines, and the desire of members of broader literate classes to know and perhaps try to prepare cuisines cooked by regional elites and leaders.

I’m craving fish today, so here’s a rough translation of how the Nawab’s chef prepared his fish kabab. Following these recipes is a bit of a challenge because most of the units of measurement appear to be regionally or temporally specific, and have changed significantly; many are not in any of the Urdu or Persian dictionaries I’ve consulted. I’ve therefore taken educated guesses based in large part on what I know about cooking, and the limited information I could find on the units used.

Ingredients:
Fish (type not specified, perhaps about 650 grams)
Butter (possibly referring to ghee; approximately 80 grams)
Onion (perhaps two-three)
Curd (approximately 15 grams)
Malai (approximately 20 grams)
Coriander (approximately 20 grams)
Black pepper (approximately 15 grams)
Gram (Chickpea) Flour (approximately 60 grams)
Pepper (mirch, presumably red?) (approximately 20 grams)
Cloves
ٓA pinch of lemon juice
A pinch of cardamom
Several pinches of salt

Cut the fish into chunks in the size of kababs and place them aside. Prepare the gram flour well (toast it?). After that, mix it together with the salt, pepper, crushed coriander, and some of the butter. Mix this into each kabab. Then finely chop up the onions, and fry them in some butter and then also mix the onions with some butter into the kababs. Then mix the lemon juice, cloves, and cardamom together. Drain the curd of water and strain the malai, and coat the kababs with these things. Then place these kababs in pot with the (cooked?) rice, and take the remaining spices and sprinkle them into with the rice and kababs. Roast/fry (prepare over a hot surface) and enjoy!

source: http://www.archivaldistractions.wordpress.com / Archival Distraction / by Amanda Lanzillo / July 07th, 2018

Hyderabad man takes up noble initiative, serves food to the underprivileged daily

Hyderabad, TELANGANA :

Hyderabad man takes up noble initiative, serves food to the underprivileged daily
Hyderabad man takes up noble initiative, serves food to the underprivileged daily

A man from Hyderabad is winning hearts across the city as he serves food to the underprivileged every day.

Hyder Moosvi, along with his team serve food to the needy and homeless every day. The team prepares 100 packets of food which are distributed to the homeless and the underprivileged on Dabeerpura Bridge.

Speaking to ANI, Mr Moosvi said, “We started this in 2015. Earlier we distributed food only 8 to 10 times a month, but from March 2017, we have started serving food daily.”

He further said that people from neighbouring localities such as Secunderabad, Kachiguda and Vijay Nagar come to the Dabeerpura Bridge for their food packets. The entire effort leads up to a monthly expenditure of Rs. 1.2 lakh with each food packet costing Rs 40 to prepare.

The noble initiative is surely winning him huge respect among the people of the city.

source: http://www.thehansindia.com / The Hans India / Home> Telangana / by Deepthi Reddy , The Hans India / July 03rd, 2018