Category Archives: Arts, Culture & Entertainment

The political implications of a renewed interest in the Dakhni language

Arts, Culture & Entertainment

INDIA :

A still from the music video of Pasha Bhai, a song written and sung by Bengaluru-based artist Mohammad Affan Pasha. It is in Dakhni, a language of home and hearth, the one Pasha speaks on the streets and with his friends and family. COURTESY PASHA BHAI

The official video of Pasha Bhai, a new hip-hop song written and sung by Bengaluru-based artist Mohammad Affan Pasha has over 30,000 views on YouTube. In it he is rapping on the streets, not in any upmarket part of the IT city, but in its underbelly on Bazaar Road, surrounded by other young men of the neighbourhood. They are grooving to a catchy tune in the vocabulary of their locale—not Kannada, nor Urdu or English. The song is in a language of home and hearth—Dakhni.

Often called proto-Urdu or Qadim-Urdu which means old Urdu, the Dakhni language is having a contemporary moment with songs, dances, appearances on Instagram reels, and plenty of comedy. Dakhni literally means “of the Deccan” and is spoken in large parts of Telangana, Andhra Pradesh, Karnataka and Maharashtra. The dialect sounds like an amalgamation of Hindustani, Telugu, Marathi. Those not familiar with its sound outside the region would recognise it instantly as how the actor Mehmood Ali often spoke in Bollywood films or most recently, what artist Danish Sait uses for his satirical videos.

Dakhni is an Indo-Aryan language that dates back to the 14th century. There were many waves in which Dakhni is said to have evolved, but its key origin is dated to Mohammad bin Tughlaq’s migration of the capital of the Delhi Sultanate from Delhi to Daulatabad, carrying townspeople thousands of kilometres into the Vindhyas. Gradually, the language they spoke in the north developed into a local version with many inputs from the south.

The language is sometimes mistakenly seen as limited to Hyderabad, and Hyderabadi Urdu. “Dakhni died as a written language, but remained a spoken language, even till today,” Yunus Lasania, a journalist and history enthusiast, told me, as he read a couplet off his iPad. “The creation of Dakhni in the 14th or 15th centuries resulted in Dakhni, Urdu and also some Persian and Arabic words entering vocabularies of regional languages like Telugu.” Lasania pointed to the word roju which means day in Telugu and comes from the word roz with the same meaning in Persian. “Today, in Hyderabad and the Deccan, we speak in Dakhni, but read and write in the standardised modern Urdu, which we mostly don’t speak in.” 

Pasha told me of the time when he would write in “straight Urdu” but the lines sounded flat and left him cold. It was only when he began expressing himself in his own language—the one he spoke on the streets and to his friends and family—that it lit up the studio. The enthusiastic response he got when recording on the streets or from fans has completely surprised him. “They say north Indian languages are assertive and can convey aggression better,” he said. “Sure, Dakhni is not aggressive, but it is vibrant, playful and informal. Our idiom is personal and it has a twist which these other languages do not have. It is energetic, sounds rooted and the metaphors we use come straight from our everyday lives.”

In the current moment, Dakhni is seeing a sort of resurgence, an awareness of it not witnessed in popular culture since actor Ali livened up the Hindustani and straight-Urdu speaking Bombay cine-world with his sprinkling of nakko, hallu, jaatu, kaiko in films like Padosan. It was so entwined with comedy in his rendition that few realised that the language has the evolution and history of India embedded within it. The renewed interest in Dakhni today stands as a counter to the political casting of Urdu as a “foreign” language and the insistence on the supremacy of Hindi as the only truly Indian tongue. Dakhni, a coalescence of many linguistic strands and a blend of cultures, stands a bulwark against this singular political narrative.

Rida Tharana is a Bengaluru-based Instagram influencer, who presently makes content in Dakhni and has 600,000 followers. She told me that she makes it a point to write a caption, or a few lines under the Dakhni content that talk about the language itself. “I am keen that my followers love the language like I do,” she said. Tharana’s series of Mom reels are popular on Instagram, riffing on mothers and expectations of their children. The language the mother-daughter characters speak in is Dakhni. Both Pasha and Tharana told me that Dakhni speakers have often experienced a degree of shame while conversing in Dakhni, hesitant that they may be mocked for it. Slowly, they have ventured to wear it on their sleeves. They told me that radio jockeys in Bengaluru, artists like Danish Sait and even popular jockeys in Chennai like Zoha Sanofar make it a point to use the language and deliver the punch in their lines in Dakhni.

Zoe Woodbury High is a doctoral scholar at the University of Chicago, researching culture during the reign of Ibrahim Adil Shah II, part of Bijapur’s Adil Shahi dynasty. She reckons that with its unique place on the Indian map, Bijapur can be termed the centre of present-day Dakhni. The city in northern Karnataka has infused the language with Urdu, Hindi, Marathi, Kannada and Telugu. She told me that what she finds fascinating is how Dakhni transcends the linguistic boundaries of the states. “It travels far and its map can be placed right above the boundaries meant to demarcate Marathi-speaking, Kannada-speaking and Telugu-speaking people,” she said. “It creates its own zone of usage, defying the political boundaries of states.”

At present, Dakhni is a language that has no script associated with it and no codified dictionary or grammar. It is seen as informal and provides a classic instance of what the writer and critic UR Ananthamurthy called a language of the backyard, languages used extensively in homes or by women to communicate with family, children or others they needed to interact with. These languages were evocative and intimate. But it was something people did not write in or use in formal interactions with the world. The languages of the front yard were ones in which official business was conducted and in which you interacted with the state when you needed to. “Women played a big role in keeping Dakhni alive for hundreds of years,” Sajjad Shahid, a visiting professor at the University of Hyderabad, told me. “It was not the language of officials and scholars who would straighten up and use the more formal Persian, Urdu or later Telugu.”

Dakhni is not recorded as a language by the Indian Census and several Dakhni speakers record Urdu as their mother tongue. The 2011 Census recorded 5,07,72,631 Urdu speakers in India, which is a drop of 1.5 percent since 2001. Other than Konkani, Urdu is the only other scheduled language to show a drop. Interestingly, the number of Urdu speakers in the south—that is Telangana and Karnataka—have risen and they outnumber their northern counterparts. At a time when Urdu is under a concerted political attack, more so in northern states, with it being labelled as a language of Muslim invaders, Dakhni opens a new frontier in this debate. Dakhni may have been the petri dish that allowed Urdu, as we know of it now, to have blossomed.

The founder of Hyderabad, Mohammad Quli Qutb Shah, wrote in Dakhni and was a great contributor to Dakhni literature. However, Dakhni suffered after the 18th century, when, due to the Mughal conquests of the Deccan and the creation of modern Urdu, poets started shifting to Urdu for patronage. The nizams came as Mughal-appointed governors of the Deccan in 1724 and made Persian and then Urdu, official languages in the region.

Over the years, as patronage to Persian and Urdu was stepped up and literary work stopped in Dakhni, the importance of Dakhni shrank and it was reduced to being seen as a mongrel language. It found itself reduced to a dialect just like Braj Bhasha or Awadhi in the north. “This change-over was complete by the middle of the 18th century when Dakhni-Urdu ceased to be a literary medium except in the far off Karnatak and Mysore regions,” the historian HK Sherwani wrote.

“The tragedy is that with the advent of so much entertainment on television flooding homes for nearly 30 years now, a certain kind of language has been uniformly spread across the country,” Shahid said. “This may have had some advantages, but the downside is the disappearance of so many words, variety, vocabulary and idiom of many minor languages and Dakhni too. That is a big loss.” Lasania is not so gloomy. In the new and young and spirited Dakhni music and popular usage, he sees a new route for a revival of the language. “Dakhni is not pure or hung up about being straight,” he said. “It has elements of Kannada, Marathi, Telugu, Hindi, Urdu and has seen so many ebbs and flows.”

When an ill-informed debate on Urdu being “foreign” is conducted routinely in an attempt to brand it as an outsider tongue, the vintage of Dakhni acts as a counter to this disinformation. It is Dakhni which is the precursor of what we now know as Urdu. To appreciate how it developed in the bazars of the Deccan centuries ago, continuing to retain its links with a host of other Indian languages is not just cultural trivia, but a fact with political implications. The Bharatiya Janata Party government’s thrust in the cultural sphere is on characterising the past as homogenous and Hindi and Hindu alone as truly native. Dakhni, in which we find Urdu, Sanskrit, Telugu, Hindi, Kannada and Marathi blended in one language, is a counter symbol reminding us that so many diverse cultures that constitute India are equally indigenous, old, and born of confluence and not exclusion.

Dakhni’s greatest quality is that it is a capacious bowl of words, similes and styles, borrowing from multiple languages and always being open to absorbing new influences. This will ensure it thrives, as it has over centuries. With more artists curious about it and choosing to perform in Dakhni, its afterlife is significant, especially in today’s political context. Dakhni’s re-emergence and its spirited and assertive embrace by younger speakers, may well be a metaphor of the impossibility of one singular narrative dominating and being imposed on the country. India’s pluralism is rooted in its many backyards. Ask any of the Dakhni rappers. They are singing it loud on the streets.

SEEMA CHISHTI is a writer and journalist based in Delhi. She was formerly the Delhi editor for BBC India and a deputy editor at the Indian Express. She is the co-author of Note by Note, The India Story (1947-2017) and the author of Anees and Sumitra, Tales & Recipes from a Khichdi Family.

source: http://www.caravanmagazine.in / The Caravan / Home> Culture> Commentary / by Seema Chishti / October 18th, 2022

Architect Imran Abbas Shaikh: The visionary behind India’s finest Mosques

Amazing Feats, Arts, Culture & Entertainment, Business & Economy, Community Involvement / Social Issues, Education, Leaders, Museums, Libraries (wef. April 16th, 2022), SCHOLARSHIPS, World Opinion, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Pune, MAHARASHTRA :

Architect Imran Abbas Shaikh and some of the mosques he designed.

Architect Imran Abbas Shaikh, a visionary based in Pune, Maharashtra, exemplifies the transformative power of architecture. With a passion for blending modern design with cultural heritage, Imran has developed a diverse portfolio ranging from innovative urban projects to iconic cultural landmarks. Renowned for his distinctive approach, he has redefined architectural design, particularly in the creation of mosques. His designs for these sacred spaces often include facilities like hospitals, museums, libraries, and community kitchens, showcasing his dedication to empowering the community. Through his work, Imran Abbas Shaikh has set a new standard for integrating functionality with tradition, earning widespread acclaim for his contributions to architecture.

Muhammad Bin Abdullah Mosque’ in Dhannipur, Ayodhya district, Uttar Pradesh.

The Early Years

Mr. Mohammad Imran Abbas Shaikh, hailing from Pune, Maharashtra, has traversed an extraordinary journey from his roots to emerge as one of the most prominent architects of our time.

His architectural firm, Cubix Architects, situated in his hometown, reflects his deep-rooted connection to the place that nurtured his talents. Growing up, Imran was distinguished by his unique approach and a penchant for creative thinking, qualities that would later define his illustrious career as a visionary architect. However, it was the unwavering support and belief of his father that truly ignited Imran’s passion. His father instilled in him the notion that architecture was not merely about envisioning structures, but about crafting an unwavering future that could bring about positive change. This paternal guidance became the driving force behind Mr. Mohammad Imran Abbas Shaikh’s relentless pursuit of architectural excellence.

Islamic School and Institutional Campus, Phaltan, Maharashtra.

Educational Background 

Imran Shaikh’s educational journey was marked by a pursuit of excellence from the outset. Beginning with his early schooling split between SSPM and Children’s Academy in Shivaji Nagar, Pune, he demonstrated a thirst for knowledge and innovation. His high school years at Poona College laid the groundwork for his academic prowess, setting the stage for his subsequent achievements.

Imran’s passion for architecture led him to Bharati Vidyapeeth, where he honed his skills and emerged as a consistent topper throughout his degree. Even after completing his formal education, Imran’s dedication to his field remained unwavering. He continues to share his expertise and insights by delivering lectures and guiding Ph.D. aspirants, leaving an indelible mark as an inspirational figure for aspiring architects and youngsters alike. His contributions as a guest lecturer have not only enriched the minds of his students but have also sparked a newfound enthusiasm for architecture among many.

Islamic Spiritual Centre of Maulana Sajjad Nomani – Neral, Maharashtra

Inspiration Behind Choosing Architecture as Career 

Imran Shaikh always had a keen interest in travelling, exploring, and various forms of art. After high school, he decided to pursue architecture as a career, a field that had always intrigued him. Imran often spoke about how his father was his biggest motivator, playing a significant role in his journey to becoming a successful architect. During Imran’s college years, his father would proudly share his accomplishments with everyone. Imran’s fondness for art and his unique, abstract perspective on things have been evident throughout his career. Each of his projects bears a distinctive touch, showcasing his artistic vision and innovative approach.

“Modern technologies have made the youth increasingly dependent, resulting in a lack of motivation and original ideas. To foster change, it is essential to reduce dependency on readymade materials and encourage wholehearted engagement in learning, exploration, and hands-on activities. As long as a person is away from mental pollution, they can do wonders”

How Does Imran Shaikh See Architecture 

Imran Shaikh states that architecture is a profession that has existed since the dawn of mankind, tracing its origins back to Adam (AS). Since the beginning, people have sought shelter, making architecture an integral part of human existence. This concept is not limited to humans; some of the best architectural forms can be seen in birds and animals. According to him, architecture starts with a dot, which evolves into a line, then a triangle, and gradually forms complex shapes and designs. The journey beginning with a simple dot encapsulates the essence of architecture.

His favourite works

The ‘Muhammad Bin Abdullah Mosque’ in Dhannipur, Ayodhya district, Uttar Pradesh, is under construction and spans 4,500 square metres.

Dar e Arqam

This mosque will include various facilities such as a hospital, community kitchen, library, and research centre.

Remarkably, it will be the first mosque in India to feature five minarets, symbolising the five pillars of Islam: profession of faith (shahada), prayer (namaz), almsgiving (zakat), fasting (roza), and pilgrimage (hajj). The mosque will be pentagon-shaped, further reflecting the significance of the five pillars. Additionally, it will boast a water and light show and house the world’s largest Quran, measuring 21 feet in height and 36 feet in width.

Architect Imran Abbas Shaikh

Some of architect Imran’s finest works include:

1-KAUSAR BAUGH MASJID – PUNE, MAHARASHTRA

2-ISLAMIC SPIRITUAL CENTRE OF MAULANA SAJJAD NOMANI – NERAL, MAHARASHTRA

3-ISLAMIC SCHOOL AND INSTITUTIONAL CAMPUS – PHALTAN, MAHARASHTRA

4-ISLAMIC SCHOOL AND INSTITUTIONAL CAMPUS – NEPAL

5-MASJID MUHAMMAD BIN ABDULLAH INDO ISLAMIC CULTURAL – BABRI MASJID, UP AYODHYA

5-ISLAMIC SCHOOL AND INSTITUTIONAL CAMPUS – BANGLADESH

Building a Better Society

Apart from his architectural achievements, Imran Shaikh is actively involved in education through his nonprofit ‘Human Embrace Foundation’, based in Pune. This foundation is dedicated to educating children from financially disadvantaged backgrounds, ensuring they have access to quality education and opportunities. Imran’s commitment to this cause has made a significant impact, inspiring many young people. His dedication and success serve as a powerful role model for youth, encouraging them to strive for excellence and make a positive difference in their communities. Through both his architectural work and his educational initiatives, Imran Shaikh exemplifies the values of innovation, compassion, and community empowerment.

source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim> Positive Story / by Fiza Memon / May 25th, 2024

Rummana Hussain and the ghost of female Muslim heroes

Amazing Feats, Arts, Culture & Entertainment, Community Involvement / Social Issues, Karnataka (under research project), Museums, Libraries (wef. April 16th, 2022), Women/Girls(since May26-2021), World Opinion, , , , , , , , , , , , , , , , , , , , , , ,

Bengaluru, KARNATAKA / New York, U.S.A / Mumbai, MAHARASHTRA :

Rummana Hussain’s conceptual artistic imprint on the state of India is relevant now more than ever. Dealing in the currency of feminist expression, postcolonial thought and perennial ideas, Rummana’s India is both doubly colourful and doubly dark.

In an inaugural show in its new West Village location, New York’s Institute of Arab and Islamic Art presents The Tomb of Begum Hazrat Mahal an exhibition encapsulating Rummana Hussain’s artistic ruminations about the space our bodies occupy in present and past through one of India’s most prominent Muslim woman.

Bangalore-born Rummana Hussain (1952-1999) was a pioneer in conceptual and performance-based political art in India during the 1980s and 1990s.

She was part of the Sahmat collective, a platform for liberal, secular engagés multidisciplinary artists including Safdar Hashmi, Bharti Kher, and Manjeet Bawa among others.

In this recreation of The Tomb of Begum Hazrat Mahal (1997), the respectful visitor enters a one-room shrine.

“In seeing The Tomb of Begum Hazrat Mahal today, I remembered Hussain’s bold feminist reclamation of her Muslim body through the reincarnated aura of Begum Hazrat Mahal to question monolithic identity, national narratives, and systemic marginalisation”

Various objects signify a site of lamentation, pride, and remembrance.

On the floor, occupying a central location, 12 votive-like papaya halves sit atop a mattress of uncooked rice, evoking both an altar to womanhood and fertility, and a symbolic funerary pyre.

In front of them stands an installation of offerings comprising amulets, dried roses, shells, and incense sticks, tied in a rope.  

Against the three other walls is a calligraphic sculpture from rusty metal that reminds of a sacred spell and the embodiment of time, and an image frieze of detailed black and white triumphant photographs showing a woman’s arms, wrists, and hands.

In one of these frames, a woman raises her fist up as if calling others to join in. In another, she holds an ominous knife. Images of flames are interjected between the simulacra of archives.

Rummana Hussain, Tomb of Begum Hazrat Mahal (Detail) 1997 © Estate of Rummana Hussain. Image Courtesy Talwar Gallery

The room is devoted to a woman, an invisible physical body which radiates from each of the static objects. Begum Hazrat Mahal (1820-1879), née Muhammadi Khanum, was born into a poor family.

She was sold and entered the royal harem of art-loving Wajid Ali Shah, the last king of Awadh, a kingdom that occupied the area of the present-day northern Indian state of Uttar Pradesh. Trained as a harem attendant, she would eventually rise to become the king’s concubine – one of his favourites. Beyond her charms, Begum Hazrat Mahal owes her entrance on the historical stage foremost to her political prowess and courage.

The British-owned East India Company operated in Awadh since the early 19th century. The Company increased its grip in 1856, when it directly seized control of Awadh, citing poor governance and the need to uphold the rule of law to justify their annexation (an excuse known as the “Doctrine of Lapse”).

A Chief Commissioner was rapidly appointed. This caused the king to leave Lucknow and seek refuge in Calcutta. The Queen Mother of Awadh petitioned Queen Victoria in person for her son’s rights, in vain. Wives, including Begum Hazrat Mahal were left behind in occupied Lucknow.

Rummana Hussain, Tomb of Begum Hazrat Mahal (Detail) 1997 © Estate of Rummana Hussain. Image Courtesy Talwar Gallery

After this brutal annexation, discontent grew in several parts of India against the British and the interference of the Company, culminating in a mutiny and revolt in May 1857. Rebels looked to Awadh’s Crown Prince as a successor to his absent father when they captured Lucknow.

But Birjis Qadr, the son of Begum Hazrat Mahal and Wajid Ali Shah, was still a child then, too young to assume power. In his stead, Begum Hazrat Mahal took over Awadh’s revolutionary affairs, actively leading the armed revolt during her regency, towards the reinstatement of Indian rule over Awadh in July 1857.

She continued resisting British rule well after the retaking of Awadh by the occupying troops in 1858, as she refused various offers of collaboration. She died in exile in Kathmandu, Nepal, as an unwavering freedom fighter. Today, a humble stele near Kathmandu’s Jama Masjid marks her tomb.

Rummana Hussain, Living on the Margins, 1995, performance at the National Centre for Performing Arts, Mumbai

When Rummana Hussain first showed The Tomb of Begum Hazrat Mahal to the public in 1997, it was during a period marked by the tragic aftermath of inter-communal violence.

During the 1980s, radical Hindu nationalists campaigned to build a temple on the site believed to be the birthplace of Rama, where a mosque had been erected since the 16th century.

They took to the streets of Ayodhya, Uttar Pradesh, en masse in 1992. Security lost control of the crowd which eventually stormed into the site, demolishing the mosque.

This ignited weeks of violent clashes between Hindu and Muslim communities, causing the deaths of thousands. A later investigation on the destruction of Babri Masjid in Ayodhya pointed out the responsibility of leaders and supporters of the right-wing Bharatiya Janata Party (BJP), the political party of India’s incumbent Prime Minister, Narendra Modi.

Babri Masjid launched a turning point in Hussain’s artistic journey towards a more intimate, politically-conscious form of expression. In Dissected Projection (1993), she explored the multilayered meaning of ruins and dislocation through an allegorical work that exposes a fracture, a shattered piece of terracotta.

In her show Multiples and Fragments (1994), Hussain engaged with historical and domestic oppression in an installation of pigmented pieces of fabric on a clothesline, to denounce the colonial extraction of indigo in India and unpaid housework traditionally performed by women and girls. Labour is always physical and violence first hurts the most vulnerable.

In her 1995 performance Living on the Margins, Hussain screamed while holding papaya halves, shapes that represent a universal vessel and the female anatomy.

Her works have been exhibited in the India Pavilion of the Venice Biennale in 2019, and in multiple institutions across India, Canada, Australia, Mexico, the United Kingdom and the United States during her lifetime and posthumously.

In seeing The Tomb of Begum Hazrat Mahal today, I remembered Hussain’s bold feminist reclamation of her Muslim body through the reincarnated aura of Begum Hazrat Mahal to question monolithic identity, national narratives, and systemic marginalisation. She wanted to say, we can turn the hate in love, we can turn the oppressed, the victims, into heroes they will one day celebrate. We can tell our own stories. They matter.

Outside, scores of brunch-goers live, love, laugh. If it’s dissonance we are meant to acknowledge, I acknowledge it. I closed my eyes in the silent white cube of the Institute of Arab and Islamic Art and saw images of the relentless violence and bullying Muslim women continue to face in Narendra Modi’s India.

In this reconstituted tomb, it’s hard to feel alone. Around me swarmed many other ghosts, of ordinary Muslim women – from Afghanistan to Iran and beyond – crushed and slain in their contemporary defence of freedom and justice against oppressors. Many have been killed in their fight.

A shrine calls for a quiet prayer, I realised.

Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia.

Follow her on Twitter: @farahstlouis

source: http://www.newarab.com / The New Arab / Home> Features>Culture / by Farah Abdessamad / December 08th, 2022

Vartha Bharati reporter Ismail Kandakare gets prestigious PaGo award 2024

Amazing Feats, Arts, Culture & Entertainment, Karnataka (under research project), , , , , , , , , , , , , , , , , , ,

Karavali, KARNATAKA :

Vartha Bharati reporter Ismail Kandakare

Vartha Bharati Kodagu District Special Correspondent K.M. Ismail Kandakare has been selected as the recipient of the prestigious PaGo award by the Dakshina Kannada District Working Journalists Association this year. The award-winning report, titled ‘Give way or give way to death,’ was published in the ‘Vartabharati’ newspaper on April 6, 2023.

The selection committee, comprising Senior Journalist Keshav Kunder and Journalism Lecturer Guruprasad T.N., chose Kandakare’s report for its quality and impact. The award includes a cash prize of Rs. 10,001 along with a souvenir.

Kandakare, who holds a certificate course in Diploma in Journalism from Karnataka Open University, has previously been recognized for his journalistic contributions. He has received the Best Sports Reporting Award from both the Kodagu District Working Journalist Association and the Kushalanagar Taluk Working Journalist Association. Additionally, Kandakare’s debut work, ‘Mariam,’ was published in 2021.

Apart from his journalistic endeavors, Kandakare is also involved in football, serving as both a player and coach. He currently works as a referee for the Karnataka State Football Association.

The award ceremony is scheduled to take place on May 9 at 11 AM at the Mangalore Press Club. Mangalore University Vice-Chancellor Prof. P L Dharma will present the award, while senior journalist Chidambara Baikampadi will deliver a speech as the guest speaker. The event will be presided over by Srinivas Naik Indaje, the president of DK District Working Journalists’ Association, with Jitendra Kundeshwar, the general secretary of the association, coordinating the proceedings.

source: http://www.english.varthabharati.in / Vartha Bharati / Home> Karavali / by Vartha Bharati / May 04th, 2024

Chikmagalur | A Muslim student Fatima Samiha chose first language Sanskrit Scored 590 marks in SSLC

Amazing Feats, Arts, Culture & Entertainment, Education, Education - Gold Medallists, Toppers, Merits, Achievers (wef. June 12th, 2023), Karnataka (under research project), Women/Girls(since May26-2021), , , , , , , , , , , , , , , , , , , , ,

Chikmagalur, KARNATAKA:

The 2023-24 ESL results have been unveiled, showcasing Fatima Samiha’s remarkable achievement. Hailing from Chikkamagalur district, Fatima, a student of Sri Sadguru Vidyamandir in Basarikatte, chose Sanskrit as her primary language and achieved a perfect score of 125 out of 125 marks in the subject.

Her exceptional performance extends across other subjects as well, with scores of 99 in Kannada, 94 in English, 83 in Mathematics, 69 in Science, and 100 in Social Science, resulting in an impressive overall score of 590 out of 625 marks, equivalent to 94.4%.

Fatima is the daughter of Muhammad Rafiq from Chikkamagaluru and Selikhat Begum from Panemangalore.

source: http://www.thehindustangazette.com / The Hindustan Gazette / Home> News> Latest News / by The Hindustan Gazette / May 12th, 2024

Indian Muslim cultural heritage is indelible

Amazing Feats, Arts, Culture & Entertainment, Business & Economy, Inventions, Innovations (wef. Nov 30th, 2021), Leaders, World Opinion

INDIA :

Like it or not, modern Indian culture is still heavily indebted to the legacy of the Mughals and the nawabs.

Stamps of both tangible and intangible heritage of India’s prosperous Muslim reign are still vivid, despite more than two centuries of indifference, ingratitude and insolence that followed.

From language and art to cuisine and architecture, every aspect of Indian cultural landscape has strong traces of Muslim sounds, flavours and colours that continue to trickle down from an era that drew the world to India.

Like it or not, modern Indian culture is still heavily indebted to the legacy of the Mughals and the nawabs. The Persianate culture that was dominant well into the decline of the Muslim dynasties, continues to influence our customs and traditions.

Intangible heritage
Whether we call it Hindi or Hindustani, the language that is spoken by most Indians, especially in North India, took shape in the hallowed halls of the Mughal Delhi and Nawabi Lucknow.

Though, it’s been nearly two centuries since the sun set upon the fortunes of the Mughals, their cuisine is still in the ascendancy and gaining in popularity everyday. Can a party be complete without the biryani and kebabs?

Urdu may not be a particularly favoured language of our times, but no Urdu basher could be averse from the influence of its sweet melody. Despite some serious attempts at its erasure from the public consciousness, Bollywood or Hindi Cinema still has some strong strands of Urdu in its rapidly morphing personality.

The indelible Urdu legacy lies at the very heart of ‘Hindi’ cinema’s golden era, with some of the best dialogues and songs that most of us swoon over being still its biggest treasure trove.

As much as its intangible legacy, the tangible legacy of the Muslim architects still remains the biggest tourist attractions in India. Not just the Taj Mahal and the Jama Masjid of Delhi, Muslim architects have left towering symbols of aesthetic excellence in architectural marvels such as the Qutub Minar and the Charminar.

Besides Delhi, Agra and Lucknow, cities such as Ahmedabad, Hyderabad, Aurangabad and Bijapur wouldn’t have existed without their Muslim patrons. Their Muslim character is hard to miss despite consistent attempts at altering their nature.

The magnificent monuments, among the greatest landmarks of the tangible human heritage, are so deeply etched on the landscape and the psyche of India, that they have become synonymous to the grandeur of the Muslim ascendancy in India.

Artisanal legacy
But, more than the glowing architecture, it is the enterprising artisanal traditions that continue to have the greatest traces of Muslim influence. Importantly, Muslims continue to preserve this legacy against all odds.

From the Pashmina Shawls and Banarasi Sarees to the Rogan Art and Bidriware, some of India’s best known handmade traditions are painstakingly preserved by Muslim artisans, maintaining a living heritage that can be traced to the patronage of the Great Mughals, the Bahamanis, the Adil Shahis, the Nizams and others.

It is no secret that the Mughals were the great patrons of art, craft and industry, with creativity, innovation and industry flourishing during their rule, making India the most prosperous country in the world.

Their generous patronage and facilitation meant artisans from different parts of the world made a beeline to India, adding new forms of craft to a landscape that was already full of life.

From muslin and brocade to diamonds and jewellery, the artisans of India produced some exquisite handmade goods that drew traders from all over the world to India.

Mughal India – World’s biggest economy

During the peak of the Mughal rule in India, when Aurangzeb Alamgir was at the helm, India accounted for 27 per cent of the world’s economy, greater than the GDP of the entire Europe combined.

Until the mid-18th century, when British started gaining greater control over some parts of the country, India was the biggest exporter of manufactured goods across the world.

Despite the unparalleled rapacity and depravity of the colonial administration that had led to the near extinction of the Indian craft traditions a century ago, Indian handicrafts survived largely through the resilience and industry of the artisans.

Though, the policy of erasure continued even after the British left India and continues till this day, Indian artisanal communities have shown remarkable resilience against the onslaught of monopoly, ruthlessly cruel economic policies and unfavourable terms and conditions.

Many craft clusters have also faced communal apathy, discrimination and prejudice.

Under such extreme conditions, it is nothing short of a miracle that ancient handmade craft traditions survive in India.

Story of Bidriware
The tale of the Bidriware, primarily practised by Muslims, is one such story of skill, struggle and survival.

Bidriware is poetry crafted in metal

Cast in an alloy of copper and zinc, with silver and gold wires or sheets inlaid or overlaid, a Bidriware artefact is so graceful in its appearance that an indulgent heart longs to feel and touch it, if not wear it!

For more than five centuries, Bidriware objects have been must have pieces of adornment among the royalties and nobilities such as Mughal emperors, Rajput kings and Nawabs of Bengal to Bahmani, Adil Shahi and Vijayanagara Sultans (yes, the Vijayanagara kings loved to call themselves sultans!).

In the pre-modern era, the Nizams of Hyderabad have been the biggest patrons of this magical craft, not only collecting the artefacts such as hookahs (sheesha), vases, vanity boxes, ewers and pitchers, but also relocating several artisans to Hyderabad.

However, despite the early 20th century migration of artisans and losing patronage, Karnataka’s northern town of Bidar continues to remain a hub of Bidriware.

With all of the kingdoms and fiefdoms gone, ancient Bidriware items along with other surviving royal antique pieces are a collector’s treasure now, gracing the leading museums across the world.

The Origin
Though, the Bidri metal craft has its origins in medieval Persia, Bidriware in its distinct Indian form blossomed in the capital of the early 15th century Bahmani Empire.

The tale of Bidriware, primarily practised by Muslims, is a story of skill, struggle and survival

The Bahmanis were renowned for their exquisite sensibilities for art and architecture, hence it is no surprise that a complex and intricate enterprise such as the Bidri metal craft originated in their royal atelier.

This, perhaps, is among the last few influences that the medieval Bahamanis continue to have on modern India.

Reinvention
Despite the spell Bidriware has on art aficionados and connoisseurs of craft, the enterprise has seen a steady decline over the last few decades, with only a few masters working their magic.

Currently, the city of Bidar has around 150 registered artisans, but only a handful of artisans in the town have the depth of knowledge and the deftness of skills required to be called a master.

MA Rauf Siddiqui is a national-award winning master craftsman who is reinventing Bidriware, catering to the modern aesthetic sensibilities

Among the few masters is the national award-winning artisan MA Rauf Siddiqui.

Even as the overall scene of the Bidriware tradition is not particularly encouraging, the Shilpi Guru-winner is quietly reinventing the traditions, ably-assisted by his young and enterprising children.

Modernising the techniques, motifs and methods, the family has several generations involved in the craft, adopting latest softwares to come up with new patterns and using social media to reach new frontiers.

However, the traditional expression of the art-form continues to find patrons, even as the newer expressions in wearable forms give the craft a new lease of life.

Empowering the community
Many Muslim communities in India sit on a huge treasure trove of craft traditions that have been part of the country’s cultural, economic and political legacy for centuries.

Many of these traditions are withering away due to multiple factors, including lack of upgrade or inability to adapt to the changing landscape, little government support and poor marketing.

With necessary attention and support we can not just preserve this precious legacy of India and Indian Muslims, but can also make hundreds of these craft clusters economically independent and sustainable.

source: http://www.radiancenews.com / Radiance News / Home> Arts & Culture> Forces / by Shafaat Shahbadari / Radiance News Bureau / September 26th, 2023

Academia and Aroma: PhD Holder’s Dhaba at JNU Offers a Poetic Huddle

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BIHAR / NEW DELHI:

Dr. Shahzad Ibrahimi’s Maamu Dhaba has captivated patrons with tea and Urdu poetry for about two decades.

New Delhi:

In the bustling corridors of Jawaharlal Nehru University (JNU) in Delhi, a distinctive aroma of tea mingles with the resonant verses of Urdu poetry. This unique sensory experience is courtesy of Maamu Dhaba, a cherished and venerated institution on the campus, nurtured by the academic prowess and entrepreneurial spirit of its owner, Dr. Shahzad Ibrahimi.

Hailing from Bihar and armed with a PhD in Urdu language, Dr. Shahzad’s journey from academia to entrepreneurship is as fascinating as it is inspiring. Twenty years ago, fresh after completing his doctoral thesis, Dr. Shahzad made a pivotal decision to establish Maamu Dhaba within the precincts of his alma mater. Adjacent to the university library, the dhaba swiftly became a sanctuary for students and professors alike, offering not just tea but also a refuge for scholarly discussions and intellectual pursuits late into the night.

Dr. Shahzad reflected on his unconventional career trajectory: “After obtaining my PhD, I briefly explored opportunities outside academia, including a stint at a TV station. However, I soon realised that my true calling lay elsewhere.” With the unwavering support of his wife, Dr. Shahzad embarked on the journey of dhaba ownership, a decision that would shape the cultural landscape of JNU for years to come.

Maamu Dhaba, christened after their shared vision and dedication, stands out amidst the plethora of dhabas in JNU not only for its aromatic tea but also for its unique blend of academia and culture. Dr. Shahzad’s commitment to his craft surpasses even his dedication to his doctoral thesis, as he divulges, “Running this dhaba demands more time and effort than my PhD ever did.”

Beyond serving tea, Maamu Dhaba serves as a platform for fostering a love for the Urdu language and poetry. Dr. Shahzad, with his profound affection for Urdu literature, regales patrons with verses from renowned poets such as Ghalib, Mir, and Momin. “I consider it my duty to share the beauty of Urdu poetry with all who visit, regardless of their familiarity with the language,” he asserts, underscoring his dedication to preserving and promoting Urdu culture.

source: http://www.clarionindia.net / Clarion India / Home> Clarion Special> Editor’s Pick> India / by Mohammad Alamullah, Clarion India / May 07th, 2024

Hospital for poor is top priority of Pune’s 77-year activist Ashraf Mulla

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Pune, MAHARASHTRA :

Ashraf Adam Mulla

Ashraf Adam Mulla, the founder of the Muslim Samaj Parbodhan Sanstha which runs an orphanage and several schools for poor children in and around Pune, Maharashtra, is finalizing the building plan for a charitable hospital. The 77-year-old social worker had felt the need for a hospital where the poor could be treated free of cost during the Covid-19 pandemic.

Feisty Mulla Madam, as she is called, said her plans for starting the construction of the hospital got delayed because of an accident in which she was injured. Due to this, she had to stay home for six days and could no longer move freely on her two-wheeler.

“Although I have returned to work, I can no longer drive a two-wheeler,” she says. The two-wheeler-borne Mulla Madam was famous for running around and never missing an appointment or her scheduled work. “Never mind, I will continue to work tirelessly for the hospital”’ she says with a smile.

An award distribution function at one of Ashraf Adam Mulla’s schools

Mulla has been running Muslim Samaj Prabodhan Sanstha for 39 years. Besides setting up schools where children of poor from all religions can study, she runs Samina Iqbal Ashiyana, an orphanage for Muslim girls which has 32 inmates presently as against its capacity for 65.

She says her Sanstha has been trying to equip the backward and extremely poor people with modern and quality education. 

However, for three years, she has been focused on building a charitable hospital. “I am about to turn 78. I have no time to waste. There is still a lot of work to be done. For younger people, it can be said that their enthusiasm is still fresh but I have no time to waste,” she says while showing me around the place – a vast ground – where the hospital’s foundation stone will be laid this month.

Mulla Madam is all praise for her late husband Adam Mulla who worked as a chemical engineer and passed away in 2015. “He did his responsibility and work. Due to his nature, he could not support me in social work, but he always supported me financially,” he said.

“I started my work with my husband’s money.” 

Morning Assembly in one of the schools run by Ashraf Adam Mulla’s trust

Ashraf Adam Mulla Madam retired as a teacher from Chanta Mani Vidya Mandir, Thevar, a Marathi medium school. With her three sons married and settled with their families, Ashraf Mulla is full-time into her projects that have the potential to change lives.

When she was working as a teacher, she recalls that about 1200 children were studying in her school but there were just two or three Muslim children. Although there was a Muslim settlement near the school, the enrolment of Muslims was poor.

When she started her primary school under a tin shed at Tan Patre in Syed Nagar, she also introduced a sewing class to get Muslims interested in coming to it. At Rahmani, her organization runs Urdu Balwadi which has 66 children. Shamsuddin Inamdar is an Urdu Primary School where 597 children are studying and Rahmani Urdu High School has 235 students.

Likewise, Rahmani Junior College has 191 students. Her organisation also runs Industrial Training Institute where 23 students are enrolled. Besides, special computer learning classes are conducted for students from 5th to eighth where 345 students including girls are learning.

Students in playing in one of Ashraf Mulla’s schools

Mullah Ma’am told Awaz-The Voice that the girls living in Ashyiana are attending school, skills and Islamic education. The Sanstha also takes the responsibility of finding partners for the inmates and arranging their weddings.

The girls who want to pursue higher education get support till they are 18 years old. Among the skills taught at the Ashiyana are artificial jewelry, sewing, embroidery, and ceramic paintings. 

Ashraf Mulla is disappointed that a senior college she tried to establish did not have enough students and she had to close it down while Rahmani Junior College, established in 2006, which offers arts, science, and commerce is doing well.

She says the idea of setting up the Sanstha came to her while she was trying to deal with the grief of losing her parents. “when my mother died, I was very sad. My father passed away in 1979 and my mother also left this world in 1984. I wanted to do something in memory of my mother. To ease my grief, I founded the Muslim Samaj Parbodhan Sanstha in January 1985.”

She remembers while she was studying in class 9, Pune saw a massive flood. “I was living in Andapur then. The children of our school collected money for the flood victims and it gave us a feeling of peace and security while doing that.” She says it’s that empathy with the suffering and sense of peace to being able to help the needy that stayed with her to set up the NGO.

Girls eating dinner at Ashiyana

Speaking of her failures, Mulla Ma’am says, “I wanted to work for widows, but widows were not ready to come out of the house and work.” She says, “At that time widows liked to be a burden on their families and all our efforts to convince them failed.”

However, after some years her efforts paid off. When she set up Ashiyana (orphanage), many widows and divorced women came to stay with us. I realized times have changed.”

I visited Ashiyana and realized it’s a cozy home for girls and women. The home space is sparkling clean. The Auntie running the kitchen announced that food was ready and everyone must perform prayers. The girls went to the prayer room for Zuhr Namaz.

The food was simple Dalcha-chawal, a Maharashtrian delicacy, followed by a delicious Sher Khurma desert. The girls sat on the mats and everyone had a small table in front to put their plate on it.

Mulla Madam however says she prays that no child should feel the need to come to a shelter/orphanage. “We can do everything for children but not be their parents.”

She says the women from Ashiyana who are married continue to be in touch with them.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Shah Taj Khan, Pune / May 02nd, 2024

In Passing: Saeed Akhtar Mirza

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Mumbai, MAHARASHTRA :

In the midst of electioneering cacophony, I received an invitation from the moving spirit and ever agile Founder-Chairperson of Mysuru Book Clubs-2015 Shubha Sanjay Urs for an evening of conversation and informal interaction with Saeed Akhtar Mirza yesterday morning. I did not know who this celebrity worthy of Shubha’s attention was but Shubha was quick to throw in a ‘guarantee’ at me of a dinner that would follow the event. The invite was like welcome summer’s rain for me to give a second thought before accepting. I said yes. It was at the Club House of Mysore Race Course.

Out of curiosity, I asked Shubha about the person whose ‘darshan’ I was going to have and also hear the oracle. She simply said, “Uncle, you remember the popular television serial Nukkad? He is the Director of that TV serial.”

Yes indeed, I could instantly connect to this very interesting filmwallah from Mumbai and his achievements with a National Film Award under his belt. What I did not know, however, was that he is also an author of books, rather queer ones — as I heard of the synopsis of them from his talk. He is branded (and touted) as a pioneer of the ‘New Wave’ progressive cinema in India. (One may conclude ‘left liberal of the Lutyen’s Club kind). Other appendices found in his genius are as a writer, traveller and a teacher.

Traveller indeed he is one. After all, the nature of his work would require him to travel. But what left me wondering was that at past 80 years of age he chose to travel by an SUV from Mumbai to Mysuru with one overnight halt at Belagavi. He broke his journey in our city for an overnight stay and the flycatcher of our Mysuru Book Clubs-2015 Shubha succeeded in catching him while on his way to Wayanad in Kerala. I asked him, “Are you on an election survey mission to Rahul Gandhi’s Constituency?” “No” was his response and mumbled about attending a meeting connected with films etc.

One of Mirza’s well remembered film was ‘Albert Pinto Ko Gussa Kyon Aata Hai’? of 1980. I felt nostalgic to learn that he was a student of the Film and Television Institute of India (FTII), Pune, where I used to frequent while in Pune to see the future stars and, of course, the art films by foreign directors like Ingmar Bergman of Sweden who directed ‘Seventh Seal’ or Vittorio De Sica of Italy who produced the all-time classic ‘The Bicycle Thief’.

Be that as it may, Mirza Saab ensconced himself on a chair, walking stick by his side and mike in hand. Introduction, mercifully brief and platitudes over, Saeed (I guess he is always addressed as Saeed) began his monologue that revealed succinctly his films and books across the gamut. He is a soft spoken person. He may be an intellectual and a creative person but he indeed has the demeanour with a persona of a philosopher-poet (see picture).

He mourned the 1984 massacre following Indira Gandhi’s assassination. Simultaneously, he alluded to Babri Masjid and its aftermath. The past is the grandfather, the future the grandchild and we witness the passing of an era, he mused kissing into the table-tennis ball of the hand-held microphone. The films are produced like a family tale where facts and fictions are mixed while his books, three of them, are revivalist, he revealed. Then, after a pause, he averred that in the world every civilisation has contributed to the growth of mankind. No one civilisation can claim to be the sole contributor and gave the  example of Abbasid civilisation (considered Islamic golden age).

Saeed droned about al-Biruni who wrote and spoke of medieval mathematics, astronomy and astrology of India mentioning the names of Brahmagupta and  Aryabhatta of 11th century while reflecting on the past civilisation of mankind. He opined there was much myth-making and also study of science during those bygone days. He said he did not write books as literature, but rather as ideas — whatever it means! Dilating on the theme, he took a jibe at the often heard lament by religious fanatics that their religion is in danger, ‘khatre me hai’ and said it is not true.

At the close of his talk he spoke movingly of his intimate, genius of a friend Kundan Shah who is no more. They were together one evening talking about this mundane world and Saeed mentioned of the peace that prevailed around them. Kundan Shah suddenly got up and urged Saeed to move out with him to the balcony. ‘Dear Saeed, look at the sky. What do you see? A star-studded beautiful, peaceful sky. Right?’

Saeed said, ‘Yes. Indeed.’

‘No, my dear friend. It may be beautiful to look at from here and even appear peaceful. But in reality no. There is turbulence, there is motion and  there is no peace.’

Well, I could not fathom what Kundan Shah meant when he said that. But I presume that it was about the inner turmoil of an individual that robs him of peace. Apparently the peace Saeed mentioned to Kundan Shah was unreal, Maya. Let it be.

This said, Saeed was ready to field questions from the audience that comprised charming, though not so young, ladies. I counted just four men that included yours truly, Saeed of course, Ravi Joshi and Ashvini Ranjan (see picture).

As for Shubha Sanjay Urs, she kept her words. There was indeed a sumptuous dinner washed down with spirit that  elevated our mood.

e-mail : voice@starofmysore.com

source: http://www.starofmysore.com / Star of Mysore / Home> Columns> Abracadabra / by K B Ganapathy / April 22nd, 2024

Afzal to make his directorial debut with ‘Hosathara’

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The actor-turned-director will also play the lead role, alongside Brahma.

Afzal

Afzal, known for his journey from journalism to acting and his recent venture into film production with VIP, is now stepping into the director’s role with his upcoming project, Hosathara.

Not limiting himself to direction, Afzal has also penned the story and screenplay for the film. Additionally, he will play the lead role alongside Brahma, who is also part of the principal cast.

Produced under the banner of Jai Vijay Productions, Hosathara marked their first production venture. The film promises to offer a fresh narrative infused with elements of love, suspense, thriller, and a sprinkle of comedy.

The pre-production phase has just commenced, with plans to feature three melodious songs, with music composed by Raju Emmiganuru and background score by Anthony Poyanoo. Action stunts will be composed by Ultimate Shivu. The makers have roped in Rajeev Ganeshan as the cinematographer, with Sukkku choreographing the dance sequences.

Incorporating cutting-edge technology, the makers have collaborated with JHJ Studios in America for VFX. Afzal, who has brought in a set of skilled technicians for the project, plans to reveal the rest of the cast and crew in the upcoming days.

source: http://www.newindianexpress.com / The New Indian Express/ Home> Kannada / Express News Service / April 22nd, 2024