At The Hindu Lit fest 2024, Sudhanva Deshpande recalls the making of Habib Tanvir’s company Naya Theatre and his plays that are regarded as masterpieces.
Habib Tanvir | Photo Credit: The Hindu Archives
To make theatre that was authentic to its cultural milieu and history while also being thoroughly modern, both in content and form — this was Habib Tanvir’s life’s achievement. His theatre was exuberant, festive, celebratory, funny, moving, thoughtful and reflective. It was progressive and secular, and because it was created by a man with a Muslim name, it was reviled and attacked by Hindutva forces. He worked with rural actors to create plays that appealed to audiences far beyond the rural. In the history of Indian theatre, Habib Tanvir was a singular presence.
Born in Raipur in 1923, he went to Bombay to pursue a career in films in the mid-1940s. But the decisive influence on him at the time was his entry into the Indian People’s Theatre Association (IPTA), where he met and befriended artistes such as Balraj Sahni, Dina Gandhi (later Pathak), Zohra Segal, and M.S. Sathyu. The left-wing perspective of IPTA was to stay with him throughout his life, even though he forged his own unique path in theatre.
A scene from Habib Tanvir’s Agra Baazar staged at ‘Habib Utsav’ in Bhopal on November 21, 2009. | Photo Credit: A.M. Faruqui
The film industry disillusioned him. It worshipped money, not art. He came to Delhi, where he joined Hindustani Theatre, where he met Moneeka Misra, a theatre director trained in the U.S. They fell in love and got married.
In 1954, Habib Tanvir wrote and directed his first masterpiece, Agra Bazaar, on the life and art of the plebeian 19th-century poet Nazir Akbarabadi. It was an astonishing production, for two reasons. One, the protagonist Nazir never appears in the play — because no biographical information about him was available, even as a large corpus of his poetry had survived, passed on orally from generation to generation. Two, Habib Tanvir asked residents of Okhla village on the outskirts of Delhi to act in the play — his first attempt to make theatre with rural folk.
From Charandas Chor by Naya Theatre. Staged in December, 2019 as a curtain- raiser to the first state conference of Network of Artistic Theatre Activists Kerala (Natak) in Ernakulam. | Photo Credit: Thulasi Kakkat
Soon after, he left for Britain to get formally trained as a director, at the Royal Academy of Dramatic Arts (RADA), and the Old Vic. He was in his thirties, with over a decade of theatre work under his belt. What he learnt in Britain, most of all, was what he needed to reject — the overly regimented theatre of the time, realistic in a photographic sort of way, about middle-class life. He longed for the free-flowing, delightful, irreverent theatre that he had enjoyed as a child in Chhattisgarh. He returned to India and set out to find rural actors.
A scene from Habib Tanvir’s play Mrichchakatika. | Photo Credit: The Hindu Archive
The first lot of six rural actors he picked came with him to Delhi in 1958. They were all more or less unlettered, but masters of the Nacha, the rural theatre of Chhattisgarh. They acted and danced with abandon, sang melodiously in their open, strong voices, were masters of farce, and could also move you to tears. With them, and with Moneeka as his companion, he founded his own company, Naya Theatre, in 1959. They produced play after play, touring the country extensively, but while his plays of the time had spark, real success eluded him.
Habib Tanvir watching a play rehearsal. | Photo Credit: Sudhanva Deshpande
It was befuddling. Why were these great actors, who were so delightful when they performed in the villages, so stiff and rigid on the urban stage, he wondered. It took him 15 years, from 1958 to 1973, to figure it out. He was forcing them to speak in Hindustani, a language that was alien to them, and he was ‘directing’ them, telling them where and how to stand, where and when to move, what gestures to use. When he melded together three rural farces into a single play in Gaon ke naon sasural mor naon damad (‘I’m the son-in-law and my in-laws’ house is my village), he asked his actors to speak in Chhattisgarhi and improvise their moves.
It was magic. With their tongues and bodies unshackled, the actors were magnificent. Remarkably, urban audiences, most of whom had no familiarity with Chhattisgarhi, embraced the play. A string of hits followed, many recognised as masterpieces of modern Indian theatre — Charandas Chor (Charan the thief), Mitti Ki Gaadi (Sudraka’s The little clay cart), Bahadur Kalarin, Shajapur Ki Shantibai (Bertolt Brecht’s Good person of szechwan), Hirma ki amar kahani (The immortal tale of Hirma), and Kamdev ka apna, basant ritu ka sapna (Shakespeare’s A midsummer night’s dream).
Habib Tanvir, an artiste-activist, he was committed to the values of secularism and social justice. | Photo Credit: Special Arrangement
Habib Tanvir was a formidable intellectual with deep insights about the Natyashastra and Indian performing traditions, a sophisticated aesthete who soaked up influences from all over the world, and a citizen-activist committed to values of secularism and social justice.
“In India, the economically poorest are the culturally richest, and the economically richest are the culturally poorest,” he would often say. He devoted his life and his art to uplift the culture, and the voice, of India’s poorest. And he did it with unparalleled verve, beauty, and joy.
Sudhanva Deshpande is an actor, director, and organiser with Jana Natya Manch and Editor with LeftWord Books. He has co-directed two documentary films on Habib Tanvir and is the author of Halla Bol: The Death and Life of Safdar Hashmi.
Session at Literature festival
Sudhanva Deshpande’s session at The Hindu Lit Fest, 2024 is titled ‘Recalling Habib Tanvir: Excerpts from the film and a talk’. It will be held on January 26, 3.15 p.m. at Sir Mutha Concert Hall, Harrington Road, Chetpet, Chennai.
source: http://www.thehindu.com / The Hindu / Home> Lit Fest / by Sudhanva Deshpande / January 16th, 2024
Uttar Pradesh’s highest honour Yash Bharti award was given to 46 personalities on Monday. Among them, nine Muslims were conferred the award by Chief Minister Akhilesh Yadav in presence of Mulayam Singh Yadav. The award is given annually by Culture Department of UP government.
Yash Bharti comes with a cash prize of Rs 11 lakh, citation and a shawl. The awardees are also eligible for a monthly pension of Rs 50,000 for their life.
Yash Bharti award were constituted in 1994 by the then CM Mulayam Singh Yadav but were discontinued between 2007 and 2012 by Mayawati. It has since been revived by CM Akhilesh Yadav.
1. Ustad Ghulam Mustafa Khan Classical singing Born- 3 march 1931, Badaun
Belong to Rampur Sahaswa Gharana in classical singing. Conferred honorary citizenship of Baltimore and Maryland in 1986. Padamshri in 1991, Sangeet Natak Academy Award in 2003, Padam Bhushan in 2006 and Rashtriya Tansen Award in 2008.
2. Professor Irfan Habib Historian Born-12, August 1931 in Baroda. D.Phil from Oxford
Chairman, Indian Council of Historical Research 1987-93, 1993-96. Jawaharlal Nehru Fellowship in 1968-70, D.Lit from BHU (2008), Vishwa Bharti (2008), Kalyani Vishwavidyalaya (2009), North Bengal University (1990) and Ravindra Bharti University (1989). Padam Shree in 2005.
3. Dr Nahid Abedi Sanskrit literature and philoshophy Born—12 February 1961, Mirzapur D. Lit from Lucknow University in 2009. Padam Shree awardee. Several books and papers published in Sanskrit.
4. Iqbal Ahmed Siddiqui Ghazal singer Born—November 9, Allahabad
Performed at All India Radio and Doordarshan. Released 17 cassettes. Sang one song in film Rama O Rama.
5. Anwar Jalalpuri Urdu poetry and writing Born—6 July 1947
Several awards on Urdu poetry like UP Gaurav Samman, Mati Ratan Samman, Iftikhar-e-Meer Samman etc.
6. Dr Nawaz Deobandi Poet and educationist Born—16 July 1956, Saharanpur
Chairman, UP State Urdu Academy. Established Rafiqul Mulk Mulayam Singh Yadav Urdu IAS Study Center in Lucknow. Several awards like Kaifi Azmi award, Dushyant award, Rotary award etc.
7. Aleemullah Siddiqui Artist Born—10 June 1953, Lucknow
Artist using stem of wheat plant, painting on cloth etc. Acted in play Dilli Ka Akhirir Mushaira and Main Urdu Hoon.
8. Imran Khan alias Imran Pratapgarhi Literature Born—6 August 1987 Pratapgarh.
Internationally acclaimed poet and attended Mushairas in Oman, Bahrain, Dubai, Sharjah etc. Received Urdu Academy award in Saudi Arab, Red Cross Society Orissa’s Vishist Vidyarthi award and Sadbhavna award by Maharashtra Municipal Corporation.
9. Wazeer Ahmed Khan Chess Born—4 February 1947, Rampur
Participated in Chess National B competition in 1972, 1980, 1995, 1999, 2004 and 2008. UP Champion in 2004-2005. First prize in Asian Senior competition in Iran in 2015.
source: http://www.twocircles.net / TwoCircles.net / Home> Arts-Culture / by TCN Staff Reporter / March 22nd, 2016
Dr. Muhammad Abdul Hakeem Azhary receiving the prestigious Imam Gazzali Award
New Delhi :
For his tireless endeavors to propel Islamic jurisprudence forward while spearheading transformative social initiatives, Dr. Muhammad Abdul Hakeem Azhary, the Managing Director of Markaz Knowledge City, has been bestowed with the Hujjathul Islam Imam Gazzali Award for the year 2023.
This prestigious honor is presented by the Darul Maarif Islamic Center under the esteemed leadership of Kodambuzha Bava Musliar. Award committee lauds Dr. Azhari’s innovative ideas that have significantly contributed to the resurgence of Ahle-Sunnah principles and played a pivotal role in societal reforms.
Dr. Azhary distinguishes himself as a dynamic force committed to more than replicating established norms, actively identifying and addressing gaps in social reforms, particularly in rural areas across the expanse of India. His visionary leadership has not only garnered global attention but has been instrumental in implementing impactful initiatives to bridge these social divides strategically.
Drawing from his extensive global experiences, Dr. Azhari has tailored his developmental approach for economically challenged communities in pan India. His initiatives transcend geographical boundaries, leaving a lasting imprint on diverse societal sectors, from the tribal regions of Wayanad in the south to Uthrakand in the north.
Under Dr. Azhary’s guidance, Markaz Garden, and its off-campuses scattered across India, alongside the monumental Markaz Knowledge City, have risen as bastions of knowledge and inclusivity. These institutions, underpinned by Islamic teachings, attract individuals from all walks of life, breaking down barriers of caste, sectarianism, and creed, truly embodying the essence of Islam.
Dr. Azhari’s organizational prowess, evident from a relatively young age, is underscored by his appointment as the General Secretary of the SYS. His leadership acumen shone particularly bright when faced with the challenge of Sheik Aboobaker Ahmed’s illness, where he seamlessly steered Markaz towards its mission, exemplifying unwavering commitment
In essence, the conferment of the Imam Hujjathul Islam Gazzali Award upon Dr. Abdul Hakeem Azhary is a testament to his steadfast dedication to the rejuvenation of Islamic religious sciences and his profound impact on societal development. His visionary approach and global perspective breathe new life into the traditional landscape, rendering him a truly deserving recipient of this esteemed accolade.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by ATV / January 10th, 2024
Dr Begum Fatima Shahnaz being conferred the Chevalier dans l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters), the second highest French civilian honour by the French ministry of culture for her significant contribution to arts and literature, on Thursday. ( Photo: DC)
Hyderabad:
The multifaceted Dr Begum Fatima Shahnaz was conferred with Chevalier dans l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters), the second highest French civilian honour by the French ministry of culture for her significant contribution to arts and literature, on Thursday.
The Jawaharlal Nehru gold medal winner for writing in her teens, Dr. Shahnaz was felicitated at a special investiture ceremony at Alliance Française by Consul General of France, Bangalore, Thierry Berthelot.
The teary-eyed Shahnaz broke into French as she thanked the distinguished guests and shifted to English after a minute or two.
“I didn’t realise I was speaking in French, it comes so naturally to me and I sometimes think in French too,” said the actor, writer, humanitarian, journalist, theatre & art director, professor and journalist.
Talking about the significance of the honour, she said, “France has supported me, and through me, it has supported the Indian people. A Hyderabadi being honoured is an honour to all my people. This places huge responsibility on me, as a citizen of India.”
She also spoke about France and its relationship with Hyderabad and recalled her college years there.
Hailing from royal Indian dynasties, Shahnaz is an actor from the Institut d’Arts Dramatiques Rene Simon in Paris, and is associated with Broadway in New York. She completed her education with a stint at the legendary French school of cuisine, the Cordon Bleu and hopes to bring a new dimension to ‘nouvelle cuisine’ through innovations in Indo-French culinary arts.
Her works include Golconda, Khaki-poems on Pulwama, Saraswati, Shards, Prince of Tears, The New York Poems, Kaleidoscope Eyes, Tiger in the twilight, among several others.
source: http://www.deccanchronicle.com / Deccan Chronicle / Home> Nation / by DC Correspondent / May 19th, 2023
Mohammad Ghalib is the sole remaining practitioner of the centuries-old craft in the city’s historic Mughal-era bazaar.
Mohammad Ghalib sits in his small makeshift workspace in the corner of a book shop in Old Delhi’s Urdu Bazaar. (Darash Dawood)
Mohammad Ghalib sits in the corner space of a book shop, barely a couple of square yards large, that was offered to him by a late friend years ago, as he couldn’t afford it on his own. He is the only “katib,” or calligrapher, left in the celebrated Urdu Bazaar of Old Delhi, witnessing his art form dying before his eyes.
On the wall outside the shop hangs a small, barely noticeable, handwritten nameplate in Urdu, Hindu and English, which reads “Katib Mohammad Ghalib,” desperately seeking attention. Amid large flex boards in the busy market, which was once a literary haven for Urdu connoisseurs, the nameplate itself becomes a telling tale of Ghalib’s bygone profession.
After setting everything up inside his shop, Ghalib hangs his small nameplate on the wall to grab the attention of customers. (Darash Dawood)
A couple of decades ago, about a dozen calligraphers would make this printing and books market come alive with their sharp bamboo pens, creating an aura of ornamental penmanship with their dexterity and delicate strokes. Holding their breaths tight, they would peck the nib of their bamboo pens in the ink and create unique styles and typographies for invitation cards, posters and logos.
Today, most of them are now dead, while many of the remaining few have retired from the profession, as it became obsolete due to technological advancement and digitization. Ghalib, however, still sets up his small workstation every day and lives in nostalgia.
“Kitabat,” or calligraphy, is a centuries-old art form in the Indian subcontinent, which attained its peak during the Mughal era. It was used to write the “farmaan” (official decrees) of the royal courts, as well as manuscripts, books, journals, newspapers, postcards and lineages.
“In earlier times, katibs were hired for Munshigiri [a position held by officials to maintain accounts] and were placed in royal courts,” says Ghalib. “It was the most respectable job. I am proud of the fact that even kings used to learn the art of kitabat and nawabs [governors in the Mughal era] used to keep at least one katib in their court for writing books, biographies or about their kingdom.” He adds that, “It is known as ‘shahi fun,’ or the royal profession.”
Ghalib leafs through his archival work, which dates back to the 1990s. (Darash Dawood)
“If any needy person came to the door of a katib and he had nothing to spare, the katib would write a word, any word, and tell the person to take it to Red Fort [the primary residence of Mughal emperors from the 17th century onward]. When he showed it to even a doorman, he would recognize that some katib had sent him and [would] fulfill all his needs,” explains Ghalib. After a breath, with an expression as if giving his final verdict about the buried brilliance, Ghalib adds, “Even Aurangzeb was a katib. And Dara Shikoh. Such was the value of a katib.” (Aurangzeb was the sixth Mughal emperor; Dara Shikoh was his elder brother and heir apparent whom he defeated, eventually arranging his execution for the throne.)
In kitabat, he says, one needs to be very dedicated. “A person gets lost in this work. It demands your full attention. Even a small movement of the hand can cost greatly. You have to hold your breath in order to write precisely. You can’t talk much when you begin writing; distraction is unforgivable.”
Ghalib demonstrates the art of calligraphy by writing out a name. (Darash Dawood)
The Urdu Bazaar in Old Delhi, where most katibs were stationed, also dates to the Mughal era. The very word Urdu, which means “camp” in Turkish, refers to the army camps in the area. Facing the eastern gate of the Jama Masjid, a large field that lay adjacent to the grand mosque was called Urdu Maidan, or army’s field. The two markets on each side of the grand mosque’s gate were known as Urdu Bazaar. “The army would fetch their essentials from these markets. The supplies of army disposals, including jackets and boots, would be available in this market till [the] late 1970s,” Sohail Hashmi, a Delhi-based writer and historian, tells New Lines.
Toward the end of the Mughal empire, books and printing shops emerged in this market, where one could find the best Urdu books, including translations of the Quran, the Vedas and Ramayana. Poets, writers, readers and publishers would throng the bazaar to discuss the latest Urdu literature while sitting on benches outside the bookstores. Inside their shops, there would be a dedicated corner for the katibs.
The rise of kitabat in the bazaar can also be traced to the lifetime of the famous court poet of Urdu and Persian, Mirza Ghalib, whose mansion in the neighborhood has been designated a heritage site by the Archaeological Survey of India. “Mirza Ghalib would come to this market to get his new work proofread, calligraphed by katibs and compiled as a diwan [collection],” Hashmi says.
The bazaar, along with the city of Delhi, first took a hit during the Rebellion of 1857 — the first major uprising against the British. Mirza Ghalib was heavily dismayed and lamented its destruction: “Urdu bazar ko koyi nahi janta tha to kahan thi Urdu / Bakhuda! Dehli na to shahar tha, na chavni, na qila, na bazaar.” (“When no one knew Urdu Bazaar, then where was Urdu? By God! Delhi was no longer a city, nor cantonment, fort or bazaar.”) The second major blow came during the Partition in 1947, when several Urdu poets and writers migrated to the new state of Pakistan. Over time, the market that had once bustled with book shops, printing presses and katibs became home to eateries serving Mughlai delicacies.
Almost two centuries after the 1857 rebellion, Mohammad Ghalib shares a similar pain. At 60, he is also ailing from many diseases: diabetes, heart disease and hypocalcemia.
He studied kitabat, introductory Arabic and Persian, and qirat (recitation) at Darul Uloom Deoband, the renowned seminary in India, from 1979 to 1983. His calligraphy teacher Munshi Imtiyaz was the son of Munshi Ishtiyaq, one of the most prominent katibs and teachers of Arabic in India in the 20th century. Later, Ghalib migrated to Delhi from the north Indian city of Saharanpur to work as a calligrapher. He has been in the Urdu Bazaar for four decades.
Since then, Ghalib has calligraphed academic books for the National Council of Education Research and Training, a government organization that prepares school curricula. He has also written by hand three volumes of “Tareekh E Arabi Adab” (History of Arabic Literature), authored by Dr. Abdul Haleem Nadvi, known for his contributions to Arabic studies in India. Ghalib has also worked for the National Council for Promotion of Urdu Language. Nowadays, however, he frequently returns home without any work for days and sometimes weeks. “Now all work is done by computers and I am mostly jobless,” he laments.
Once upon a time, calligraphers like Ghalib would be among the busiest professionals in the market, working day in and day out completing their assignments. “There used to be so much work. We would work even on holidays. We would receive assignments to write books on multiple genres, including academic books,” Ghalib says. Professional katibs with expertise in the craft are known as Har Fan Maula, which translates to “jack of all trades,” a tag given to calligraphers who are experts in writing many languages and scripts.
Reminiscing on the days when the calligraphy market was booming, Ghalib recalled the time he made a letterhead of his name. (Darash Dawood)
The craft is traditionally practiced with a “qalam,” a pen made from dry bamboo, which is used to write several scripts of Urdu and Arabic calligraphy including Thuluth, Nastaleeq, Kufic, Naksh and Diwani. “Contemporary calligraphy has taken the shape of an aesthetic art with colors and other decorative elements. They write Arabic in different ways, in colorful ways,” he explains. “People now write with brushes while we practice with wood pens. If you ask them to do some fine work or write a newspaper, they won’t be able to do it.”
Ghalib holds a selection of his wooden pens, recalling that the finest he ever used were manufactured in Iran. (Darash Dawood)
For Ghalib, kitabat means everything. Despite the challenges, he speaks of it with a high sense of honor, in euphoria. “It is dearer to me, more than my own life,” he says. “I have earned a lot of things because of this profession. Because of this profession, I met a number of educated people.”
He traces the decline of kitabat to almost two decades ago. “I witnessed the sharp decline when most of the books were typed on computers 15 to 20 years ago,” he says. He acknowledges that technology gets work done quickly. It would take a month for Ghalib to write a book of about 500 pages, which typists could complete within a week.
“I will tell you one thing,” Ghalib continues. “I, too, would have left it [calligraphy] a long time ago. I am not boasting. I am Har Fan Maula — I write in Urdu, Persian, Hindi, Arabic and English. Sometimes, they would call me to the courts to write their papers. Last time, a few people from Medina, Saudi Arabia, sent 15 property papers in Arabic through someone. I do every kind of work. I write posters, receipts, etc.,” Ghalib says. His recent assignments have been limited to receipt writing for Islamic seminaries in Kashmir during Ramadan, designing calligraphic logos and layouts for wedding cards.
Ghalib sharpens his bamboo pens meticulously. (Darash Dawood)
The only institution that still uses this dying craft in India is The Musalman, an Urdu newspaper published, or rather handwritten, in the city of Chennai, capital of Tamil Nadu, a state in south India, 1,400 miles from Ghalib’s workspace. Published since 1927, The Musalman is a daily, four-page paper, currently run by Syed Arifullah, the youngest son of its former editor, Syed Fazlullah.
The craft has also taken a hit due to language politics in South Asia. Prior to India’s Partition, Hindustani, a vernacular of the country’s northern regions, especially Delhi and its surrounding area, bifurcated into Hindi and Urdu. After Partition, Pakistan adopted Urdu as its official language, which further complicated the language politics, yet a 2011 census showed that India still had over 50 million Urdu speakers. Over time, however, the language has come to be taught only in madrassas, which is why Muslims in India have come to be seen as its sole proprietors. Even young Muslims in India don’t engage with the language as much anymore. “People actually don’t read Urdu now … writing in Urdu is a little costly,” Ghalib says.“They print in Urdu, only if someone insists. Otherwise, they say who knows Urdu now?”
Ghalib too has fallen victim to this unfounded language divide of late. “Here [India], even if I upload a video on Facebook, they call me Pakistani. The condition here is such that you can’t even write anything in favor of uplifting the Urdu language. Hindus in India think that Urdu is the language of Muslims. Many people call me ‘Pakistani Khatat’ on my Facebook,” Ghalib laments. (Khatat is another word for katib.)
Four decades later, Ghalib is now dealing with his poor eyesight. His hands shiver while holding the pen. He takes long gasps before making each stroke on the paper. He is too withered to do any intricate work requiring precision. His teeth have fallen out due to disease and medicine. “I can’t eat properly, can’t even hold a cup of tea easily. My work suffers,” he says in a tone of exasperation.
Even on the days when Ghalib returns home without any work, he still holds out hope that “enthusiastic people” will eventually visit his little corner. “Sometimes, when I don’t have work for a week, I do not let this art die at home,” he says. “I return to my shop and then it is like Allah sends work one day that compensates all those days.”
source: http://www.newlinesmag.com / New Lines Magazine / Home> Reportage India / by Ubaid Majeed & Darash Dawood / February 09th, 2023
Calligraphy. Aware of this word? Or heard it somewhere? It is an art, now a rare art almost on the brink of extinction. It is an art of writing a decorative language that begins from right to left for instance, Urdu Arabic, Persian, Pashto, Kashmiri and Sindhi.
The art, ‘kitabat’ as it is commonly known, owes its origin to a period before the Mughal reign in India. At that time, a town called ‘Bayana’ in Rajasthan had an entire mohalla, ‘Katibaan’ (meaning calligraphers who write books only), whose residents’ vocation was calligraphy. The art saw its golden times during the Mughal era.
Emperors Babar, Jahangir, Darashikoh, Alamgir, Aurangzeb and the last Emperor-in-exile Bahadur Shah Zafar were not only experts in calligraphy but they also ordered that it was a must-learn art, an order that was first carried out in their own homes.
It is also said that Aurangzeb brought home the bacon by writing the Quran in calligraphy. Once, when his aging wife requested him to keep a maid for her, as she was unable to do the household chores alone, the emperor was believed to have replied, “How do you expect me to hire a maid for you with such a low income?”
For the people hailing from the upper strata, learning this art or ‘funne khattati’ was considered a proud privilege. They would use the language primarily for writing beautiful, artistic letters to their near and dear ones and also for incorporating this skill in various other forms of art.
Once, Muradabad was also considered a hub for calligraphic works for it had various printing houses for the purpose.
The art was used later to write books of literature and religion by various calligraphers, so also epitaphs and engraved writings on the monuments all over the world. On the three gates of the wonder of the world, the Taj Mahal, Surah Yaseen (a surah, which is considered as the heart of the Quran) is inscribed in splendid calligraphy. Similarly, in all monuments, which are a remarkable example of Mughal architecture, calligraphy in the form of writings on its various facets can be witnessed till today. These calligraphers were invited from different parts of the world. Most of them find their names mentioned at the end of their creation in all these structures.
Earlier, several pens or ‘kalam’ of 7–8 inches with different width, made up of wood and ‘sarkanda’ (cow dung) were used to write artistically. Its ink too was home-made. Kanpur was considered to be the hub for such ink-making, where it was a small scale industry. As the art saw new developments, so did its pens. Now, America and China are the main pen nib makers and Germany has replaced the wood pen with steel one.
The art started witnessing its decline in early 90s, when it was learnt that China and Pakistan had created a software that would replace the art to merely a mechanical work and render many jobless. The threat has come true in many aspects. Sadly enough despite having a glorious history, this legendary art is dying a slow death.
Seventy-nine-year-old Syed Manzoor Uddin is a renowned name in the field, who has to his credit around 600 books written on history, literature, prose, poetry and religion in Urdu, Arabic, Persian, Sindhi, Pashto and Kashmiri and who has countless works done and distributed in Bahrain, Sharjah, Dubai, Pakistan, Iran and Turkey. He says, “In the days of yore, a ‘khushnavees’ (calligrapher) would be awarded even a palace by the kings and queens for their work in the field. Now, those who want some work to be done in calligraphic style, refuse to pay even Rs 25 for such an arduous work.”
Syed Manzoor has written coronation/invitation, (sahra) for the Shah of Iran, rare letters of the world’s who’s who, addresses of ex-prime ministers of India, and poems for the showman Raj Kapoor’s elder daughter on her wedding and several such works. He has now stopped practising this art. He owes the reason to his age and the invasion of computer that has almost destroyed this art. “I have served the artistry for more than five decades. The hopeless times have done a great injustice to this rare writing form. Now, I don’t feel like working,” he reasons.
With the onset of computers, the art has suffered a setback mainly because the computers do not have softwares that could parallel the manual skill. Moreover, the graphic designers mainly do not have a good command of Urdu. Hence, the work they do on the computer is full of grammatical mistakes, Syed Manzoor observes.
Unfortunately, for such an art, there is no recognition in the form of any award. Most awards instituted by one or the other organisations, have now been withdrawn.
Take for example, the Information and Broadcasting Unit of Press Trust of India had a National Award for printers and designers that included calligraphers also. But the practice saw its last year in 1988.
Similarly, Ghalib Institute also had an award for the same and 15 years back this award was also withdrawn.
The Urdu Academy, however, still gives an award in this category that carries a citation and Rs 11,000. This year it is awarding, Mohd Yusuf, a calligrapher of repute though his work does not diversify in other languages as of Syed Manzoor.
An ailing and aged Mohd. Yusuf, who did India proud through many of his works, is now living in penury with his several family members in a small room, enough only for two men in old Delhi. While many calligraphers, for whom it was the only source of earning sometime back, now sit on pavements in the vicinity of Jama Masjid and get just a measly amount for their labour of love.
The art of calligraphy has mainly suffered because of lack of promoters. “Only in last November, the Ministry of Human Resource and Development had organised an Urdu Kitab Mela at Lal Qila ground. It turned out to be a major fiasco for this form of art. Even the rent for the ground, Rs 3,000, could not be recovered in the 11-day fete. Only two persons turned up all these days. And they too thought that a sum of Rs 25 was high for getting their names written in a calligraphic style. Even someone from the famous Rajshri Production bargained for a rare pen, used in the art and managed to buy it for just Rs 3,” recalls Syed Salahuddin, the disciple and son of Syed Manzoor.
Here, slogans were shouted against Mr Hamidullah Bhatt of Qaumi Council, who was blamed for not doing enough publicity for an art though he received a package for it. The condition of dying art was witnessed at the fete by Civil Aviation Minister Shahnawaz, Chief Minister Sheila Dikshit and HRD minister M M Joshi.
Salahuddin asks, “When a doctor can be awarded for operating upon the Prime Minister. There is an award for Hussain’s brush; even for a best citizen. Then why not for a calligrapher? Why not my father and guru, who burnt the midnight oil to prepare 600 books and countless other works for many ministries all over the world. Why can’t he be recognised for his contribution to the art?” Ironically, Salahuddin, who wants to carry forward this artistic legacy, finds no sponsors for it. He also tries hard to get an award for his aged father from the government.
Although a few organisations and individuals are doing some work in the domain, that is not sufficient. For example, Urdu Academy still provides a two-year course on calligraphy that includes computer calligraphy in its second year. While in the first year, the manual expertise in the Urdu language and design is taught so that they do not commit errors that today’s so-called computer calligraphers are committing. But, unfortunately the learners there come only from the aged and financially week backgrounds, who learn the art only to make fast bucks. In fact, the academy pays a scholarship of Rs 150 to teach this art!
“I see several grammatical and other mistakes in Urdu newspapers and names of roads, lanes, bazaars in Urdu are mostly wrong because the language is not known to those who get the work done on computers by inefficient people,” moans Syed Manzoor. However, he is happy about the Urdu software that has come in the market now as he is reminded of what Dr Zakir Husain’s said once, “The language that does not have its type face, dies its own slow death.”
A reputed calligrapher, Anees Siddiqui is known to be compiling a dictionary of calligraphers in India.
The art, however, still needs a helping hand. Will the recognition ever come to the dying art and its artists? Will the proud heritage of India be saved? Only time will tell.
source: http://www.tribuneindia.com / Tribune India / Home> Culture> Artscape / February 22nd, 2002
Professor Syed Zillur Rahman, founder,Ibn Sina Academy of Medieval Medicines and Sciences with the author
Known for its locks, Aligarh, a city in Uttar Pradesh, has also locked a legacy in its reserve – for generations to benefit from it. It houses a rare academy and museum called Ibn Sina Academy of Medieval Medicines and Sciences.
Located at Tijara House, amid a vibrant market place and residential area, Ibn Sina is hailed as the rarest house of legacies in arts and sciences combined under one roof. Named after the legendary scholar of philosophy and medicine Abu Ali Ibn Sina (980 -1037), this academy was accredited to the Ministry of Ayush in 2004 and promoted to Centre of Excellence in 2008.
The institution was established for encouraging and promoting research and studies in medieval sciences, especially Ibn-Sina’s as well as arts, culture, poetry, and other sciences.
The bust of Ibn Sina with Charak inside the museum
Of Ibn Sina’s four stories, a major attraction is on its second floor which houses the Fazlur Rahman Museum of Orientalism, Art, and Culture.
It has four main galleries; the crockery gallery has a large collection of oriental and British Indian utensils, hammami plates, bowls, tea sets that belong to prominent personalities such as Hakim Ajmal Khan, Nawab Sultan Jahan, Nawab Shahjahan Begum of Bhopal, Nawab Yusuf Ali Khan of Rampur and many others.
The textile gallery is ornate with attires, garments with gold and silver calicos studded with precious stones, one of which has entire Quranic surah Yaseen embroiled in gold zardozi on it, turbans worn in battles, among many other oriental attires. The picture gallery has prominent personalities of AMU’s pictures, drawings, photography, prints, etc.
Its miscellaneous gallery has coins, postage stamps, clocks, busts, pens, memes, and relics of prominent personalities.
“We have over 2 Lakh stamps beginning from ever since the stamps started, from all countries and India. People who were pioneers in the world of arts and culture, education, and freedom fighters on whose names, and stamps were released, we have a collection of the same. shares Dr. Aftab who is a convenor at Ibn Sina.
In addition medical manuscripts, medical philately, medical souvenirs memories of physicians especially those of Nobel laureates are well preserved here.
The wall of fame (Pictorial history of some important Muslim families)
The connecting rooms of the galleries welcome you with a sofa of Raja Jai Kishan, a mirror of the times when they were made of iron sheets. The iron sheets called ‘aaina’ were rubbed so many times that they would become sparkling clear and shining to become a mirror. That’s how the mirror got its name ‘aaina’ Later it got a new name –sheesha – with the change of the material..
The academy is rare for numerous reasons. For avid readers of medicine, science, Urdu, Persian, Arabic, literature, poetry, oriental studies, researchers, students preparing for competitions, and scholars IbnSina is a heaven. It boasts of a rare collection of 32000 books, 17000 magazines, 1100 manuscripts, (makhtootaat), 21 rare Qurans including one pocket size in gold, and much more is in store.
Built by professor Syed Zillur Rahman, a medical academic and passionate Urdu litterateur from Aligarh, Ibn Sina was an extension of his colossal library that he had established in 1960 which soon extended into the world’s rare academy and museum of its kind in the year 2000.
Collection of stamps
“Hamare yahn Aurangzeb ke hath ka likha, aur uske bete ke hath ka, likha hua Quran hai,” gleams the professor, sharing the information.
Apart from a separate collection of Muslim women achievers, Ibn Sina boasts of the world’s best collection of Islamic sciences, Islamic medicines, and Islamic philosophy being published across countries such as Iran, Central Asia, Syria, Iraq Turkey, etc. Scholars from across the globe come here to refer to books in this section.
For Ghalib devotees, the academy has a separate section called Ghalib Study Centre. It “Ghalibka collection joh mare paas hai vo duniya mein kisike paas nahi hai,” claims the professor.
Delhi finds a special place here boasting of 7500 books, some as old as 1893, dictionaries as old as 150 years, authentic diwaan on Ameer Khusrau, books on and by the last Mughal Bahadur Shah Zafar, British period –Victorian Era with pictures in Lithographs and much more.
Children using the library
The academy has a library for students especially those preparing for competitive exams. The 100-seater library has the best of books from literature, agriculture, science, math, medicine, etc.
“There is no fee to sit in this library. It opens every day from 10 to 10. This section has over 28000 books including 56 of Professor Rehman on Tibbi and Unnani medicines. there are separate sections for Unani medicine and Sir Syed Movement, biographies,” Dr Aftab Alam, the coordinator of Ghalib Study Centre informed.
There is a reason why the library has most books in Urdu and Persian on Indian history, culture, language, society, education, politics, medicine, etc. “Not much work in English has been done on Muslims. Most work has been done in Urdu and Persian. So this is our helplessness. Our focus is on India – the Hindustan. Indian scholars have done immense work in any domain, philosophy, travelogues, and medicines, especially in Islamic history, the Quran, and hadith that is comparable to anyone in the world, especially the Arabic and Persian world. The problem is we don’t read because we don’t read Urdu,” rues the professor.
Why Ibn Sina was built has an interesting story. As a young man, Professor Rahman used to watch a bird who had made a nest and would bring food for her newborn, just as the routine was with a cat who had given birth to kittens – at his home. After some months, the birds flew, and the kittens grew and went away with their mothers.
“I thought to myself, ‘Is this the life God has created mankind for? Just be born, eat, sleep, and die like animals? God has created a man to not only take care of his family but also society, language, culture, community, and world.”
Ibn Sina Academy of Medieval Medicines and Sciences
So, he decided to create a legacy that he says would be useful for a generation after 80 years! “We are away from civilization by 80 years. A standard time to develop any civilization is 150 years. So, now people are not able to understand the legacy I have created but the students who read it 80 years later will know what it is. By then we would be a civilization.”
People get worried that the graph of Muslim development is going down. But the Professor feels it is nothing to be worried about. “Every civilization has to go through it. Our graph has risen. We were 10 crores in 1947. After Partition, 7 crore left for Pakistan had 3 crore stayed in India. We were nothing in 1947 but our buzurgs worked very hard to study and became scholars. Now we are making educational institutions, universities, hospitals, media houses, and so on. Most important is that girls are getting higher education and they will change the face of the nation,” he says, satisfied while emphasizing reading Urdu to know a legacy called India and the contribution of Muslims to it.
Rana Siddiqui Zaman is a Delhi-based senior columnist and art reviewer
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Rana Siddiqui Zaman / January 10th, 2024
Budhana Town (Muzzaffarnagar) / Meerut, UTTAR PRADESH / NEW DELHI:
Poet Azhar Iqbal has gained prominence due to his use of simple Urdu language mixed with Hindi and his reach on social media.
QUICK RISE:
Azhar Iqbal has suddenly risen to fame in the last two years
Saying Urdu/Hindi couplets (shayri) in the language of the common man and usage of social media has raised Delhi’s Azhar Iqbal to a level he had never imagined.
The famous saying bhagwaan jab deta to chhappad phaad ke deta hai (when God decides to bestow His bounty, He showers it all) seems to have come true for Delhi’s Urdu poet (shayar), Azhar Iqbal.
He suddenly rose to fame in the last two years. He is seen in almost all domestic as well as prestigious mushairas (poetry sessions) in Europe, Middle East and Dubai. The limelight-hungry, from literary to television world, have suddenly started showing a sense of belonging to him and their pictures together adorn several social media accounts.
Those who had not even known him remotely, have started commenting on his posts, expecting few seconds of a shared fame! His recent claim to fame is his presence at the famous Kapil Sharma Show on Sony LIV television.
The shayar has to thank two factors that worked wonders for him, social media and couplets he wrote in simple Urdu projecting relatable truths of peoples’ life.
For instance, Ghutan si hone lagi uske paas jaate hue, main khud se rooth gaya hoon usey manate hue or Parindo ko shajar acchha laga hai, Bohot din baad ghar acchha lagta hai, Gale main hai teri bahon ka ghera, Ye bike ka safar acchha laga hai.
Iqbal is not new to shayri but to the fame. The 45-year-old is yet to sink it in.
He admits, “Social media’s wide reach is a magical reality. My seniors and buzurg shayars (experienced poets) would not have imagined reaching that far globally with their genius. I don’t think I do shayri as well as them. But I wouldn’t mind taking credit for the fact that I do shayri that common man understands. From students to youth, females to those battling crises of various kinds in their daily grind.”
Substance too
It not just the miracle of social media but a life of hard work, interest in shayri, taleem-o-tehzeeb and patience that Azhar’s poetry is made of. He isn’t a product of an aristocratic school or family either. Azhar, one among 11 siblings, is a father of two, and homemaker wife. His father, a literary person and an avid Urdu reader, had a tea shop in Meerut where he would go to help him in his holidays as a child and in his youth.
A fertile background plays the most significant role in the making of a poet. Azhar is no exception. Remarkably, in western UP, educated people in small towns like Budhana, Kairana, Gango, Jhinjhana, Nakod among others had immense affinity with literature and religion – adab and deen. Women would always find time to read good novels during the day and even narrate them to their children and siblings. Menfolk would find catharsis in nashist or baithak (poetic gatherings) almost every evening.
Azhar comes from Budhana town in Muzaffarnagar where such novel narrations and nashisht were regular.
“We were surrounded by these adab-loving people, qawwals and their mehfils (gatherings). The zauq (interest) for shayri was getting into the system automatically.”
Here, senior shayars would say a couplet and ask young boys to write the next on that analogy. The teenagers would spend much of their time in reading good poets and evolve themselves to do the task.
Azhar recalls famous shayar Dushyant Kumar’s sher (couplet) which was given to him for an analogy to create his own.
Vo mutmayeen hai ke paththar pighal nahi sakta, Main intezar main hoon awaz main asar ke liye.
(They are certain that the stone cannot melt away, Restless yet I am, for a voice to hold sway.)
Azhar could create one in bahar (rhythm). And it went like this
Vo phool banke mere pass hi mehakta raha,
Main sochta hi raha apne humsafar ke liye.
(It lingered like the scent of a flower beside me, Yet, I longed for my companion to be.)
This was his first couplet that showed his poetic pen at 13.
Alongside writing ghazals and studying, Azhar would help his father run his tea shop. In late 90s, to help the family financially, he joined as lab assistant at Noida, on a salary of Rs 3,000. He would go to the mushairas by spending from his own pocket.
“The mushairas wouldn’t pay young poets like me during those days.”
By 2013, he met famous dastango Mehmood Farooqui and soon wrote the poetic part of his classic dastans.
“I also used to host some of his dastan shows and mushairas at Delhi’s India Habitat Centre — a favourite haunt for arts and literary luminaries.
“The visits helped me expand my circle and meet geniuses in the creative arts.”
FAME:
Iqbal also featured in the Kapil Sharma show and often gets thronged at airports
The Almighty answered
Around the first Covid lockdown, Azhar got an invitation to go to Bahrain. “That was my first foreign trip. But the lockdown spoiled it. In pain, I complained to Allah that this was my first such prestigious trip and l can’t even go. As if Allah was free then. He heard me so well that I never looked back after that. It happened like that.
“Someone picked up a sher from one of my old videos and posted it on his Youtube channel. Within no time, it received 50 million views. Soon, people started finding my other ashaar (couplets), and did the same. Some 10 to 12 such couplets got so popular that billions of people watched them and I became famous instantly.”
The fame helped the poet not only with offers of mushairas at domestic but also international levels, and to preside over them too. Prestigious spaces like Sahitya Akademi, Sangeet Natak Akademi also started inviting him to host programmes.
The icing on the cake was an invitation from Kapil Sharma show which is viewed by crores of people. It changed his life completely. The mushaira venues have often got him standing ovation for long.
“Now at times it takes me over an hour to reach the venue as people gather for autographs at the airports. I often get shockingly surprised and think, ‘they have come for me?’”
Shared language
A creative person is known for diversifying, without which he risks his pen to boredom.
Azhar also decided to be a bit more creative and mix Urdu-Hindi to say couplets that would emanate fragrance of a shared co-existence.
Though use of Hindi words in Urdu shayri and Urdu words in Hindi kavita is not new but his initiative of a different kind was lapped up by “both Left and Right ideologists”. One of these goes as:
Maroosthal se jaise jungle ho gaye hain,
Tera sanidhya pa kar, hum mukammal ho gaye hain.
(With your proximity, I am metamorphosed from a desert to green) or
Nadi ke shaant tut par baith kar mann,
Teri yadain visarjan kar raha hai;
Bohot din ho gaye hain tumse bichhde,
Tumhe milne ko ab mann kar raha hai.
(On the silent banks of a river, immersing your memories; long alienated, my heart is aching to meet you).
The poet credits it to the gap that came after Dushyant Kumar’s demise in 1975 at a young age of 42.
“There was a gap in the Hindi poetic arena after Dushyantji. Most were doing lateefebazi (frivolity). Geet and nazm had suffered in the hands of mediocre writers. So, I decided to experiment the mix and it worked out, again, thanks to the social media.”
Breaking monopoly of seniors
Most creative domains have some authoritative forces who wouldn’t let their juniors grow, unless they belonged to their coterie. The world of shayri isn’t an exception. Some senior poets and known lyricists who are also a part of the film world, often started dominating the biggest mushairas.
“If you see the mushairas before 2000, you will notice that same 20-odd shayars would be seen in all mushairas in the country or even abroad. Aik poora giroh thaa jo kisi ko aage aane hi nahi deta thaa. (There was a gang of senior shayars who wouldn’t let any newcomer break their monopoly).”
The social media boom, however, did the needful, especially during Covid and subsequent lockdowns.
Those who were not in any reckoning, started making small videos of their own couplets, or other Youtubers would select couplets of any shayar and upload them for hits. This slowly opened vistas for several hidden talents. Azhar is one of them.
“If you scroll through social media, every second video is about a new shayar or his shayri uploaded by someone to get hits on his Youtube channel. The seniors who once ruled the game, have no role to play in promoting them.”
However, like any pros and cons of a boom, excessive use of social media also popularised mediocrity and exposed the difference between the great poets and weak writers, the originals and copy cats.
The “husn-parast” (esthete) Azhar is a new age craze for the generation which is turning towards simple shayri to understand the heavier later. “I think I have done my job if any youth has started taking interest in reading and creating couplets in simple Urdu.”
And one couldn’t agree more.
(The writer is Delhi-based senior journalist, co-author of ‘Muslims in Media’, poet, an art and music curator.)
source: http://www.thepatriot.in / The Patriot / Home> Profile / by Rana Siddiqui Zaman / August 12th, 2024
3rd Foundation Day of Manipuri Muslim Meira Paibis at Cacha
The Cabinet Minister of Transport, Excise & Fisheries, Government of Assam, Primal Suklabaidya has donated a sum of Rs. 5 Lakhs from his local area development fund for the welfare of the Manipuri Muslim Meira Paibis (Manipuri Muslim Torch bearing Mothers) operating in Cachar District of Assam.
The Minister has handed over the amount to the President of All Manipuri Muslims Meira Paibi Sanstha, Cachar, Assam Moinam Jubeda Begum on the occasion of the 3rd Foundation Day Celebration of the Sanstha held on the 5th October 2023 at Bhaga, Islamabad, Cachar District, Assam.
The Minister also announced a special package including development of the office complex of the Sanstha, construction of a public community hall and development of approach roads. Attending as the Chief Guest in the 3rd Foundation Day of the All-Manipuri Muslims Meira Paibi Sanstha, the Minister also took note of the acute shortages faced by the Meitei Pangal Communities in the District and assured the package in a very quick response to a memorandum submitted by the Meira Paibi Womenfolk during the occasion.
The galaxy of other eminent personalities from Assam and Manipur present in the foundation day include Principal of Moirang College, Manipur Dr Raheijuddin Sheikh, Retired Additional Secretary of Assam Nandababu Singha, Assistant Director of Textiles Lairellakpam Harilal Singha, Assistant Professor of S R College Dr Abul Khair Choudhury, Vice President of Federation of Civil Societies Organisations (FOCS), Manipur B M Yaima Shah and Lakhipur East Zila Parishad Kabrabam Anita Devi as special guests.
A two minutes silence was also observed by the gathering to mark the tribute to the two of the Manipuri Meira Paibi leaders viz Ima Memchoubi Devi who expired very recently and Ima Sitara Begum who passed away last year.
The FOCS also extended financial assistance to the Muslim Meira Paibi Sanstha of Cachar by donating a sum of Rs.10,000/- only which was handed over by the Vice President B M Yaima Shah to the president of the Sanstha – Moinam Jubeda Begum.
3rd Foundation Day of Manipuri Muslim Meira Paibis at Cachar
In his short address by the special guest from Manipur, Moirang College Principal Dr Raheijuddin Sheikh emphasised the role of Manipuri women in the social change which became a unique culture of the Manipuri Womenfolk which is not seen in any other parts of the World and dire need for support and preserve the culture for the welfare of the future generations.
The women’s participation in safeguard of the people has a long history which may be dated back to the monarchy system in Manipur which later became more significant after the women agitation broke out in 1904 and 1939 showing discontentment of the womenfolk against the British policy.
Beginning with the safeguard of their male counterparts and children as the informal Nishabandhi groups in the localities during 1970’s, the Meira Paibi has now emerged as one of the biggest forces to move for a social change, an indispensable force to safeguard the integrity, starting from the issues of drug abuse and illicit trafficking to the eradication of antisocial elements and now the Meira Paibis have come up with the strongest force to deal with the present unrest in Manipur.
In her key note address, Lakhipur Zila Parishad Anita Devi has reiterated that the Foundation Day is being observed every year since the year 2021 in various places where the Manipuri Muslims (Pangals) are inhabiting in the Cachar District.
The venue of the 3rd Foundation Day this year has been chosen at Bhaga, Islamabad as the sanstha intended to reach out the importance of services rendered by the torch bearing mothers in various field including eradication of antisocial elements, drug abuse, upliftment of the educational, social and economical status of the people belonging to this area of the district which is being considered as the most backward as compared to the Meitei Pangals of other areas in Cachar District.
Sanarei Bibi & Thanin Bibi / Publicity in Charge, 3rd Foundation Day All Manipuri Muslim Meira Paibi Sangstha, Cachar, Assam
The tableau designed by Masjid-e-Aqsa Meelad Committee, which was taken in a procession along with other tableaux during Eid Meelad celebration in city on Sept. 28, has bagged the first prize.
ABS Abbas, Syed Umar, Zubair Ahmed, Corporator Basheer Ahmed, Zakir, V.V. Puram Inspector Arun Kumar, Moulana Abdul Salam, Khateeb of Masjid-e-Aqsa and others were present at the prize distribution ceremony.
source: http://www.starofmysore.com / Star of Mysore / Home> Photo News / October 05th, 2023
