Category Archives: Arts, Culture & Entertainment

Mentor and Guide to Many Stage Actors, Creator of Epic Plays, Aamir Raza Husain Departs at 66

NEW DELHI:

Mentor and Guide to Many Stage Actors, Creator of Epic Plays, Aamir Raza  Husain Departs at 66

New Delhi:

Much before India was swept off its feet by big-screen spectacles such as ‘Baahubali’, ‘RRR’ and now the upcoming ‘Aadipurush’, Aamir Raza Husain was the creative powerhouse who gave us our earliest experience of a mega theatrical production in ‘The Fifty Day War’, which till the year 2000 had not been replicated on any stage in either scale or vision.

On Saturday, June 3, Husain, 66, passed on, leaving behind a legacy of memorable stage productions.

He is survived by his wife and creative partner, Viraat Talwar, whom he met when she was a student of Lady Shri Ram College and had come to audition for a play (‘Dangerous Liaison’), and their two sons.

If ‘The Fifty Day War’ narrated the Kargil story on a scale that had not been attempted by anyone with an original Indian script on an Indian stage (Alyque Padamsee did something similar with Andrew Lloyd Weber’s ‘Jesus Christ Superstar’, but then, it was not an original production), ‘The Legend of Ram’, which was staged on a smaller scale in 1994, became the gold standard for theatrical spectacles when it was relaunched in 2004.

The production of ‘The Legend of Ram’ involved 19 outdoor sets spread over three acres and a cast of 35 actors playing different characters drawn from the epic, and a 100-member technical crew. The last show was staged in front of the then President, A.P.J. Abdul Kalam, on May 1, 2004.

Husain was born into an aristocratic Awadhi family on January 6, 1957. His parents were divorced — his father, whom be barely saw was an engineer with Bechtel and set up the water works of Mecca-Medina — so he was brought up by his mother and her family — in the days of the British Raj they presided over a little principality named Pirpur.

He went to Mayo College, Ajmer, and after he completed his schooling, he read History at St Stephen’s College, where he acted in several college plays under the direction of such legends as Joy Michael, Barry John and Marcus Murch. It was an early start to a career devoted to English theatre and his company, Stagedoor Productions, which became known to lift ordinary theatre to the realm of the spectacular since 1974.

Husain did appear in two films — in ‘Kim’ (1984), based on Rudyard Kipling’s novel, with Peter O’Toole playing the lead, and Shashanka Ghosh’s romantic comedy drama, ‘Khubsoorat’ (2014), starring Sonam Kapoor and Fawad Khan — but he was wedded to theatre.

Over the years he produced several plays staged at outdoor locations — ‘Sare Jahan Se Achcha’, ‘1947 Live’ and ‘Satyamev Jayate’, which was staged along the backdrop of the 14th-century Hauz Khas monument, in Delhi in 1999.

Previously in 1998, Husain and his troupe, in collaboration with Delhi Tourism, organised the Chaudvin ka Chand festival on a 2-km stretch between the Red Fort and Fatehpuri Mosque in Chandni Chowk in the neighbourhood now celebrated as Dilli-6.

With 91 productions and more than 1,100 performances behind him, and a Padma Shri awarded to him in 2001, Hussain spent his last years developing the Qila next to the Select CityWalk mall in South Delhi’s historic Saket neighbourhood.

Like all things bearing the Husain stamp, the Qila has emerged as a co-working space where corporates and creative souls work under one roof to incubate business ideas or the next big theatre production.

Unfortunately for Husain, as he lamented in a recent interview, theatre remains a hobby, or at best a second profession in India, but fortunately, thanks to the efforts of pioneers like him, it is by no means wallowing in poverty. Far from that being the case, it has become the nursery of the best and brightest in cinema. — IANS

source: http://www.clarionindia.net / Clarion India / Home / by Clarion India / June 03rd, 2023

Kolkata’s Rafat Akhtar’s wings of an eagle on her shayari flight

Kolkata, WEST BENGAL:

Rafat Akhtar ‘Rafat’

In the intricate maze of poets, meeting a ‘lady Shayari’ is unique, for while there are many, most of them hide behind scenic curtains; they are brimming with talent but too shy to step out. Meeting Rafat Akhtar ‘Rafat’ was, therefore, an enchanting experience.

Born and raised in Kolkata, the City of Joy, as Rafat calls it, she says that even as a child she was quite sensitive. She captured philosophical moments in life and drew in the rich vibes of nature to weave out her Shayaris in a time to come, much later.

She told Awaz-the Voice, “At a young age, I loved reading Urdu story books and words formed rich suggestions for me. Many vivid powerful words flew through my head during the day, but I never sat down to put them on paper until much later, and then I started to capture my thoughts in a cherished diary. My pen is my best friend; I share my feelings and observations with my pen and whenever I write, I feel relaxed.”

After her marriage and the birth of her daughters, life was busy with the swirl of housework and tending to her children. Time was precious and she had no moments of her own to spare for her writing. As the years rolled by and her daughters grew up, one working and the other in school, Rafat started to feel a deep void in her life. 

This time, she knew she needed to do something to fill that emptiness and came to a realization that she was neglecting writing her Shayari which was her inborn gift. At that defining moment, she decided to start writing again. 

With a few trembling steps, not very confident about how it would go, she penned down her first Poem Shayari Alfaaz rooh hoti hai Jismo me chupi har jazbo’n ki rooh, har aawaz ki rooh shared it with her family. All those who received it were delighted. In that magnificent moment, her husband loved it; her mother was ecstatic and her two daughters cheered her. Her extended family also was enraptured by her first Shayari

A poem by Riafar Akhtar Rafat

From then on, Rafat weaved her pathway higher on poetry. Her first published poem was in a Writing App in 2018. 

One big event in her literary life was when the admin of the famous Taajira – The Businesswoman Group Rukshi Kadiri Elias allowed her to conduct the whole Mushaira (justuju e sukhan) in 2022. Rafat was particularly rejuvenated with this event after the long depressive draining aftermaths of COVID-19 which had the world shuttered in behind locked doors. That sense of purpose and joy was coming back to her life with a sparkle in her eyes and a spring in her steps.

With her heart stirred and supportive people clapping her on, it made the way easier before her, she was drawn deeper into the world of Shayari.

Here are a few snapshots of her most brilliant poems:

Her most famous Poem is Ae nabz e wujood, tujhe shikwa na jaane magar kis baat ka hai.

She says that a poet’s soul is so sensitive that they will see every side of a situation and they also react more strongly to injustice. She wrote a soul-stirring Shayari,

Aurat Hona Bhi Kamal Hai” after reading about an atrocity inflicted on a woman:

Lagta hai ek laq daq sa sahra hai

Aur mein nange paao’n chal rahi hoon

Har taraf tapish hai

Pyaas ki shiddat hai

Na koi jazbaat sunne wala

Na koi lahje ki narmi hai

Magar phir bhi mujhe chalte jaana hai...

Rafat Akhtar Rafat

She names some of her favourite poets. Mirza Ghalib famed for his sublime Shayari nd one line from the greatest poet, in particular, stands out, “You will reach your destination even by roaming around but the lost are those who are not getting out of home”. Her other favourites are Allama Iqbal whose Urdu poetry is considered to be among the greatest of the 20th century, Faiz Ahmad Faiz – considered the iconic voice of an era, with his revolutionary zeal tugging hearts – Bollywood’s famed Urdu poet and screenwriter Gulzar with his stunning imaginative and emotional appeal that dynamically hits the crowds, and Ahmad Faraz’s rich poetry. She also is inspired by Urdu writers such as Umaira Ahmad, Nimra Ahmad, and Khaled Hosseini to name just a few.

With warm emotion ringing in her voice, Rafat tells me that her late father was an angel and it was because of him that she was able to complete her graduation and shares how blessed she is to have a very nurturing family from all sides. 

Rafat does bring up the point that it was initially a struggle to bring out her Shayari publically because these are viewed negatively by some people in the Islamic community. However, society is slowly evolving and understanding it is not evil nor is it against Islam. It was a bright moment for her when on December 17, 2023; she attended a huge Shayari event in Kolkata of over 500 people half of whom were women. She has also attended massive international Shayari programs with participants from Egypt, London, Mumbai, and other parts of the world and India. These mega-events charged with the electric power of poetry give glimpses of a new rising renaissance.

Rafat is now excited about her new upcoming book, Hurf e Yaqeen. All her Shayaris are inspired by the school of life and nature, graced with a strong imagination to guide readers to the road of reality which makes her poetry more comprehensible and relational to her audience.

She believes in a purpose-driven life and as she tells me, “I still have very far to go; I still have to achieve greater heights.” Rafat will certainly go far in her poetry flight to motivate a new generation as she says, “My vision is to encourage and inspire my readers.” Rafat is still a busy mother and she says, “Taking care of my family and my kids are my priority” and amid her heavy schedules and responsibilities, she keeps on writing.

Rita Farhat Mukand is a Siliguri-based independent writer.

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Rita Farhat Mukund / December 20th, 2023

A mahal called farangi: A story from another time, of another Lucknow almost forgotten

Lucknow, UTTAR PRADESH:

The Telegraph visits the haveli where the Khilafat and Non-Cooperation movements came to be mergedThe Telegraph visits the haveli where the Khilafat and Non-Cooperation movements came to be merged.

Farangi Mahal in Lucknow. / Photo courtesy: Adnan Abdul Wali

Stepping into Farangi Mahal in Lucknow after skirting rows of low-priced chikankari salwar kameez shops and their steady din is somewhat like stepping into the stillness of a forest after having left a busy city. Only, Farangi Mahal is anything but a forest. It is a cluster of buildings that hold within them a bit of history that has been almost forgotten, as the past often is in India, obscured by new settlements or construction, or billboards, if not demolished altogether.

In Farangi Mahal the past is difficult to see also because of the turn Indian politics has taken.

I am part of a group from Calcutta visiting Lucknow last October.

Inside Farangi Mahal, located in the old neighbourhood of Chowk, we enter its elegant and serene courtyard. The lime-and-mortar white exterior is tinged with a blue, peeling off in places. The afternoon sun slants down on the pillared arches and the exposed bricks but does not take away from the fragile beauty of the structure.

Adnan Abdul Wali, a member of the family that owns the house, the Farangi Mahalis, ushers us into the courtyard. His Urdu and Hindi are as impeccable as his courtesy. He is a direct descendant of Maulana Abdul Bari Farangi Mahali, who was a leader of the Khilafat Movement.

Farangi Mahal’s story, however, goes back beyond the nawabs and the British. It was occupied by French merchants during the rule of Mughal emperor Aurangzeb and that is how it got its name. The merchants, owing to some offence, lost the property and Aurangzeb gave it to Abdul Bari’s ancestors, who needed a safe haven.

The farman issued by Mughal emperor Aurangzeb decreeing that Bari’s ancestors could live here / Photo courtesy: Adnan Abdul Wali

“The Khilafat movement started from here,” says Wali. Farangi Mahal is where the idea of joining the Khilafat Movement and the Non-Cooperation Movement was born and Abdul Bari was the architect of the plan. It was a glorious moment of Hindu-Muslim unity in Indian history and Lucknow played its part in it.

Abdul Bari, an eminent religious scholar who belonged to the tradition of highly respected scholars from his family, was also an astute politician. He had travelled across many Muslim countries and was acutely aware of the impact of British imperialism on the Islamic world.

In March 1919 came the Rowlatt Act, which was to be followed by the horrors of the Jallianwala Bagh massacre in April 1919, one of the events that would lead Mahatma Gandhi to launch the Non-Cooperation Movement. Before that happened, a large number of Muslims in India were already disturbed by the threat of the dismemberment of the Ottoman Empire in Turkey following World War I and the jeopardised future of the Caliph, the Ottoman head of state, who is nominally the supreme religious and political leader of Sunni Muslims across the world. Turkey had been defeated by the Allied Forces, which included the British.

Adnan Abdul Wali, a direct descendant of Abdul Bari and the family that owns the house. / Photo courtesy: Adnan Abdul Wali

Abdul Bari was convinced that in India, Muslims needed to be made aware that the fate of the Ottoman Empire was their religious concern — and the articulation of the Khilafat (Caliphate) cause needed a larger, national platform.

From around 1919, Abdul Bari was raising support in the countryside, says Francis Robinson, a historian who specialises in Islam in South Asia. Abdul Bari had founded a newspaper for the purpose. But more importantly, he wanted to woo Gandhi to the Khilafat struggle.

Gandhi came to stay in Farangi Mahal for the first time in March 1919 and within six months, Abdul Bari had won him over, says Robinson. This also led to a period of a very special friendship between the two men, which was rooted not only in a common political cause but also shared spiritual beliefs and a love for mysticism, as embodied in Sufi philosophy.

Politically, the campaign for Khilafat and Gandhi’s stamp on it saw Abdul Bari reaching the height of his influence during 1919 and 1920.

Abdul Bari and his Farangi Mahal relatives, with the help of the lawyer Chaudhri Khaliquzzaman, drew up the constitution of the All-India Central Khilafat Committee, says Robinson. “He devoted enormous effort first to persuade the Khilafat Committee to adopt non-cooperation as a policy and second, at the Allahabad meetings in June (1920), in persuading the committee to accept Gandhi as chair of the group that was to put non-cooperation into action,” adds Robinson.

From then on till September 1920, Abdul Bari successfully campaigned to organise a significant Muslim presence at the Calcutta Special Congress, which was held from September 4 to 9, 1920. The session passed the resolution of the Non-Cooperation Movement with a demand for Swaraj. The Khilafat Committee and the Congress came together with non-cooperation as the common goal.

After March 1919, Gandhi stayed at Farangi Mahal three times, recounts Wali proudly. Other leaders such as Jawaharlal Nehru, Maulana Abul Kalam Azad and Sarojini Naidu stayed here as well. During Gandhi’s second visit, in September 1919, Muslims in the area abstained from cow slaughter during Bakrid as a mark of respect to Gandhi and appreciation for his support to the Khilafat cause. “Abdul Bari had requested Muslim families to make the gesture,” says Wali.

This was somewhat different from the recent celebration of November 25 as No Non-Veg Day by the BJP government in Uttar Pradesh. The announcement was made to honour the birth anniversary of Sadhu T.L. Vaswani and slaughterhouses and meat shops were required to remain closed that day. There is a world of difference between giving up meat voluntarily and being forced to do so, as there is between non-violence and violence. But such distinctions perhaps do not make much sense anymore in Lucknow, once the capital of nawab-ruled Oudh, now ruled by the BJP with Yogi Adityanath at its helm. Like the No Non-Veg Day, the city has several streets and institutions named after lesser-known Hindu saints.

Abdul Bari is said to have introduced Gandhi to the sufi saint Bakhtiyar Kaki, disciple and successor to Moinuddin Chishti. Three days before his death, Gandhi delivered his last public address at the shrine of Bakhtiyar Kaki in Mehrauli.

Abdul Bari had earlier invited Gandhi to Ajmer, where Chishti is enshrined. At Ajmer Sharif Dargah, Gandhi is said to have experienced his first qawwali on Chishti. It was there that he asked Abdul Bari about Bakhtiyar Kaki. He had first visited Ajmer Sharif in 1921 and would visit it again.

In 1922, after the Chauri Chaura incident, Gandhi withdrew the Non-Cooperation Movement. Abdul Bari did not relent; he was not sparing of Gandhi either, says Robinson, but one has to remember his politics was primarily religious in inspiration. His influence declined steadily from this time and he died in 1926, a disappointed man, according to Robinson.

His name is often seen missing now from the roll call of prominent Khilafat leaders.

And yet Abdul Bari was not only a politician but also an eminent educator, Wali reminds. His ancestors had established a madrasah that became well-known all over the Islamic world and had introduced a syllabus, Dars-e-Nazami, which became a much-respected system of learning.

As a revered teacher in his family tradition, Abdul Bari introduced major changes to the curriculum by stressing the learning of Western sciences and discouraging rote learning.

Wali breaks down. It is very difficult to reconcile the present with the past, he says. Lucknow was never a utopia; communal riots had broken out here around the time of Gandhi’s visits to Farangi Mahal. But now the very fabric of society has changed, he feels. He reads from an Urdu book, and though the meaning of the words remains elusive, the music lingers. Farangi Mahal, with Wali bent over his book, look almost unreal.

But Farangi Mahal still stands, held up by its ancient, sturdy, flat bricks, and memory. Some things stay.

source: http://www.telegraphindia.com / The Telegraph Online / Home> Culture / by Chandrima S Bhattacharya / January 07th, 2024

‘Saqib’: The ‘Star’ Urdu Poet and His ‘Garden of Life’

Akabarabad (Agra) / Lucknow, UTTAR PRADESH:

'Saqib': The 'Star' Urdu Poet and His 'Garden of Life'

THERE is something rather endearing about a poet, whose most-quoted couplet is the deceptively simple, gently self-deprecating summation of his literary journey: “Bada shauq se sun raha tha zamana / Ham hi so gaye dastaan kehte kehte”.

If this sounds vaguely familiar to old Hindi film fans, it is because film director-producer S.U. (Samiullah) Sunny (‘Mela’, 1948; ‘Kohinoor’, 1960; and ‘Palki’, 1967, among others) was so impressed with it that he used it as a recited motto at the start of his films.

There are, fortunately, many more such lyrical gems by this gifted representative of Urdu poetry’s Lucknow school. Mirza Zakir Hussain Qizilbash ‘Saqib Lakhnavi’ (1869-1946) stands out primarily known for his ability to exalt the small things of life in polished language and make them near-proverbs.

“Jis shakhs ke jeete ji poochha na gaya ‘Saqib’/Us shakhs ke marne par utthe hain qalam kitne”, “Umeed o na-umeedi ka bahm hona wohi jaane/Ke jis ne kishtiyon ko doobhte dekha hai saahil se”, and “Mushkil-e-ishq mein lazim hai tahammul ‘Saqib’/Baat bigdi huyi banti nahin ghabrane se” are some examples.

‘Saqib’ also served as an example of the pervasive and encompassing inclusiveness of the Lucknow School. Born in Akabarabad (Agra) in January 1869, in a family that came to India from Iran during the Mughal era and was fairly prominent in Akbar’s reign, he, after initial schooling in St John’s College there, moved to Lucknow with his father and settled there.

And it was here that, ‘Saqib’ (Arabic for shining star) became the very model of a Lakhnavi shayar. Courteous and refined in demeanour, genial and convivial in temperament, adept in his craft, he was content with a life of even pace and adequate comfort so long as it was intellectually stimulating enough, and neither fame nor fortune tempted him to change.

In dire straits financially when young, he tried his hand at various jobs, including business – where major losses ended the experiment, before finally ending up in Calcutta, where he became the personal secretary of the Iranian consul. This steady job did solve most of his financial issues, but this life was not much to his taste.

When the Raja of Mahmudabad (in Sitapur, adjoining Lucknow), one of the biggest feudal estates in erstwhile Avadh, offered him a post, he took it up with alacrity and held it till his death in Lucknow in November 1946.

Taking up poetry when 15 or 16, ‘Saqib’ soon became so accomplished that several doubters tried to test him by giving him ‘misras’ (one line of a sher) to make into a couplet, or a particular metre or rhyme to construct into a ghazal. He came through all these tests with flying colours, leaving all of them awestruck at his innate talent.

Part of the neo-classical tradition, his poetry generally echoes its ethos.

This could be encompass the capriciousness of the beloved (which no Urdu poet, let alone the Lucknow school, could ever refrain from portraying) in “Kaha tak jafa husn-waalon ki sahte/Jawaani jo rehti to phir ham na rahte”, the inevitable wait for love, “Aadhi se ziadah shab-e-gham kat chuka hoon/Ab bhi agar aa jao to yeh raat badi hai” or its intoxicating nature, “Deedah dost teri chashm-numaai ki qasam/Main to samjha tha ke dar khul gaya maikhaane ka”.

Even complaints of love were typically Lakhnavi school hyperbole: “Us ke sunne ke liye jamaa huya hai mahshar/Rah gaya tha jo fasana meri rusvai ka”, or for that matter, “Bala se ho paamal sara zamana/

Na aaye tumhen paaon rakhna sambhal kar”.

Pain was another element he used, usually to evoke empathy – “Halat mere zakhmon ki sunne mein maza kya hai/Is ko wohi samjhenge jin logon ne dekha hai”, “Sunne waale ro diye sun kar mareez-e-gham ka haal/Dekhne waale taras kha kar dua dene lage”, or even, “Kis nazar se aap ne dekha dil-e-Majruh ko/Za?hm jo kuch bhar chale the phir hawa dene lage”.

‘Saqib’ also used the ‘tavern’ motif to good effect: “Janchte hai voh mera haal dil-e-naalae gham/Tu bhi toote huye sheeshe (wine goblet) ki sada ho jaata”, or “Dida-e-dost teri chasm-numai ki qasam/Main to samjha tha ki dar khul gaya maikhane ka” or

He had a fine sense of rhythm too: “Kya jaane pahal ki hai kisne wohi mahroom hai/Main hoon ke tadapta hoon dil hain ke dhadakta hai” or “Kis munh se zaban karti izhar-e-pareshani/Jab tumne meri halat soorat se na pehchani”, “Dard se ek aah bhi karne nahi dete mujhe/Maut hai asan magar marne nahi dete mujhe” and, especially “Rote rote sham huyi kab tak ashk bahayengi/Behte behte thamte hai darya aankhen bhi tham jayengi”.

However, his most favoured trope, perhaps due to his Persian antecedents, was of the “bagh” or “chaman”, as a representation of life, but for him, it was not always the paradise as the old Persians had envisaged it to be. For him, it was ostensibly a haven but more frequently a place embroiled in turmoil or otherwise threatened by forces, internal and external.

“Bu-e-gul phoolon mein rehti thi magar rah na saki/Main to kanton mein raha aur pareshan na hua” or “Baghban ne aag di jab aashiyane ko mere/Jin pe takiya tha wahi patte hawa dene lage” or “Dil apna khauf-e-asiri se mutmain kab tha/Rahe chaman mein magar ashiyan bana na sake” and several more.

In fact, ‘Saqib’, in this penchant, seemed a bit prescient – though unconsciously- in foretelling the rise of the unconscionable horrors (beginning to erupt from 1946) that would rage with greater intensity in 1947 to ravage the “garden”. Thankfully, he passed away before he could see all this.

“Kahne ko musht-e-par ki aseeri to thi magar/Khamosh ho gaya hai chaman bolta huya”, he had said – in what could have an unintended epitaph.

However, some apt advice was: “Ae chaman waalo chaman mein yun guzara chahiye/Baghban bhi khush rahe raazi rahe sayyad bhi”. Too bad, it went unheeded in that tumultuous era.

— IANS

source: http://www.clarionindia.net / Clarion India / Home> Culture> India> Indian Muslims / by Vikas Datta / May 15th, 2023

Dubai: Indian expat chronicles hometown’s history in new book

Amroha, UTTAR PRADESH / Dubai, U.A.E.:

It is the first detailed account of the Indian city of Amroha in English.

Supplied photo


Inam Abidi, a Dubai resident since 2006, wears two hats with equal passion — one as a cloud consultant by profession, and the other as a writer at heart.

His journey as an author reached its culmination earlier this year with the publication of his first book, Making of a Qasba: The Story of Amroha. This achievement marked the realisation of a long-held dream that had been nurtured since his college days.

The book, painstakingly researched over three years, stands as the first comprehensive historical account of the city of Amroha presented in the English language.

Amroha, Inam’s hometown, is situated in the northern Indian state of Uttar Pradesh, renowned for its association with luminaries like Kamal Amrohvi, Jaun Elia, Sadequain, and Jai Krishna Agarwal.

The Qasba of Amroha holds a distinguished status as a prominent Sufi centre, steeped in history and tradition.

Inam said the idea of the book first struck him 2015 when he was researching for an article about Amroha, with the intention of acquainting his children with their ancestral heritage.

“I looked up everywhere, but couldn’t find much in English,” he recalled. “It was then that I recognised the significant gap in English accounts detailing the city’s rich history. This realisation spurred me to delve into the project of writing a book.”

Over the years, Inam made multiple visits to Amroha, which his family had left in the 1970s when they moved to Lucknow. He engaged in meetings with individuals well-acquainted with the city’s heritage, scoured through a multitude of books in various languages including Urdu, Persian, Hindi, and English, and examined numerous YouTube videos.

Along this journey, he encountered a variety of people, from a former senior government official who initially believed he was co-writing the book and subsequently ceased communication when he learned otherwise, to a rickshaw puller who went out of his way to capture images of historical sites within the city and shared them with Inam.

Regarding the most gratifying part of his experience, Inam shared, “I stumbled upon a rare painting of Amroha and became curious about the artist behind it. It turned out he was also a resident of Lucknow. Meeting Jai Krishna Agarwal, a renowned Indian printmaker from Amroha, was a privilege. Despite being in his 80s, he had vivid memories of the city to share with me.”

In the world of historical accounts, Inam knew controversies were common. He stated, “As a researcher, one grapples with conflicting accounts and the biases of the ruling elite. It’s also challenging to assess past events with contemporary knowledge.”

Inam’s perspective on technology and history is insightful. He believes that technology streamlines the present and prepares us for the future, while history teaches us invaluable lessons from the past.

One aspect that tinges Inam’s achievement with sadness is the loss of his father, who passed away a year before the book’s publication. He reflected, “My father would have been elated.”

source: http://www.khaleejtimes.com / Khaleej Times / Home> Lifestyle> Books / by Mazhar Farooqui / October 27th, 2023

Dubai expat publishes book on UAE’s contributions to Urdu language

INDIA / Dubai, U.A.E:

Ulfat, who has also authored a travelogue, a poetry collection, and a novel, says it was important for him to preserve rich heritage of language.

The Sharjah International Book Fair (SIBF) saw the launch of a remarkable book titled ‘Itrdaan,’ offering an intriguing exploration of the history of Urdu literature in the UAE.

Authored by Shadab Ulfat, an Indian expatriate, the 326-page book sheds light on the significant contributions of over 180 UAE-based individuals to the Urdu language, which ranks as the 10th most widely spoken language globally.

‘Itrdaan,’ a term that translates to “fragrance” in English, is structured into three distinct sections. The first section delves into the pivotal role played by individuals from earlier times in shaping Urdu literature in the country. The second section spotlights the present-day contributors to Urdu literature in the region, while the third part introduces the new and promising voices in the UAE’s Urdu literary scene.

Ulfat expressed his inspiration for this work, saying, “I was deeply moved by our elders, who would fondly reminisce about the bygone days of Urdu when we gathered together. Their stories motivated me to embark on a two-year journey to immortalise their memories and invaluable contributions within the pages of this book.” Ulfat, who has also authored a travelogue, a poetry collection, and a novel, said it was important for him to preserve this rich heritage.

The publishing process, including the book launch, was managed by Bazm e Urdu, a Dubai-based organisation dedicated to promoting Urdu language and literature in the country.

Bazm e Urdu has been closely collaborating with the Sharjah Book Authority (SBA) and SIBF for several years. They have organised events for schools during the Sharjah Children’s Reading Festival (SCRF) and hosted celebrity talk shows and book launches during SIBF. However, this marks the first time they have a stall of their own at the fair.

Rehan Khan, the founder and general secretary of Bazm e Urdu, mentioned that ‘Itrdaan’ can be found at the ‘Gosha-e-Kutub’ Stall at SIBF, where it shares space with 500 other Urdu titles by renowned authors and esteemed publishing houses. The collection caters to readers of all ages, encompassing poetry, prose, biographies, historical fiction, and even Urdu translations or adaptations of the record-breaking Harry Potter series.

Khan stressed that their aim is to rekindle and promote love for the Urdu language, uniting people across all barriers of age, race, and religion. The Sharjah International Book Fair runs at Expo Centre Sharjah until November 11.

source: http://www.khaleejtimes.com / Khaleej Times / Home> UAE / by Mazhar Farooqui / November 06th, 2023

Dubai to host world’s largest Urdu literary fest, featuring Javed Akhtar, Mahira Khan

Dubai, UAE:

Jashn-e-Rekhta to be held at Zabeel Park from January 27-28

After enchanting audiences in India for eight years and making its international debut in London just three months ago, the celebrated literary fest, Jashn-e-Rekhta, is poised to captivate Dubai.

A celebration of the quintessential spirit of the Urdu language, the cultural extravaganza promises two days filled with luminaries from the Urdu literary world, presenting an engaging blend of poetry, talk shows, ghazals (songs), and storytelling.

Commencing at Zabeel Park at 1.30 pm on January 27, the festival kicks off with a thought-provoking panel discussion titled ‘Urdu Tehzeeb aur Rishton ki Lazzat Ki Lazzat’, (The Delight of Urdu Culture and Relationships.) Renowned Bollywood lyricist and poet Javed Akhtar, along with Pakistani human rights activist Arfa Sayeda Zehra, will engage in conversation with Adeel Hasmi.

It will be followed by ‘Dozakh’ (Hell), a stage rendition of Ismat Chughtai’s Urdu play (2.30pm – 4pm), and a soul-stirring Sufi concert, ‘Naghmo’n ki Maseehaii’ by Ustad Shafqat Ali Khan (4.30 pm – 6 pm). The evening’s highlight will be ‘Raqs-e-Naa Tammam,’ portraying the life of the legendary singer Noor Jehan, presented by Shinjini Kulkarni, Danish Iqbal, and their troupe, starting at 7.15 pm.

A must-not-miss event of the evening is ‘Shab-e Rafta,’ (Night of departure) an enchanting session of Sufi music scheduled from 9pm to 11pm.

The final day features a compelling talk show (1.30pm – 2.30pm) with Pakistan’s film industry’s iconic couple, Sameena Peerzada and Usmaan Peerzada, who, having been married for 48 years and together for 50 years, share their journey through numerous challenges. This will be followed by ‘Kahaani se Kirdaar Tak’ (2.30pm – 3.30pm), an interactive session featuring Pakistani actress Mahira Khan and veteran Indian actress Shabana Azmi, in conversation with the renowned Indian filmmaker and actor Shekhar Kapur.

Next on the agenda is ‘Main Koi Aisa Geet Gaau’n,’ (I will sing a song like this) (4pm-6pm), a masterpiece project entwining poetry, songs, narration, and music, featuring Javed Akhtar, Meiyang Chang, and Jahnvi Shrimankar with a live band.

The pinnacle of the literary fest is the grand international mushaira (poetic symposiums) titled ‘Gehan aur Dhoop,’ showcasing acclaimed poets such as Anwar Shaoor, Farhat Ehsad, Zehra Nigah, Shakeel Azmi, Abbas Tabish, among others.

Initially set to take place at the same venue in Dubai in February 2019, Jashn-e-Rekhta faced an unexpected last-minute cancellation. However, it was revived and now promises a celebration embodying the spirit of Urdu featuring poetic mastery, talk shows, soulful ghazals, and captivating storytelling, adding another layer to the city’s already vibrant cultural tapestry.

Sanjiv Saraf, founder of Rekhta Foundation, a not-for-profit organisation dedicated to the preservation and promotion of Urdu, said that the UAE, especially Dubai, is a global events destination, and its cosmopolitan character has broadened the scope of Urdu as a popular medium of speech. “In choosing Dubai, we embrace the city’s thriving Urdu-speaking community, a testament to the rich demographic diversity in the heart of the UAE. In the current geopolitical climate, Jashn-e-Rekhta in Dubai stands out as a beacon of cultural unity, transcending political divides and fostering connections through the universal language of poetry and shared cultural heritage.”

Dubai is presently witnessing an Urdu Renaissance, hosting more mushairas (poetic symposiums) than any other place on the globe. Organisers affirm that Jashn-e-Rekhta, held under the patronage of Sheikh Nahyan Bin Mubarak Al Nayhan, Minister of Tolerance and Co-existence, guarantees a rich cultural fusion, weaving the essence of the Urdu language, its literature, and culture into the cosmopolitan fabric of the UAE for the very first time.

Anticipating a turnout of 15,000, including visitors from India and Pakistan, the festival will also offer diverse culinary delights at Aiwan-e-Zaiqa Food Bazaar, curated to bring you the flavours of Indian, Pakistani, Arabic, and other cuisines. Furthermore, participants will have the opportunity to explore Rekhta’s Urdu Bazaar, showcasing stalls with a variety of art, handicrafts, merchandise, books, and more.

Tickets, including the Zabeel Park entry fee, are priced at Dh75 and can be purchased on Platinum list.

source: http://www.khaleejtimes.com / Khaleej Times / Home> Lifestyle> Arts & Culture / by Mazhar Farooqui / January 02nd, 2024

GI tag is no quick fix for Bikaner Usta Kala’s return to glory

Bikaner, RAJASTHAN:

Dwindling number of artists, status of caste-based occupation and scarce government support through schemes and training camps affect its progress

Usta Kala Artists

Bikaner, Rajasthan:

Sitting cross-legged at his workshop in Rajasthan’s Bikaner, Shaukat Ali Usta (52) is engrossed in laying warq (fine slivers of gold) on a wooden frame. His work involves not only acquired skill, but also loads of patience. The intricate designs that he has laid out on camel leather-embossed exhibits have not only won him a national award instituted by the Ministry of Textiles, but also many valuable customers over the last 30 years.

Shaukat learnt the art from Mohammed Hanif Usta, a disciple of Hisamuddin Usta, a doyen in this field. Despite Bikaner Usta Kala receiving the Geographical Indications (GI) tag last month, getting more artists into this profession has become an arduous task.

Usta kala flourished in the Mughal courts, before Raja Rai Singh, the sixth ruler of Bikaner, patronised it and welcomed artists from Iran, belonging to the Muslim community, to the city famed for its camels. No wonder their work involving gold meenakari and munawwat was done on camel skin. Nowadays, wood, mirror and marble also form the raw materials. Glass jars, wooden boxes, wall paintings and gift items with usta work are quite popular. There are big works like bandanwars (work on doors) too.

Usta kala in Bikaner’s Bhanda Shah Jain temple is almost 400 years old. Anup Mahal in Junagarh Fort, Jain mansions, mosques, Rampuria Haveli, Ajmer Sharif Dargah, Jama Masjid of Delhi, Neelkanth Mahadev Temple in Nepal, and mosques of Sri Lanka and Saudi Arabia are fine examples of workmanship.

However, by 1967, Hisamuddin Usta was the only usta artist left in the country. When Munna Lal Goyal became Bikaner Collector in 1976, he exhorted Hisamuddin to impart lessons to others. This led to the launch of Camel Hide Training Centre. Mohammed Hanif Usta soon became Hisamuddin’s disciple and started learning the nuances of the art.

While Hisamuddin received Padma Shri Award in 1986, Hanif was honoured with the President’s Award in 1993 for his miniature work on marble. The latter had decorated the walls of Anup Mahal and Nizamuddin Dargah.

During Bill Clinton’s official visit to India in 2000, Hanif and 14 other artists got a chance to meet the then US President. Looking at his marble exhibit, Clinton said he wanted that in the White House. However, Hanif replied that he would not sell the work that fetched him a national award to anyone.

Hisamuddin’s other disciples Mohammad Asgar Usta and Ajmal Hussain Usta have received state awards for their commendable works. His grandson Mohammad Jameel Usta has been working for the promotion of the art through innovative experiments. He has also been a member of the Rajasthan Lalit Kala Akademi.

Thanks to Hisamuddin and his disciples, the number of usta artists has increased. However, it is still not satisfactory as only less than 70 artists are present in the field.

Usta Kala of Bikaner city of Rajasthan has got Geographical Indication (GI) certification (Photo sourced by Dr Mudita Popli, 101Reporters)

An ailing art

Usta artists admitted that lack of skilled people was a reason for the art not making much progress, despite having all the necessary ingredients to flourish. Usta artists are well-off and there is no dearth of work. The income of artists depends on how many pieces they can complete in a month, their worthiness and selling prices. Some pieces can fetch Rs 7,000, while some others Rs 50,000.

There are more opportunities now as new works are commissioned and renovations are carried out on a regular basis at various places, including Delhi Airport, Jain temples and buildings outside the country. The artists also benefit from handicrafts fairs organised at Pragati Maidan in New Delhi and other big cities.

However, lack of skilled manpower eventually means a shortage of talented teachers. The art has been confined to a particular caste and that too to only Bikaner. This has had a negative impact on its growth. As for women in this field, Shaukat said, “I believe use of purdah makes it difficult for women to do this art.” He added that some Hindu women have entered the field, but their numbers are negligible.

Another important aspect is the time taken to complete a piece. Showing a bandanwar he did, Shaukat said it took around three months to complete, and it will be priced at above Rs 50,000. Such long periods of work put off the youth, who are keen on getting educated and entering other professions.

Not just that, it takes at least three to five years to master the art. The lack of proper publicity and government efforts to train people also hamper the art.

The much-needed fillip

The GI tag is the first step to protect usta kala. Bikaner District Industries Centre (DIC) General Manager Manju Nain Godara and NABARD officer Ramesh Tambiya agreed that duplication of usta artworks has been an issue. However, the GI tag will curb the issue as the names and details of the usta artists will be mentioned on their artworks, which can be scanned to check authenticity.

Tambiya, Assistant General Manager, NABARD, Bikaner, told 101Reporters that the GI tag will boost employment opportunities in the area and will give the art a place in the international market.

However, Shaukat believed that merely getting a GI tag will not protect and promote usta kala. “The art will survive only if it is propagated in a complete manner,” claimed the artist, who has made efforts in collaboration with Prayas Welfare Institute, Bikaner, to get the GI certification. Godara, NABARD and the Department for Promotion of Industry and Internal Trade, Ministry of Commerce and Industry, New Delhi, also played important roles in making it a reality.

For the art to be propagated in a complete manner, there should be schemes to promote it. Godara told 101Reporters that no such scheme was being run to help the craft. “For the last four years, I have been striving to get GI certification for usta kala. Now, we will make further efforts to encourage the artists,” she said.

Asked about training camps for artists, Godara said, “The DIC’s mandate is to run government schemes only. Earlier, we used to organise such camps under the aegis of Rajasthan Small Industries Corporation Limited. At present, the National Institute of Fashion Technology, Jodhpur, runs them. USTTAD, a skill upgradation scheme of the Ministry of Minority Affairs, also aids the artists. The NABARD finances it. However, the duration of the camps is short. If a course is designed by the Centre or state government for usta kala, then the DIC can play an important role in it.”

Godara informed that the DIC will display usta works at an exhibition of GI products to be held in Jammu and Kashmir in the first week of October. “We always try to provide artists with information about various fairs and exhibitions, so that they can participate,” she claimed.

Ajmal Hussain Usta, aged around 60, has 40 years of experience in the field. He told 101Reporters that the government was not doing things right. “We do not get full information about schemes. The dissemination of information given on the website of the Union Textile Ministry’s Handicrafts Department is negligible among our artists.”

An Usta Kala article (Photo sourced by Dr Mudita Popli, 101Reporters)

“Like music, usta kala cannot be learnt completely by attending a training camp of only two or three months. It needs constant practice to attain perfection,” Ajmal said. While echoing his views, Shaukat said, “We need to connect with the youth. Only a few have come to learn the art as it is limited only to Usta families. There is also a misconception that it is very expensive to learn.”

Ajmal felt the Camel Hide Training Centre should hold its training sessions more regularly. That apart, the Central and state governments should try to link usta with the tourism department initiatives.

Artisan cards

Artisan cards are issued by the Centre to handicraft artists aged above 18 years on application, so that they could travel in trains free of cost to attend government fairs. They also get free stalls at fairs to exhibit their works. Using the card, they can also participate in art related marketing schemes of the Central and state governments.

According to Shaukat, the true expansion of usta kala is possible by providing artisan cards, a rightful place to capable artists and by properly implementing schemes meant for them.

Usta artist Naveen Acharya (30) said the government training camps should be able to attract young and energetic learners who want to learn the art fully. “Only a few women are present in this field. Through my interactions, I have known that they all have learnt the work with great difficulty,” he said.

Chanchal Suthar (24) told 101Reporters that her artisan card was issued recently and that she wished to get more training. Deepika Shrimali (35), who has studied Master of Fine Arts course, said she learnt usta kala from a guest lecturer. “It is not possible to gain professional knowledge in a short time. If an usta course is launched, many students of Bikaner will become proficient in the art,” she added.

(Dr Mudita Popli is a Rajasthan-based freelance journalist and a member of 101Reporters, a pan-India network of grassroots reporters.) 

source: http://www.lagatar24.com / Lagatar / Home> National & International / by Dr Mudita Popli / October 05th, 2023

Launch Of Cogito Media Foundation For Digital Media Platforms

NEW DELHI:

Leading English, Urdu, and Hindi news portals in the country have come together to establish a national-level joint platform officially named “Cogito Media Foundation.” The announcement took place at the Millat Times office in Batla House, Delhi. The foundation aims to unite digital media platforms at various levels and enhance journalistic values and responsibility.

At the launch, journalists highlighted the importance of collective responsibility among digital media platforms to safeguard press freedom and uphold journalistic values. Cogito Media Foundation intends to facilitate training for journalists at the district and block levels, establish a self-regulatory system, and address legal issues faced by journalists and media institutions. The foundation also plans to launch campaigns for public awareness to solve financial challenges faced by media organizations.

Journalists associated with Cogito Media Foundation expressed concerns about the current state of journalism, emphasizing the need to shift focus from political turmoil to addressing the real problems faced by marginalized communities, including Muslims, Dalits, women, and tribals. They called for strengthening journalism that represents the neglected narratives of these sections and contributes to societal development, health, education, economy, and social bonds.

Cogito Media Foundation comprises 16 digital media organizations, including Millat Times, Maktoob Media, Muslim Mirror, The Cognate, The Observer Post, Haque Media, Nous Network, Baseerat Online, Stories Karvan, Clarion India, Asia Times, Milli Digest, Insaaf Times, Journo Mirror, and Khabar Adda.

The foundation has invited other media organizations to join the initiative by filling out an online form. Additionally, plans for a detailed program with new members and a major media conclave in the capital are underway, with details to be released soon.

Online Form for Joining: https://forms.gle/qHw2cfDsXtQxmbRaA

source: http://www.thecognate.com / The Cognate / Home> News / by The Cognate News Desk / January 04th, 2024

Sabahat Afreen curated a women’s world sans fear and restrictions in her stories

Siddharthnagar District / Lucknow, UTTAR PRADESH:

Author Sabahat Afreen
Author Sabahat Afreen

Sabahat Afreen’s life will make you believe in the adage: where there is a will there is a way. Being born into an educated and prosperous family, Sabahat realized early in her life that her family was not open to women coming out of the four walls of the house, bracing against all odds to create their identity. She was raised seeing all women in her family in purdah.

However, somewhere in her heart, Sabahat Afreen was like a Secret Superstar of the Hindi movie by that name. Afreen was raised in a small village in Siddharthnagar district of Uttar Pradesh by her advocate father and a homemaker mother.

Sabahat Afreen started living in purdah in 10th class and after passing her 12th standard, She was not supposed to move out of the house alone. This resulted in her not attending college and opting for home study and writing examinations as a private student for her graduation years.

She was completing her master’s degree when she got married. Her husband’s family was politically connected and prosperous. She could have easily lived in comfort; Sabahat did not like to dress up like a doll wearing jewelery and expensive sarees and lounging around all day.

She said, “My mother was fond of reading and writing. She had an impact on me too. I used to write poems and stories in my childhood. Mom and Dad always encouraged me. It is a different matter that my works were never sent for publication as they didn’t believe in getting a picture of their daughter printed in the newspaper.”

Sabahat Afreen with her book

She also realized the environment in her in-laws’ house was less conservative. “My father-in-law knew that I write, so he used to gift me a diary and pen; my husband also supported me.” She told Awaz-the Voice.

After marriage, she opened a secret account on Facebook and did not use her pictures for the DP. “I started writing stories on Facebook, my posts went viral. Someone suggested that I should send my stories to Neelesh Misra, (Editor, Gaon Connection, lyricist, and storyteller). His storytelling was popular. I emailed my story to him and he liked it. From that point, I was in his circle.”

Like Insia Malik (Played by Zaira Wasim) of Aamir Khan’s 2017 film Secret Superstar, she revealed her talent to the world by hiding her identity. Soon Sabahat Afrin was writing audio series, stories, and books for magazines and many apps across the country. She moved her two little daughters out of the closed environs of the village to Lucknow.

As it happens in such cases, most of the people who had opposed her once now praise and respect her. Her family is proud of her.

Recently her first story collection Mujhe Jugnuon Ke Desh Jaana Hai (I Want to Go to the Land of Fireflies)(Rujhan Publications, Rajasthan) was released. In it, Sabahat imagines in this country of fireflies women are also enjoying the same freedom as men, the doors of their hearts cannot be guarded, they too have the freedom to remarry after divorce, and they have the right to decide if they want to return to their husband’s house after feeling unwanted there.

Sabahat Afreen with friends

Her stories are set in the backdrop of Muslim culture, but she manages to show that when it comes to the status and rights of women, it’s the same every year. Sabahat wants to free the fireflies from the clenched fists of Afreen women.Her first remuneration of Rs 30,000 as a writer was encouraging for Sabahat. She felt that being financially strong should be the priority of a woman. Now she shares her pictures on social media and with her stories.

Sabahat has written amazing stories that she must have picked up from around her and kept in the secret chamber of her heart to let them metamorphose into another form. Her stories look familiar to readers; after reading each one of her stories, the reader feels that he has seen these incidents.

Sabahat has adapted one such incident into a captivating story. The story Khoobsurat auratein (Beautiful Women) starts with this sentence – “even good looks are like a punishment, wherever she went people’s eyes were fixed on her.’ The heroine of the story, Alia, is very beautiful.”

Sabahat Afreen with her daughters

Women are at the center of all Sabahat’s stories. The joys and sorrows of a woman, her dreams, her desire to fulfill them and social restrictions are the key elements in her stories. Sabahat is seen breaking these restrictions and traditions. Women in her stories are silent protesters except for Alia from her story Beautiful Women. However, they encounter opposition and in some cases, it’s also effective.

Sabahat becomes emotional while narrating her stories. She wishes to create a world for women where they have the freedom to fulfill their wishes and make their dreams come true. Her stories reflect her progressive thoughts.

Sabahat says that she never went to the market alone and yet when people knew about her through her stories, she felt confident to move to a big city with her daughters. “I reached Lucknow and rented out an apartment and enrolled my daughters in a good school. Today my daughters are studying, and life has become a bit easier for all three of us.”

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Onika Maheshwari, New Delhi / January 03rd, 2024