‘Conversations with Aurangzeb’ reimagines the story of the most controversial Mughal emperor
A 17th century painting of Aurangzeb in his ‘darbar’. | Photo Credit: Wiki Commons
Tamil writer Charu Nivedita’s Conversations with Aurangzeb, translated by Nandini Krishnan,is an unpredictable book. In it, a writer begins a novel with an idea but soon meets the spirit of Mughal emperor Aurangzeb, who decides to seize the opportunity to tell his side of the story. This is an irreverent, indignant Aurangzeb, most unlike the historical character we are familiar with.The writer and Aurangzeb speak of the past and present, of Mughals and Marxism, of satire and Sunny Leone, and a host of other contemporary subjects. Krishnan says the novel is “defiant of all genres”.
discuss the wildly imaginative book, their collaborative process, and the latest translation fad. Edited excerpts:
Author Charu Nivedita | Photo Credit: Backiaraj M.
You’ve given an unpopular historical figure a voice to defend his actions. In a country where satire is often lost on a lot of people, did you ever feel this book was a risky proposition?
Charu Nivedita: All my writing is risky because I always choose taboo topics. I have always been a misunderstood guy. In a historical perspective, Aurangzeb is also a misunderstood guy. So, I find some similarity between Aurangzeb and myself as a writer.
There are Tamil references throughout the novel. Why and how did you decide to weave these in?
CN: Even though I live in Tamil Nadu, I don’t agree with the culture here. My fellow writers don’t consider me a writer; I always feel like an outsider. Though I write in Tamil, I imagine a European, South American or an Arab readership. I mock the land in which I live. I feel sometimes that I live in a circus when I see the film industry, the paal abhishekam (a ritual of worship with milk)for the cut-outs of actors, or the happenings in the political arena. Self-mocking is important. One who is ready to parody himself or herself can do that with others.
You have said in your translator’s note that some books are untranslatable. Why is that?
NK: I mean there are certain books that are extremely localised. For example, anyone in India who has watched Hindi films would find the line ‘Kitne aadmi the? (How many men were there?)’ funny in any context. But if you’re going to use that line with an American audience or with someone who doesn’t watch Hindi films, it would make no sense at all.
The history of Tamil cinema is as old as modern Tamil writing. There are constant references and cross-references to it in literature. Even in (Nivedita’s) Zero Degree, there is a reference to a scene from the film Chinna Gounder. Unless you get its context, it is not jarring or funny or discomfiting in any way. That’s why I felt Zero Degree was untranslatable.
There is a larger reach now of Tamil books for an English reading audience. What do you think of this translation boom?
NK: Right now, translations are sexy because Geetanjali Shree won the International Booker Prize in 2022. In the 90s, because of Vikram Seth’s enormous advance and later because of Arundhati Roy’s Booker win, Indian writing in English became sexy. This is just a fad. This has also given space to some very subpar translations because everyone is trying to get 20 books translated. We need to maintain the quality of someone like a Charu Nivedita or Ashokamitran or Perumal Murugan or Thamizhachi Thangapandian. Translations do have reach, but does the same quality of work reach an audience? I don’t know.
Also, there is a lot of focus on the writer’s story rather than the story that the writer is telling. And by that, I mean the writer’s gender, caste, their politics, and so on. Unless we go beyond these to the quality of their stories, we are in trouble.
CN: There is a translation boom. But unless there is a miracle, as in the case of Perumal Murugan or Vivek Shanbhag, one is unknown outside their own region. I am unknown outside Tamil Nadu or Kerala. There is no controversy or award because of which people might know me. This is the sad state of affairs.
radhika.s@thehindu.co.in
source: http://www.thehindu.com / The Hindu / Home> Litfest> Interview / by Radhika Santhanam / January 18th, 2024
Sahaswan (Budaun) , UTTAR PRADESH / Kolkata, WEST BENGAL :
He could captivate the audience and eradicate the thin line between a structured format and the playfulness of a classical composition while his voice moved through the shades of ragas.
Rashid Khan./ Sourced by The Telegraph
The name of Ustad Rashid Khan reminds one of the words of T.S. Eliot: “Music heard so deeply/that is not heard at all, but/you are the music/while the music lasts.’’
A born genius, talented and extraordinary musician… adjectives are too limited to describe the golden voice of Rashid Khan.
The fulfilment of an art form touches immortality when the artist becomes the art, as the poet said. Diehard listeners of Rashid Khan and ardent music lovers know the truth because they have discovered the artiste’s voice in different genres of music and steeped integrated melodies.
The great-grandson of the legendary Ustad Inayat Hussain Khan, the founder of the Rampur Sahaswan Gharana, Rashid was born on July 1, 1968, at Badaun in Uttar Pradesh.
Memory and melancholy created the soul of the artiste, although he was completely unaware he would one day become one of the greats of Indian classical music. He lost his mother and younger brother at a very early age; he found solace in kabaddi and cricket.
Rashid studied in Mumbai for about a year and after coming back to his hometown, his tutelage was started under his illustrious granduncle and guru, Ustad Nissar Hussain Khan. He also carried the lineage of renowned vocalists like Mushtaq Hussain Khan and Ghulam Mustafa Khan. But the rather authoritarian Ustad Nissar Hussain Khan changed the course of his life and made him what he became over the years. He nurtured the latent potential of Rashid through his training, first at his own residence at Badaun and subsequently at the Sangeet Research Academy in Calcutta.
Young Rashid Khan, an assured voice of the future of Indian classical vocal music, certified by none other than Pandit Bhimsen Joshi, was to evolve into a formidable talent, especially with his prowess in taankari and gamak.
His full-throated voice was an exceptional amalgamation of depth and rhythmic generosity. He could captivate the audience and eradicate the thin line between a structured format and the playfulness of a classical composition while his voice moved through the shades of ragas. He was adept at the instrumental stroke-based style which he inherited from his gharana, as well as an expert at infusing emotion into an elaborate musical verse.
Probably this is the reason he was successful in different styles of singing and innovation despite being a rooted classical musician.
For example, when he sang Tagore songs based on various ragas, he focused on the rendition of the quintessential flavour; his command over the notes and tunes brought out the charm of the song with skilful originality.
Rashid had fond memories of the town of Badaun and its surroundings where he spent his early days. The river which flows by the town was a witness to the number of hours Rashid spent by its side singing.
He paid his respects on his visits to his hometown at the cemetery where his parents and young brother were laid to rest.
It may well be the inexplicable pain and loneliness of childhood filtered through his every rendition of ‘Yaad Piya ki Aye’ (composed originally by Ustad Bade Ghulam Ali Khan) — a Rashid reinvention that became very popular. As with the Bollywood hit ‘Aoge Jab tum o saajna’ from Jab We Met.
He skilfully obliterated differences between musical genres and was able to recreate a unique combination of love and exuberance with the full boom of his voice in three octaves, as manifested in each and every song. In numerous playback essays, he successfully broke traditional boundaries with his scintillating voice and evoked sensibilities even when he was out of his core expertise.
In the words of senior organiser of the Dover Lane Music Conference, Bappa Sen: “Rashid contributed an unparallel range to the music fraternity. We have seen him grow as a man as well as an artiste and witnessed his excellence in all spheres of music. He was an integral part of this music festival from a very young age and even performed in the periodicals. Along with his talent, he excelled himself to heights that required enormous hard work and open-mindedness. As a person he was as humble and respectful to all of us as he was from the very first day.”
Sarodiya Amaan Ali Khan thinks: “Unki voice mein to Ishwar hain.” He had countless memories with this senior artiste, fellow musician and co-performer who, Amaan says, was always an inspiration to him. “He was a person as clear as water,” said Amaan.
To his close friends and contemporary musicians, Rashid Khan was an irreplaceable voice and human being in every sense. The absence of Rashid’s mortal existence has now created a vacuum in the world of Indian classical music which is now devoid of his rich depth of voice.
Rashid’s son Armaan is carrying the torch of the legacy, his daughters Suha and Shaona are into Sufi music.
Rashid flourished as the breaking dawn with Lalit, Ahir Bhairon, Miyan ki Todi, returned to the root with Puriya Kalyan, Puriya Dhaneshree, Shree, sparkled with Sohini.
He has left behind an unforgettable repertoire of renditions and the gift of his unbridled imagination to lovers of his singular work.
source: http://www.telegraphindia.com / The Telegraph Online / Home> Culture> Music / by The Telegraph / January 10th, 2024
‘I invite any Indian who claims to be a nationalist to the core to have a conversation with me,’ Rana wrote for The Wire in 2017.
Munawwar Rana (1952-2024). Photo: Youtube
New Delhi:
Urdu poet Munawwar Rana died on Sunday, January 14. He was 71.
Rana, who had been suffering from throat cancer, breathed his last at the Sanjay Gandhi Post Graduate Institute of Medical Sciences in Lucknow.
The poet is survived by his wife, four daughters and a son, PTI has reported.
Rana was an outspoken artist and was vocal against communal politics.
In 2021, Lucknow police registered an FIR against him for allegedly inciting religious feelings for his comments on Valmiki, who wrote Ramayan.
“Valmiki became a god after he wrote the Ramayana, before that he was a dacoit. A person’s character can change. Similarly, the Taliban for now are terrorists but people and characters change…When you talk about Valmiki, you will have to talk about his past. In your religion, you make anyone god. But he was a writer who wrote the Ramayana, but we are not in competition here,” Rana had said.
In 2017, the poet, who wrote the famous Maa, wrote for The Wire:
“I invite any Indian who claims to be a nationalist to the core to have a conversation with me. Let him decide the time and place. If Allah wills it, they will emerge as traitors; and we will emerge as nationalist Indians. You say ‘Bharat Mata ki jai’. My friend, we kneel on earth and kiss this soil 94 times in veneration while offering our prayers.”
On social media, many have condoled his passing.
source: http://www.thewire.in / The Wire / Home> Books / by The Wire Staff / January 15th, 2024
Rukhsana Jabeen (Second from right) at a poetic symposium
Rukhsana Jabeen is one of the very few female litterateurs in Jammu and Kashmir who carved a niche in the Subcontinent’s vast domain of Urdu poetry at the intersection of the 20th and the 21st century. An overarching and unceasing armed insurgency, that muted all expressions in art and literature in the Valley failed to silence her for 33 years.
After serving All India Radio for over 30 years, Jabeen retired as a Director at Radio Kashmir Srinagar in 2015. The participation of a Kashmiri woman in the annual All India Mushaira on the eve of Republic Day or Independence Day was fatally proscribed by terrorists. Jabeen did so without break.
“Whatever came to my mind, I wrote and expressed without thinking a bit about its consequences”, Jabeen revealed to Awaz- the Voice at her winter residence in Jammu.
Born in a family of the decedents of the revered saint and Kashmiri-Persian poet Syed Meerak Shah Kashani in the Khwaja Bazar neighbourhood of downtown Srinagar in 1955, Jabeen did Master’s in Urdu followed by MA and M Phil in the Persian language and literature at the University of Kashmir. In 1983, she joined AIR Srinagar as a program executive.
Rukhsana Jabeen at a poetic symposium
“I was not the first woman to enter the station for an all-India job”, Jabeen said “but in our family setting it was like breaking the glass ceiling. Getting selected for the job in a tough patriarchal competition was like a big success for me. Knowing well that I wouldn’t be permitted to apply for it, I kept it all discreetly concealed from my family”.
“I was also selected as a teacher in the State Education Department. As my father learned about my getting a job at the AIR, he insisted I should join as a teacher. I agreed with him that the AIR officers could be transferred to any Indian State, but I lied that female officers were not posted outside their home States. Thereupon my family relented, and I joined as a program executive”, Jabeen said.
In 1994, Jabeen established AIR’s Poonch station close to the Line of Control in Jammu where she served for three years. In 1999, she was promoted to Assistant Station Director (ASD).
Unlike many of her tribe, Jabeen’s tryst with creative literature began late during her university days. A prominent Urdu poet and literary critic and the head of the Urdu Department, Prof. Hamidi Kashmiri, encouraged Jabeen to write prose and poetry in Urdu. “I was thrilled when Hamidi Sahab refined my first Ghazal and got it published in the annual edition of his department’s magazine ‘Baazyaft’. Under his tutelage, I learned about modern sensibility and the post-modernist literary trends”, Jabeen recalled.
Rukhsana Jabeen recording a radio programme
She narrated how affectionately some celebrated litterateurs like Hamidi at the University of Kashmir and Zubair Rizvi at Radio Kashmir Srinagar gave her select books and literary magazines to hone her talent and faculties as a creative writer.
“One day, incredulously I found five of my poems published together, alongside my profile, in Kumar Pashi’s journal ‘Satoor’. Later, Zubair Sahab disclosed that he had got the same published in the prestigious Urdu magazine. It was an incredible encouragement and my recognition as a poet. Thereafter, a number of my poems were published in the top representative journals like ‘Alfaaz’, ‘Shayir’, ‘Mafaheem’ and ‘Asri Agahi’. Hamidi Sahab and Zubair Sahab steered me to the extensive studies of Shaharyar, Rajinder Manchanda Bani, Nasir Kazmi, and Mohammad Alvi. I am still deeply under the influence of Mohammad Alvi and a few others”, Jabeen added.
Kishwar Naheed, Parveen Shakir, and Fahmida Riaz inspired Jabeen into some new experiments. She was initially also influenced by female Urdu litterateurs like Rafia Shabnam Abidi, Aziz Bano Darab Wafa, and Sajida Zaidi and later shared the stage with them at AIR and all-India poetry symposiums. For over three decades, Jabeen was a regular guest poet at Delhi’s Red Fort and other literary rendezvous, integrating a Sub-continental network of the intelligentsia and defying a hostile ambiance at home.
For several years, Jabeen translated poetry from 22 Indian languages into Kashmiri as a project of the Sahitya Akademi. She participated in many such all-India poetry symposiums at Varanasi and other Indian cities. She remained closely linked to top-notch Urdu poets like Shaharyar, Bashir Badr, Nida Fazli, Makhmoor Saeedi, Ali Sardar Jafri, Kaifi Azmi, Qateel Shifai, Ahmad Faraz besides literary critics like Shamsur Rahman Faruqi, Naiyer Masud and Malikzada Manzoor Ahmad.
“Many of them organized Mushairas in my honour at their homes. It was a unique recognition and hospitality as never before has anyone from Kashmir been entertained to such honours”, Jabeen said. “I invited many of these doyens of Urdu literature to our programmes at Radio Kashmir”.
Ghazal in Urdu and Kashmiri is Jabeen’s forte even as she also tried her pen at the popular genre of ‘Nazam’. “But I no love lost for blank verse and free verse. I believe those who can’t write in Urdu’s traditional meters have little right to write in free verse. Besides, I have seen how many of the aspirants, particularly females, get free verse written by others and read the same as their poetry. They perform such poor poetry at stage. Contrarily, nobody gives out a Ghazal. A Ghazal and Nazam writer is often an authentic poet”, Jabeen said.
In addition to volumes of the translation of short stories from different languages into Kashmiri and a translation of the collection of Hafiz Shirazi, which she accomplished with Dr. Syed Raza of Budgam, Jabeen has three of her collections—two in Urdu and one in Kashmiri—ready to publish.
“But I’m unbelievably indolent. I never get after awards and accolades. I can’t fulfill those formalities. Every year, I decided to publish these three volumes of my poetry but my laziness spoils my endeavour.”
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Ahmed Ali Fayyaz, Jammu / January 14th, 2024
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
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 ShayariAlfaaz 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
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
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
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
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
