Photographers Dar Yasin, Mukhtar Khan and Channi Anand captured images of protests, police and paramilitary action and daily life in Kashmir.
Women shout slogans as the police fire teargas and live ammunition in the air to stop a protest march in Srinagar, Aug. 9, 2019. The image was part of a series of photographs by Associated Press photographers which won the 2020 Pulitzer Prize for Feature Photography.
The story of India’s crackdown on Kashmir last August was difficult to show to the world. The unprecedented lockdown included a sweeping curfew and shutdowns of phone and internet service.
But Associated Press ( AP ) photographers Dar Yasin, Mukhtar Khan and Channi Anand found ways to let outsiders see what was happening. Now, their work has been honoured with the 2020 Pulitzer Prize in feature photography.
Snaking around roadblocks, sometimes taking cover in strangers’ homes and hiding cameras in vegetable bags, the three photographers captured images of protests, police and paramilitary action and daily life — and then headed to an airport to persuade travellers to carry the photo files out with them and get them to the AP ’s office in New Delhi.
Kashmiri Muslim devotees offer prayer outside the shrine of Sufi saint Sheikh Syed Abdul Qadir Jeelani in Srinagar, Dec. 9, 2019. The image was part of a series of photographs by Associated Press photographers which won the 2020 Pulitzer Prize for Feature Photography.
“It was always cat-and-mouse,” Mr. Yasin recalled on Monday. “These things made us more determined than ever to never be silenced.”
Mr. Yasin and Mr. Khan are based in Srinagar, Kashmir’s largest city, while Mr. Anand is based in the neighboring Jammu district.
Mr. Anand said the award left him speechless.
“I was shocked and could not believe it,” he said, calling the prize-winning photos a continuation of the work he’s been doing for 20 years with the AP .
An Indian Border Security Force (BSF) soldier keeps vigil near the India-Pakistan border at Garkhal in Akhnoor, about 35 kilometers (22 miles) west of Jammu, India, Aug. 13, 2019. The image was part of a series of photographs by Associated Press photographers which won the 2020 Pulitzer Prize for Feature Photography.
With communications shut down, these journalists had to find out about protests and other news by finding them in person. Mr. Khan and Mr. Yasin took turns roving the streets in and around the regional capital of Srinagar, Mr. Yasin said, facing mistrust from both protesters and troops. The journalists were unable to go home for days or even let their families know they were doing okay.
“It was very hard,” Mr. Khan said, but “we managed to file pictures”.
After spotting luggage-toting people walking toward the airport, he said, the photographers decided to ask travellers to serve as couriers. Mr. Yasin also recalled how a relative of his, who was also a photojournalist, had told him about delivering film rolls to New Delhi in person as the conflict in Kashmir raged in the 1990s.
A masked Kashmiri protester jumps on the bonnet of an armored vehicle of Indian police as he throws stones at it during a protest in Srinagar, May 31, 2019. The image was part of a series of photographs by Associated Press photographers which won the 2020 Pulitzer Prize for Feature Photography.
The photographers thus went to the Srinagar airport and sought out strangers willing to carry memory cards and flash drives to New Delhi and call AP after landing in the Indian capital.
Some flyers declined, fearing trouble with the authorities, Mr. Yasin said. But others said yes and followed through. Most of the memory cards and drives arrived.
Mr. Yasin says their prize-winning work has both professional and personal meaning to him.
“It’s not the story of the people I am shooting, only, but it’s my story,” he said. “It’s a great honour to be on the list of Pulitzer winners and to share my story with the world.”
“This honor continues AP ’s great tradition of award-winning photography,” said AP President and CEO Gary Pruitt. “Thanks to the team inside Kashmir, the world was able to witness a dramatic escalation of the long struggle over the region’s independence. Their work was important and superb.”
Pulitzer finalists for breaking-news photography award
In a year when protests arose across the globe, AP photographers Dieu Nalio Chery and Rebecca Blackwell were Pulitzer finalists for the breaking-news photography award for their coverage of violent clashes between police and anti-government demonstrators in Haiti.
Protesters and passersby look at images of people said to have been injured or killed during the month-long protests calling for the resignation of President Jovenel Moise, in Port-au-Prince, Haiti, Oct. 15, 2019. The image was part of a series of photographs by Associated Press photographers which was named a finalist for the 2020 Pulitzer Prize for Breaking News Photography.
Bullet fragments hit Mr. Chery in the jaw while he documented the unrest. He kept taking pictures, including images of the fragments that hit him.
A protest against fuel shortages and demanding the resignation of President Jovenel Moise in Port-au-Prince, Haiti, Sept. 20, 2019. The image was part of a series of photographs by Associated Press photographers which was named a finalist for the 2020 Pulitzer Prize for Breaking News Photography.
“All five of these photographers made remarkable, stunning images despite dangerous and challenging conditions, sometimes at great personal risk,” said AP Director of Photography David Ake. “Their dedication to getting up every morning and going out to tell the story is a testament to their tenacity. The result of their work is compelling photojournalism that grabbed the world’s attention.”
AP Executive Editor Sally Buzbee called the Kashmir prize “a testament to the skill, bravery, ingenuity and teamwork of Dar, Mukhtar, Channi and their colleagues” and lauded Mr. Chery’s and Ms. Blackwell’s “brave and arresting work” in Haiti while many journalism outlets were focused elsewhere.
“At a time when AP ’s journalism is of more value than ever to the world, these journalists’ courage and compelling storytelling show the absolute best of what we do,” Ms. Buzbee said.
The honor for the photographers is the AP’s 54th Pulitzer Prize. The news cooperative last won a Pulitzer last year for stories, photos and video on the conflict in Yemen and the ensuing humanitarian crisis.
source: http://www.thehindu.com / The Hindu / Home> News> World / by Associated Press (AP) / May 05th, 2020
‘Hyderabadi Shaadi Ki Dawat’ is going to be a unique event to experience the food, culture, and hospitality that Hyderabad is known for, all in one place.
Dr Ahmed Ashfaq aka Dr Foodie gears up to host the first ever edition of ‘Hyderabadi Shaadi Ki Dawat’ (Instagram)
If you’ve ever attended a Hyderabadi wedding, you’ll know that it’s a celebration unlike any other. From the colourful outfits, the lip-smacking food to of course the ‘marfa’, it’s a feast for the senses. Agree?
Are you eagerly waiting to attend a Hyderabadi Shaadi and indulge in the rich, flavorful cuisine that our sheher is famous for? If yes, mark your calendars for March 5th, 2023 because a unique event is going to happen in the city that promises to satisfy your craving for Hyderabadi Shaadi ka Khana. But there’s a twist – it’s not an actual wedding!
Idea behind hosting ‘Hyderabadi Shaadi Ki Dawat’
Organized by Hyderabad’s popular food blogger Dr Foodie aka Dr Ahmed Ashfaq, ‘Hyderabadi Shaadi Ki Daawat’ is going to be a unique event to experience the food, culture, and hospitality that Hyderabad is known for, all in one place. And the best part? Nobody gets married here, so you can just enjoy all the festivities without any of the pressure or stress that comes with attending an actual wedding. You will be able to enjoy the shadi without fear of judgement from your ‘phuppu or ‘chachi. The event is powered by Zetch Digital Solutions (Ayesha Sultana & Hasnain Ul Haq).
Speaking to Siasat.com, Dr Foodie spilled beans on the main idea behind the ‘one-of-a-kind’ concept and said, “Whenever I was posting reels about Hyderabadi wedding food, I noticed a lot of interest from people in Hyderabad and across India who were curious about where they could find this cuisine. This got me thinking about how I could provide this delicious food to others.”
He further added, “With the demand for this cuisine being high, I came up with the idea of hosting a shaadi ka event, where people could experience the authentic Hyderabadi wedding food without actually attending a wedding ceremony. It’s a great opportunity for people to savor the flavors and experience the culture of this cuisine.”
Timings: 7pm to 12am Venue: King’s Palace, Gudi Malkapur, Hyderabad.
What’s in the menu?
From the aromatic Biryani (The Star Of The Daawat) to the succulent kebabs, the mouth-watering haleem and many desserts, you’ll have the opportunity to savor a lengthy spread of delicious dishes that will leave your taste buds tingling. Lip-smacking vegetarian food items will also be there.
Bhulo Nakko, Dabake Khao!
Check out the menu below:
Beyond the Food!
Hyderabadi Shaadi Ki Daawat is not just about the food.
The event promises to be a cultural extravaganza, featuring music, interactions with your favourite influencers and the ‘vibe’ that is sure to transport you to the heart of Hyderabad.
Entrepreneur, vlogger, and ace tennis player Sania Mirza‘s sister Anam Mirza, popular YouTubers Amer Bin Ishaq and Shahbaaz Khan are among special guests who will be gracing the event.
“We will be creating a mock setup of a stage where attendees can take pictures or even pose as a bride and groom for a fun and memorable experience. In addition, we will have live mehendi stations, so guests can get their henna designs applied by skilled artists,” Dr Foodie said.
He also added, “We also have other surprise stalls planned, but we’ll keep the details under wraps for now to add an element of excitement and anticipation for our guests”.
So, prepare your best attire to glam up, look your best as you join Dr Foodie and his team for a celebration of all things Hyderabadi, and experience the best of the city’s rich culinary heritage.
Tickets For Hyderabadi Shaadi Ki Dawat
If you want to be a part of this unforgettable evening of food, fun, and cultural immersion, click here to book tickets and block your seats!
source: http://www.siasat.com / The Siasat Daily / Home> Lifestyle / by Rasti Amena / February 21st, 2023
Discussions and debates, critiques and readings, held at haunts of Urdu books and writing around the country have been interrupted rudely.
(From left) Shadab Rashid, Urdu drama writer Aslam Parvez, and Shakeel Rasheed at Kitabdaar | Mahtab Alam
In Malegaon
On the first Saturday of every month, the textile city of Malegaon in northern Maharashtra used to become home for lovers of Urdu literature, who meet to discuss, debate and critique new writings in the language, mostly by local writers. Organised under the aegis of Anjuman Muhibban e Adab (Association of Literature Lovers), the gathering began at around 9 pm, and went on till midnight.
Between 30 and 50 people – both writers and readers – would come together, a number that would at times go up to as many as 100 or even 150. Asif Iqbal Mirza, the secretary of the Anjuman, said the practice began 25 years ago on the suggestion of local journalist and editor Samiullah Ansari, who published new Urdu fiction in his weekly, Hashmi Awaz.
Over the years, the publication had emerged as a popular local magazine for young and budding writers to publish their works. The weekly, now in its 35th year of publication, had a considerable fan following and readership at the time. Ansari then suggested that admirers of the magazine form a group comprising readers as well as writers.
The group was initially named Anjuman Muhibban e Hashmi Awaz (Association of Admirers of Hashmi Awaz), but within a few years, its following grew to encompass more than just the readers of the magazine, and in 1998 it was rechristened Anjuman Muhibban e Adab, Malegaon. “Ansari sahib formed the Anjuman so that writers could get their new works critiqued by readers before getting them published in the weekly,” Mirza ssid.
Back then, Mirza himself wrote for a local children’s newspaper called Khair Andesh. But his association with the Anjuman helped him grow into a prolific Afsana Nigar, a short story writer. He was 17 when the group was formed; in the past 25 years, he has written and published more than 200 short stories in different publications.
Apart from Anjuman Muhibban e Adab, there are two more literary groups in Malegaon that held regular meetings until the lockdown was declared in March. No such meetings have been held since then. “Unlike earlier, we now have enough time to read and write. But the irony is we don’t have the opportunity to discuss and publish them,” said Mirza, who also runs a printing business. Several local publications had to halt their issues, including Hashmi Awaz, owing to the lockdown.
According to Mirza, although social media outlets such as WhatsApp and Facebook have, to some extent, helped to keep in touch with fellow writers and readers, the literary life of Malegaon has come to a standstill, since a large number of local writers and readers came from the working class and worked in local looms. “The year 2020 is the silver jubilee of my literary career. I had plans to publish a collection of my short stories, but thanks to the pandemic, that will not happen this year,” Mirza said with a great sense of despair.
In Mumbai
Both readers and writers have felt a deep loss during the pandemic. His love of books took Shakeel Rasheed, editor of the Urdu daily Mumbai Urdu News, to various bookshops in and around the Mohammad Ali Road area of Bombay. “Visiting bookshops was a part and parcel of my life. I feel a deep loss when I don’t visit them,” he said. For him, bookstores are not just spaces to buy books, but they also served as addas for readers and writers. As soon as some relaxations were in place, he rushed to the stores. “Par ab pahle wali baat nahi rahi,” said Rasheed. “Things are not as they were before.” The pandemic has made it more difficult to meet new people.
Shadab Rashid’s Kitabdaar publications and bookstore in Temkar Street of Nagpada was one such adda for Urdu writers in Mumbai, as was Maktaba Jamia on Sandhurst Road West. Today, Kitabdaar and a few other bookshops have opened their stores for a few hours every few days, while Maktaba Jamia remains closed. “Due to lack of public transport and fear of the pandemic, people cannot come to Kitabdaar,” Shadab said. He also edits the quarterly literary magazine Naya Waraq, founded by his late father and noted journalist and writer Sajid Rasheed.
Shadab Rashid said the lockdown brought significant hardships and losses to Urdu publishers and distributors. “It is not that people don’t want to read Urdu books anymore – the problem is they cannot buy them,” he said. “I have received lots of online orders, but I cannot fulfill them because I rely on postal services as they are the cheapest means of delivery, but the services are not fully functional yet.” His online Urdu bookshop kitabdaar.com is one of the few digital distribution platforms for Urdu books exclusively in India. Another such platform, urdubazaar.in, was recently launched from Delhi.
Owing to the discontinuation of physical interactions between readers and writers, people have lost touch with each other, since not all Urdu writers are active on social media, Shakeel Rasheed told me. “We have lost many good writers during this period and found out about their demise several days later,” he added. “Moreover, we could not participate in their last journeys.”
In Hyderabad
Another writer recounted similar thoughts after the death of noted Urdu satirist Mujtaba Hussain in Hyderabad on May 27. Hussain was awarded the Padma Shri in 2007 for his contributions to Urdu literature, but in December 2019, he announced he was returning the award to protest the enactment of the contentious Citizenship Amendment Act. “[T]he democracy for which I fought is under attack now and the government is doing that,” he had said, “that’s why I don’t want to associate the government with me.”
In Hyderabad, another centre of Urdu writing, literary activities have come to a similar halt due to the pandemic. Publications like Shagoofa, a monthly magazine of satirical writing, have been temporarily discontinued since the lockdown.
In Delhi
In Delhi, too, the pandemic has left an adverse impact on Urdu writing. Khan Rizwan, a poet and a known “addebaaz” from Delhi, loved participating in and organizing adabi addas (literary gatherings). He misses visiting the Nai Kitab book store, located in one of the many bylanes of Jamia Nagar, which is one of the famous addas for Urdu lovers in the city. Run by veteran writer and publisher Shahid Ali Khan, Nai Kitab is a haven for young and old writers alike, Rizwan said, as Shahid sahib treated them alike. “It is not just a bookshop but an institution where one got to meet noted writers and lovers of Urdu literature,” he said.
Rizwan would visit the shop at least twice a week, and meet a new literature enthusiast or writer, or find out about a new book or risala /parcha (journal/magazine). “I miss the black tea and chips that Shahid sahib served us with love and affection,” he recalled. “He is a storehouse of information, and several veteran writers were his friends, so he would tell us stories all the time.”
I couldn’t agree more with Rizwan. I have been visiting Nai Kitab once every few months for more than a decade now, and on each of my visits, after asking khabar-khairyat, Shahid sahib would say, “Achcha aap bahut dino baad aayen hain, ye nayi kitaabein aayi hai dekh lein (Since you’ve come after a long time, here are some new books).” Last year, when I visited the bookshop around this time, he directed me towards dozens of books written by noted Urdu satirist Fikr Taunsvi and Shaukat Thanvi. I immediately bought all of them, as they were usually out of print and seldom available.
As the person in charge of the Maktaba Jamia, the publication division of Jamia Millia Islamia in Bombay, Shahid Sahib befriended writers and poets like Jan Nisar Akhtar, Meena Kumari, Sahir Ludhianvi and Jagan Nath Azad. Some of them were regular visitors to the Maktaba Jamia. Though he moved to Delhi after serving the Maktaba for several decades, he did not stop hosting literature lovers. He then founded Nai Kitab publishers and a quarterly journal by the same name.
It was in 2007 at his bookshop that I first chanced upon Shamsur Rahman Faruqi’s celebrated novel Kai Chand The Sare Aasman, later translated into English as The Mirror of Beauty by the author himself. The novel went on to become a major critical and commercial success.
Faruqi was also associated with the Nai Kitab journal as chairperson of its advisory council and would visit the shop once in a while. The journal eventually stopped publication owing to Shahid sahib’s failing health, but he continued with the bookstore as it was like “oxygen for him”, he had once told me.
Waiting for freedom
Some writers have managed to turn the lockdown into a creatively productive period. “Personally, the pandemic has proved as a blessing in disguise as I read books I wanted to for years and finish other important work, such as recording videos of Urdu literature lectures,” says Khalid Mubashir, a poet and assistant professor of Urdu literature at Jamia. He quickly added, however, this was not common, as most writers and poets were stuck at home, either because of their age or in fear of the pandemic. “Moreover, not all writers have access to technology and books like I do. I am fortunate enough to have friends who helped me with technology to do something substantial during this period.”
Mubashir’s videos, as many as 60 of them, are each about 30 minutes long, and cover the history, evolution and development of Urdu and its literature in the subcontinent. Though the lectures are prepared keeping in mind the need and syllabus of Urdu literature students, ordinary Urdu lovers can also benefit from them. All lectures are available on the YouTube channel Safeer e Adab.
Similarly, although younger poets like Mohammed Anas Faizi from old Delhi have been trying to keep Urdu literature gatherings going by using social media, online addas do not have the feel and impact of offline and in-person gatherings. “Technology and social media can only help to a certain extent. Online gatherings, mushairas and addas cannot substitute for the real ones, no matter how well they are done,” he said.
With apologies to Faiz Ahmad Faiz, what the Urdu writers, poets and addebaaz seem to be telling the pandemic is:
Gulon Mein Rang Bhare Baad e Nau Bahar Chale Chale Bhi Jao Ki Gulshan Ka Karobar Chale
Mahtab Alam is a multilingual journalist and until recently was the executive editor of The Wire Urdu. His Twitter handle is @MahtabNama.
This series of articles on the impact of the coronavirus pandemic on publishing is curated by Kanishka Gupta.
source: http://www.scroll.in / Scroll.in / Home> Publishing and the Pandemic / by Mahtab Alam / July 14th, 2020
If you thought Balti people live only in Baltistan of the Pakistan-occupied Kashmir you are wrong. The people with a distinct Himalayan culture, language and traditions also live in the Ladakh, Uttarakhand and Himachal Pradesh in India.
Recently, the community’s organized its congregation at Dehradun, Uttarakhand called the “Confluence of Balti community in India,’with the collaboration of the Himalayan Cultural Heritage Foundation and the Balti Welfare Association of Uttarakhand.
Prominent Balti community members and renowned folk singers discussed the Balti culture and history of migration of the Balti community in Uttarakhand and Himachal Pradesh and their connection with Ladakh and Baltistan.
Speakers reading papers on Balti people’s migration in India at the Dehradun conference
Leading academics, community leaders, and Baltis living in and around Uttarakhand attended the confluence.
The Speakers from Turtuk, Kargil, Jammu, Kashmir, and Uttarakhand presented papers on the topic ‘Balti culture and history of migration of Balti community in Uttarakhand and Himachal Pradesh and their connection with Ladakh and Baltistan’.
Speaking on the occasion founder, of HCHF Dr Sonam Wangchok has urged the entire Balti community to work through various initiatives to preserve and promote the rich Balti language, literature, tradition, and culture as the legacy of mountain people in Ladakh, Baltistan, Uttarakhand, J&K, and other regions and countries.
He highlighted the importance of the preservation and promotion of Balti culture as it is the source of many other cultures and traditions that support social coexistence and communal harmony.
A cultural program was also organized and renowned Folk singers of Ladakh Dorjay Stakmo and Dechen Chuskit sang Balti folk songs and Gazal.
Eminent Balti people being honoured at the Dehradun Conference
Notable Personalities Ferooz khan, Safdar Ali Balti, Iftikhar Hussain Maqpoon, Abdul Karim (Turtuk), Mohd Ali Ashoor (Kargil), Shujaat Husain, Gulzar Hussain Zubdavi, Agga Mehboob (Kabi Haripur), Shujat Ali Shah and Mohd Sadiq Hardassi read papers on the occasion.
On the second day, a round table discussion was held and a resolution was passed highlighting the importance of Balti culture and its preservation through different initiatives.
Meanwhile, on this occasion, All India Balti Association was also formed and Kacho Shujat Ali Shah was appointed as the 1st president of the association.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Sabir Hussain / February 17th, 2023
Sahebaan UAE, a premier organization for the Urdu-speaking Muslim Community hailing from the twin districts of DK & Udupi, hosted a grand social family get-together followed by gala dinner at Al Jumairah Ballroom, Crowne Plaza Hotel, Sheikh Zayed Road, Dubai, on 4th February 2023 from 5.30 PM onwards.
The event, sponsored by the Sahebaan Business Community UAE, was a grand success attended by more than 800 community members from all over UAE, neighboring GCC countries and India. Eminent personalities from the Sahebaan Community graced the occasion.
The event commenced with the recitation of verses from Holy Quran by Master Fazil Raheel Ali. Althaf M.S Coordinator, Sahebaan UAE welcomed the gathering and stated that Sahebaan UAE has been providing a platform for the community members to come together, connect and strengthen the brotherly bond.
The patrons of the Sahebaan community Janab Hidayathullah Abbas, K.S. Nissar Ahmed and Afroz Assadi were honoured in recognition of their outstanding business achievements and contribution to the local economy, commendable humanitarian service, charity work and unstinted support to Sahebaan UAE and its activities. Janab Syed Siraj Ahmed, Suhail Kudroli, and Althaf Khalife initiated the honoring proceedings.
On behalf of the patrons, Janab Hidayathullah Abbas thanked the organisers and the gathering for the honor bestowed on them. He urged the Community to strive hard for success, prioritize family, help the Community, and give back to society, thus earning goodwill for Sahebaan.
The Chief guest of the evening Janab Kassim Ahmed H.K., founder of Hidaya Foundation Mangalore, while addressing the gathering called for the upliftmemt of the poor and the deprived.
Janab Mohd. Akram, Mohammed Asif, Althaf Khateeb and Irshad Moodbidri conducted the felicitation of Sponsors. Dr. Abdul Rahiman Beig, Professor at Khalifa University, Abu Dhabi & recognised as a top rated scientist by Stanford University and Mrs.Yasmeen Irfan, winner of Foodshala UAE 2022 were honoured on the occasion.
Janab Afroz Assadi Patron and Convenor of Sahebaan UAE presented awards to the talented Sahebaan Youth, namely, Sham Akbar Sheik, Safa Tamadur, Rafa Riyaz Khalife, Daniyal Danish Iqbal, Rafhan Balanthi Baig, Mohd. Rafan, Sheikh Saahir Akbar, Mehek Sheikh, Nuha Riyaz Khalife for excellence in academics.
Anbar Althaf and Saqib Baji for Sports achievement and Anam Aslam for performing arts.
Faizaan Khateeb, Mohd. Samiullaha, Mohd Sufiyan and Abdul Ahad presented a photo journey of Sahebaan UAE through the years.
Well-known bollywood stand-up comedian and mimicry artist Jayvijay Sachan entertained all with his mimicry & comedy. A Sufiana troupe from mumbai mesmerized the crowd throughout the evening with their melodious rendering.
Sahil Zaheer, a fellow Sahebaan and a hugely popular stage & radio artist from Mangalore, compered the program and entertained the crowd with his wit and humor.
Sahebaan Ladies Wing members Sahara Asif, Reena Althaf, Mehek Sheik and Riza Mustafa managed the children’s Program.
The function was sponsored by Hidayath Group, NASH Engineering FZCO, Northern Insurance brokers LLC, Prestige Engineering LLC, Petrosolutions FZCO, Creative House Scaffolding, Advanced Creative Techncial Services, Al Sitara Gulf Contracting, Multiline Technical Co. LLC, Progressive Technology & Services LLC, Sumtech Multiline Trading, Right Choice Trading, Al Bustan Trading, Vertex Engineering, Izza Gold & Diamonds Dubai, Cell Town, Invension Medical Requisities, Core Elements Interior Decoration LLC and Hasmai Mangalore.
The function concluded with a raffle draw and vote of thanks by Syed Mohd. Ajmal.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> Gulf / by Vartha Bharati / February 13th, 2023
Siddi children performing Dance Dhamaal in Ahmedabad in Gujarat, India. Courtesy Sayan Dey, CC BY-SA
The term Siddi refers to Afro-Indians – Africans who mixed with Indians through marriage and relationships. Africans crossed the Indian Ocean and arrived in India during the 1200s, 1300s and 1400s. They were transported by Islamic invaders and Portuguese colonisers as enslaved people, palace guards, army chiefs, harem keepers, spiritual leaders, Sufi singers singers, dancers and treasurers.
Today, the majority of Siddis are found in the west and south-west of India, in Gujarat, Maharashtra, Karnataka and Telangana states. As they settled, they preserved and practised their African ancestral sociocultural traditions – and also adopted local Indian traditions.
This interweaving of African and Indian cultural values gave birth to various creolised (mixed) food, music and spiritual practices.
As a diversity studies scholar, I have been researching Siddi culture for some time. Working within this community in Gujarat and Karnataka, I found that their creolised cultural practices emerged as a resistance to colonisation, racialisation and victimisation in postcolonial India.
My most recent research – which can also be seen in a new documentary – has focused on the music and dance performances of the Siddi community in Gujarat, called Dhamaals.
The story of Dhamaal performance traditions reveals the rich and complex mixing of cultures in a world shaped by human movement and history.
What are Dhamaals?
Dhamaal is a mix of Sufi and African (mostly East African) musical and dance traditions. It refers particularly to the spiritual practices of the Siddis of Gujarat.
The Siddis begin almost every Dhamaal song by blowing into a conch shell. This is often followed by the slow playing of East African percussion instruments like the musindo and the slow thumping of feet that marks the onset of the singing and dancing Dhamaals. The ritual of foot thumping is a crucial part of spiritual East African dance and musical traditions.
The Siddis are followers of Islam and arrived in India from Muslim communities in East and Central Africa. Dhamaals are performed in memory of their spiritual leaders, among them Bava Gor, Mai Misra, Baba Habash and Sidi Nabi Sultan. According to Siddi folklore they arrived from Ethiopia through the Nubian Valley, Syria and the Indian Ocean to the coast of Kuda in the Bhavnagar district of Gujarat.
Shipping line Shipping ports Railway line Map: Usifo Omozokpea Source: Sayan Dey Created with Datawrapper
Usually, Dhamaal songs and dances are performed to celebrate the anniversary of the birth and death of spiritual leaders. They are performed in two ways – Dance Dhamaal and Baithaaki Dhamaal. The Baithaaki Dhamaal is performed in the sitting position and the Dance Dhamaal is performed in both sitting and dance positions.
During the performance of Baithaaki Dhamaal the focus is more on the lyrics and less on the musical instruments. During Dance Dhamaal the focus is more on the sounds of the instruments. These are often played in a frenzied manner and accompanied by frenzied dance movements. The spiritual songs that are sung during the Dhamaals are known as zikrs.
A mixing of cultures
The creole cultural aspects of Dhamaals are broadly reflected through the Swahili Creole language used to sing the zikrs, the Indian and African musical instruments used to perform them and the Afro-Indian body movements of Dance Dhamaals.
Historically, the Swahili Creole language in India emerged among the Siddis through the mixing of Kiswahili from East Africa with Gujarati, Hindi and Urdu languages from India. As an example, these are the lyrics of one zikr:
Ya bolo sabaya hua wey
Ya bolo sabaya hua wey
Hu sabaya
Salwale Nabi Sultan
This zikr is sung in the praise of Siddi spiritual leader Nabi Sultan, believed to have arrived in Gujarat from the Nubian Valley. The Swahili words that have been used are “hu” (a common expression of consent) and “sabaya” (meaning that everything is alright). The zikr means that with the blessings of Nabi Sultan no evil can befall the Siddis of Gujarat.
Siddis performing Baithaaki (sitting) Dhamaal in a shrine in Gujarat. Courtesy Sayan Dey, CC BY
The musical instruments used to perform the zikrs are East African percussion instruments. The musindo, for example, is a cylinder-shaped, two-sided drum from Kenya. The misr kanga is a small, funnel-shaped instrument from Ethiopia, containing small stones. The mugarman is a large, cylinder-shaped, one-sided drum from Tanzania. These are played along with traditional Indian musical instruments. These include the harmonium (a keyboard instrument) and the dholak (a two-headed hand drum). The intermingling of Indian and African musical instruments generates creole rhythmscapes which are traditionally African and Indian at the same time.
During the Dance Dhamaal, the hand and the body movements of the Dhamaal dancers in Gujarat are very similar to the Ngoma dancers of East Africa. The Ngoma dancers thump their feet and swing their arms sideways to the rhythm of drums. The Dhamaal dancers also swing their arms sideways, but the thumping of feet depends on the context of their dance. During religious occasions, for example, the foot thumping is slow. This is because the Siddis follow many spiritual aspects of the Sufi tradition. For Sufis, heavy and frenzied feet thumping is prohibited when worshipping spiritual leaders.
Transoceanic roots
These creolised musical and dance performances allow the Siddis in Gujarat to maintain their African ancestral practices. They do so in collaboration with Indian practices so that they do not forget their historical roots yet can respect local traditions at the same time.
Siddis performing Baithaaki (sitting) Dhamaal in a shrine in Gujarat. Courtesy Sayan Dey, CC BY
These creole practices have allowed the community to build a transoceanic identity (one which crosses the oceans). This is done in a collaborative, reciprocal and diverse way.
The Dhamaal tradition of the Siddis has socially, culturally and economically empowered the community as well. Several community members, through the assistance of government and private organisations, travel across India and the world to perform at cultural festivals. This encourages the Siddis to share their creolised cultural values across the globe.
This in turn invites audiences to consider history through an interracial and intercultural lens.
source: http://www.theconversation.com / The Conversation / Home> Global / by Sayan Dey, University of Witwatersrand / February 03rd, 2023
The jury praised Johari’s work saying it shone through with its combination of meticulous reportage, humanism and empathy, all reflecting a high order of journalistic excellence.
New Delhi:
Mumbai-based journalist Aarefa Johari was picked on Sunday, April 3, as the winner of the Chameli Devi Jain Award for an Outstanding Woman Mediaperson 2021.
Instituted in 1982, the annual Chameli Devi Jain Award is a prestigious recognition for women mediapersons in India who have reported on themes such as social development, politics, equity, gender justice, health, war and conflict, and consumer values.
The Media Foundation announced Johari, who works for Scroll in Mumbai, as the winner of the award, which will be presented on Monday at the India International Centre here.
The winner was decided by a three-member jury, comprising Nirupama Subramanian from the Indian Express, writer Githa Hariharan and Ashutosh from SatyaHindi.
They praised Johari’s work saying it shone through with its combination of meticulous reportage, humanism and empathy, all reflecting a high order of journalistic excellence.
Harish Khare, chair of the Media Foundation, added that Johari’s ground-level reportage was an outstanding example of a journalist’s every day privilege to help society demand fairness and justness.
Nearly 50 journalists from print, digital and broadcast media from all over India sent entries for the award, named after Chameli Devi Jain, a freedom fighter and a community reformer who went to jail during the freedom movement.
(PTI)
source: http://www.thewire.in / The Wire / Home> Media / by PTI / April 04th, 2022
Gone are the days when the Muslims of Kerala were thought to have believed Malayalam as the language of Nairs. The Muslims of modern Kerala are greatly indebted to a number of devoted reformers whose dedicated endeavours liberated them from the yoke of illiteracy and cultural backwardness. Late C.N Ahmad Moulavi, in his book on Muslim literary heritage in Malayalam entitled Mahathya Mappila Sahithya Parambaryam, describes the contribution of such reformers.
In fact, Malayalam has been the mother tongue of the Muslims of this region but their dialect was considered relatively inferior. This was because they had neglected learning and teaching the Malayalam language and literature. They were more concerned with Quranic education. Moreover, for the purpose of imparting Islamic knowledge they used Arabic script when they wrote Malayalam. It slowly developed as a literary branch of Malayalam known as the Arabic Malayalam literature.
Arabic-Malayalam Literature The Arabic-Malayalam literature is exclusively the literature of the Kerala Muslims. It includes more than five hundred books in prose and about the same number of books in verse, on various subjects. Books in prose include translation and explanation of the Holy Quran, Hadith, Jurisprudence, history, stories and fables, narratives, criticism, lexicon, science and etiquette. Many journals and magazines were also published in Arabic-Malayalam.
Critics have wholeheartedly extolled the literary merit of the poems in Arabic Malayalam. They are highly impressed by its originality, rhythmic beauty, lucidity in imagination and expression. The majority of these poems are on religious topics. In fact, this stream of poems had been running parallel to Malayalam poetry for centuries. The earliest work so far traced in Arabic Malayalam poetry is Mohiyauddeen Mala, an ode in praise of Sheikh Mohiyuddheen. Its author, late Khazi Mohammed of Calicut was a contemporary of Ezuthcchan’s (16C) who is considered the father of Malayalam language. A comparative study of Ezuthcchan’s Adhyatma Romayana Khazi’s Mala reveals the latter’s simplicity in expression.
Moin Kutty Vaidyar elevated the Arabic Malayalam poetry to the pinnacle of its golry with his Badr pada pattu (war song on Badr) and Badrul Muneer Husunul Jamal (a love song). War and love have been celebrated topics for poetry of all ages. But what made Vaidyar’s poems real masterpieces of literature is his skilful way of blending form and content into an artistic unity. Through his poems Vaidyar created a language within language, a rare achievement in Malayalam poetry praised equally by famous critics and linguists. Chains of tunes (called Ishals) innovated by Vaidyar still remain to be emulated by latter poets. In fact he is the most popular among Arabic Malayalam poets. His poems provided the Muslims of Kerala with a unique culture identity, uniformity and redouble their pride and prestige. P.K. Haleema, Naduthopil Ayesha Kutty, Kundil Kunhamina are the poetesses whose poems left indelible imprints on Arabic Malayalam poetry.
Though Arabic Malayalam poetry boosted the morale of Muslims in their resistance to colonial invasion. The subjugation of Muslims by the invaders led to a state of stagnation in literary life. Later Muslim reformers used Arabic Malayalam poetry to rekindle the spirit of education and religious awareness. Prominent among these poets cum reformers are T. Ubaid, O. Abu and Punnayarkalam Bapu. The poems fostered by Muslims are generally known as Mappila Pattukal (Mappila songs). The salient feature of these songs is the instantly recognizable peculiarity of its tunes that have by and large influenced the cultural and literary life of Kerala as it is evident in modern Malayalam poetry and film songs.
Muslims today no more use the old script of Arabic Malayalam in their literary contribution. Modern works are all in Malayalam now. However, to a limited extent, efforts are made to preserve the identity of this language through Madrasa education.
Impact of Sanskrit Literary Tradition Though Muslim themes were introduced into Malayalam poetry by non-Muslim poets since the beginning of the 20th century, the entry of Muslims into the Malayalam literature is of late occurrence because of the attachment of the Muslim poets to Arabic Malayalam. In imitation of the Sanskrit literary tradition Maha Kavyam were composed by Malayalam poets. Rama Chandra Vilasam was written by Azakath Padmanabha. Kurp and Kattakkayam cheriyan Mappila wrote Sree Yeshu Vijayam. But Mahammadam was written only after a long period. Ponkunnam saidu Mohammad, a Muslim scholar in Sanskrit and Malayalam, wrote this Maha Kavyam in the same Sanskrit metre and here the poet attempts to narrate the story of mankind in an Islamic perspective. It also contains a description of the Quran in detail.
Yousef Ali Kecheri is a Muslim poet famous for composing poems with Hindu as well as Islamic cultural background. He has written poems on Quranic themes, the prophet and Muslim festivals. He is a famous composer of film songs.
P.T. Abdul Rahiman is another noteworthy poet who wrote a long poem on Bilal entitled, The Black Pearl.
Both Kecheri and P.T. have won literary awards.
Malayalam Fiction Anyhow, the Muslim genius made greater achievement in fiction and short stories. Viakkom Mohammed Basheer, a veteran novelist in Malayalam brought a continent of experience in life into the Malayalam literature. His compassionate attitude towards life accompanied by an ironic vision acquainted the Malayalam readers with a new aesthetic sense. His novels and short stories are translated into other Indian and world languages. Umashankar Joshi, the famous Indian writer, counted Tagore and Basheer as the only two Indian writers of originality. M. Mukandan, the pioneer of modernism in Malayalam fiction, once wrote, the Noble Prize is too small a thing to honour Basheer. Basheer’s novels are poetic expression of Muslim myth and Islamic mysticism. My Grand Dad had an Elephant and pathumma’s goats are his masterpieces. He mercilessly satirises the pervasive degeneration that infects Muslim social life. In his writings he had been attempting to create harmony in life through God consciousness.
N.P. Mohammed, another famous novelist, short story writer and essayist, traces the influence of Aryan, Dravidian and Hindu culture elements in the life of Kerala Muslims. His two famous novels named The Oil field and The Eye of God reveal the peculiar socio cultural life of a particular region. They can be called regional novels. He wrote short stories by perusing the Quranic style of expression. Punathil Kunhabdulla, another novelist and story writer, satirises the outdated view and customs prevailing in Muslim social life. Smaraka Shila Kal (Tomb stones) and Marunnu (Medicine) are his famous novels. Both N.P. and Punathil won awards of Kerala and Kendra Sahitya Academy. P.A Mohammed Koya, the father of sports literature in Malayalam, brought to light the social and religious life of the Koya Muslims of Calicut. His Island Stories have endowed the Malayalam short story with a rare aesthetic dimension. U.A. Khader beat a new path when he wrote his short stories anthologized in his famous Trikkotoor Peruma, which is highly appreciated. His style is inimitable.
The most developed literary genre in Malayalam literature is the short story and there are a number of Muslim short story writers such as T.V. Kuchu Bava, Shibabuddeen poithumkadavu, Akbar Kakratil, M.A. Rahima, N.P. Hafiz Mohammad and P.K. Parakhadavu. They are noted for their highest excellence in handling the Malayalam language in its colourfulness and rhythmic beauty.
The history of Malayalam drama will remain incomplete without mentioning the contribution of K.T. Mohammed. He criticizes the social life of the Kerala Muslims in an aggressive language. Ibrahim Vengara, Mohammed Yousef, K.A. Kondungallor and Azeez were renowned Malayalam dramatist.
Religious Writings In addition to making valuable contribution to the Malayalam literature, Kerala Muslims have been advancing in the field of religious writing. They have published many books aimed at reforming the religious life and introducing Islam to other people as well. Many publishing houses are established. The Holy Quran has been translated into Malayalam by various scholars. Tafheemul Quran of sayyid Maududi has been translated and published in Malayalam through Islamic Publishing House, Calicut, which shines like a pillar of light in the literary life of the Muslims of Kerala. Sheikh Muhammad Karakunnu, the Director of I.P.H., himself wrote about 50 books on various Islamic knowledge. Other publisher like Yuvatha, Hindustan and Al Huda published valuable works on Islam. The Muslims of Kerala constitute more than 20 per cent of the population and their literacy rate is satisfactory. Consequently they have started publishing dailies, weeklies, monthlies and bimonthlies including children’s and ladies magazines.
A close analysis of the literary history of Kerala Muslims will reveal the healthy trend of new awareness and reformation in the field of learning and thinking. And a cream of writers, thinkers, reformers, readers has emerged from various cultural groups among Muslims vying with each other for achieving excellence in developing Malayalam literature. There intense efforts and healthy rivalry enable us to envision a new sky of hope for the community and for the nation. The sea changes that have taken place in the realm of the Muslims of Kerala are promising signs of a new dawn-God willing.
(The writer teaches Malayalam at Government College, Kasaragod, Kerala.)
source: http://www.ummid.com / Ummid.com / Home> News & Analysis / by Ibrahim Bevinje, Ummid.com / March 16th, 2011
Suddenly, Bengal has become dotted with gateways — elaborate, ugly and expensive.
MONUMENTAL: (Top right) Gate to West Midnapore, a toron near Nabanna and Haldia Gate in East Midnapore.
In Burdwan, Curzon Gate was built even earlier, in 1902, to celebrate the coronation of Maharaja Bijay Chand Mahatab. It was named Curzon Gate later when Lord Curzon paid a visit. Other examples abound — the Pathar Darwaja of Bishnupur Fort in Bankura district; the four gates that lead to the palace of Siraj-ud-Daulah in Murshidabad; Namak Haram Deorhi, so named for his fabled treachery, leading to the house of Mirzafar, also in Murshidabad; the gates leading to Fort William and so on. Recently, there was a proposal to build a gateway to Metiabruz in southwest Calcutta, to mark Little Lucknow, which was Wajid Ali Shah’s home when he was exiled.
Back to the present.
The enormous Biswa Bangla Gate in Calcutta’s New Town came up in 2019. It was designed in 2015 at the time of the launch of the beautification project for New Town. Then there are the Beleghata Gate, Nabanna Gate, Uttarpara Probesh Duar, Jalpaiguri Gate, Birbhum toron, Haldia Gate, West Midnapore toron, Digha Gate, Tarapith toron. The Biswa Bangla Gate cost Rs 25 crore, according to some estimates.
“What is the use of these gateways,” asks Minakshi Mukherjee, who is the state secretary of the Democratic Youth Federation of India, the CPI(M)’s youth wing. She continues, “There is one in Birbhum that lies on the way to Anubrata Mondal’s house in Bolpur’s Nichupatty area. A government tender of Rs 8 crore was sanctioned for this. There is another one in Midnapore, a few kilometres away from Suvendu Adhikari’s house. It was also built on a government tender of Rs 2 crore.”
Mukherjee has reason to be vociferous — the Left, after all, does not have a history of using gateways to make a power point.
“But in 2005 (during Left rule) a very fancy gate came up on Kona Expressway. The ornate gate with horses and elephants was built by the Unitech group,” says Joydeep Mukherjee, a Calcutta-based architect. He adds, “As an architect, I have always thought of gates as something that gives one a sense of reaching or destination. Gates, in modern times, have been used as a line of demarcation. And these recent additions appear to me to be really ornate gates sans any particular motive.”
It is unlikely, though, that so many torons would come up without fulfilling some expectation somewhere but there are no answers, only theories blowing in the wind.
Anindita Chakrabarti, who teaches urban sociology at IIT Kanpur, says, “The gates in ancient times had quite a different connotation. Fortification was important; security mattered. Rajasthan and Gujarat have walled cities. In Rajasthan, even the smallest village was known to have a toron. But the same was not true for Calcutta. The gateway is an Islamic import. It came from Central Asia — in Iran and Iraq, there are gates leading to religious buildings.”
Chakrabarti adds how the Kashmere Gate and Lahori Gate of Delhi’s Red Fort were thus named because one led to the road that goes to Kashmir and another led to Lahore. She says, “They were made with the purpose of the movement of the battalions.”
No matter what purpose they serve or where they draw inspiration from, gates in Bengal continue to mushroom. As you get off the bridge to Nabanna, there is a toron that has two ornate pillars and a football atop them. It appeared in 2021.
The Digha beautification project involved the construction of the Digha Welcome Gate. It was completed in 2014; about Rs 6.57 crores were spent. The Haldia Gate was built in 2017- 18. Another gate came up around the same time at the juncture of Kharagpur and Midnapore. It is decorated with photographs of Ishwar Chandra Vidyasagar, Kazi Nazrul Islam and Shahid Khudiram. The one in Bishnupur has a huge “Om” carved in the middle.
“It is not a Calcutta-specific phenomenon if you ask me,” says Rezavi exasperatedly. “Right here, in Aligarh, where I stay, every now and then a gate is constructed. The purpose could be to welcome someone or to commemorate something.” He adds, “In the medieval era, they were a requirement. Gateways were constructed mostly in the western part of the country where the weather is hot and dry, and also in South India. The gates provided respite to people coming from the scorching heat. It was almost like entering heaven.”
source: http://www.telegraphindia.com / The Telegraph Online / Home> Culture / by Moumita Chaudhuri / September 04th, 2022
Javed Khan Amrohi’s Chak De! India co-star Shilpa Shukla also posted a tribute.
Aamir Khan, Salman Khan and Javed Khan Amrohi in Andaz Apna Apna
A tribute to late actor Javed Khan Amrohi was posted on Aamir Khan’s Instagram handle on Wednesday. Javed Khan Amrohi, a familiar face from TV and film, died of lung failure in hospital on Tuesday; he was 73. In an Instagram post, Aamir Khan Productions wrote, “Javed Ji, You never failed to fill the room with joy and warmth. Your pure heart and positive energy will be dearly missed.” Aamir Khan is not personally on social media, having officially quit in 2021 and the accounts run by his production house post on his behalf.
Javed Khan Amrohi appeared in three films starring Aamir Khan, starting with Hum Hain Rahi Pyar Ke in which he had a small role. In Andaz Apna Apna, he played Anand Akela, one of Raveena Tandon’s many suitors who withdraws from the field to assist Amar and Prem, played by Aamir and Salman Khan. He was cast as Ram Singh in Lagaan, where he had a glorious moment of screen rebellion in which he quit the service of his British masters as the climactic cricket match was played.
See the post shared by Aamir Khan Productions here:
Javed Khan Amrohi’s Chak De! India co-star Shilpa Shukla also shared a tribute, writing: “Tell your friend that in his death, a part of you dies and goes with him. wherever he goes you also go. He will not be alone.” Team ke Sukhlal ji. With you Sir. Rest in peace.”
Javed Khan Amrohi started his career on stage and appeared in films like Satyam Shivam Sundaram and Noorie in the 70s.
He had prominent roles in TV shows like Nukkad, yeh Jo Hai Zindagi and Mirza Ghalib.
He was best-known for his work in TV and later film appearances like Andaz Apna Apna and Lagaan.
source: http://www.ndtv.com / NDTV / Home> Bollywood / by Gitanjali Roy / February 15th, 2023
