Controversial film producer Nazim Hassan Rizvi whose hit film “Chori Chori, Chupke Chupke” (2001) blew the lid off the Bollywood-Mafia nexus passed away at a private hospital here, industry sources said on Tuesday.
Controversial film producer Nazim Hassan Rizvi whose hit film “Chori Chori, Chupke Chupke” (2001) blew the lid off the Bollywood-Mafia nexus passed away at a private hospital here, industry sources said on Tuesday.
Admitted to the Kokilaben Dhirubhai Ambani Hospital (KDAH) for certain undisclosed ailments, Rizvi breathed his last while under treatment late on Monday.
Said to be in his early 70s, his mortal remains are being taken to his native place in Uttar Pradesh for the funeral.
Rizvi had also produced other inferior films such as “Majboor Ladki” (1991), “Apaatkal” (1993), “Angarvaadi” (1998), “Undertrial” (2007), “Chori Chori, Chupke Chupke” (2001), “Hello, Hum Lallan Bol Rahe Hain” (2010), “Qasam Se, Qasam Se”, (2011), and “Laden Aala Re Aala” (2017).
However, he is widely known for the musical hit “Chori Chori, Chupke Chupke” starring the top trio of that time — Salman Khan, Rani Mukherjee and Preity Zinta — which discussed the topic of surrogate motherhood for the first time on the silver screen.
Nevertheless, the film, which shot him into big league, also made news for other unsavoury reasons. Shortly before its release, Rizvi and another financer Bharat Shah were arrested in December 2000 for allegedly diverting tainted underworld-linked money for the movie production.
The stunning expose was made by a crack team of Mumbai Police Crime Branch comprising former encounter-specialists’ who had shadowed Rizvi, his associates, and investigated the case in depth before finally swooping on them.
The Mumbai Police had charged the Rizvi-Shah duo with allegedly receiving funds from the Mumbai mafia, specifically from Shakeel Babumiyan Shaikh – dreaded as Chhota Shakeel – and a close aide of the absconder underworld don Dawood Ibrahim Kaskar.
Rizvi had been under surveillance for his alleged murky activities for months before the arrest by the Mumbai Police and the Central Bureau of Investigation (CBI), which later seized the film’s negatives and prints, and deposited them with the Special MCOCA Court in Mumbai.
The film was finally released under the Special Court’s order, with an unprecedented directive that all profits earned by the movie should go to the Maharashtra government treasury.
Interestingly, the film’s credits had acknowledged the role’ of the Special MCOCA Court, the Mumbai Police Crime Branch and the Court Receiver without whose untiring efforts and good offices the picture would never have been made.
Prior to its official release, the Mumbai Police were given a special screening as per a previous commitment and to ensure that there was no objectionable content in the film.
Ironically, during its formal release in cinemas in March 2001, where it got huge initial response, both Rizvi and Shah remained in jail, and later they were awarded six years and one year in jail, respectively.
“It was the film ‘Chori Chori, Chupke Chupke’ that is said to have convincingly proved the long-suspected theory of Bollywood-Mafia, bhai-bhai’,” a veteran Bollywood producer told IANS, preferring anonymity.
However, the film’s fiasco and its aftermath opened alternative doors for more respectable channels of film financing like banks, later some companies, corporate houses and even MNCs entering the scene, he explained.
He recalled how that was a trying period for Bollywood which was reeling under immense pressures from the underworld and mafia dons Gulshan Kumar was shot dead (August 1997), Mukesh Duggal was killed (March 1998), and an unsuccessful warning’ attack was made against Rakesh Roshan (January 2000), besides other similar scary developments that rattled Bollywood biggies.
Many quietly concurred’ or cooperated’ with the mafiosi, while a few dare-devils have admitted to getting death threats, extortion calls and other forms of intimidation from various underworld gangs in India and their shady operatives from foreign locales.
(SJ/IANS)
source: http://www.newsgram.com / NewsGram / Home> Entertainment /by Quaid Najmi / February 07th, 2023
Kalikavu Village, Nilambur, (Malappuram District), KERALA:
A real-life story of a Muslim couple from Kalikavu village of Nilambur, Malappuram district of North Kerala, who raised three children of their deceased Hindu housemaid along with her own three, is now a feature film in Malayalam language being shown across theaters and the OTT platforms.
The film, Ennu Swantham Sreedharan (With Love, Sreedharan’), was premiered at Edapally on January 9. Made by renowned filmmaker Siddik Paravoor, the film is being talked about and appreciated for the extraordinary strength and courage of conviction of Subaida.
It’s named after Sreedharan, the youngest of the children of Chakki, who worked as a housemaid with Subaida some 50 years ago. It was Sreedharan’s post on the Facebook after Subaida’s death in 2019 where he addressed her as Umma, a Kerala Muslim way of calling a mother that generated curiosity about this relationship and eventually it became public knowledge that a practicing Muslim couple had raised three Hindu children along with their biological children and never converted them.
Sreedharan, who at the time of his mother Umma’s death was working in the Gulf and couldn’t arrive for burial due to Covid restrictions, had posted a heartfelt note on his grief. Netizens asked him how come a Hindu addressed his mother the way Muslims do.
A poster of the film Ennu Swantham Sreedharan
His explanation revealed the story of extraordinary humans boned in love and not through religion.
According to The News Minute, it was 50 years ago that Chakki, a housemaid separated from her husband, died, and her three little children – the youngest one Sreedharan a toddler – were picked and brought to her home by a tearful Subaida.
Three of them were ushered into the house where three children were growing, the eldest one Shanavas, was 7 and he was told by his mother that the Chakki;’s children will stay at their house. Subaida informed her husband Aziz Haji about Chkki’s passing away and that she had brought her three children home.
Shanavas remembers his mother’s return from Chakki’s house with her youngest, baby Sreedharan, in her arms, and two young girls Ramani and Leela with her. That day Shanavas welcomed three new siblings into his life. He remmembers their father Aziz Haji being informed by their mother about three children joining their family.
Subaida passed away due to a kidney ailment in July 2019, and her husband Aziz Haji followed two years later. The family’s heartwarming story has now been adapted to screen.
Sreedharan said that Umma and Uppa (father) had three biological children of their own, including Joshina, who was born a few years after he and his sisters were never made to feel like outsiders there.” That is the only home I have known. I have heard that umma used to breastfeed me and Jafer together,” Sreedharan told the New Minute.
A scene from the movie: Umma Subaida with her children
As netizens made uncharitable comments about the “Hindu son of a Muslim mother” in response to his post, Sreedharan responded:
“This post is to clear your doubts about who I am. When I shared the news of my umma’s passing, some of you had doubts. Even when I posted a picture of me wearing a taqiyah (a Muslim way of trying lungi), there were doubts if a Muslim man could be named Sreedharan. My mother died when I was about a year old. I have two sisters. I had a father too. The very day my mother died, this umma and Uppa brought us to their house. They educated us, just like they did for their children. When my sisters reached a marriageable age, it was Uppa and Umma who married them off. Having kids of their own did not stop them from taking us in. They had three kids. Even though they adopted us at a young age, they did not try to convert us to their religion. People say that an adoptive mother can never match up with one’s biological mother. But she was never an ‘adoptive mother’ to us, she was truly our mother.”
His post was followed by people calling him. He told the News Minute: “Suddenly we were getting calls from activists and media persons to ordinary people, all of them wanting to know more about the story behind that post,” he says. “In today’s political climate, where religions are constantly pitched against each other, the fact that this family took us in and raised us to believe in god, believe in our faith, seemed almost unbelievable for some.”
Shanavas said all six siblings were surprised at the public reaction to their story. He says: “We grew up as brothers and sisters. We had never thought of our family as different from the others,” says Shanavas, the eldest of Subaida’s biological children.
“Of course, when umma first brought Ramani, Leela, and Sreedharan into our home, I had asked her what she was planning to do. She then told me that these children will now grow up in our house, and that was it. We never questioned it. Our father, who was in the Gulf at the time, was also equally supportive of Umma’s decision,” he says.
Sreedharan told the media that he once asked his Umma and Uppa why they didn’t convert them. “Their first response was a concern. They asked me if someone had said something bad to me. After I reassured them, they explained to me that we should not let religion define anyone. They said that all religions were essentially preaching the same thing — to love and help people and that it was human beings who were interpreting these teachings wrongly.”
Real Sreedharana with his Uppa Aziz Haji (Image courtesy: The New Minute)
He said his parents taught the children to have faith, no matter what the religion. “My sisters and I used to go to the temple, and walk around with sandal marks on our foreheads.”
He says their parents encouraged them to practice our religion. “All they expected from us was to ensure we don’t lie, steal, or hurt others. And we also took care to never do something that would hurt their reputation,” he told the News Minute.
Sreedharan says after he became the father of a son he realized the true depth of his parents’ love. He now appreciates all the more his parents’ efforts in bringing three of them. “I can only imagine how big of a task bringing up six children would have been.”
Director Siddik Paravoor, whose previous film Thahira had featured in the Indian Panorama Feature Film section of the 51st International Film Festival of India (IFFI) in Goa, first heard of Subaida through a social worker and orator AP Ahamed.
“Presumably after Sreedharan’s Facebook post went viral, I read a note Ahamed master had written about Subaida and her life, which deeply affected me. I wanted to bring her story to more people’s attention. I wanted to let them know that there are people who live like this. People who put love and kindness over religion and prejudices,” he says.
When Siddik was researching for his project, he came across more stories of this extraordinary woman called Subaida from people in her village.
He told local media in interviews after the release of his film that everyone in the village Kalikavu loved Subaida. She is known to have spent all her ancestral money to help the poor. Subaida had donated all 12 acres of her land to the needy over the years. She even took loans to help others.
In Kalikavu after Subaida passed away, the nearby church rang the church bell, usually reserved only for the Christians, and held a prayer meeting for her.
Dancer Nirmala Kannan plays the role of Subaida, and journalist and writer Suresh Nellikode, also the producer of the film, plays her husband Aziz Haji. Actor Nilambur Ayisha and writer Shihabuddin Poythumkadavu also appear in prominent roles, alongside Sachin Roy, Vaibhav Amarnath, Harsha Arun, and Rajitha Santhosh.
Interestingly, the first shot of the movie was shot with the appearance of Aziz Haji in front of the camera. He died later due to the Covid-19. He and his children were all glad that more people would now come to know about their Subaida and the benevolent woman that she was.
The director says. “People are inherently good. But sometimes we need stories like these to remind them of that goodness. Subaida deserves to be remembered, and her story repeatedly told.”
The audience lapped up the movie.
Member of Parliament Shashi Tharoor wrote about the movie on Twitter:
Ex-serviceman Col Reji Koduvath wrote from, Ontario, Canada: “Ennu Swantham Sreedharan (With Love, Sreedharan), is a must-watch movie in the present society where sectarian strife and conflict still exist.
It’s a great movie-watching experience – the best movie I watched in the past 12 months. While drawing the life of an unsung and unrecognised person or a family on screen, there is a tendency to go overboard and portray them as super-humans.
This movie effectively tackles that difficult task and brilliantly tells the story of a do-gooder – a true good neighbour – a great family. All are based on real-life, sincerely and honestly.
The story and situations in the movie brought back memories of my grandmother who too had a troop of oldies across castes, creeds, and religions. I used to enjoy them reminiscing about their good old days. When our grandmother came to live in our home which is about 12 km away from the ancestral one, these oldie troopers dropped in to spend time with her. What is depicted in the movie in the life of Amina Umma and Subaida is close to what I experienced in my childhood.”
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Aasha Khosa / February 07th, 2023
Veteran film journalist and writer Rauf Ahmed, a native of Mangaluru, who was known for introducing changes in film journalism in the mid-1970s, died at his residence in Versova here on Sunday morning, after a short bout of ill health.
He is survived by his wife, son and daughter.
The son of Abdul Rahim, a retired judge from Bunder, Mangaluru, Rauf Ahmed completed his graduation at St Aloysius College, Mangaluru, before moving to Mumbai where, in 1975, he joined the Times of India training course, with contemporaries M J Akbar.
With an interest in film journalism, Ahmed launched the magazines ‘Super’ and ‘Movie’, after which, he took charge as editor of ‘Filmfare’, the film magazine of the Times of India. Sidelining film industry gossip that was popular during his times, he gave the news and articles on the industry a fresh look, while this change gave a new look to film journalism.
Ahmed’s wonderful style of writing and artistic design of the magazines caught the attention of the readers. Under the veteran, vintage music, parallel cinema and full-fledged nostalgia also found an inlet into mainstream film magazines. As a result, serious and studious writing joined the regular entertainment matter in the magazines.
Rauf Ahmed was the editor of ‘Filmfare’ for six years. During his tenure, the Filmfare Award ceremony too witnessed major changes. The venue of the ceremony was shifted while the style of the award ceremony was changed to that of the Academy Awards.
The journalist worked with many superstars in the film industry, including Amitabh Bachchan.
Ahmed worked with the Asian Age magazine and other fields of journalism, but film journalism remained his favourite.
In his 2016-book ‘Shammi Kapoor – The Game Changer’, Ahmed describes in an interesting manner how veteran actor Shammi Kapoor changed the very style of the Hindi film hero.
Yet, it would be well worth noting that Rauf Ahmed was himself a game changer in film journalism in India.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> India / by Vartha Bharati / February 07th, 2023
Khazin Munir, a self-taught artist from Srinagar, is the proud owner of the venture ‘KAAMEKAAR’, which is basically an Instagram page.
Srinagar:
In the contemporary world, you will find most of the youth making excuses for remaining unemployed. But not Khazin Munir, who despite being a doctoral student in law, earns her bread through calligraphy and other art and craft forms.
Munir, a self-taught artist from Srinagar, is the proud owner of the venture ‘KAAMEKAAR’, which is basically an Instagram page, where she showcases her artistic skills in calligraphy, wall-hangings, umbrellas, customised kangris etc., attracting many online customers to her artworks.
‘Lawyer turned Artist’
She said KAAMEKAAR is more of passion than a simple social media page to her. When she started the page, she was not really hopeful that it will work, but her artistic skills have been attracting scores of people.
“I have been very lucky to have got an audience who always admire me, support me and love me. I started it as a page for calligraphy, but gradually it became a multi-art page where you can customise calligraphies, wall-hangings, chocolate bouquets, nail and thread art, customised paper bags, gift wrapping, needle work art, small goody baskets, customised kangris etc.,” she said.
“Basically, if you want to gift something different to someone or want something special for yourself, we have got your back,” Munir added.
Munir, who hails from the Sanat Nagar area in Srinagar, is presently pursuing her PhD in law from the University of Kashmir. In the past, art was just a hobby for her. When she started her Instagram page three years back, she was busy completing her masters.
She said the page was started on the basis of hit and trial method. Her siblings pressurised her to do so, as they were keen to see the response of the general public. Within a few days of launching the page, Munir got her first order and since then has been no looking back.
With time, she realised that her hobby was making her stress-free and forget the many challenges in life.
“Art for many is just a stroke on paper or just a hanging on the wall, but for me art is strength, medium of expression, happiness, perfection and a way of life,” she said.
Early Education
Munir completed her schooling from the Presentation Convent School till 10th and then from the Mallinson School till 12th.
She did not have a passion for art in her school days, but with time she began to develop a special liking for the creative form.
“I was not that artistic in school, but with time my personality made its way to the outer world. When I was doing my BA LLB, I used to participated in many competitions, both state and national-level. I won many prizes, which included some cash price also. I have represented the Kashmir University in many inter-varsity competitions at the national level,” she said.
Family Background
Munir belongs to a well-educated family. Her father retired as the chief architect of Kashmir. Her sister is also an architect.
“I never thought of doing a small business or starting something like this, because I didn’t have a business background. But destiny has different things stored for me, and I am very happy for that,” she said.
Munir draws inspiration from her parents.
“I have seen my father work day and night, creating unique designs for his clients. He is a pioneer in his profession and I just wanted to adapt the mechanism which he has created for himself. I draw much of the motivation from him,” she said.
Munir, who has worked on several projects so far, said every project is interesting and special to her.
But her friend’s wedding decor, which had umbrellas, nikah potlis, backdrops, mehndi trays etc., nail and thread art at her father’s office and mandala art on a 12 feet wall are few of her artistic works that are very close to her heart.
She also said that digitalisation has made things easy and accessible.
“On a click of a button, one can now order any stuff. This gives a content creator and an artist a platform to showcase his/her work, get appreciation and last but not the least, earn a livelihood because job opportunities are very few now,” she said.
“After three years of continuous hard work, people have started recognising my Insta page… I get so many overwhelming messages from people now. Some praise my work while some compliment my patience. I feel elated to receive such messages, which motivate me to work harder in order to brush up my skills,” Munir concludes.
source: http://www.ummid.com / Ummid.com / Home> India> Life & Style / by Ummar Jamal, IANS / January 30th, 2023
Abdul Ghafoor Parekh was a well-renowned Islamic scholar, educator, humanitarian and expert in the Quran and its translation. He was known for his vast knowledge of Islamic theology and his ability to convey complex concepts in a clear and accessible manner.
Early lLfe and Education
Abdul Ghafoor Parekh was born in 1948 in Nagpur, India. He completed his Post Graduation in Commerce from Nagpur University. He was fluent in several languages including English, Urdu, Hindi, Marathi, Gujarati (Kutchi-Memoni), and Arabic. He was raised in a devout Muslim family. His father, Padma Bhushan Maulana Abdul Karim Parekh, was a social worker, recipient of various national and international awards, and scholar, known for his translation of the Quran into the Urdu language. From a young age, he showed a deep interest in the Quran and its teachings. He was very well equipped with the book his father compiled, Lughatul Qur’an (Quranic Dictionary) which has been read widely throughout the globe and has been translated into several Indian Languages along with English, Turkish and Portuguese. Abdul Gafoor Parekh being the eldest son played a key role in continuing the mission and legacy of his father.
Personal Life
Parekh was a devout Muslim and was known for his deep commitment to his faith. He was a father to two sons and two daughters and was someone known to be deeply devoted to his wife and children. After his father’s demise in 2007, he continued with his work and legacy. He avoided publicity and mass lectures. He believed in shaping individuals personally within his reach and capacity.
Career
After completing his education, Parekh began his career as an educator, teaching at a number of universities and madrasas in India. He quickly gained a reputation as an expert in the Quran and its translation, and his classes were highly sought after by students.
He developed a unique and efficient method for teaching Arabic with 200 hours only. Many academic institutions and universities in India and abroad have adopted his system. Parekh’s expertise in the Quran and its translation led to many invitations to speak at conferences and seminars around the world. He was a much sought-after speaker and has traveled extensively, sharing his knowledge and insights with audiences in many countries.
In addition to his teaching and speaking engagements, Parekh has also designed several curriculums to teach Arabic. His lectures have been widely heard and highly praised for their scholarly rigor and excellence.
Parekh’s knowledge and understanding of the Quran and its teachings have made him a respected figure in the Muslim community. His work as an educator and author has helped to deepen people’s understanding and appreciation of the Quran, and his teachings continue to inspire and guide people of all ages and backgrounds.
“If people all over India understand Quranic Arabic in large numbers or even more, if people believe, it is possible to learn and understand the language, it is because of Ghafoor sir. He opened our minds and hearts to the word of God and made us believe that it reigns supreme. He leaves behind a literary legacy for teachers to emulate in India and abroad. He was a friend, philosopher and guide, a beacon for teachers and a proud mentor. He could cut you down to size with his words and yet praise you in the next sentence,” said Dr Kamran Khan, Surgical Oncologist, Saifee Hospital, Mumbai, with deep sorrow.
“It’s indeed a great loss. Like his father Janab Abdul Kareem Parekh, he worked very hard to spread the knowledge of Quran with understanding and left a legacy which is truly an inspiration for the generations to come,” said Haseeb Ahmad Khan, Manager, IT, MSEDCL. “His teaching style was so influencing that one cannot afford to miss a single class,” said Farheen Khan, a homemaker.
“One cannot forget his zeal, enthusiasm, and unique style of teaching the Qur’an. I attended some of the various teachers’ training classes a couple of times that he would conduct for teachers from Mumbai in the field of Islamic Sciences and Education. He pulled out references from Qur’an to explain how Qur’an was an excellent source of understanding the Seerah questioning the teachers on the chronology of the ayahs and nuances that usually goes unnoticed due to not understanding the beauty of Arabic grammar. I particularly remember his class in May 2013 when he announced that he wouldn’t be able to travel to Mumbai due to his deteriorating health marking that class as his last, which made all the teachers sigh in unison. He did come to Mumbai a couple of times after it. His unique advice to his students would leave a huge impact on them, his words still touch and shape me as a person, towards serving humanity and recognizing one’s true potential. He will by far be one of my most favourite teachers of all times, may Allah elevate his status and that of his father” said Zulekha Shakoor Rajani, an Islamic Educator and Counsellor.
Throughout his career, Parekh dedicated his life to spreading knowledge and understanding of the Quran, making it accessible to people from all walks of life. He would draw his living from the Timber business and travel to teach as much as he could. His work has had a profound impact on countless individuals, and his legacy as a leading expert in the field of Quran and its translation will continue to be remembered for many years to come.
On the eve of 24th January 2023, the cast and crew of the documentary All that Breathes was huddled in producer Aman Mann’s house to see the ceremony of the nominations for Oscar awards. Others involved in the film joined online. As soon as the list was announced, there was jubilation in the room.
All That Breathes by Shaunak Sen is among the shortlisted documentary feature films for the best in this category. From India, another film, The Elephant Whisperers by Kartiki Gonsalves is another documentary nominated for the coveted award in short category.
After Writing with Fire in 2022 this is the second time when Indian documentaries have made it to the Oscars. All that Breathes is a 90 minutes feature based on the story of brothers Nadeem Shehzad and Muhammad Saud who run the “Wildlife Rescue Centre” in North Delhi’s Wazirabad for treating owls and raptors (big kites).
The film has already been screened in Sundance Film festival, Cannes International Film Festival where it bagged the best documentary award. It has also been screened at Dharampura International Film Festival. It’ll be screened in Bangalore at a World Wildlife conference on 12th February then at the BAFTA followed by the Oscars ceremony in March.
As Awaz-the Voice visited their three-storey Home-cum-office-cum-hospitals in Wazirabad after the film made it to Oscar Nominations, brothers Nadeem and Saud spoke stoically about this event, for they were immersed in thoughts about where to raise funds from for their organisation and the mission.
They say that to run an NGO like theirs funds were a dire need and people weren’t that enthusiastic about helping out raptors like Kites, Vultures, Owls and other similar avians, “Some consider them a bad omen while others feel they aren’t endangered, it is easy to get funds for tigers, lions rabbits and elephants but not for carnivorous avians…they have zero cuteness factor”
Nadeem says, “We don’t have any recognition even now, it isn’t like after watching our film we were ushered with a lot of funds, our film producer did give us some, but it is strange as to how even after such a good film people are hesitant with the funds..” Nadeem jokingly chips in, “Many channels have released funds for doing a story on us but they cannot release funds to help our cause…”
Inside the building, the walls of the office have chipped sea green paint. Behind the reception counter are two chairs and a working computer. While Nadeem and Saud are seated, Salik is moving to and fro looking after the chores while an incumbent team member Sana is documenting the records on the word file.
Nadeem,42, and Saud,40, started the NGO in 1993. Salik joined the team later To solve the problem of constant lack of funds, the brothers have set up an organization in the USA because they find “It a bit easier to get funds in the US..” “We lack the running money for day-to-day basis—like salaries, transportation, bird food, medicines, and other expenses are always on the back of our mind; we always have what after two months, what after three months..”
On being asked as to why kites and other raptors were so important for the ecosystem they say that the Kites, Egyptian Vultures, Falcons and others help in clearing up the filth left by the slaughtering of animals, these big birds are nature’s scavengers, “India is the second largest exporter of meat after Australia..the waste from the slaughterhouses is normally dumped in Ghazipur, there one can see upto 7 thousand kites that eagerly wait for the dump…”, he adds.
He further adds that in Delhi open garbage system is a normalcy and then there is the tradition of feeding the eagles and the kites, “In Old Delhi and parts of Rajasthan people feed them, they consider them lucky, in a very dramatic manner the meat loaves are thrown in the air while the raptor scales down with its wings to savor upon the treat..”. This scene also serves as the opening for the trailer.
He adds that, “Rajasthanis often come and give us meat to feed the birds as they feel connected to their roots by following the tradition..”
Apart from treating Kites they also treat barn owls, sparrow hawks, harriers, falcons, migratory birds, egrets, storks, hornbill, “last year we had around 3100 birds, we are the largest care takers of the raptors in the world, this is because we have the highest population of kites and more than that we have manjha (glass powder covered kite flying threads that are suicidal for birds), thus we have means of hurting them as well with us..”
He adds that injuries due to manjha (flying kite thread coated with glass powder) are rampant in India, Pakistan and Bangladesh, “we are continuously trying our best to augment the research around operating the birds injured due to manjha and we have presented the same techniques in the US conferences…”
He says that to their amazement the, “US wildlife centre likes our work and we discovered that even there this work hadn’t been done to retrieve a fully functional wing…” Nadeem and Saud told Awaz the Voice that their work falls under Wildlife Rehabilitation and they were a part of the community of rehabilitators, “US has the largest rehabilitator community and we often get sponsored trips to the US to take training and courses and incorporate them here..”
Nadeem says that their rehabilitators community is highly accepting and they don’t feel foreigners at all while on work trips, “We stay at other members homes thus fooding and lodging is expense free, I feel they are eager to share information which we as Indians lack a lot…the findings in the US are shared by one and all..the findings are shared annually worldwide through conferences…”
The rooftop hospital in Wazeerabad has three enclosures, the first one is an open on where healed birds are kept, it is designed in a manner that until the bird can fly 10 ft effortlessly, it won’t leave, whereas the rest of the healthy birds can come and go as and when pleased. Enclosure two holds surgery cases whose treatments are underway, whereas the the third Enclosure are reserved for birds under medication. Nadeem adds, “Since 2010 we get all the birds that are carnivorous, so in a way we are easing their work..”
The birds meanwhile cooed on top of their voice making the reporter realise their existence. While the rooftop was covered with black kites, Egyptia Vultures and falcons looked like foreigners. Nadeem continues, “We are a collection point for hospitals like Charity Jain hospital, Sanjay Gnadhi hospital, Menaka Gandhi Hospital, Animal care hospital, Karol Bagh jain hospital, we collaborate with them…” He says that their rescue rate differed according to seasons, during the bird’s nesting season they got maximum cases, “during this time we just need to feed them and give them water, we give them drips they are easy to maintain…”
“Second kind of cases are those due to the wounds by the Manjha, these are deep cut wounds in which even the bones are shattered…” He adds that in such kind of wounds the next part is to regain their functnality, “We may heal it and forget about wing functionality but then reconstructing is where the process lies. Here we need better understanding and better doctors. In humans we can achieve it through microsurgery but in birds they can lead to gangerine and then death…” He believes that even in birds also the wings can be fixed but then, “we do not have that kind of facilities. ..”
He adds with a shrug, “Animal hospitals abroad are better maintained than human hospitals here in India , cataract surgery for animals is available in abroad but in Indiat have Dr.Reena Dev who specialises in cataract surgery..” Talking about his favorite moments from the film he says he liked the end credits a lot, “When you see the movie you’ll see a lot of kites sitting on the trees and after color correction it looks like an oil painting, the shot gives the feel of a still shot until a bird flies far off then comes the names and it feels as if words are drooping down from the branches…it feels surreal…”
Talking his heart out about disappointments has eased Nadeem a little as he then reminisces his childhood days saying, “Bachpan se mai oscars zaroor dekhta tha..in fact DD Metro pe bhi Oscars aate the..(I always used to watch Oscars on DD Metro in my childhood) but after coming into this profession our lives are upended, we have no personal life whatsoever…”
The three years shooting gave them some special moments and for Nadeem the moment when they swam, across the river to rescue birds will always be special.
He says, “Our favorite ones are mostly deleted, out of the 500 hours of working footage only 90 minutes were in the Final Cut..still the camerawork and cinematography is beyond our imagination…”
Documentaries juxtapose real lives and thus a scene shows the duo (Nadeem and Saud) fighting over some trivia matter when asked they both reply instantly, “Asi ladaiyan toh roz hoti hain..(We fight like this on a daily basis)… See the work we are doing is very stressful and that too without money, there is a lot at stake and when workload increases our temperature also soars but then we are family so it is all in good faith..” “After 5 minutes we are like..what was it we were fighting about..we are best friends and brothers for life..so yea..this is normal..”, Saud adds.
Saud says that Shaunak took three months to make them feel at ease with the camera’s presence, “He started shooting us when we finally started yawning in front of the camera which was one of his idiosyncrasy, he used to say treat the camera as a fly on the wall..” Sharing his experience at various screenings Nadeem says, “at DIFF people were whistling on the scenes that they liked, they started clapping whenever they liked a shot whereas Cannes is very cosmopolitan..” He says that the close collar dress code at Cannes is a sign of respect for the artist, “we came across many great artists, the cameramen were running after them but we couldn’t recognise them, people were clicking selfies but then I didn’t knew them and then Shaunak was like Oh..Nadeem they are so and so of the Industry…”
Talks about Cannes has lightened the air and Saud seeems relaxed and hopefull than before yet he says, “Asli Khushi tab milegi jab Oscar milega..(we’ll be really happy after bagging the Oscars)” Salik chimes in saying, “It is a tough call but we are hopefull..” He adds, “We never thought that one day a documentary will be made on our efforts or that we will become world famous one day, it feels great…” Salik has a camera friendly face and when for the first time he saw his photo on the big screen he was excited. His favourite scene from the feature is the one where the kite takes his spectacles, “I just say arey chasma le gayi yeh mera(oh! She took my specs), it was as if they were aware of being documented…then there is a moment when I rescued a squirrel and it stays in my pocket, i had no idea that it was being shot but then it came out really well…” Salik feels that their social media presence has increased after the movie.
The ambience of the room feels lighter than before as the talks about the upcoming awards night are now the topic and who’s going to wear what becomes the major question now. Saud says, “There isn’t any prep for it as such, if there’ll be a photo shoot then we’ll prefer it in traditional Indian attire …”
Saud then smiles and tells Awaz the Voice, “In France people stopped us on the road and complimented us for our traditional wear..” Nadeem looked befuddled and happy for the first time when he says, “the women were wearing such long gowns that two to three men were carrying it yet our Indian attire outshone them.” Saud continues, “It was white linen Kurta with a closed collar and Jawahar cut jacket..” “We made sure to keep it as close to Indian traditions as possible..” Abdul Rehman of skylark tailors stitched our whole attire, Saud says, “When people asked is your tux from Paris, we replied “No, Chandini Chowk…the fabric was sourced from Katra Neel and Krishna Market in Old Delhi…”
They add, “We didn’t had much time, it was done at the last moment…” Even for Oscars Abdul Rehman will be stictching the attire for the brothers. One may find skylark tailors in Ballimaran near Rabia Girl School. Coming to footwear it was sourced from SreeLeathers and Ballimaran. Sharing their hopes and visions for the future the duo says that they want a hospital outside their home with proper operation theater, x-ray machines, blood testing laboratories, “someone gave us their lab equipment when they shut down theirs but we don’t have any money to hire a lab assistant…”
Meanwhile two boys rushed in with an injured kite to whom Nadeem attended like a professional healer. He felt for signs of injury through palpitations that were done manually and later placed it under observation after giving it first aid. He wishes people to be more sensitive and more aware of the surroundings like the movie which says “life is kinship and we are the community of air” thus “we must learn to share our surroundings with all the things alive around us. I am not asking everyone to open a hospital but we can still make time to help each other…”
On being asked what after Oscars and what if they win they say, “We’ll be back to work after the oscars..” They went on to add, “On 1st march there is a technical film festival and we are trying to reach them to learn how to document our work as many techniques that we know can be shared with the world…”
“We want to document our research in print and digital format now…We are working on orthopedic surgeries and very few know about it, especially the wounds by th kite flying thread, the surgeries require intricacies, for example if the bird is brought in late o the hospital then the technique to cure them is different..”
“The muscle moisture has evaporated, thus the method to cure them is different and difficult…we are currently researching the same…” Saud adds,“We don’t want our techniques to die with us,we wish them to be known to the world..” Nadeem winds up by saying, “Wildlife preservation conference see a huge footfall by the conservationists every year thus we wish to present it there…”
They again looked disappointed when they said, “It is tough to work with Indians, they have big egos, whereas people abroad are much more open to learning new techniques” “We have had hands on experience..through consultations with various vets we have developed these techniques, also we have had interaction with human doctors more thus we have tried to replicate the same in the birds..”
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Shaista Fatima / February 07th, 2023
Famous from the cafeteria in Alliance Francaise de Madras, Yousuf is now cooking from his kitchen in Royapettah and impresses with delicious biryani, chicken curry and a chocolate mousse
Mohammed Yousuf
In South India we often say that cooking is an art form and while it can be taught — some have ‘kai rasi’ (gifted hands) that makes any food they make a delicious dish. Mohammed Yousuf would come into that category. When we ask him about the addictive biryani that is part of the menu of Yousuf’s Kitchen, the home chef modestly avers, “It’s a simple recipe — most Muslim homes in Chennai follow this one.”
Muslim style mutton biryani
We have been sampling chicken quiches, chocolate cakes and puffs made by Yousuf since 1996 at the cafeteria at Alliance Française of Madras, down College Road.
Those were the days when before the pandemic hit us — we remember nursing a steaming cuppa coffee and a slice of freshly baked warm chocolate cake, dripping with chocolate sauce, as we waited for a play to begin at the Edouard Michelin Auditorium.
Often, we would pack a few slices of chicken quiche to take home after the show, and make a dinner of it. Like all spaces, the pandemic threw a spoke in the wheels here too and Yousuf found himself stuck at home through lockdown. “I started cooking from home since the first lockdown,” says the self-taught 46-year-old chef who started by adding biryani and curries to his repertoire. Expect café signatures like doughnuts, cupcakes, chocolate lava cake and chocolate mousse, besides options like cutlets, samosas, biryani and gravies.
Last weekend we went ahead and ordered the mutton biryani and the pepper chicken curry – and when we say that we plan to order the same again this weekend, you get the picture! The mutton biryani is delectable, packed with flavour and meat that falls off the bone delightfully. The pepper chicken has the perfect punch of spice and pairs well with the rice dish. So, we ask him what makes his food so delectable. And he answers simply, “It’s the slow cooking. Not just the meat — but even when cooking the gravy base and masalas — I take my time.”
Minimum order of mutton biryani at INR 1,800 for a kilo, that serves up to seven people. (Delivery within five kilometers is free). Place orders via yousufafm@ gmail.com
source: http://www.indulgexpress.com / The New Indian Express / Home> Food> Chennai / by Sabrina Rajan / August 13th, 2021
On Urdu writer Qurratulain Hyder’s 95th birth anniversary on January 20, remembering her last classic novel, Kare Jahan Daraz Hai, which is a treat in style and content.
Kare Jahan Daraz Hai (The business of the world goes on), Urdu novel in two parts, bound in one volume, Qurratulain Hyder, Educational Publishing House, Delhi, First edition 2003, Pages 766, in large size, Price: Rs 600.
One of the most significant novels of Urdu writer Qurratulain Haider, Kare Jahan Daraz Hai, is the winner of India’s highest literary award—the Jnanpith. Hyder is known for her magnum opus, Aag ka Darya, which has been translated in many languages. She herself translated it in English as River of Fire.
Kare Jahan Daraz Hai is perhaps her last published novel in her journey which started with Mere Bhi Sanamkhane, her first novel, published in 1949. Incidentally, most of her novels have been translated and are popular in Hindi, except her first and the last.
On my Facebook page comments, I got to know that her novella Sitaharan is also well rated by her readers.
Apart from her above mentioned novels, Hyder has to her credit-Safina-e-Game Dil-1952, Patjhar ki Awaz (a short story collection)-1965, which fetched her the prestigious Sahitya Akademi award in 1967, Roshni ki Raftar –1982, four novellas — Chay ke Bagh, Sitaharan, Agle Janam Mohe Bitiya na Keejo and Dilruba and Aakhri Shab ke Humsafar (Travellers of Last Night).
Hyder, who had to her credit 12 novels and novellas, four collections of short stories, many translations from classic world literature, worked as journalist with magazines Imprint and Illustrated Weekly of India and also taught at Jamia Milia Islamia and some US universities. She was offered a Sahitya Akademi Fellowship in 1994 and awarded Padma Bhushan in 2005. She also received the Ghalib award and Bahadurshah Zafar award.
Hyder was born on January 20, 1928 to Sajjad Haider Yildarim and Nazar Sajjad Haider, both Urdu writers. She started writing at the age of 11 and wrote her first novel, Mere Bhi Sanamkhane, at the age of 19, which was published, when she was just 21 years old. After Partition, she migrated to Pakistan, from where her most significant novels were published. She returned to India after many years and lived in Delhi. She passed away on August 21, 2007 at the age of 79. She did not marry and was perhaps against the institution of marriage.
Kare Jahan Daraz Hai (the title chosen from a couplet of Iqbal, who along with Faiz Ahmed Faiz is idolised by writers and people in both India and Pakistan) and is an autobiographical novel, focusing on Hyder’s long family history. She has delineated the family history from 740 A.D to almost 20th century-end. The first part of the novel depicts family history from 740 A.D to 1947 in almost 440 pages and 11 chapters, while the post-1947 family history is covered in the second part in 310 pages and five chapters — a total of 16 chapters.
It was in 1962, while visiting her ancestral house in Mohalla Sadaat, Nehtor/Nehtur, Bijnor district in Uttar Pradesh, that the idea struck to Hyder to write novel on the history of the place. She goes back to Zaid, her ancestor in 740 A D, who went to Georgia, established their rule in Tabristan , made Tirmiz their nation, and if they had not moved toward Hindustan in 1180 A D from Turkmenia, they would had been part of the then Soviet Union, she writes.
The story begins from the city of Tirmiz and the second part of the chapter moves the story from Jehon to Jamuna when the family comes to the ‘country of Shakuntala’ and settles somewhere near Kumaon and Garhwal. The Tirmizi family gets land there and makes a new beginning. Members of the family serve kings and one member of the family follows Emperor Aurangzeb in his pursuits.
Hyder has collected documents from family and archival sources to write an authenticated history of her family in narration form, which makes it an extremely readable historic/autobiographical novel. In the first chapter itself, the story reaches the 1857 revolt against the British, in which one rebel, Mir Ahmad Ali, from the family joins the rebellion, while the others remain loyal to the British. The narrator cites some events of the rebellion, particularly in Bijnor district, through documents and family stories.
Every chapter has been provided with references in the end, rather unusual for a novel. In the first chapter’s reference, it has been mentioned that Zaid Bin Imam Zean Albadan was martyred in year 744 A D. Mir Ahmad Ali Tirmazi of this family gave his life in the 1857 revolt as he was executed.
The writer refers to river Gagin, passing through Nehtor and going toward Moradabad. In fact, the story of the family from 740 AD to 1857, is just referral, the novel focuses upon 1857-1947 in first part of the novel and 1947-1987 in second part of the novel.
Hyder’s narration is filled with historic references and depiction of nature, like mentioning rivers like Gomati, Ramganga and Ravi, which makes the novel interesting in its style. She refers to her grandparents, but the real story of novel moves from the depiction of her father Sajjad Haider Yildaram and mother Nazar Baqar’s life story from the days of their school to the end of their lives, which carry on in the second part of the novel as well.
The story of Sajjad Hyder is also the story of development of Muslim educational institutions and the story of women’s education among the Muslim community. It is a fascinating story of the development of Aligarh Muslim University (AMU) as well, which became the base of enlightenment among Muslims in pre-Partition India.
Hyder’s mother’s development as an Urdu fiction writer and father Yildaram’s development as a diplomat, writer and traveller, create an aura of romance for that period of history. Yildarim was fond of travelling and moved around many countries, particularly in West Asia. Hyder got the thirst for travel from her father and she, too, travelled many parts of the world.
The novel is full of her travelogues as well and particularly interesting is her description of Egypt during Gamal Abdel Nasser’s regime, changing into a modern nation. Her depiction of the Nile River, Egyptian Mummies, Alexandria, Suez Canal, assertion of independence from the West by Nasser, are all narrated in fascinating style. She describes the geo socio-cultural-natural locale of all places in a manner that transports the reader there.
In the second part of the novel focusses on life in Karachi, where Hyder had migrated with her family. Here she grows into a celebrated writer, who goes through much turmoil as well. There are petty attacks on her writings, she has a casual and carefree temperament, and does not bother about the malicious attacks. She had strong support from friends and family.
Poet Faiz ‘s appreciation and attachment with her family is described so is author Sajjad Zaheer’s underground life in Pakistan mentioned. Hyder spent a lot many years in London. She exposes the Pakistan government’s anti-woman attitude and bureaucratic favouritism.
Affectionately called Ainee Apa, Hyder ‘s return to India was not melodramatic; rather she makes it look casual and matter of fact, does not damn Pakistan, just comes back and faces almost similar struggles as in Pakistan.
This novel seems to have been translated and published in Hindi by Vani Prakashan, Delhi, in Hindi in 2020 at a prohibitive price of Rs 5,000 with an introduction by Gopi Chand Narang, but the same can be downloaded free as a pdf file from Urdu Digest Novels website.
When I read this novel, its Hindi or English translations were not available and, with my too slow speed in reading Urdu, it took me few months to complete it. But, this was the one of the best reads I have done in my life.
The writer retired as professor in Hindi translation from Centre of Indian Languages, JNU, New Delhi; was Dean, Faculty of Languages, at Panjab University, Chandigarh, and at present is honorary advisor at Bhagat Singh Archives and Resource Centre at Delhi Archives. The views are personal.
source: http://www.newsclick.in / News Click / Home / by Chaman Lal / January 20th, 2023
Bengalis are a race of foodies who practically eat to live and live to eat. It’s an inevitable component of any adda and the Bengalis are dead serious about it, any day, any time. Even people who have lived all their lives in the comfort zone of their homes and hearth do not hesitate to become the quintessential explorer when discovering new food or joints.
And when it comes to something like biriyani, the happiness of the Bengali Epicurean is one of exuberance and excitement and all one’s self-restraint is defeated as the flavourful aroma overpowers the senses. Truly, biryani is one dish that Bengalis unanimously love indulging in though it is not an indigenous dish of India.
The exact origin of biriyani is not known, though historian Lizzie Collingham writes that the modern biryani was developed in the royal kitchens of the Mughal Empire (1526–1857) and is a mix of the native spicy rice dishes of India and the Persian pilaf. According to Pratibha Karan, who wrote the book ‘Biryani,’ biryani is of Mughal origin, derived from pilaf varieties brought to the Indian subcontinent by Arab traders. She speculates that the pulao was an army dish in medieval India. Armies would prepare a one-pot dish of rice with whichever meat was available. Different varieties of biryani developed in the Muslim centers of Delhi (Mughlai cuisine), Rampur, Lucknow (Awadhi cuisine), and other small principalities in North India. In South India, where rice is more widely used as a staple food, several distinct varieties of biryani emerged from the Hyderabad Deccan. Whereas, some believe that the dish originated from Tamil Nadu (Ambur, Thanjavur, Chettinad, Salem, Dindigul), Kerala (Malabar), Telangana, and Karnataka (Bhatkal), where Muslim communities lived.
Navratan Biryani
All said and done, there is no denying that biriyani staged a bloodless coup and became the monarch of all gourmets in India, kings and paupers alike. The deliciously complex blend of flavours, spices, and aromas in biryani epitomizes the zenith of Indian cuisine. The ingredients for biryani vary according to the region and the type of meat and vegetables used. Meat (of either chicken, goat, beef, lamb, prawn, or fish) is the prime ingredient with rice. As is common in dishes of the Indian subcontinent, vegetables are sometimes also used when preparing biryani. Corn may be used depending on the season and availability. Navratan biryani tends to use sweeter, richer ingredients such as cashews, raisins, and fruits, such as apples and pineapples. The spices and condiments used in biryani also differ according to regional preferences.
The evolution of biryani spans many centuries, many cultures, many ingredients, and many cooking styles. From an army dish to a dish fit for royalty, the biryani today is a pan-India culinary favourite. Its varieties reflect the local tastes, traditions, and gastronomic histories of their regions of evolution. There are so many types of biriyanis with local and hyperlocal variations that one is truly spoilt for options when it comes to experiencing this melting pot of flavours.
Biryani can be cooked using one of two styles/techniques, pakki (“cooked”) and kacchi (“raw”). In pakki biryani, the rice, marinated meat, and vegetables are partially (“three-quarters”) cooked separately, before being combined into layers in a cooking vessel. Different layers of rice may be treated with different spices (e.g., with dissolved saffron or turmeric to give the rice different colours and flavours). The contents are then baked to complete the cooking and allow the flavours to combine. Alternatively, the components may be fully cooked, and then simply combined by layering before serving.
Kacchi Biryani
In kacchi biryani, layers of raw marinated meat are alternated in layers with wet, pre-soaked, raw rice (which may be treated with different spices as above), and cooked together by baking, or applying medium-to-low heat (typically, for at least an hour). Cooking occurs by a process of steaming from the ingredients’ moisture: the cooking vessel’s lid is sealed (traditionally, with a strip of wheat dough) so that the steam cannot escape (proper Dum pukht). A yogurt-based marinade at the bottom of the cooking pot provides additional flavour and moisture. Potatoes often comprise the bottom-most layer because, with their natural moisture content, they brown with less risk of getting burned accidentally. The lid is not opened until the dish is ready to serve.
Kolkata Biryani
In Bengal, the Calcutta or Kolkata biryani evolved from the Lucknow style, when Awadh’s last Nawab Wajid Ali Shah was exiled in 1856 to the Kolkata suburb Metiabruz. Shah brought his chefs with him. The Kolkata biriyani is characterized by the unique presence of potato, along with meat and egg. It is said that the former Nawab of Awadh was a great connoisseur of good food and encouraged his chefs to try new ingredients in the dish. The potato was an exotic vegetable in India and his chefs added it to biriyani, transpiring pure magic!
Unlike other Indian biryanis, which are eaten with salan or raita, the Kolkata biryani is a complete meal and needs no accompaniment. Many, however, many swear by the combination of biryani and chaap—slow-cooked meat in a luscious gravy. It’s a great spicy companion to the otherwise mellow biryani. As one of the most popular dishes in Kolkata, it also has a fan following to match.
Dhum Pokht Biryani
Some of the oldest and best-known biriyani joints in Kolkata include names like Shiraz Golden Restaurant on Park Street, Aminia in New Market, India Restaurant in Kidderpore, ZamZam in Park Circus, and New Aliah Hotel. Many new players have entered the fray and are also doing very well. The delicate flavour of Kolkata biriyani combines well with mutton pasanda and mutton chaap. Gourmets recommend Kachi Gosht biryani at India Restaurant, a recipe derived from Hyderabadi biryani preparations.
The Dhakai version of the dish from the Bangladeshi capital is no less seductive and is believed that it could have traversed the sea route to reach this port city, which was once ruled by nawabs. In 1610, after the Mughal rulers declared Dhaka as the provincial capital, Mughal subedars and other high officials arrived in Dhaka to manage the administration, and they brought — along with intrigue, grandeur, and tantrums — the biryani. Back then, people believed that the biryani could be prepared only for members of the ruling family, and that too on special occasions. The cooks came from the west, where the Hyderabadi biryani had only started to spread its aroma around India.
Somewhere along the way though, the Dhaka biryani developed its characteristics, which set it apart from its Hyderabadi progenitor – and even from the Sindhi, Kozhikode, Kolkata, Lucknow, and Tehari offshoots. The Kachchi Biryani is perhaps the most pleasant and authentic cuisine of Bangladesh. So, what makes Dhakai Kachchi different from other schools of biryani?
It refers to the ingredients which are cooked raw and in layers. Layers of meat, rice, and potatoes are infused with delicious blends of aromatic spices to prepare the Dhakai Kachchi Biryani. The key is to get the right balance of spices – not too spicy, not too bland, just right with succulent pieces of meat and potatoes.
Dhaka is also known for selling Chevon Biryani, a dish made with highly seasoned rice and goat meat. The recipe includes highly seasoned rice, goat meat, mustard oil, garlic, onion, black pepper, saffron, clove, cardamom, cinnamon, salt, lemon, curd, peanuts, cream, raisins, and a small amount of cheese (either from cows or buffalo). Haji Nanna Biriyani is a favourite joint as are Hazi Fakhruddin Kachchi, Shalimar Kachchi, Bashmoti Kachchi, Sultan’s Dine, and scores of others.
Awadhi Biryani
Unfortunately, a majority of biriyani lovers are not acquainted with the real taste of true-blue biriyani because the fare dished out at most eateries can be best described as “frying pan biriyani”. Here you may find long grain Basmati rice with a hint of saffron, but the traditional cooking process is not followed. Instead, most chefs have developed the fine art of “assembling” the dum ki biriyani. Despite all, Bengal’s love affair with biriyani continues unhindered and grows by the day. mellow biryani. As one of the most popular dishes in Kolkata, it also has a fan following to match.
Some of the oldest and best-known biriyani joints in Kolkata include names like Shiraz Golden Restaurant on Park Street, Aminia in New Market, India Restaurant in Kidderpore, ZamZam in Park Circus, and New Aliah Hotel. Many new players have entered the fray and are also doing very well. The delicate flavour of Kolkata biriyani combines well with mutton pasanda and mutton chaap. Gourmets recommend Kachi Gosht biryani at India Restaurant, a recipe derived from Hyderabadi biryani preparations.
The Dhakai version of the dish from the Bangladeshi capital is no less seductive and is believed that it could have traversed the sea route to reach this port city, which was once ruled by nawabs. In 1610, after the Mughal rulers declared Dhaka as the provincial capital, Mughal subedars and other high officials arrived in Dhaka to manage the administration, and they brought — along with intrigue, grandeur, and tantrums — the biryani. Back then, people believed that the biryani could be prepared only for members of the ruling family, and that too on special occasions. The cooks came from the west, where the Hyderabadi biryani had only started to spread its aroma around India.
Hyderabadi Biryani
Somewhere along the way though, the Dhaka biryani developed its characteristics, which set it apart from its Hyderabadi progenitor – and even from the Sindhi, Kozhikode, Kolkata, Lucknow, and Tehari offshoots. The Kachchi Biryani is perhaps the most pleasant and authentic cuisine of Bangladesh. So, what makes Dhakai Kachchi different from other schools of biryani?
It refers to the ingredients which are cooked raw and in layers. Layers of meat, rice, and potatoes are infused with delicious blends of aromatic spices to prepare the Dhakai Kachchi Biryani. The key is to get the right balance of spices – not too spicy, not too bland, just right with succulent pieces of meat and potatoes.
Dhaka is also known for selling Chevon Biryani, a dish made with highly seasoned rice and goat meat. The recipe includes highly seasoned rice, goat meat, mustard oil, garlic, onion, black pepper, saffron, clove, cardamom, cinnamon, salt, lemon, curd, peanuts, cream, raisins, and a small amount of cheese (either from cows or buffalo). Haji Nanna Biriyani is a favourite joint as are Hazi Fakhruddin Kachchi, Shalimar Kachchi, Bashmoti Kachchi, Sultan’s Dine, and scores of others.
Unfortunately, a majority of biriyani lovers are not acquainted with the real taste of true-blue biriyani because the fare dished out at most eateries can be best described as “frying pan biriyani”. Here you may find long grain Basmati rice with a hint of saffron, but the traditional cooking process is not followed. Instead, most chefs have developed the fine art of “assembling” the dum ki biriyani. Despite all, Bengal’s love affair with biriyani continues unhindered and grows by the day.
source: http://www.getbengal.com / Get Bengal / Home> Culture> Food / by Shuvra Dey / November 16th, 2022
“Sadkon Par Sheharoan ki Rooh Basti hai” (it is on the streets where the essence of the city lies), says Sadaf Hussain, a chef and an author of the book Dastan-e-Dastarkhwan. On a given weekend, Sadaf can be found exploring the food joints in Delhi. Sidelining all the rumours of his roots to Rampur’s erstwhile Nawabs, Sadaf says, “As much as rumours are alway welcomed I am just a fan of Rampur foods, my paternal grandfather may have been something but otherwise we are mango people..(aam aadmi)..”
Sitting on his couch comfortably at his home in Noida, while sipping “adrak-elaichi chai” (ginger-cardamom tea) he spoke with Awaz-the Voice on his journey to fame. Sadaf’s Instagram handle says he is a “khansaman” and he explains this.
“Khansamans are considered gourmet chefs who are known for making very specific portions of food, Khansaman is basically someone who is not trained at a culinary school he learns from their family, parents and so on, it could be as simple as learning how to make kababs or something basic like chopping onions. Similarly I have never been to a culllinary school, I have learned it from my parents, from the golgappa (Crispy fried semolina-wheat balls filled with onion, chickpeas and spicy water) vendors of my street, that is what made me interested in food and that is why I call myself a Khansaman.“
The Sunday Longread
Reminiscing his childhood Sadaf says, “I wanted to be the fattest kid on earth”, this because he was and still is a foodie. Speaking about his childhood days, Sadaf told Awaz-the Voice since the school was just 10 minutes away from his home he was fed like a king daily, his motivation behind attending school was to get good food,“School wese bhi koi padhne ke liye nahin jata hai, na hi hum jaate the (I wonder whether anybody attends school to study, neither did I). I used to go to school to eat food, not midday meals. School used to get over by 10. Thus a normal weekday in my life included a breakfast at 7 then recess at 9 and after coming back home a good hearty lunch, thus in a span of 4-5 hours I ate 2-3 times…”, he laughs loud.
Why he has a name that is generally given to girls? “My mother wanted a girl child, and she did a lot of experiment on me. It is because of her that I am very much in touch with my feminity, in our home, we just had our mother as a female figure, I was 8-9 years old and my mother got paralysed; My parents always worked as a team, I have always been into food, cause I grew up with food makers…”. Sadaf proudly says,
“I am glad I broke the age-old custom of women cooking food, serving men and eating last, at my place I make food,serve all and eat last..”.
Sadaf has studied advertising from St.Xavier’s, Ranchi, Jharkhand. He worked in the media industry In 2015 he started the culture of pop-up cafés in Delhi, “We did it in home and invited friends over where they got to meet each other, every month we cooked European cuisine though I love eating Indian food. We made pasta, spaghetti and other stuff. I always loved cooking for people and of course needed validation..”
In 2016, Masterchef India happened to him and he ended reaching the final round. “I have a philosophy of life – try everything, for one has nothing to lose, try toh karo nahi mila toh koi na, pehle bhi kaun sa tha hi. With this in mind, I entered the Masterchief competition. Those were Ramzan days and i presented the food to the judges without tasting it. We were shooting in Udiapur, Rajasthan. I saw these stars (Top-Ranking Chefs) for the first time…”
Haling from a small town Ramgarh in Jharkhand, it was a dream come true moment for Sadaf, “When you come from a different class and a different area simple and small tasks look big, thus this platform altogether was surreal..after that the environment really pushed me to do bigger things…While I was there, I was thinking chalo office se ek hi din ki chutti hogi (it’ll be a day off from the office) but somehow it was more than that…”; he adds, “one day Chef Vikas (Khanna) called and asked me: Why are you here? I told him that I don’t know but yeah I do know that I am not there to become a celebrity but if I win, 10 log jaante the pehle ab shayad 50 log jaan jayenge, log jane mujhe, mere hunar ko jane bas yahi kafi hai (Earlier 10 people knew me now maybe 50 would, I just want people to know my skill)…
Hussain says after the Masterchef he didn’t want to carry his identity everywhere as he didn’t want just one thing to define him, “I wanted to ditch my identity from Masterchef as I wanted to be something more than that,Meri haisiyat and aukat yeh nahin hai ki mai khud ko Masterchef bolta, mai nahi hu Masterchef, mai chef hu, lekhak hu (I am not worthy enough to be labelled Masterchef).I am an author, I am a chef ..”
Talking about the democracy involved in food and the difference between Diwan-e-Aam (House of Commons) and Diwan-e-Khas (House of Royals), Sadaf believes that the rich will always have a bigger table and more food dishes, “Think about it this way, when we are in college we just avoid any kind of parties, when we start earning we start eating better and at times our platter increases from noodles to spagetting and then maybe we start exploring cuisine, but for those born with a golden spoon they always have a spine…”.
“I believe taste evolves with time, earlier the Nawabs used to employ dieticians who supervised simple and non-simple foods, from Nahari to Murgh-Mussallam. Royals used to add dry fruits in every dish, today I think anything that one can afford is aam (commons) and rest everything is Khas (special)..”
He says that any food becomes Shahi (royal) when served with dry fruits and saffron, even a simple milk tea would be termed royal if these ingredients are added. He says the manner in which the food is prepped is democratic, “a Hindu, Muslim and Dalit will make it differently, cause of their backgroud also the usage of Ghee…”
When asked about the disparity among the food he says, “There is disparity and there will be always be disparity, sablog ek level pe ni a skte (not everyone is at the same level), but democracy for me would be if everybody can cook basic food and of course dal-chawal, chicken, rice, curd, ghee, mustard oil and so on are a staple in any cuisine that is democracy…”
“…not everybody can use cheese in their cooking, I feel the rich create demand in the society and then people start using it…for example Blueberries, if the demand is more the supply would increase and prices would go down..but yes basic nutritious food is something that everybody should be able to afford
He told Awaz-the Voice that every century the ruler has tried to maintain a food democracy…food eating habits are the easiest way to make people surrender to food as it is something everybody should be able to afford, “organizations like the UN are trying to make food affordable but then it is a policy-level discussion, the ration system is one way to democratize food but I believe food shouldn’t be available for free, it should be worth something cause then the wrong message sets deep in the psyche..”
Sadaf has recently worked upon a project called The forgotten foods of Rampur, “Dr Tarana Hussain, (author) is responsible for this project, along with Siobhan YH (historian). It was her professor at the University Prof Dunc Cameron who asked her to pursue this project..I was hosting a pop-up cafe one day and that is how I stumbled into Tarana, she was looking for people who were practioners and wanted to document food..thus I became a part of the project…”
Mentioning Rampur’s cuisine Sadaf says, “Urad dal ki khichadi served with Gobhi gosht or Saag ghost and of course mooli Ka achar..then there are kababs, ghalawati kababs, qorma and much more.
On the history of food documentation, Sadaf says, “documentation of food started really late..I think it was Ibn-e-Batuta, Marco Polo who started documenting food”.
He says Qorma is different in every state, from Rampur to Lucknow, Hyderabad gravy or Salan as we call it will be prepped in a different manner. On the history of food, Sadaf says that when potato was discovered, it was ridiculed and even considered bad for health but then there were so many wars happening and though it is not Indian, it is cheap and a like chameleon, Potato can take the flavours of every curry, “from sweets, to Vodka to Biryani, it is multifaceted..”
Talking about similarities in cuisines of the world, Sadaf says, “Every country has Dumplings and Cheese..”
On asked to explain he says, “Everybody used to have veggies, milk and meat and off course people started inventing different ways to utilize and preserve it. Thus different ways of cheese were made, “Kalari cheese is prepped in the mountains while Bandel cheese in Calcutta, Cheese of Bombay is called tapela…”
Coming to dumplings and custard he say, “they are very easy to make and then they can be made in a different ways from Momos to Modak to Phare to Litthi..all are versions of stuffed dumplings while custards or kheers are another very basic version of milk puddings..”
Winding off Sadaf says, “Breads I believe are PanchPoorats, as they are made of five elements—fire, earth, air, water, space…”
source: http://www.awazthevoice.in / Awaz, The Voice / Home / by Shaista Fatima / January 24th, 2023
