Umar Hamdan, a VII standard student of Bearys Public School, has been selected for the National Level Spell Bee Competition after clearing the State-level round of the competition.
Hamdan, who is the son of Late Abdul Basheer and Shameela, was selected for the state-level round after clearing school and inter-school rounds that were held online due to the COVID-19 pandemic.
The National-level round is scheduled to be held in the third week of January 2021.
Inter-school toppers from each class will be selected for State Level, in which Umar Hamdan of class VI (Present studying in VII) was selected for State Level.
“Out of 20 Toppers of class VI from State Level Umar Hamdan of our School is selected for National Level” an official press statement from the school stated.
Chairman of Bearys Academy of Learning, Syed Mohamed Beary congratulated Hamdan on his achievement and wished him bestfor the national-level event.
source: http://www.varthabharati.in / Vartha Bharati / Home> Karavali / by Vartha Bharati / December 26th, 2020
It was 1836 when William Celenso, a Christian missionary from Cornwall in England, first stumbled upon the mysterious Tamil Bell in a remote Maori village in New Zealand. It was being used as a cooking pot by some of the local people, who told the fluent Maori speaker that it had been found under the roots of a large tree, swept up from the ground by a storm many years prior.
Upon inspection, Celenso discovered a series of markings and runes in an unfamiliar language. Realizing the strangeness of the find, he traded it for a cooking pot, and deposited the curiosity in the Otago Museum in Dunedin. It was later bequeathed to the Dominion Museum, which today is the Museum of New Zealand Te Papa Tongarewa in Wellington.
Deciphering the Strange Inscriptions on New Zealand’s Tamil Bell
In 1870, ethnographer J. T. Thompson chanced upon the bell, and puzzled by the strange archaic writing, he took photos and sent them all around India in the hope of producing a translation. Just two months later, Thompson had replies from Ceylon, which is modern-day Sri Lanka, and Penang, a settlement on the Malaysian Straits.
The obscure inscriptions had been identified as ancient Tamil, a language that hadn’t been in use for hundreds of years. The primitive words that adorned the curious metal oddity were Mohoyideen Buks , which were translated to mean “Bell of the Ship of Mohaideen Bakhsh.”
This led to several fascinating revelations. It illustrated that the owner was a Muslim Tamil, of high stature and probably from a famous Indian shipping company based in Nagapattam, in the south-east of India. This was because his name was Arabic, and his first name came from the Tamil phrase meaning “owner of ships.”
Later, in 1940, the age of the Tamil Bell was estimated to be 400 to 500 years old, dating back to the period between 1400 to 1500 AD. This was a remarkable surprise, suggesting that outside contact with New Zealand had been made hundreds of years before English captain Thomas Cook landed on the windswept coast of Poverty Bay in 1769. But had it really?
Facsimile of inscription on the Tamil Bell. ( Public domain )
Evidence of a Tamil Colony in New Zealand
Only 7 years later, another perplexing discovery would further mystify the people of New Zealand, leading to a possible explanation for the out-of-place artifact. In 1877, a shipwreck was discovered half-buried in sand between the ports of Raglan and Aotea. It was first assumed to be a modern ship, as the New Zealand coast was renowned for being extremely dangerous and accidents were common. But this was different.
The vessel appeared to be of Asian origin and extremely old. C. G. Hunt noted how the ship was constructed of teak beams that were placed diagonally and secured by wooden screws, strongly suggesting it was built in South East Asia. Inside, a brass plate with Tamil inscriptions and a plank of wood containing the familiar name Mohoyd Buk were found.
Inexplicably both pieces of tantalizing evidence vanished in Auckland, and experts were never able to compare it to the timeworn letters of the Tamil bell. Nevertheless, several early theories were put forward by the historians of the day. Some argued this was proof of an early Tamil colony on New Zealand. Others maintained that the skillful construction and expertise of the Tamil seafarers made it perfectly possible they could have sailed to New Zealand.
On the other hand, the evidence for such arguments remains scarce. As far as historical record is concerned, the eastern-most frontier for Indian sailors was the island of Lombok, next to Bali in current-day Indonesia. Furthermore, the Spice Islands of West New Guinea, where nutmeg, mace, and cloves could be exclusively found, although in use, were never controlled by the Tamils and instead remained in the hands of local magnates of Ternate, Tidore, and Amboyna. Add to this that no other Indian relics have ever been found in New Zealand.
Facsimile of inscription on the Tamil Bell. ( Public domain )
A Lost Portuguese Trading Ship?
Another theory put forward is that the Tamil Bell was originally Portugese, and from a lost ship sent as part of a fleet by the Portuguese emperor to secure the Spice Islands. From the 1490s, the Portugese became a major player in the Indian Ocean trade network, securing Asian goods for a booming demand back in Europe. In 1511 the Portuguese even established a trading colony on the Malacca Straights and in many places on the Indian mainland.
One of these places was Goa, and in 1521 the Portuguese Viceroy sent out a fleet of three caravels captained by Cristovas de Mendonca, to explore the lands beyond the Spice Islands. Only Mendonca’s caravel returned, the other 2 being lost at sea and never seen or heard from ever again.
In 1877, the shipwreck found on the New Zealand coast was identified as being constructed in Goa, precisely where the Portuguese ships had set out from. Tamil was widely spoken in Goa which neatly explained the Tamil writing on the bell.
However, all of this is incredibly unlikely. There is no direct evidence that points to a bell being on the Portuguese caraval. Lastly, the Portuguese had already established an incredibly lucrative trade system, which meant there was no motive for them to explore further as the known world of the Indian Ocean was already providing them sufficiently.
Spanish Castaways or Anthropological Science Fiction
One of the most famous and controversial theories was advanced by Robert Langdon in his book The Lost Caravel , in which he proclaimed that the Tamil Bell was brought to New Zealand by a group of Spanish sailors from the East Indies who became disorientated and eventually settled in New Zealand, hundreds of years before Thomas Cook’s arrival.
He wrote that in 1524 the King of Spain ordered an expedition to the Spice Islands, sending a sortie of six ships. A maelstrom of disasters ensued, with two wrecked on the coasts of Patagonia and the Philippines, one reaching Mexico, another returning to Spain, and the remaining two disappearing. One of the stray caravels, the San Lesmes, which contained the Tamil Bell, was last observed in 1526, voyaging across the Pacific Sea.
After running aground at Amanu, an atoll of French Polynesia, where four cannons were later discovered, the crew repaired their ships and sailed on to the atolls of Ana and Raiatea, where several of them settled down and married the native woman. Later on, in a bid to return to Spain, the weary seamen set out west, discovering New Zealand in the process and deciding to make a home on its verdant shores.
The descendants of the castaways explored further, discovering new lands as far as Easter Island, and introduced new cultures, customs, and languages to the Polynesian people influenced by their Basque origins. Langdon was convinced that the additional discovery of a Spanish helmet dated from the 16th century in Wellington Harbor in the 1880s gave his hypothesis more credibility.
However, like the Tamil and Portuguese ship propositions, Langdon’s argument has been highly criticized for its extravagant interpretation of available evidence. Bengt Danielsson, an academic from French Polynesia, described it as “anthropological science fiction.” Throughout his account, Langdon disregarded all existing archaeological and historical literature of the Pacific which often contradicts and disproves his ideas.
The existence of Caucasian-like individuals with fair-skin, red hair, and blue eyes on many Pacific Islands was deemed proof of his hypothesis. While there is no doubt that these traits existed, even in the earliest contact with Polynesian natives, Langdon argued the Spanish castaways were the only source of these genetics, a fact that is impossible given that there were only reportedly 20 to 50 castaways in the forgotten band. It was equally as unlikely that they had travelled to all of the Polynesian Islands .
Next, Langdon pointed to linguistic anomalies as a sign that Spanish words were absorbed into the local dialects. However, there are no identifiable Spanish words in the languages of Eastern Polynesians. Without a shred of evidence, Langdon explained that this was because the children only learned the language of their mothers, leading to the decline and eventual disappearance of the Spanish, Basque, and Galician languages of the fathers. He even proposed that the lack of sounds in the Polynesian tongue meant that Spanish words could easily have been changed beyond recognition after only a day or two.
On the other hand, in all other cases of European and native intermixture in Polynesia, European languages were adapted into the local speech. A diverse array of English words still remain in Polynesian languages today after being incorporated 200 years ago. For example, on the Pitcairn Islands, where only one Englishman lived with eight native women, his descendants still speak English!
In addition, Langdon believed that the indigenous beliefs of Polynesians were derived from the Christian faith of the Spanish diaspora. He utilized sources from 1874 from Catholic missionary Albert Montiton, who remarked on how Christian the native religion seemed to him. Yet Langdon completely ignored the wide conversion of natives to Christianity that happened from 1817 onwards, which presents a more reasonable explanation.
Finally, Langdon cited the “talking boards” of Easter Island, a series of stone tablets discovered in the 1860s with archaic runes, as a type of script invented by the Spanish castaways. Yet his main source for this point was a native guru called Hapai, a man who claimed that Europeans had inhabited Easter Island, and whose evidence was subsequently found out to be fabricated. In the end, Langdon’s farfetched argument was systematically disproven, and the confusion over the Tamil Bell persisted.
There are many examples of ghost ships found floating at sea without any sailors. ( muratart / Adobe Stock
The Derelict Theory: Did the Tamil Ship Drift to New Zealand?
After years of fantastical hypothesizes, Brett Hilder entered the debate with a theory more rooted in reality. His so-called derelict theory re-invigorated the earlier claim that the bell came from a Tamil ship. Hilder’s theory attacked the assumption prevalent in most theories that the crew who possessed the Tamil bell were alive. In the choppy, capricious oceans, there had been many instances of intact wooden ghost ships being found without any sailors.
The Flying Dutchman was perhaps the most famous example, having been discovered with full sails and without anyone on board. Nearer the Pacific, the wreck of the sailboat Joyita, on a journey from Apia to the Tokelau Islands, was observed to have no remaining personnel when it was detected half-submerged in the sea.
These “derelicts” were usually still floating, even after many years at sea, because of the buoyancy of their hulls. Hilder entertained the idea that the Tamil Bell originated from a Tamil merchant ship that was caught in the eastward sea current between Antarctica and the southern parts of the continents.
During the late 1400s and 1500s, when the bell was dated, Tamil seafarers dominated the trade networks of the vast Indian Ocean. Muslim Tamils were particularly skilled navigators, plying their wares across the sea as far as the eastern coast of Africa. Indeed, modern examples of the power of the great Southern Current, which stretches from New Zealand to the Cape of Good Hope in South Africa, cement his idea.
For instance, in June 1973 it was reported in the Nautical Magazine of Glasgow that an unmanned lifeboat had travelled 7,000 miles from the coastline of East London, South Africa, to the Princess Royal Harbor in Albany, Australia. Thirty jars of barley, sugar, and lifeboat biscuits were found in perfect condition, sealed in two compartments. It is more likely, then, that a similar fate befell a Muslim Tamil ship, and that the preservation of its wooden hull helped bring the Tamil Bell to a wild new frontier of the world.
@tamilancient
Enduring Enigma of the Tamil Bell
Since its discovery in 1836, most theories surrounding the Tamil Bell were highly speculative and lacked the sufficient evidence to be taken seriously. Unlike others, Brett Hilder’s focus on the Great Southern sea current, a real geographical phenomenon, presented a case for the Tamil Bell that finally made sense without the mental leaps and bounds taken by other theorists such as Langdon, whose sole proof that the crew of the San Lesmes reached Amanu and married the native woman was the fact that four rusty old cannons had been found there.
Yet even Hilder’s theory has weaknesses. All of the theories incorporated the 1877 shipwreck as a key piece of evidence that identified if the bell was brought by the Tamils, Portuguese, or Spanish. Yet by 1890 the shipwreck, said to be half-sunken in the sand, had mysteriously disappeared, never to be seen again. Subsequent attempts to re-find the wreck, as late as 1975, were all unsuccessful.
“The problem with all these and other ‘mystery’ items, such as ancient shipwrecks on New Zealand’s wild west coast beaches that are reputed to be uncovered briefly in storms, is that in the absence of hard evidence to explain their existence and context, numerous fanciful interpretations are often placed upon them according to particular agendas,” explained Katherine Howe, summing up the situation perfectly. Thus, the mystery of the Tamil Bell lives on.
Top image: Representational image of a tamil bell from inside of Meenakshi Hindu temple in Tamil Nadu, South India. Source: Владимир Журавлёв / Adobe Stock
Mouzam Makkar is currently seen on high voltage legal drama “The Fix” on ABC.
Actor Mouzam Makkar, who plays Loni Kampoor on ABC’s ongoing series The Fix, has come a long way since she arrived in the US as an excited 12-year-old. Today, she along with many other South Asians in American entertainment industry, are not only defying brown stereotypes but are also introducing a newer idea of success in otherwise academically inclined South Asian American families.
While The Fix began airing last month, Makkar has been slowly establishing her identity as a talented Indian American actor. Last year, she was seen in Champions on NBC that was created by Mindy Kaling and Charlie Grandy. Before this, Makkar was also seen in The Following, Exorcist, Law & Order: SVU and many other shows.
“It’s a very exciting time to be a South Asian actor,” she says about being among the few brown actresses who may be changing the long-held stereotypes on American TV. “There are more of us doing TV and film than ever before and the types of roles we play continue to expand. There are also more South Asian content creators and that makes a big difference in expanding the types of narratives we get to tell. It’s been wonderful to be a part of a variety of stories where my characters were not solely defined by my ethnicity.”
Makkar, who hails from Kerala, India, spent a few years in the UAE before making America her home. She graduated with a bachelor’s degree in finance and worked in both investment banking and private equity before shifting to entertainment. Asked if it is doubly difficult for a person of color to find a foothold in the highly competitive Hollywood, Makkar says, “Hollywood is a very tough industry and being a person of color when the majority of the stories are still being told through a white lens makes it that much more difficult. However, things are changing and an important aspect of that change come from people behind the camera. Directors, producers and casting agents who are willing to think outside the box when they’re trying to fill a role make a difference in changing what’s on screen.”
Makkar also spoke about a growing number of South Asians in entertainment. “Those creating their own content can make some of the biggest difference in this industry and that’s exactly what the likes of Mindy Kaling, Aziz Ansari, Hasan Minhaj and Kumail Nanjiani have done with their projects,” She says. “When you write the story, you no longer have to play the supporting character – you can be the hero, the story can revolve around you and your experience. That what these folks have done with their TV shows and films – they’ve shown that the South Asian character and story no longer has to be an afterthought – they can be the main attraction.”
She spoke about the kinds of roles that she would want to see more on TV and in Hollywood. “As a Muslim artist, I would love to see a broader representation of Muslims in TV and film,” she says. “Muslims are an especially misunderstood group in this country and I truly believe that more nuanced and diverse portrayals of the Muslim diaspora can go a long way in helping the general public dismantle many of the negative stereotypes they may hold against Muslims. Given the recent attack in New Zealand, understanding and compassion is more important now than ever. The stories you see in TV and film can go a long way in humanizing people and experiences that you yourself might not directly encounter.”
On the artists that may have inspired her, Makkar says, “My dear friend, Fawzia Mirza, is an amazing filmmaker, actor and activist and she is absolutely an inspiration for creating and sharing stories boldly. As a queer storyteller, she brings yet another layer to the narrative and filmmakers like her are instrumental in showing the world that there isn’t just one type of Muslim or South Asian in this world. We are a varied and diverse group, dealing with unique and universal struggles and we can’t be neatly boxed into a single category.”
source: http://www.americanbazaaronline.com / The American Bazaar / Home> News> Entertainment / by Zofeen Maqsood / April 04th, 2019
Eight minarets of Hamid Manzil, a magnificent building that houses the world’s famous Rampur Raza Library located some 200 kilometers from New Delhi, is a great symbol of pluralism in India.
The first part of the library minaret at the bottom is built in the shape of a Mosque; the part just above this resembles a Church, the third part reflects the architectural design of a Sikh Gurudwara, and the top-most part is built in the shape of a Hindu temple.
The religious symbols
This spirit of inclusiveness promoted in the princely State early on continues to inspire the people of this Uttar Pradesh district to live in harmony.
Rampur also famous for the Rampuri Chaku (knife), is one of the few princely states in India where no major communal riots or disturbances ever took place during the British colonial era or in the years afterward.
What makes the symbolism of the building remarkable is that it was constructed between 1902-05 much before India got its Independence and the nawabs were in the power of the 15-gun salute Princely State. They consciously chose to keep the sequence of symbolism with a secular spirit.
The unique architecture of the library building tells a long story about the nature and politics of the erstwhile Rampur Princely state. The interior of the building is also inspired by European architecture. The architect of the building was French architect W.C. Wright, who made the structure on the instructions given by Nawab Hamid Ali Khan.
The interiors of the library
The Nawabs of Rampur were Rohilas, who had their origin in Roh, Afghanistan, and were renowned for their secular and liberal outlook. They patronized the arts, culture, and education, and were known for their love of music, poetry, and architecture. They also promoted social and religious harmony by patronizing scholars and religious leaders from all faiths, including Hindus, Muslims, and Sikhs. Raza library continues to be one of the most important cultural institutions in India and houses a vast collection of rare manuscripts, books, and other artifacts.
The library is now managed by the Government of Uttar Pradesh but remains closely associated with the Nawab family. Its minarets capture the true soul of the syncretic traditions of India. The Rampur Raza Library collection was started by Nawab Faizullah Khan in 1774. But the building came up much later.
The library initially had the personal book collection of Nawabs of Rampur who were patrons of the arts and avid collectors of books and manuscripts. Over the decades, the library has grown to become one of the largest collections of rare books and manuscripts in the country.
The library houses a vast collection of 17,000 manuscripts, including 150 illustrated ones with 4413 illustrations and about 83,000 printed books besides 5,000 miniature paintings in albums, 3000 specimens of calligraphy, and 205 palm leaves. Many rare and valuable texts are in Arabic, Persian, Urdu, Hindi, and other languages. The collection includes works on a wide range of subjects, including history, philosophy, science, literature, and religion.
The Raza Library is also home to several rare artifacts, including miniature paintings, coins, and other objects of historical and cultural significance. The library has a conservation lab that works to preserve these artifacts and ensure that they are protected for future generations. Nawab Murad Ali Khan, the son of the last nawab Murtaza Ali Khan has been on the board of the library management. His brother Nawab Kazim Ali Khan was also involved.
He has been MLA for five straight terms from the Suar constituency. He has twice been a Minister in Samajwadi as well as the Bahujan Samaj Party Government of Uttar Pradesh. He has continued the legacy of his ancestors in furthering a tolerant and secular culture in his region. Maulana Azad was the first MP from Rampur, who also became the first education minister of independent India. The Nawabs of Rampur were particularly famous for their patronage of Urdu poetry and music.
The general view of the library
Nawab Yousuf Ali Khan learnt poetry from Mirza Ghalib, who had been employed by his court. The nawabs were avid collectors of musical instruments, and many famous musicians and singers, including Ustad Allauddin Khan and Ustad Faiyaz Khan, were associated with the Rampur court.
The Rampur-Sahaswan gharana of classical music is named after the princely state and continues to be popular among music enthusiasts in India. Even though Rampur was a predominantly Muslim state, the Nawabs encouraged the development of Hindu temples and other places of worship for non-Muslims.
They also supported interfaith marriages and were known for their efforts to bridge the gap between different communities in their state. Rampur Raza Library is today one of the biggest symbols of India’s syncretic heritage and continues to attract visitors from across the world.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by ATV / Posted by Shaista Fatima / February 22nd, 2023
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
