Category Archives: Arts, Culture & Entertainment

Kerala: Veteran Mappilapattu singer Ramla Beegum dies

Kozhikode District, KERALA:

The veteran Maappilapattu singer, Ramla Beegum, passed away at her residence in Kerala’s Kozhikode district on Wednesday, September 27, 2023, at the age of 85.

In addition to her renown as a Maapilapaatu singer, Ramla gained fame as a Kathaprasangam artist, captivating audiences with her unique storytelling style that weaved together tales from both Muslim and Hindu cultures.

Her performances graced stages both nationally and internationally.

To this day, Ramla’s Mappilapattu songs and lyrical narratives, such as “Husnul Jamal Badrul Muneer,” continue to captivate the hearts of art enthusiasts. Some of her most cherished renditions included “Aalam Udayon…” and “Iruloka Jayamaniyum…”

Ramla has performed narrations of literary classics such as Kesavadev’s ‘Odayil Ninnu,’ Kalidas’s ‘Shaakuntalam,’ and Kumaran Asan’s ‘Nalini’ on international platforms.

Her exceptional talent has earned her numerous awards, including the Kerala Sangeetha Nataka Academi Award and the Folklore Academi Award, to name a few.

source: http://www.maktoobmedia.com / Maktoob Media / Home> India / by Maktoob Staff / September 27th, 2023

City-based Assamese poet Shaheen Akhtar wins literary award

Guwahati, ASSAM:

City-based Assamese poet Shaheen Akhtar has been awarded the ‘Independence Day Literary Honour’.

Shaheen Akhtar

Guwahati :

City-based Assamese poet Shaheen Akhtar has been awarded the ‘Independence Day Literary Honour’ by “Motivational Strips – World’s Most Active Writers Forum” in collaboration with the Gujarat Sahitya Academy (Under the Government of Gujarat).

Shaheen was declared as a recipient of the award “owing to her brilliance in poetry which is considered to be at par with world standards”.

The Independence Day Honour’ is conferred annually to the best poets worldwide jointly by the ‘Motivational Strips’ and the ‘Gujarat Sahitya Academy’ . The literary awards are given as a tribute to India’s Independence Day and the honor is considered as the most valued in the global poetic circle. Shaheen was accorded the honour on August 15, 2021.

The awarding procedure undergoes an exhaustive evaluation process, where the poet’s literary acumen, behaviour, global interactions and inclusions are taken into consideration before the recipient is conferred with the honour. A total of 440 poets from 82 countries were selected for this award.

‘Motivational Strips’ includes writers from more than 160 countries. The average visitors to this forum are beyond 7.2 million every month.

source: http://www.sentinelassam.com / The Sentinel / Home> Cities> Guwahati / by Sentinel Digital Desk / August 27th, 2021

Gathering of hijab-wearing women to break barriers, bust misconceptions

INDIA:

Callisthenics performer, international karate referee, biker, calligrapher who don the headscarf by choice to share stage at YB Chavan auditorium on World Hijab Day

Packing a punch: Shaheen Akhtar, the first female karate referee in south Asia, with her students. (Right)

On Instagram, 19-year-old Haleema Momin calls herself ‘Hijabi Beast’. The athlete from Jogeshwari who performs callisthenics stands out not only for her choice of career but also her attire.

“People who don’t know about Islam assume that hijab is a sign of oppression. For me, the hijab brings a sense of security, strength and dignity. I get a lot of support and attention because of my hijab,” said Ms. Momin, who is trained in powerlifting and martial arts.

Extraordinary feats

The teenager, who works as a personal trainer, is all set to perform a range of moves like the headstand, handstand, superman push-ups and flips at YB Chavan auditorium on February 1, World Hijab Day. She will share stage with an international karate referee, a biker, a calligrapher and other women who wear the hijab by choice and take pride in it.

The first-of-its-kind event has been organised by the non-profit Al Hadi Organisation with the aim of shattering the popular belief that the hijab is an obligation and not a choice. “I started wearing the hijab at the age of 41. It was a sudden consciousness that dawned upon me and I became a hijabi,” said Mazgaon resident Shaheen Akhtar, a World Karate Federation referee and the first female karate referee in south Asia. Ms. Akhtar was lucky that in the same year, 2014, the World Karate Federation introduced the hijab as a part of the attire for referees. Her 26-year-old daughter, who holds an MBA and works with a multinational company, does not wear a hijab. She said, “My mother always told me that our religion calls for it, but never forced me to wear the hijab. I made my own choice and I will let my daughter make her own choice too.”

The event also aims at highlighting the bias against hijabis in schools, colleges and workplaces. “It took so many years for television channels to have hijabi anchors. Why?,” asked 29-year-old Fatema Zaidi Mirza, an anchor with Channel WIN (World Islamic Network) and one of the presenters at the February 1 event. Ms. Mirza will also share her own story of being asked to remove her headscarf while in school, which later resulted in her parents filing a court case. “Even today, there are so many schools that do not allow Muslim girls to wear the hijab and women are asked to remove it at many places,” she said.

Shabana Sadik Husein Pattawala, founder of Al Hadi Organisation, said the event will bring together women from all Muslim sects. She said, “The message we want to spread is that women can do wonders wearing a hijab, and wearing it does not hide their talent. The speakers and performers at the event will bear testimony to this fact.”

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Mumbai / by Jyoti Shelar / January 29th, 2020

Muslims: The first architects of India

INDIA:

Mughal Art and Architecture

We, The Indian Muslims are proud to be citizens of this great country. We have been an architect of this land all through centuries since the days of dynastic rule. Whether it was construction of world class network of transport facilities like Grand Trunk Road linking major cities, founding new cities of highest standards for that age, huge monumental structures to attract the world, development of living standards and maintain cordial relationships between groups belonging to various religions, languages, castes and cultures, we pioneered justice and maintained the system.

With the passage of years, decades and turn of events, the foreign forces got attracted to it and slowly took over the rein of rule.

We were first to challenge and fight for country’s independence valiantly. Even our clergymen took to streets and fought, thousands laid down their lives. Colonel Balwan Singh Nagial, a third-generation Indian Army officer who retired in 2019 wrote in Times of India (April 23, 2022), thus: “Muslim leadership contributed enormously to divergent phases of the  Indian struggle for independence. They (Muslims) played a larger-than-life role and made significant sacrifices in this struggle for independence.

From the last Mughal ruler Bahadur Shah Zafar to nawabs, princes, landlords of all sizes, clergy, ulema and the ordinary people, they all stood for the cause and took on enormous challenges and made supreme sacrifices.

When the INC was formed in 1885, the Muslims responded enthusiastically and supported all its efforts throughout the freedom struggle until India became free. The most enthusiastic support for the INC was from the Muslims of the conservative Ulama of Deoband. Earlier, the Ulama had participated in the 1857 uprising with heart and soul.

They made great sacrifices, and hundreds of them were sent to Andaman-Nicobar and many to Malta, an island to the south of Italy.

Muslim leaders who contributed to India’s struggle for independence were:

Khan Abdul Ghaffar Khan, Maulana Abul Kalam Azad, Maulana Muhammad Ali, Maulana Shaukat Ali, Allama Iqbal, Muhammad Barkathulla, Bi Amma (mother of Ali brothers), Badarudeen Tyabji, Hakim Ajmal Khan, Mohammad Ali Jinnah, Dr M.A. Ansari, Dr Siafudeen Kichlu, Dr Basheer Ahmad, Syed Ameer Ali, Dr Syed Muhammad, Hasrat Mohani, Nawab Abdul Latheef, Altaf Hussain Hali, Syed Ahmad Sirhindi, Syed Ahmad Bareilly, Maulana Shibli Numani, Munshi Karamat Ali, Munshi Zakaullah.

Hindus and Muslims together fought the foreign forces shoulder to shoulder. A report by the ‘Milli Chronicle’ says that names of 95,300 freedom fighters are etched on the India Gate in Delhi, and remarkably, 61,945 of these names belong to Muslims, signifying that 65% of these brave individuals were Muslims. The significance of this statistic is eloquently captured by the renowned writer Mr. Kushwant Singh, who boldly declared that the story of Indian freedom is etched in the blood of Muslims, emphasizing their large contribution to the freedom struggle, considering their dis-proportionately smaller population percentage.

The annals of history are adorned with the stories of Muslim freedom fighters who put their lives on the line to liberate India from the shackles of British oppression. These individuals, driven by an unwavering determination to secure their homeland’s independence, demonstrated exceptional courage and resilience.

All through ages we find tall personalities like Sultan Haidar Ali, father of Tipu Sultan, (he pioneered the fight against British colonial forces); Tipu Sultan, son of Haider Ali; (he pioneered the use of iron-cased rockets); Ashfaqullah Khan,(noted for his daring attacks on British government trains); Maulana Abdul Kalam Azad, the youngest President of the Indian National Congress,(who rallied Hindus and Muslims alike against British oppression); Maulana Hasrat Mohani, Khan Abdul Ghaffar Khan, (a pivotal figure in the Khilafat movement); was jailed for 13 years by the British),  Sirajud Daula, (the last Nawab of Bengal), Badruddin Tyabji (of Indian National Congress); his wife, Suraiya Tayabji, who designed the present Indian flag., Zain-ul-Abideen, an officer of the Indian National Army (INA), coined the iconic patriotic slogan “Jai Hind.”

While recounting the names of every Muslim freedom fighter may be an impossible feat, their contributions and sacrifices in the fight against British colonialism are immeasurable and undeniable. The fact that many chose to remain in India underscores their deep-rooted connection to the land. Despite attempts to distort history, India will forever be the cherished home of its Muslim citizens. We gave the independent India Maulana Abul Kalam Azad, the first Education Minister, Dr. Rafi Ahmed Qidwai, Dr.Zakir Hussain (an Educationist and Vice President), and numerous figures as servants to the country in the form of politicians, officers, industrialists, entrepreneurs, researchers, technocrats etc. in every field.

Our very recent contribution to the nation’s public service has been the world famous Scientist/Technocrat and President Dr.A.P.J. Kalam. He set the highest, un-believable standard of honesty, transparency and clean image in public life. A glimpse into the life he spent in the Rashtrapati Bhavan as President gives a shocking information. The same is as under: Mr. P M Nair, (retired IAS officer, then Secretary to Dr. Abdul Kalam, the President writes in his book “Kalam Effect” that Dr. Kalam used to receive costly gifts whenever he went abroad (as it is part of custom & protocol) used to ask the gifts to be photographed and then catalogued and handed over to the archives. Afterwards, he never even looked at them. He did not take even a pencil from the gifts received when he left Rashtrapathi Bhavan. It was a regular practice for every President to host an Iftar party, a routine. Upon being reminded about it Dr. Kalam asked Mr. Nair why he should host a party to people who are already well fed. Instead he estimated and donated Rs.22 lac being the cost to a few selected orphanages in the form of food, dresses and blankets besides a cheque for Rs.1.lakh from his personal funds. Though himself a devout Muslim, he never organized Iftar parties in President’s house at Public expense. Once Dr. Kalam invited 50 of his relatives to come to Delhi and they all stayed in Rashtrapathi Bhavan. He organized a bus for them to go around the city which was paid for by him.

No official car was used. Their lodging and food bill which came to Rs.2 laks was paid by him as per his instructions. Dr. Kalam’s elder brother stayed with him in his room for the entire one week as Dr Kalam wanted his brother to stay with him. When they left, Dr. Kalam wanted to pay rent for that room also. Imagine the President of a country paying rent for the room in which he is staying. This was any way not agreed to by the staff who thought the honesty was getting too much to handle. When he was to leave Rashtrapathi Bhavan at the end of his tenure, every staff member went and met him and paid their respects. Mr. Nair went to him alone as his wife couldn’t as she was confined to bed due to fracture. Upon noticing her absence and knowing the reason Dr. Kalam visited his house and chatted with her for some time. The following property was left behind by Dr.A.P.J.Abdul Kalam: 16 doctorates, 1 website, 1 twitter account, 1 email id, 2500 books, 1 Padmashri, 1 Padmabhushan, 1 Bharat Ratna, 1 flat (which he has donated), 6 pants & 4 shirts (DRDO uniforms), 3 suits (1 western, 2 Indian). He didn’t have any Car, jewelry, stocks, TV, AC, land or any bank balance. He had even donated the last 8 years’ pension towards the development of his village. He was a real patriot and true Indian Muslim. We are proud of him.

Our character building efforts continued even through the present 21st century in the country with unique results as records vouch. For example, the city of KAYALAPATTANAM (in Tamil Nadu) with 100% Muslim population goes. There is no Police Station, no cinema and no crime in the city because there had been no crime there for decades.

The present day situation in the country may appear to be disheartening and disappointing for some. The irresponsible attitude towards Muslims by some extremist groups in the country belonging to a certain ideology should be viewed as a momentary period. Their efforts to demoralize, degrade, deny civil rights are synonymous with their declared intentions. A great majority of country-men still believe and practice true Hinduism as had been for centuries in the past. True Hindus do not endorse hatred, support arson and distrust.

A long history of peaceful co-existence of Muslims and Hindus for centuries with mutual respect, rejoicing specially the occasion of festivals and long socio-economic ties in every nook and corner of the country is its evidence.

Our country has been an example of ‘Unity in diversity’ for the world for a long time. Nobody from either community can imagine a survival without another. The bond has been and will surely be strong as Steel. The ever increasing social evils like Corruption, nepotism, frauds, woman-bashing and vandalism like termites in the country have made the life of common man miserable.

Decline in the values like increased greediness, and wide spread of dishonesty, revenge, vindictiveness, and non-adherence to law need to be challenged and controlled. The ‘PLEDGE’ we used to read in our text books once in first page is long missing both from the book and in practice.

We the Indian Muslims, whether a common man, clergy, intellectual, and technocrat, worker or even those with any political group should realize that notwithstanding the company or area, we have a responsibility towards the country and duty-bound to work for our own community. We need to understand todays challenging scenario and strengthen its unity. We are the inheritors of a great legacy, and not followers of the ilk of this day. We Muslims should remember that we are ordained by the Almighty Allah to be united, behold his Commands; make efforts to spread virtuous deed and work eradicate evils. The entire country is looking forward for the honest.

As the phrase rightly goes, ‘Service to humanity is service to God’. Our population in the country according to 2011 census stands at about 200 million which constitutes 15%. We need to contain our extravagant life-style especially in matters of functions and festivals.

We should stop depending on politicians, their promises and focus on a self, collective effort. We need to move forward together in the fields of education, employment opportunities generating plans through mutual cooperation. For this purpose and as in the days of our Prophet, we should make our area Masjid a center for gathering, deliberation, planning, guidance and service as per law.Experts and experienced in relevant fields can be roped in for the purpose and the available resources can be put to work.

سبق پڑھ پھر صداقت کا، شجاعت کا، عدالت کا۔۔
لیا جائیگا تجھ سے کام، دنیا کی امامت کا۔۔

source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim / by Syed Ilyas Basha / October 03rd, 2023

Dadasaheb Phalke Award conferred on Waheeda Rehman

Chengalputtu, TAMIL NADU / Mumbai, MAHARASHTRA:

Waheeda Rehman, 85, is a towering legend of Indian cinema known for iconic roles in films like ‘Guide’, ‘Pyaasa’ and ‘Kaagaz Ke Phool’

Waheeda Rehman


Union Information and Broadcasting Minister Anurag Thakur on September 26 announced that veteran Bollywood actor Waheeda Rehman would be conferred with the Dadasaheb Phalke Lifetime Achievement Award for 2021, honouring her stellar contribution to Indian cinema.

Prime Minister Narendra Modi congratulated the 85-year-old actor through an X (formerly Twitter) post. “Delighted that Waheeda Rehman Ji has been honoured with the Dadasaheb Phalke Lifetime Achievement Award. Her journey in Indian cinema has left an indelible mark. A beacon of talent, dedication and grace, she embodies the best of our cinematic heritage. Congratulations to her,” he said.

Ms. Rehman has been critically acclaimed for her roles in Hindi films, prominent among them being Pyaasa, Kaagaz ke Phool, Chaudhavi Ka Chand, Saheb Biwi Aur Ghulam, Guide and Khamoshi.

The announcement coincides with the birth centenary of Dev Anand, who had worked with Ms. Rehman in the classics like Guide (1965), an adaptation of R. K. Narayan’s book; and crime thriller C.I.D. (1956), which was her first Hindi film. Earlier, she had acted in Telugu films Rojulu Maraayi and Jayasimha, which were released in 1955.

“In her career spanning over five decades, she has essayed her roles with extreme finesse, leading to a National Film Award for her role as a clanswoman in the film Reshma and Shera. A Padma Shri and Padma Bhushan awardee, Waheeda ji has exemplified dedication, commitment and the strength of a Bharatiya Nari who can achieve the highest level of professional excellence with her hard work,” said Mr. Thakur.

The Minister said: “At a time when the historic Nari Shakti Vandan Adhiniyam (women’s reservation Bill, 2023) has been passed by Parliament, her being awarded this lifetime achievement award is a fitting tribute to one of the leading ladies of Indian Cinema and one who has dedicated her life after films to philanthropy and the greater good of society.”

The award will be presented during the 69th National Film awards ceremony. The Dadasaheb Phalke Award selection committee comprised prominent Indian cinema personalities, Asha Parekh, Chiranjeevi, Paresh Rawal, Prosenjit Chatterjee and Shekhar Kapur.

Ms. Rehman has worked in more than 90 films. She won the Filmfare Best Actress Award for her roles in Guide and Neel Kamal (1968). She also bagged the National Award for Best Actress (1971) and was honoured with the Padma Shri by government in 1972 and the Padma Bhushan in 2011.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by The Hindu Bureau / September 26th, 2023

Waheeda Rehman’s Tamil Nadu connect

TAMIL NADU :

Thanjavur-based Shahida Malik, the elder sister of Waheeda Rehman, talks about growing up with her ‘Chand’.

Waheeda Rehman with Shahida Malik | Photo Credit: Special Arrangement

Many rejoiced at the news of veteran actor Waheeda Rehman being conferred with the Dadasaheb Phalke Lifetime Achievement Award for 2021.

But quite above the fan frenzy, is 92-year-old Shahida Malik, Waheeda Rehman’s elder sister based out of Thanjavur, who has been moved to tears of joy at the recognition of her beloved sibling, nicknamed ‘Chand’ (moon and a term of endearment in Urdu), whose innate talent has been finally given its due.

It often comes as a surprise to many that Waheeda Rehman is actually from Tamil Nadu. She was born in Chengalpattu.

With a beautiful dance sequence that marked her debut at the age of 17 in the 1955 Telugu film Roju Marayi (remade as Kaalam Mari Pochu in Tamil), Waheeda Rehman’s body of work spans several decades of unusual roles. Her career in Hindi started in 1956 with the Guru Dutt production CID

“Waheeda’s Roju Marayi dance was so famous that people used to throw money at the screen whenever the song came on,” says Shahida. “We were amazed to see the reaction to our sister and so proud of her success.”

Trained in Bharatanatyam

Born in 1938 to district commissioner Mohamed Abdul Rehman and Mumtaz Begum, Waheeda was the youngest of four daughters. She and her sister Sayeeda trained in Bharathanatyam.

Shahida, who is seven years elder to the actor, remembers the family fearing for Waheeda’s poor health in her early childhood. They were also worried about the reaction to girls from the Muslim community taking up dance or films as a career.

She was first noticed as a performer at a Bharatanatyam recital for a cultural show organised during a visit by India’s last Governor-General C. Rajagopalachari by her father when he was posted at Vishakapatnam (in what was then the Madras Presidency).

“Father was asked to use only local artistes in the programme. Waheeda and Sayeeda were roped in for the dance,” recalls Shahida. As mentioned in the 2015 book Conversations with Waheeda Rehman by Nasreen Munni Kabir, the family went through straitened times after the death of Mohamed Abdur Rehman in 1951.

Veteran actor Waheeda Rehman at an event in New Delhi | Photo Credit: –

“Our father was transferred constantly, and this affected our studies. My elder sister Zahida and I managed to study up to Class 8, but Sayeeda and Waheeda didn’t get even that far. They worked very hard to stand on their own feet,” says Shahida. 

Foray into films

Waheeda Rehman’s success in the Roju Marayi song led to a meeting with actor-producer-director Guru Dutt, who eventually signed her up for a three-year contract with his production house in 1955, persuading Waheeda and her mother to shift to Bombay from Madras.

Their creative partnership flourished in films like PyaasaTwelve O’ ClockKaagaz Ke PhoolChaudvin Ka Chand and Sahib Bibi Aur Ghulam. With a ringside view on the world of films, Shahida has many memories of her sister’s heyday as a young actor, and also chaperoning her to shoots in outdoor locations. 

Waheeda Rehman in the Telugu film ‘Rojulu Maaraayi’ | Photo Credit: The Hindu Archives

Shahida and Waheeda are the only two surviving sisters. Family members, irrespective of their age, refer to their star relative affectionately as ‘Chand Khala’. “I nicknamed her after the moon, because she was destined to rise high in life and shine. I am so happy, I cannot stop crying,” says Shahida.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by Nahla Nainar / September 27th, 2023

The Awe-Inspiring Wildlife Drawings of Shaikh Zain ud-Din

Patna, BIHAR (BRITISH INDIA) :

An 18th-century album of India’s flora and fauna showcases the startling work of an overlooked master.

Bird
Shaikh Zain ud-Din’s Brahminy Starling with Two Antheraea Moths, Caterpillar, and Cocoon on an Indian Jujube Tree was originally part of an album commissioned by his British patrons. © Minneapolis Institute of Art

In the late 1770s, a British colonial official named Sir Elijah Impey and his wife, Lady Mary, commissioned the Indian artist Shaikh Zain ud-Din to catalog a private menagerie, including various bird species, the couple had assembled at their home in Calcutta. Using paper and watercolors from England, Zain ud-Din, a Muslim from the city of Patna, modeled his work after English botanical illustration, but he also brought to the job his training in the ornate Mughal artistic tradition—and his own distinctive style. Today critics praise the quality of the colors and the composition, in which a bright, simple background offsets the keenly wrought details of plants and animals. “Everything is incredibly precise and beautifully observant,” says Xavier Bray, director of London’s Wallace Collection, which this month mounts the first UK exhibition of works by Indian artists commissioned by officers of the British East India Company.

The expat aristocrats who patronized Zain ud-Din and his fellow artists had been sent abroad to help manage their country’s growing empire, but once there many, like the Impeys, fell in love with the subcontinent, as well as its flora and fauna. “These paintings,” Bray says, “were made into albums to be leafed through back home, on a rainy day, drinking Earl Grey tea.”

History failed to record much about Zain ud-Din’s life beyond his watercolors for the Impeys. But the new show, which includes 99 paintings of nature studies, portraits and landscapes by 18 artists, makes an argument that he and his contemporaries should be recognized on their own merits, as some of India’s greatest painters. “Anything with a colonial air about it is now considered politically incorrect,” Bray says. “But what we’re trying to do is bring back these extraordinary artists who have been almost completely forgotten.”

Bat
A Great Indian Fruit Bat, or Flying Fox (pteropus giganteus), by Bhawani Das, Calcutta, c. 1778-1782. Courtesy Private Collection
2nd bird - Indian Roller
Indian Roller on Sandalwood Branch, by Shaikh Zain ud-Din, Impey Album, Calcutta, 1780. © Minneapolis Institute of Art
Stork
Asian Openbill Stork in a Landscape, by unknown artist, Lucknow, c. 1780. Courtesy Private Collection (Photo: Margaret Nimkin)
arum
Arum tortuosum (now Arisaema tortuosum, family Araceae), by Vishnupersaud, c. 1821. © The Board of Trustees of the Royal Botanic Gardens, Kew

source: http://www.smithsonianmag.com / Smithsonian Magazine / Home> Arts & Culture / by Amy Crawford, Contributing Writer / December 2019

Guntur Girl Enters Record Books With Periodic Table

Chilakaluvripeta (Guntur District) , ANDHRA PRADESH:

Fazeela Tabassum Shaik, a 9-year-old child from Chilakaluripeta, Guntur district has broken her previous Guinness World Record of “The Fastest time to arrange all elements of the periodic table” in which she took 1min 57sec. Now she arranged in 1min 43 sec setting up a new Guinness record.

Earlier, a Pakistani child had set a record in 2.27 minutes, which has now been broken by Fazeela Tabassum Shaik. Fazeela practised nearly 4 to 5 months for daily 5 to 6 hrs daily to achieve this. Fazeela is presently trying to break her own record by setting the periodic table in 1 min 30 seconds.

In January 2021, Ganapavaram CR College conducted an official attempt at the Guinness Book of World Records and Fazeela Tabassum completed the event in 1.43 minutes.

In this regard, Fazeela has received an official confirmation and certificate from the Guinness Book of World Records on April 27.

source: http://www.sakshipost.com / Sakshi Post / Home> Andhra Pradesh / May 09th, 2021

How a women’s collective revived the food of Nizamuddin

NEW DELHI:

Zaika-e-Nizamuddin, run by 11 women of Delhi’s Nizamuddin basti, is carrying forward the 700-year-old legacy of culture and cuisine.

Members of Zaika-e-Nizamuddin
Members of Zaika-e-Nizamuddin

The awe-inspiring neighbourhood of Nizamuddin is located in the heart of Delhi. One of the oldest parts of the capital city, this bustling area comprises the World Heritage Site of Humayun’s Tomb, the vibrant seven centuries-old settlement of Hazrat Nizamuddin Basti and the 70-acre Sunder Nursery, among other landmarks. It also has a delectable cuisine, that is distinct in its rootedness and flavour, which is integral to Delhi’s food scene.

A women’s collective—Zaika-e-Nizamuddin (ZeN)—is carrying forward this 700-year-old legacy of culture and cuisine. As the name suggests, it is the flavours (zaika) of Nizamuddin that the group curates. Swati Batra, Women’s Livelihood coordinator of the initiative, says, “Zaika-e-Nizamuddin was initiated in 2012 under the Nizamuddin Urban Renewal Initiative of the Aga Khan Trust for Culture (AKTC) in response to a study conducted under the initiative’s ECCD (Early Childhood Care and Development) component. The study revealed more than 50 percent of the children under the age of six in Nizamuddin Basti are malnourished. Further exploration highlighted junk food to be one of the major causes of malnourishment in children. ZeN came into existence when a group of mothers was brought together to make and supply healthy homemade alternatives to the junk snacking.”

What makes the dishes made by this group of chefs different from what one eats at Jama Masjid? “That food is more commercial, and laden with oil and spices . We, on the other hand, are simple home cooks. We don’t have a degree in culinary skills,” says Fatima Shahjahan, a member of the collective. “Our food is loved because we make every dish from scratch with age-old recipes. The taste upholds the living heritage and also gives a peek into the culture of Nizamuddin,” says another member, Kulsum. “It looks simple, but it has struck a chord with many,” says ZeN member, Noorjahan.

The group started its catering wing in 2015, and since then it has grown into an independent women’s enterprise and provides food beyond Nizamuddin. They were invited to Park Hyatt, Hyderabad, and JW Marriott Mumbai for special food festivals in 2019 and 2020. The group recently got registered as an LLP company with 11 women members as partners.

The product repertoire of ZeN includes home delivery, picnic baskets, catering, pop-up restaurants and live counters with dishes like khichda, salans, koftes, laddoos, namkeens and more. They also participate in several food exhibitions and have a weekend stall in Delhi’s nature hub, Sunder Nursery. “The main value proposition is that every order is made exclusively (from scratch), using fresh ingredients (no refrigeration) and age-old recipes (no internet),” says Batra.

It is empowering to see the ‘bajis’ (elder sister in Urdu) of Nizamuddin sport aprons and headgears to make nihari and haleem using their grandmother’s recipes in a commercial bawarchi khana (kitchen). It has been a transformative journey for 11 illiterate women, who have never done any work outside their homes, apart from being domestic helps. To work on something of their own has been empowering. “It wasn’t as difficult to form a group as it was to keep the group together, especially during phases of low income. All the women come from a difficult reality and investing time into something without any immediate income has been very trying. They faced a lot of resistance from their families initially. But fortunately, the members held on to the hope and stuck around. Now they are partners of their firm,” says Batra.

The AKTC team responsible for incubating and anchoring the group tried to keep the women active during lean periods and the initial phase (when the quantum of business was lesser) by involving them in different kinds of training, regular meetings and organising exposure visits. When they started out, the women made around ₹200 a month. They are now earning up to ₹6,000 a month per person. There is also a communal kitty that they circulate among themselves. Over the years, ZeN has been able to create a place for its brand in the multi-faceted food space of Delhi. It has a small but loyal customer base who appreciate the quality of the food along with the journey of the enterprise.

“ZeN works with the objective of creating sustained, dignified, and enhanced incomes for its women members through promoting the indigenous cuisine of Basti Hazrat Nizamuddin,” emphasises Batra. As the group coordinator receives an order from a customer she puts in the duty of the chef(s) according to an internal roster. The chef(s) in charge procures fresh meat and vegetables and prepares the order which is finally delivered by a local delivery boy working with the group. Bigger or difficult orders are made under the supervision of group leaders.

The collective works on a flexible model where the members can choose the number of hours they want to devote. If a member decides to not take up the order, the one next in line in the roster gets it, and so on. Every member has a work passbook that records their daily duties. At the end of every month, the chefs’ income, according to the work they have done, is transferred directly to their bank account.

The pandemic was challenging and the collective is still coming to terms with it. “It was a huge and disappointing speed breaker, and the kitchen remained closed for months. Concealment of Nizamuddin, after it was marked a ‘red zone’, made everything worse. The annual turnover reduced by more than 20 percent in FY 2020-21 compared to FY 2019-20. The enterprise also lost many hard-earned customers,” rues Batra.

The catering service re-started after a break in July 2020 after collecting customers’ responses through a survey on their willingness to place orders. During the second wave, ZeN launched a new product idea of simple home-cooked food. The food received encouraging response and was mostly ordered by Covid-positive patients across the city. “The biggest learning has been to take feedback constructively and continue to work in a systematic manner with constant efforts towards improvement. For community enterprises like these, teamwork is very important,” says Batra, revealing that Zaika-e-Nizamuddin is planning to scale up in the future by considering collaboration with cloud kitchens and delivery partners while maintaining their authentic value proposition. “I can’t say any more on this topic. Just keep a watch out for us going big,” she smiles.

ZeN can be contacted through their Instagram page: @zaika_e_nizamuddin. They deliver across Delhi-NCR and orders can be placed via WhatsApp on 9891543356.

source: http://www.lifestyle.mint.com / Mint / Home> Mint Lounge> Food> Discover / by Medha Dutta Yadav / March 28th, 2022

India’s Urdu Press: A Bitter-Sweet Bicentenary

INDIA:

In the past 75 years a community of Urdu magazines that used to be read by the entire family has disappeared unmourned, so too their journalists and readers. There is also now no major Urdu newspaper or magazine that is edited by a non-Muslim.p

Last year, Urdu institutions in India celebrated a landmark in the history of that language—the 200th anniversary of the publication of Jam-i Jahan-Numa, the first modern newspaper in Urdu. It debuted on 27 March 1822, carrying a name that was clever and most befitting. It referred to the fabled “world-revealing goblet” of the legendary Iranian monarch, Jamshed, into whose depths the regal eyes could peer and see all that was happening in the world.

A big surprise about the new journal was its place of publication, Calcutta (now Kolkata), not known as a major centre of Urdu language and literature. Surprising also was the identity of its publisher, Harihar Dutta, a feisty upper-class Bengali young man with no ties to the north Indian regions more closely identified with Urdu. His grandfather had been the Dewan at the East India Company’s Custom House for 50 years, a position of some status, later held by his father Tarachand Dutta.

Tarachand is better known in records as the co-founder, with Raja Ram Mohan Roy, of the progressive Bangla weekly Sambad Kaumudi in 1821, and the publisher of Roy’s Persian weekly, Mirat-al-Akhbar, arguably the first newspaper in that language, which came out a month after Jam-i Jahan-Numa. Thus, the father and son can rightly be described as the founders of modern journalism in both Urdu and Persian. My account of the Duttas and their journal is based chiefly on Gurbachan Chandan’s Jam-i Jahan-Numa: Urdu Sahafat ki Ibtida (New Delhi: Maktaba Jami’a, 1992), and Nadir Ali Khan’s Urdu Sahafat ki Tarikh (Aligarh: Educational Book House, 1987).

The editor, Munshi Sadasukh Lal, was an equally remarkable man. Hailing from Agra, which had come under British control in 1803, he had travelled to Calcutta to make his fortune, either as a tutor to some foreign employee of the Company, or as a munshi at some business house, handling their formal correspondence. Besides an expertise in Sanskrit, Hindi, Persian, and Urdu, he had some knowledge of Arabic. He also knew English well enough to read and understand official publications, and later translated many professional texts into Urdu and Hindi.

In a few years [after 1828], with the spread of litho technology, Urdu newspapers began to appear all over North India.

We do not know the significant dates of Sadasukh Lal’s life, but he is known to have left Calcutta some years later, travelling first to Allahabad and then to Agra. At both places, he established a printing business and published newspapers and books in both Urdu and Hindi.

The Duttas were not wrong in expecting some demand for the two journals. Persian was still big in Indian upper circles and in the colonial officialdom, and Calcutta was a major trading centre attracting Iranian, Armenian, and Afghan merchants. It also had Warren Hastings’ madrasa that provided instruction to many Indians in Arabic and Persian, and the College of Fort Williams, which trained British and European employees of the Company in whatever Indian language they needed to “command”. But in the 1820s things were also in flux.

After seven issues exclusively in Urdu, Jam-i Jahan-Numa had to include a column in Persian to attract more readers, and after two more issues, it was entirely in Persian. The Calcutta Journal succinctly commented on the change:

The Hindoostani (sic) is merely a popular language, much employed in colloquial discourse, but little used in writing; the taste for reading newspapers is very little among the natives, and perhaps confined entirely to people who have received a polite education. A native newspaper, therefore, can expect little support from those who know only Hindoostani, and those in better circumstances will naturally prefer a paper written in Persian language, which is a necessary part of the education of every person who has any pretentions to respectability.Quoted in M. Aslam Siddiqi (1947): “Persian Press in India”, Indo-Iranica, I: 2, Calcutta, p. 18.

Some months later, a sheet of Urdu was added as a supplement, and a note in English under the title appealed to non-Indian readers: “European Gentlemen, who may wish to be supplied with this paper, either for their own perusal or from a benevolent desire to diffuse knowledge among the native members of their establishment, may be supplied with it […] at three rupees per month, including Ordoo Supplement.” A few years later, it was again an Urdu weekly, but of more general interest than just the news.

In 1828, however, it stopped publication altogether – just two years before Urdu replaced Persian on the colonial pedestal, thus gaining a special appeal. In a few years, with the spread of litho technology, Urdu newspapers began to appear all over north India.

[W]hat had stayed unchanged for well over a century after the appearance of ‘Jam-i Jahan-Numa’ in 1822 has undergone a drastic change in the last 75 years.

The celebrants in India last year noted with a great deal of satisfaction that the very first newspaper in Urdu was edited and published by two non-Muslims. It confirmed their claim that Urdu was not just the language of Muslims.

Urdu had indeed been just like any other Indian language and not restricted to the adherents of any one religion. Like Tamil or Gujarati. Like Braj, Awadhi, or Rajasthani. But I am not sure if the same is true now. I strongly doubt if any ardent ‘Urduwalla’, asked now to name an Urdu newspaper edited by a Hindu or any Urdu journal catering to the needs of a non-Muslim readership, would be able to name either. I may fervently hope I am wrong, but what had stayed unchanged for well over a century after the appearance of Jam-i Jahan-Numa in 1822 has undergone a drastic change in the last 75 years.

Khwaja Hasan Nizami, a self-made man of many talents and varying reputations, was a widely known public figure in the first half of the last century. His weekly, Munadi, was mostly written by him but read by thousands of his admirers across the country. The latter particularly enjoyed his daily “diary”, selections from his correspondence with the high and low, and his polemic against the antagonist of the week—all done in a literary style that was his own.

In 1937, in the Annual Number of his journal, he offered his readers a long list of the Urdu journals that came to his office every month, presumably in exchange for his own. Much to our benefit now, he also provided some information on each of them, including the names of their editors and his view of their politics. Of the 147 titles, 22 were edited by non-Muslims.

We see that no category was restricted in range. Jains and Sikhs, Arya Samaji Hindus and Sanatani Hindus, even Radha Swamis, all found it worth their while to publish their concerns and considerations in Urdu to reach a sizable portion of their respective faith communities. So was the case with political identity, where even the Hindu Mahasabha found it useful to make its views available, at least in Punjab, in Urdu. There are two “medical’ journals, indicating the extent to which Urdu was used by Punjabi practitioners of both the indigenous traditions, Ayurveda and the Greco-Arabic Tibb. Most of the journals on the list were seemingly flourishing and were of a respectable size and quality.

Nizami’s list is by no means exhaustive. It only tells us what he liked to get in exchange for his own magazine, which he described as “Islamic, Non-Congress.” I would interpret it as: concerned in particular with Islam and Muslims, not affiliated with any political party, and not disloyal to the colonial government. Despite being a prolific, almost compulsive, writer with an unmistakable stylistic charm, Nizami apparently received no Urdu literary magazine – not even Daya Narain Nigam’s Zamana (Kanpur), which was then in its 34th year of publication.

And though he received a few general magazines, including the newly started Musavvir (Bombay), a film plus literature magazine edited by none other than Saadat Hasan Manto, Nizami does not seem to have been getting Mast Qalandar, ‘Sufi’ Prithi Singh’s highly popular monthly, which was then in its 19th year. It boasted as its motto, Hindu hai ek ankh Musalman dusri – “The Hindu is one eye of India, the Muslim the other”, an image first made famous by Sir Syed Ahmad Khan (1817-1898) in a speech at Banaras when he was posted there as a judge (1867–1876). The magazine claimed to have “the largest net sales of any Urdu monthly printed in India”.  It also looks like Nizami did not receive ‘Sufi’ Lachman Prashad’s Mastana Jogi, which was no less successful and had been going strong longer.

Nand Kishore Vikram was only 18 when his family left Rawalpindi for India. He followed an uncle to Kanpur and joined another budding journalist, a similar refugee, to bring out a semi-literary Urdu monthly.

Arguably, the entire non-Muslim population, young and old, that had been engaged in Urdu journalism and publishing in West Punjab fled to India in 1947. Some found permanent refuge in East Punjab, in places such as Amritsar, Ludhiana, and Jalandhar. The more notable went directly to Delhi, and took not long to get going again. The younger upcoming ones sought their fortunes further away.

Nand Kishore Vikram was only 18 when his family left Rawalpindi for India. He followed an uncle to Kanpur and joined another budding journalist, a similar refugee, to bring out a semi-literary Urdu monthly. The venture did not last long but it nevertheless settled his career choice. Moving to Delhi, he took up various jobs involving Urdu, and completed his formal education. Eventually, he worked for the Information Bureau of the Government of India and was for decades on the editorial staff of its Urdu monthly, Ajkal. Its editor was a senior émigré, Balmukund Arsh Malsiyani.

After retirement, Vikram began publishing a bi-annual literary journal of his own, Alami Adab, and also produced a torrent of translations in both Urdu and Hindi. I never met him but had a couple of long chats over the telephone a few years ago. On learning that he was compiling three separate lists of the non-Muslim writers of Urdu – Hindu, Sikh, and Christian – I asked him to share them with me, and he most graciously did. He was compiling them mostly from memory, having access only to the books and journals in his own library. Sadly, he passed away soon after. Abdur Rashid of Delhi and I hope to complete the work as best we can.

Vikram identifies for us 70 Sikh, 97 Christian, and 531 Hindu writers of Urdu prose and poetry, and makes a point of identifying the journalists. Christian names are more numerous because he may have had the benefit of two previous works – Ram Babu Saxsena’s European and Indo-European Poets of Urdu and Persian and D.A. Harrison Qurban’s Urdu Ke Masihi Shu’ra. To my knowledge, no similar work exists for the Sikhs, despite such prominent writers as Rajendra Singh Bedi, Kirtar Singh Duggal, Mahendra Singh Bedi ‘Sahar’, and Sampooran Singh Kalra ‘Gulzar’.

Two other reasons may also have contributed: the steely allegiance amongst the Sikhs to Punjabi and the Gurumukhi script, and a preference amongst the Sikh elite for advanced proficiency in Persian, the formal language of the Sikh Durbar, that ended only when the British took over in 1849 and literacy in Urdu became necessary for government jobs.

Maftun told his rags-to-riches story in a page-turner autobiography,’ Naqabil-i Faramosh’, which is as ‘unforgettable’ as its title proclaims. Intriguingly, another equally candid and thoughtful autobiography, Gyan Singh Shatir, subtitled “a biographical novel”, was also written by a Sikh.

Though not many took to Urdu journalism, at least one Sikh scribe, Sirdar Diwan Singh Maftun, made a lasting name for himself. His slick weekly, Riyasat, was for a couple of decades a dreaded scourge of the rajas and nawabs of India as it exposed their peccadilloes and serious crimes. Printed on fine paper, it regularly carried eight pages of pictures and cost four annas – a princely price in the 1920s. It was, however, so popular that even car dealers regularly advertised in it. (The one and only instance I know of in Urdu.)

Maftun told his rags-to-riches story in a page-turner autobiography, Naqabil-i Faramosh, which is as “unforgettable” as its title proclaims. Intriguingly, another equally candid and thoughtful autobiography – by Gyan Singh Shatir, subtitled “a biographical novel” – was also written by a Sikh. Both books deserve to reach new readers through English translations.

Among the 97 Christians, there are very few prose writers. But one name is very important historically. Yesudas Ram Chandra, better known as Master Ram Chandra, was orphaned at a very young age but with the support of his mother and sheer hard work he managed to finish his education at the old Delhi College, specialising in mathematics. He was then appointed to teach at the college. In 1853, when he was 32, he converted to Christianity. During his tenure at the college, he edited and published two journals, Fawa’id-ul Nazirin and Muhibb-i Hind.A useful account of his life and times is Sadiqur Rahman Kidwai’s Master Ram Chandra, published by the Department of Urdu of Delhi University in 1961.

Reading an Urdu daily (Delhi) | Jeremy Graham/Alamy Stock Photo

The first Urdu journal published in Delhi is said to be Dahli Urdu Akhbar. Started in 1837; it was a joint project of a Muslim editor and a Kashmiri Hindu printer and publisher. In 1845, the newly appointed Swiss-German principal of the college, Dr Alois Sprenger, started Qiran-us Sa’dain, a weekly journal containing short essays on social issues, scientific news, and new technology, illustrated with line drawings. Its first editor was Dharma Narain Bhaskar, a “senior scholar” in English at the college. The earnest but preachy journal lasted 10 years, but chiefly on the subscriptions of colonial officers.

Ram Chandra’s first foray into journalism was Fawa’id-ul Nazirin (1845), a fortnightly inspired by Qiran-us Sa’dain, but more outspoken, wider in its range of social concerns, and allowing some space to contemporary Urdu and Persian poets. It regularly challenged the more conservative views of other Delhi papers, and at the height of its popularity had close to 200 subscribers – a notable readership, given that the earlier newspapers were not inexpensive.

Coming to Hindu writers, their sheer number on Vikram’s list sufficiently indicates how significant their role was in the development of Urdu literature.

Three years later, Ram Chandra started Muhibb-i Hind, a monthly of a similar nature. Unfortunately, both journals could not gain enough support from the elite of Delhi and were closed by 1852. A second Christian essayist-poet, Pyare Lal Shakir Merathi, gained prominence in the first half of the last century as the editor-publisher of a literary magazine, Al-’Asr. He also wrote much for younger readers, and several of his poems once had a place in school textbooks. (His short-lived magazine for children is on Nizami’s list.)

Coming to Hindu writers, their sheer number on Vikram’s list sufficiently indicates how significant their role was in the development of Urdu literature. That role becomes crucial when we consider just prose fiction. Nazir Ahmad may have written the first “novel” in Urdu, but the real foundation on which the edifice of Urdu fiction later arose was laid down by a Kashmiri Pundit, Ratan Nath Sarshar, whose episodic sagas were serialised in the pages of Awadh Akhbar, a famous weekly published by Munshi Newal Kishore.

The Urdu word for magazine is risala … a typical risala… normally carried in every issue two or three stories, a dozen pieces of poetry, three or four informative/topical articles, and some regular sections…

No doubt, Hindu journalists wrote in Urdu because it was their preferred means of considered expression, but they also wrote confident in the belief that a large Hindu readership, diverse in its literary tastes, political views, and social concerns, awaited them. (The diversity we glimpsed in Nizami’s categorisation.) There was also something else – a seemingly insatiable demand amongst Urdu readers in general for middlebrow writings, both fictional and factual, that had started in the 1880s and tapered off only after 1950. It gradually created a market for all sorts of magazines. (The first thing Vikram and his friend did after reaching Kanpur was to launch one.)

The Urdu word for magazine is risala (treatise; pamphlet; magazine), and a typical risala, unless further qualified as medical, sectarian, or religious, normally carried in every issue two or three stories, a dozen pieces of poetry, three or four informative/topical articles, and some regular sections, two or three pages each, devoted to “scientific discoveries,” “health news,” “films,” and “entertaining tidbits.” Editorial notes were a must in every issue. They established the tenor of the magazine and also gave it a human identity, to which readers could relate, adversely or in agreement, by submitting letters for the final must-have section: “Letters from Our Readers.”

A simple, all-purpose risala was meant for the whole family. Since some were quite inexpensive, a fairly large number of Urdu reading middle-class families bought one or two every month besides a daily newspaper. ‘Sufi’ Prithi Singh’s Mast Qalandar (Lahore; illustrated; multicolour cover; 90 pages) cost five rupees in 1947 for an annual subscription; “Maulana” Zafar Niyazi’s Kamyab (Delhi; monotone cover; 50 pages) cost only one rupee for 12 issues.

All major journalists, however, sooner or later ended up in Delhi, working for their original journals or for the Information Bureau and the Publications Division of the Government of India.

The large cohort of sharanarthi (refugee) journalists, forced in 1947 to abandon lives and careers in Lahore, Sialkot, Rawalpindi or Sargodha, lost little time in building new lives and careers in Delhi, Amritsar, Ludhiana and Jalandhar. The major publishing outfits already had their branch offices there; the minors took their chance wherever they could. All major journalists, however, sooner or later ended up in Delhi, working for their original journals or for the Information Bureau and the Publications Division of the Government of India.

The famous triad of PratapMilap, and Tej probably never lost a publication day. ‘Sufi’ Prithi Singh’s Mast Qalandar, ‘Sufi’ Lachhman Prashad’s Mastana Jogi, and (Ram Rakha Mal Chadda) Khushtar Garami’s Biswin Sadi – all three were perfect examples of a simple risala – were soon reaching the eager hands of thousands of their readers. The last named not only outlasted the two oldies, it grew to be the most popular Urdu risala in post-1947 India. (Two other hugely popular Urdu magazines, Sham’a and Jasusi Dunya, specialised in movies and crime fiction respectively.)

When these seniors left the scene, a younger generation that had come with them and, like them, favoured Urdu, took over. But Urdu’s fate was sealed relative to the very young ones. In economic importance, in Delhi and Uttar Pradesh, Hindi was second only to English, and the long communal tussle for power in Punjab, strategically disguised as a struggle for linguistic rights, made certain that there would be no third generation of Urdu-favouring journalists from amongst the Hindus.

It took six decades, but it happened. In the bicentenary year just ended, there was no major Urdu newspaper or magazine in India that was edited and published by a non-Muslim – and it has been the case for some time. One by one, they took their leave, the “Jolly Jogi” and the “Jolly Qalandar.” The great triad of TejMilap, and Pratap, my Delhi friends tell me, still exists but only online – none is seen on newsstands.

The situation, actually, is dire overall. Except for the ones published by a few information bureaus and academic or religious institutions, there is no independent Urdu magazine of any kind that comes out regularly or sells more than a few hundred copies. There is no risala now in Urdu that could claim to be read “in every home and by all members of the household.”

Urdu poetry recitals (musha’ira) may still bring out some enthusiastic non-Muslim participants and connoisseurs, but the prose pages of Urdu newspapers and magazines are starkly devoid of them.

Even the long series of exclusively literary (adbi) monthlies that began with Shaikh Abdul Qadir’s Makhzan (Lahore) in 1901, and continued through Mian Bashir Ahmad’s Humayun (Lahore), Daya Narain Nigam’s Zamana (Kanpur), Shahid Ahmad’s Saqi (Delhi), Ejaz Siddiqui’s Sha’ir (Mumbai), Gopal Mittal’s Tehrik (Delhi), and Abid Suhail’s Kitab (Lucknow), ended with Shamsur Rahman Faruqi’s Shabkhoon (Allahabad) in 2006.

When we turn our gaze away from journalism and take note of the larger literary scene in the 21st century, we see that a much greater and quiet tragedy. There is not a single non-Muslim essayist, literary critic, literary researcher, or fiction writer of significance in Urdu. Urdu poetry recitals (musha’ira) may still bring out some enthusiastic non-Muslim participants and connoisseurs, but the prose pages of Urdu newspapers and magazines are starkly devoid of them.

The present generation of Hindus in north India may well produce some interesting Urdu poets down the line, the likes of Bani, Kumar Pashi, or Manmohan Talkh, but it is certain that we may have to wait a long time for another Joginder Pal, Surendra Prakash, Ram Lal or Balraj Mainra. How this happened, and what it means for Urdu language and literature in India is, of course, a separate sad tale.

This article is dedicated to Nand Kishore Vikram.

C.M. Naim is professor emeritus of South Asian languages and civilizations, University of Chicago. His recent book A Most Noble Life (Orient Blackswan, 2021) is about two remarkable Muslim women of the 19th century.

source: http://www.theindiaforum.in / The India Forum / Home> Culture / by C.M. Naim / February 01st, 2023