Dr Rakhshanda Roohi Mehdi, prominent fiction writer and a teacher of Syed Abid Hussain Senior Secondary School, Jamia Millia Islamia New Delhi has bagged the prestigious Hamid Saeed Khan Award of Madhya Pradesh Urdu Academy for her Urdu short story collection titled “Monsoon Store” and will receive Rs.51,000/- as award money.
This award recognizes the efforts of progressive women and the exceptional achievements of women who have broken barriers and demonstrated outstanding skills in their respective fields.
JMI Vice Chancellor Prof. Najma Akhtar congratulated Dr Rakshanda Roohi for her great achievements and wished her good luck for her future endeavours.
Dr. Rakhshanda said, “I am deeply honored and grateful to have been selected for this award. I am passionate about my writing and this award truly reflects what I believe in – a woman’s courage and her strong role in improving lives. I am committed to continue my efforts and empower women in the society”.
Apart from “Monsoon Store”, Rakhshanda has also penned another Urdu short story collection “Magar aik shaakh e nihaal e gham”. She has also written “Aik khwab jaagti ankhon ka”, a Hindi short story collection and one Book on Sufism named “Alakhdas.”
She has also translated two novels namely “Aakhri Swariyan” and a Pakistani novel titled “Naulakhi Kothi” in Hindi from Urdu.
Earlier, DD Urdu has broadcasted a tele film “Chilman k paar” which was based on her story named “Bahut sambhala wafa ka paiman magar…”.
A play “Kahan hai Manzil e Raah e tamanna” on her story has been staged in Ram Lal Bhawan New Delhi.
In addition to this, she has authored many articles which have been published in renowned magazines and newspapers. She is a regular participant of talk shows and story narrations of All India Radio and DD Urdu.
She has been honored with many other awards for her literary work.
source: http://www.ismatimes.com / Isma Times / Home> Country> National / by Afzal Shah Madudi (headline edited) /May 03rd, 2023
An epitome of beauty and style in the 70s and 80s, Zeenat Aman’s magnetic screen presence has arrested the hearts of millions. A pioneering fashion icon and trendsetter who broke away from stereotypes, she was bold enough to go for offbeat roles and carve her own niche in the film industry. The 71-year-old actor began her career as a model and made her debut in Bollywood opposite to Dev Anand in 1970. For the 1970s Bollywood, Zeenat Aman exuded modernity with confidence. With her free-spirited attitude, she ruled the industry and acted in almost seventy movies as the female lead, and has been a part of many hugely popular hit songs. She gained fame in India and around the world, starring in some major films such as Satyam Shivam Sundaram (1978), Yaadon Ki Baraat (1973), Don (1978), and Qurbani (1980).
Recently, Zeenat Aman has been owning her narrative through her Instagram account. Her followers are treated to glimpses of her personal life, with backstories behind every picture to accompany them. With graceful photos that come dipped in a vat of nostalgia and glamour as well as the wisdom of a septuagenarian, her Instagram posts reflect upon what it feels like to be a camera subject back then as she looks back at some of these iconic photos on the internet, almost half a century later.
She has been sharing her recollections of the making of some of India’s most iconic movies. In one of her early posts, alongside a photo of her sitting in the comfort of her home, she recounts how the film and fashion industry was absolutely male-dominated in the 70s, and how she would often be the only woman on a set. “A woman’s gaze, though, is different,” she says. As an actor who has expressed her disturbance back then on how “ornamental” women characters were (in an interview given to Keith Adam of Australian Broadcasting Commission on the sets of Qurbani), now, in the process of being the photographic subject, she enjoys not being the spectacle and rather being in her element. Though she is very optimistic about the women working behind and in front of the camera, she is apprehensive of the gender pay gap which hasn’t changed much over time. She writes in her post, “The roles available to women are clearly not just ornamental anymore. What hasn’t changed though is the gender pay gap. In my time, I was lauded as the “highest-paid female actor”, but the disparity in the pay cheque between my male co-stars and myself was so vast it was laughable. The Zeenat you see in this clip was quite certain that half a century would be enough time to even the scales. So it disappoints me that even today women in the film industry don’t have wage parity. Women have consistently put in the work, and I really think that the onus is now on our men – actors, directors, producers – to ensure that their female coworkers (not just stars) are paid fairly. It seems such a simple and obvious thing, and yet it would be revolutionary if any man actually did this.” Zeenat Aman’s comments on gender pay inequality in the film industry highlight a larger issue of gender disparity that women face in various areas. Her call for men to be accountable in ensuring equal pay among their female colleagues is a reminder that gender justice requires collective effort.
Zeenat Aman’s Instagram account serves as both a means of self-expression and a testament to her legacy. In one of her posts, she shares a photograph of herself posing before heading to a birthday party. However, she acknowledges the potential invasion of privacy that public figures often face and responds preemptively to her followers’ curiosity by saying, “I know you may want to ask me which friend, so I will give you an answer about privacy. I think there’s a fine line between a healthy interest in a public figure or a person you admire, and an entitlement or desire to know every detail of their lives.” She continues with a touch of humour, “the world is so spectacularly diverse and rich, I promise you there are more interesting things to learn than which celebrity met whom and where.” In this post, Zeenat Aman addresses the importance of boundaries when it comes to a public figure’s personal life, and encourages her followers to focus on more meaningful things that matter to them. She also expresses gratitude towards her fans who respected her choice of not posing for a photograph with them. She says, “I was sorry to disappoint these lovely fans, but there are boundaries that I find important to draw for myself. I am happy that they respected my response, as it’s not always the case.”
On the yesteryear actor Parveen Babi’s birth anniversary, she penned a heartfelt note which celebrated Parveen for the spirit that she embodied and ruminated on how the actor deserved to be remembered. She complimented her and remembered her as the glamorous and talented actor that she was. She recollected how society tries to pit women against each other: “Back in the 70s, we wore our hair in a similar manner and enjoyed Western fashion. Though neither of us saw it, we were told we had an uncanny resemblance. It must have been true because, as recently as last year, I was approached in Dubai as ‘Parveen ma’am’. Naturally, the media at the time spun tales of competition and rivalry between us, but in reality, we were always warm towards each other.” She writes, “Parveen’s struggle with mental illness came at a time when the country was still so insensitive and ignorant on these matters. After her death, I often ruminated on how she was remembered. The tabloids focused on her romantic relationships and ‘episodes’, but Parveen was much more than who she dated or what she said when she was unwell. I feel she never truly got the chance to say her piece. She was intelligent, hardworking, and creative…She achieved incredible success as an actor, even featuring on the cover of Time magazine.” The words were carefully chosen to convey not only her admiration for Parveen but also a deep human understanding of the issues her colleague faced. She questions the lack of sensitivity with which the tabloids handled the situation and forces us to think if there has been any significant change in recent times.
She is not afraid to call out how most celebrity accounts are “more akin to advertising billboards than blogs.” She emphasizes how it has helped her decide her own approach to the app. She is insistent on the word “purpose”—the purpose of her being on the gram, the purpose of the one reading it, and so on. In another thought-provoking post of hers, she remembers how “we see very few older women in the public eye. It’s not something I thought about when I was young, but now that I myself am silver-haired, I feel their absence.” She is concerned about how the absence of older women in the public eye reinforces negative stereotypes about aging and contributes to the erasure of their experiences and wisdom, reminding us of the power and importance of intergenerational relationships.
She questions how “(as) women, we are told that our social worth lies in youth and physical beauty. If not explicitly, then in a thousand subliminal ways. This is especially true for the entertainment industry… I was initially reluctant to stop dyeing my hair, and was strongly advised against it.” She emphasizes how we have minimal agency when it comes to presenting our bodies to others. She contemplates that “Being young is wonderful, but so is being old. It thrills me to see more and more silver-haired women (of all ages) challenge the status quo.” By celebrating her natural self and thereby refusing to conform to societal norms, she is a testament to the growing number of women who are rejecting the notion that youth equals beauty.
While the reflections and musings go in one hand, some serious fun goes on in the other. In one of her posts, she also talks about discovering some of the Zeenat Aman memes on Instagram. She shares them and even calls that version of her ‘Meme-at Aman.’ She also expresses her joy at learning what a ‘thirst trap’ means. In the rapidly changing media landscape, leveraging online platforms to shape and maintain a public persona is quite common among public figures and artists to stay relevant. By artfully curating her online presence, Zeenat Aman crafts and controls the narrative surrounding her career, image, and legacy with great care and self-awareness.
source: http://www.maktoobmedia.com / Maktoob / Home> Film and TV> Latest Opinion / by Ashikha N / March 2023
Over one and half lakh Muslim youth took the streets of Kerala’s Kannur on Saturday, marking the golden jubilee of the Sunni Students’ Federation (SSF).
The SSF was formed in Kerala on 29 April 1973 under the patronage of Sheikh Abubakr Ahmad. It is affiliated to All India Sunni Jamiyyathul Ulama.
Over two lakh students and youth attended the public conference at Jawahar Municipal Stadium in Kannur.
“It is the largest student assemblage in the country, which marked the rise and proclamation of the energetic sustenance of a moral student commune capable of leading the nation with secular values and ethical principles,” said Muslim scholar and the student body’s patron Sheikh Abubakr Ahmad.
Ahmad while inaugurating the valedictory session of the six day conference urged the state and Union governments to act against the hatred and communal disharmony.
Ahmad also demanded the ban of ‘The Kerala Story,’ a Hindutva propaganda movie which falsely claims that the southern Indian state is a hub of ‘love jihad.’
The theme of the conference was “Nammal Indian Janata” which translates to “We, the people of India”.
The main entrance to the conference was designed to resemble the Bab-e-Maulana Abul Kalam Azad, the main gate of Jamia Millia Islamia in New Delhi. The construction of the conference gate also served as a pointed response to the Hindu nationalist government’s decision to exclude the great Muslim figure’s contributions from school textbooks.
source: http://www.maktoobmedia.com / Maktoob / Home> India> Latest News> South India / by Maktoob Media Staff / April 29th, 2023
Vidhana Parishad Speaker Basavaraja C.Horatti releasing Book on ‘Contribution of Muslims in Kannada literature’
Basavaraja C.Horatti, Hon’ble Speaker of Vidhana Parishad of Karnataka Government has released a new book in Kannada, Kannada Sahityadalli Muslim Samvedane which means ‘Contribution of Muslim Writers to Kannada Literature’.
The book was released at a colourful function at the ‘Cochin Kannada Cultural Festival 2023’ which was promoted by joint auspices of Kannada Sangha Cochin, Kasaragod District Kannada Journa lists Association, Karnataka Border Area Development Authority, and Karnataka Working Journalists Association.
Kannada speaking masses in Ernakulum and various parts of kerala and Karnataka attended the festival in large.
The convention featured symposium, many cultural programs and a parade.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim> Literature / by Muslim Mirror Network / May 08th, 2023
Nauman Akram and his welfare group have chosen hospitals and passenger terminals to extend help by offering food, water and juices as a moral responsibility to those fasting.
Iftar food bag given to fasting relatives of a patient at a hospital in Raipur. (Photo | Express)
Raipur :
During the ongoing sacred month of Ramadan, when Muslims engage in observing fast, a former well-known hockey player devotes his time with his small team of youths to reach out to those who keep fast staying in hospitals while enduring challenging or difficult situations and provide them with Sehri (before sunrise meal) and Iftar (after sunset food) daily.
Nauman Akram’s Raipur-based welfare group believes that a large segment of the Muslim population may not be blessed with enough food and provision since they usually have little except to work hard to make ends meet during Ramadan.
Akram, also a former national hockey umpire, has chosen hospitals and passenger terminals to extend help by offering food, water and juices as a moral responsibility to the fasting people who are away from their homes and essentially need the support that brings them some solace during the pious month.
“We visit big hospitals like Raipur AIIMS, Dr Bhimrao Ambedkar hospitals among others to distribute small food bags among the patients and their fasting families. We also interact with Muslim travellers. The food packets are prepared by us daily. The distressed relatives of patients or the travellers in buses or elsewhere are already in demanding situations. So, any small support raises their morale and brings them some comfort”, he said.
Akram also solicits assistance from various Muslim groups through social media to lend a helping hand for his noble task. “Sehri particularly remains much in demand as finding the food post-midnight is really a major problem for the fasting people in hospitals or any passenger. So we prepare and distribute it by 3 am”, he added.
The menu of Sehri usually comprised chapatis, egg curry or bhurji, biryani and fruits. Similarly, iftar food contains dates, fruits, samosa, baked items and juices among others. Religious scholars have appreciated the service citing that the month of Ramadan is also about compassion for others, caring for the needy and sharing with empathy.
source: http://www.newindianexpress.com / The New Indian Express / Home> Good News / by Ejaz Kaiser / Express News Service / April 11th, 2023
Guru Dutt’s masterpiece ‘Pyaasa’ (1957), just before its soulful dirge on relationships, shows two poets reciting ‘shers’.
The elder one later also politely reprimands a guest for his snide remark at the “servant” (Dutt), who had begun humming “Jaane woh kaise log the..”, declaring: “Mian, shayri koi daulat-mando ke jagir thodi hai”. Though unnamed, his appearance, sher, and comment were enough to identify him.
Urdu Poetry and Social Reach
The unnamed actor was representing Ali Sikandar ‘Jigar Moradabadi’, who, in his heyday, was so known by his persona – an intense gaze but an air of absent-mindedness too, groomed beard but slightly unkempt long hair, traditional garb and courtly behaviour, as well as poetry, that he could be shown without being named.
‘Jigar’ is seen as the last standard-bearer of the classical ghazal, or the ghazal’s classical tradition, but was rather a ‘bridge’, between its highpoint in the mid-19th century and its transition to the 20th century and beyond.
He was also a connecting link between Urdu poetry and its widening social reach as the dialogue the character utters shows – and is followed by him encouraging Dutt to continue:
“Tum kuch keh rahe the, barkhurdar. Chup kyun ho gaye. Kaho, kaho..”
Jigar Moradabadi – Real Life
This was true in real life too – a young Jigar took instruction from Nawab Mirza Khan ‘Dagh Dehlvi’ – who had participated in mushairas with Ghalib and Zauq – and himself later, mentored poets like Asrar-ul-Hasan Khan ‘Majrooh Sultanpuri’, Jan Nisar Akhtar, and others.
And then like many contemporaries, he did not write for films, yet his work willy-nilly figured in them. While “Kaam aakhir jazba-e-beikhtiyar aa hi gaya/Dil kuch is surat se tadpa unko pyaar aa hi gaya” was used in ‘Pyaasa’, in ‘Daag’ (1952), the Hasrat Jaipuri-written “Ham dard ke maaron ka, itna hi fasana hai/Peene ko sharaab-e-gam, dil gam ka nishana hai” seemed inspired by his “Ham ishq ke maaron ka itna hi fasana hai/Rone ko nahi koi hasne ko zamana hai”.
Then, ‘Be-Raham’ (1980) used this sher – along with most of its ghazal which begins: “Ik lafz-e-mohabbat ka adna yeh fasana hai/Simte to dil-e-aashiq phaile to zamaana hai”. Another master sher in this is “Yeh ishq nahi aasan itna hi samajh lijiye/Ek aag ka darya hai aur dub ke jaana hai.”
Before that, Shyam Benegal’s ‘Junoon’ (1979), the 1857 drama starring Shashi Kapoor, used his ghazal, “Ishq ne todi sar par qayamat.”
How Jigar’s Prime Couplets became popular in films?
But, the prime example was how the prime couplet of ‘Jigar’ became most known to film buffs after actor Raj Kumar made it a dialogue, delivered in his bombastic, drawling style: “Ham ko mita sake yeh zamaane mein dam nahi/Ham se zamana khud hai zamaane se ham nahi.”
Born in April 1890 in Moradabad, ‘Jigar’ was the son of Syed Ali Nazar, who worked in the Law Department and was inclined to poetry too, being a disciple of Khwaja ‘Wazir Lakhnavi’.
After elementary education, including in English, he worked as a salesman for a local spectacles dealer. Later, he turned to poetry full-time, settling in the town of Gonda, where he found in noted poet Asghar Hussain ‘Asghar Gondvi’ a mentor of sorts. He was a familiar face in mushairas all over the country till the mid-1950s, when he began slightly distancing himself from shayri, ahead of his death in September 1960.
‘Jigar’, as mentioned, was a paladin of the classical tradition, and as such, his shayri usually dwelt on love and other facets of the human condition. As he said:
“Un ka jo farz hai vo ahl-e-siyasat jaane/Mera paigham hai mohabbat jahan tak pahunche.”
Yet, while he used the usual tropes associated with the topic, he imparted his own stamp on them with his own stylistic variations.
One of these was paradox. Take:
“Atish-e-ishq woh jahannum hai/Jis mein firdaus ke nazaare hai”, or “Kamaal-e-tishnagi hi se bujha lete hai pyaas apni/Isi tapte huye sahra ko ham darya samajhte hai”, or even “Mohabbat mein yeh kya maqam aa rahe hai/Ki manzil pe hai aur chale jaa rahe hai” and “Usi ko kehte hai jannat usi ko dozakh bhi/Woh zindagi jo haseenon ke darmiya guzre”.
“Abad agar dil na ho to barbad kijiye/Gulshan na ban sake to bayaban banaiye” is another example.
Then, ‘Jigar’ frequently resorted to some deft wordplay and situations: “Tere jamaal ki tasveer khinch doon lekin/Zabaan mein aankh nahi aankh mein zabaan nahi”, “Suna hai hashr mein aankh use be-parda dekhegi/Mujhe dar hai na tauheen-e-jamal-e-yaar ho jaaye”, and “Aghaaz-e-mohabbat ka anjaam bas itna hai/Jab dil mein tamanna thi ab dil hi tamanna hai.”
Vivid imagery was another strength: “Baithe huye raqeeb hai dilbar ke aas-paas/Kaaton ka hai hujum gul-e-tar ke aas-paas” and “Har taraf chaa gaye paigham-e-mohabbat ban kar/Mujh se achhi rahi qismat mere afsanon ki.”
And ‘Jigar’ could use rhetorical devices, like repetition to good effect, as in: “Dil hai kadmon par kisi ke sar jhuka ho ya na ho/Bandagi to apni fitrat hai Khuda ho ya na ho”, “Kabhi un mad-bhari aankho se piya tha ik jaam/Aaj tak hosh nahi, hosh nahi, hosh nai” and sometimes, alliteration: “Hai re majbooriyan mahroomiyan nakaamiyan/Ishq aakhi ishq hai tum kya karo ham kya karen.”
At other times, he could be engagingly simple: “Garche ahl-e-sharab hain ham log/Yeh na samjho kharab hain ham log”, or “Pehle sharab zeesht thi ab zeesht hai sharab/Koi pila raha hai piye ja raha hoon main.”
And a philosophical outlook can always be discerned. It may be active like: “Kya husn ne samjha hai kya ishq ne jaana hai/Ham khaak-nashinon ki thokar mein zamana hai” and “Apna zamana aap banate hai ahl-e-dil/Ham vo nahi jin ko zamana bana gaya”, or a bit resigned: “Jo un pe guzarti hai kis ne use jaana hai/Apni hi musibat hai apna hi fasaana hai”, “Maut kya ek lafz-e-bemaani/Jisko mara hayat ne maara”, and “Yeh misraa kaash naqsh-e-har-dar-o-deewar ho jaaye/Jise jina ho marne ke liye taiyar ho jaaye.”
There is much more to enjoy in the extensive corpus of ‘Jigar’, whose own epitaph could be: “Hami hab na honge to kya rang-e-mahfil/Kise dekh kar aap sharmaiyega.”
source: http://www.ummid.com / Ummid.com / Home> International / by Vikas Datta / IANS / April 16th, 2023
The film ‘Alzahravi’ bagged the best film award in the category of Best Visual Effects and Animation whereas ‘Polymer, the Promise of PDMS’ has been recommended for a citation.
Hyderabad:
Two films of the Instructional Media Centre, Maulana Azad National Urdu University (MANUU) produced under the MANUU Knowledge Series have won accolades at the 24th CEC UGC Educational Video Festival organized by Consortium for Educational Communication (CEC), an Inter-University Centres set up by the University Grants Commission.
The film ‘Alzahravi’ bagged the best film award in the category of Best Visual Effects and Animation whereas ‘Polymer, the Promise of PDMS’ has been recommended for a citation under the Best Film Documentary award category along with the other three films.
According to Rizwan Ahmad, Director, IMC, the film Alzahravi by Omer Azmi, Producer IMC explores the life, struggles, and achievements of the renowned scholar, Alzahravi, and his contributions to the field of medicine.
Polymer, the Promise of PDMS by Obaidulla Raihan, Cameraperson, is a thought-provoking film based on a research output by researchers from the Central University of Hyderabad, where they have developed a polymeric material which is graphene base media mists smart composite material which will revolutionise the technology in near future.
Prof Syed Ainul Hasan, the Vice-Chancellor, congratulated the centre on this achievement and said IMC is steadily gaining recognition for its unique and thought-provoking approach to digital media. Appreciating the Media Centre Team’s effort who met him today at his office the Vice-Chancellor expressed the hope that the MANUU knowledge Series will continue to inspire and educate audiences and contribute to the growth and development of Urdu and dissemination of knowledge.
Rizwan Ahmad said both films were also selected previously at various film festivals nationally and internationally. This honour is a testament to the hard work and dedication of the directors of the films and the entire team. MANUU Knowledge Series aims to promote the Urdu language and culture, as well as highlight important issues and stories through the medium of film, a press release said.
source: http://www.siasat.com / The Siasat Daily / Home> News> Hyderabad / by Indo Asian News Service (IANS) / April 12th, 2023
The results were announced at the inauguration of an exhibition of photo stories that was shortlisted for the award on Saturday, April 15, in Mangaluru.
Mariyam Rasheeda | Photo Credit: SPECIAL ARRANGEMENT
Murali M. Abbemane and K.M. Mariyam Rasheeda were declared winners of the Dr. Krishi Photo Story Award 2022 of the “Under 30 Photo Story Contest” organised by the Mangaluru Chapter of Indian National Trust for Art and Cultural Heritage (INTACH) in association with Art Kanara Trust.
Murali M. Abbemane | Photo Credit: SPECIAL ARRANGEMENT
The results were announced at the inauguration of an exhibition of photo stories that was shortlisted for the award on Saturday, April 15, in Mangaluru.
Pranam Shreedhar and Shravya Manjunath were the finalists. Likhith Raj Gatty and Sowjanya Jogi (joint project), Neel Kote and Vivek Gowda were the shortlisted contestants. The contest was announced in August 2022 and elicited 28 entries, said a release.
Physician and writer B. Srinivas Kakkilaya, photojournalist Yajna and advertising photographer and filmmaker Prakash Braggs, who was one of the jury members, were the dignitaries on the occasion.
Releasing ‘Metaphors of Physical & Emotional Spaces,’ a book on shortlisted entries, Dr. Kakkilaya spoke about his friendship with Late Dr. Krishna Mohan (Dr. Krishi). “Krishna Mohan was one of the first Mangalorean to explore the internet and launch a website, inspiring many others.” During COVID-19, he was active in dispelling myths and creating public awareness by publishing scientific information.
Responding to an audience query, whether a story is required to explain a photograph, Mr. Yajna said, “A single shot photo is a work of art and should speak for itself. But, a photojournalist or a photo storyteller needs to build a context around the single or multiple photos to reach out to the viewers.”
Mr. Braggs explained the ‘less is more’ concept in photography. “It’s not about what you include in the photo, but what you leave out.”
The exhibition of photographs would be open to the public till April 23, between 11 a.m. and 7 p.m at Kodialguthu Centre for Art and Culture, G.G. Road, Ballalbagh.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Mangaluru / by The Hindu Bureau / April 17th, 2023
She exhibited tricolour painting in mandana, a tribal art form of Madhya Pradesh. It took more than 6 months to prepare all the artworks, she said.
Artist Nawab Jahan Begum with her art work | FP Pic
Bhopal (Madhya Pradesh):
Artist Nawab Jahan Begum from Bhopal has used 24 carat gold in a Gond artwork. She said that this was the first time that 24 carat gold was used in Gond art. “I used liquid gold, which is being liked by visitors here. Many people greatly appreciated the tribal art of Madhya Pradesh,” she said
Nearly 17 works of the painter were on display at Kala Spandan Exhibition in Mumbai inaugurated by film actor Anita Raj. The exhibition was organised from November 24 to 27. She exhibited tricolour painting in mandana, a tribal art form of Madhya Pradesh. It took more than 6 months to prepare all the artworks, she said.
Besides, she exhibited three convertible art works. “Three works have 10 different paintings. It was a different work, which was appreciated.” Her Hindi calligraphy artworks were also on display.
Begum has obtained MA degree in drawing and painting. Her signature styles are abstract modern art paintings, which she make using knife and adds gold to it to give it a royal feel and look. She took part in many national and international painting exhibitions and sold paintings in the UK, Australia, Saudi Arabia, Dubai, Maldives.
She has also made a painting for Taj Lakefront Bhopal. Her works are on display at Bhopal airport and Cymroza Art Gallery in Mumbai.
source: http://www.freepressjournal.in / The Free Press Journal / Home> Bhopal / by Staff Reporter / November 29th, 2022
The Karnataka Muslim Cultural Association (KMCA) held its annual general body meeting on April 8th, during which elections were conducted for the executive committee for 2023-24.
The program, held at MRA Restaurant in Doha, began with a recitation of the Holy Quran by Master Rehan Rashid.
Following the dissolution of the executive committee for 2022-23, Ahmed Saeed Assadi, the election commissioner, conducted the process of electing the new committee members.
The KMCA has announced that Saquib Raza Khan has been elected as the new president, while Suhaib Ahmed has been elected as the new vice president. Shahim Mohammed Sheikh is the new general secretary, Khaleel Ahmed is the new treasurer, Mohammed Yunus is the new joint secretary, Sayed Ashfaque is the new cultural secretary, and Shakeel Mohammad is the new sports secretary.
In his acceptance address, the newly elected president, Saquib Raza Khan from Mangaluru, put forth the future plans of the KMCA. He also stated that the other office-bearers would be elected soon during the first meeting of the new executive committee.
The outgoing president of KMCA, Fayaz Ahmed, welcomed the gathering, while outgoing general secretary Suhaib Ahmed presented the annual report of the events organized by the KMCA in the last year. Khaleel Ahmed presented the treasure report. Abdullah Moideen was the Master of Ceremony.
The meeting concluded with a vote of thanks by Ahmed Saeed Assadi.
Following the elections, a quiz contest was held, and the top five winners were awarded prizes.
The KMCA also held an Annual Iftar for its members and heads of other organizations, which was attended by approximately 150 people.
Dignitaries from other associations and community leaders, including Hassan Chougle and Ikhlas Farid, ICC President Manikantan, and officials of the ICC, ICBF, and ISC Subramanian Hebbagilu and Deepak Shetty, graced the occasion.
Leaders of Karnataka-based organizations such as Mahesh Gowda, Ravi Shetty, Arun Kumar, Dr. Sanjay Kuduri, Abdul Razzak, Ibrahim Beary, Mumtaz Hussain, Abdul Rahiman Saab, and Abdullah Khatri were also present.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> Gulf / by Vartha Bharati / April 11th, 2023
