B Abdul Haq at the counter of Connoisseur Collection, originally the Bharath Watch Company, Chennai | Photo Credit: S Aswini Rao
The Connoisseur Collection family has been the guardian of innumerable timepieces in Chennai for the past 64 years. This Madras Week, they share a few memories.
It is easy to lose yourself in the labyrinth that is Spencer Plaza, with its narrow alleys and seemingly identical corridors. But it is worth it, for tucked away between stores selling T-shirts, phone covers and silver jewellery is a quaint space where time has stopped.
Connoisseur Collection, originally the Bharath Watch Company, was launched in 1958 in Pondy Bazaar by R Abdul Bari, then shifted to Spencer Plaza in 1999. It is now run by his son B Abdul Haq who holds aloft the 64 years of legacy single-handedly.
”My father’s work intrigued me, so I entered the field after discontinuing my education,” says Haq, who learned the craft from his father when he was just 12 years, at the shop. Here, dead watches and clocks come alive at the hands of their knowledgeable and skilled owner.
A six-decade-old timepiece at Connoisseur Collection, Chennai | Photo Credit: S Aswini Rao
Haq’s passion is evident in the way he handles the watches, and shows off his collection of rare luxury pieces from brands like Patek Philippe and Rolex. He opens a case to reveal a Patek Philippe Nautilus 5711, made in the mid-1970s by the legendary watch designer Gerald Genta. He moves on to reveal similar vintage watches like Patek Philippe Geneve watches made of 18k gold, and a Patek Phillipe 2583 specially made in 1956.
As he carefully places these prized possessions back in a box and locks them away, he reminisces about the late Chief Minister J Jayalalithaa, and actress Sowcar Janaki visiting his father’s shop with timepieces of their own.
“The rarest watch I have repaired is a Moon Phase by Patek Philippe,” he says, adding, “Customers bring in mechanical watches, Rolex, Omega, and other expensive Swiss watches for servicing, usually to fix broken glass dialsor button malfunctions.”
The entrepreneur reminisces the earlier times of Spencer’s Mall, saying it used to be an international hub with tourists from all over the world visiting in search of high-end brands. Those brands have since migrated to other malls, and visitors to Spencer’s have dwindled. But this shop stays put, he says, as the cost of running a business in Spencer’s is reasonable, and those in the know can always find their way to him.
As the self-styled “police officer in the field of watches” fastidiously wipes dials, he disapprovingly speaks of those who run businesses motivated only by money, with no technical knowledge. Gently wrapping each watch in velvet-lined covers he states, “Custom-made watches have no value, there is no originality left in them. When a company manufactures a watch you should not change anything.”
He wears a Rolex Deepsea watch and says his one of his favourite pieces is the Nautilus series from Patek Philippe. His father bestowed him a Vulcain cricket solid gold wrist alarm from the 1950s— his most prized possession.
source: http://www.thehindu.com / The Hindu / Home> Life & Style / by Shivani Illakiya PT / August 20th, 2022
Who is interested to know the story of Mohsin Jamal? A gentleman who was a La Majaz and a La Sahir-rolled into one! It is certainly very unbecoming of me to contain my emotional expel, to write on a friend whom I had met around 25 years back, probably in 1997-98, and never found him to be emotionally or socially fatigued. Welcome to the world of Mohsin Jamal, someone who never had a watch or a calendar in his hamlet and was buried at Aishbagh cemetery, on July 28, 2022.
I very vividly remember, Mohsin Jamal, who was a journalist, writer, and always ‘updated’ into the world news, as once he had got a three-phase electricity, and a generator, all installed, for he wanted to see every moment of the last rites of Princess Diana. He would never let his eye slip any detail, perhaps, he was quite hitched to the departed-soul, as he himself was the one who did not find-his-love, and remained a bachelor throughout his life.
He was a virtual encyclopedia of Urdu poetry, for he remembered more than the proverbial ‘a lakh shairs’ (poetic renditions) of Asrar-ul-Haq ‘Majaz’, Raghupat Sahay ‘Firaq’, Abdul Hayee ‘Sahir’, Shabbir Hasan Khan ‘Josh’, Abdul Hameed ‘Adam’, Ahsan Danish, Faiz Ahmed ‘Faiz’, Parveen Shakir, Jan Nisar ‘Akhter’, Riaz Khairadabi, Khumar Barabankavi, Jaun Elia apart from the stalwarts like Ghalib, Sauda, Meer, Zauq, Aatish, Nasikh, Wali etc. Never there was a moment when he would not come-up with a ‘proportionate or an appropriate’ shair for any occasion. Apart from all that, what also made him was his cigarette smoking, which he never smoked till its last fag, his voice was always modulated like a professional anchor, which was God-gifted, and his sentences were always synchronized like that of newspaper-headlines. He had every prowess to impress anyone, let alone at times, even hypnotize!
His persona had everything which inculcated his cultural ethos; he was ceaselessly help a struggler in the field of media, music or into writing. He would never see the sun rise, his day started at 5 pm and he would retire back home always deeply post-midnight. He was very fond of dressing, most often a spotless white shirt, grey pants, shining always shoes, Ambedkerite glasses, pockets always loaded with wads of US Dollars, yes, Dollars, and a puffing cigarette is what was his cover-story, to hundreds of friend/associates he had in Lucknow. Never in my association with him for over a quarter of a decade did I dwell to unravel as to what he would do for his living! The question was simply out of place, for he never exuded on it. He would move always on his chartered-rickshaw! Was a darling of everyone in any function, and would, make himself overshadow anyone on any given occasion.
The veritable ease with which he would shorten sentences by his ‘dropping-words’ was always a feast to the ears. His rendezvous with theater, arts, music, voice-over, play-back singing etc made him a dynamic presence into what is called as a ‘world-of-finer-aspects’. His knack for music could not be tapped for he knew personal histories of films, songs, musicians, singers etc from Bombay. He had an impeccable memory and would delve hours on the making of films like Mughal-e-Azam, Baiju Bawra, Sita Aur Gita, Bobby etc. There were quite a few cinema stars, who knew him personally and some even often make long-distance-calls, before the advent of cell-phones, to listen from him endlessly the-‘shairs’, which was his forte. His zest encompassed Marsiye, Manqabat, Musaddas, but he was shy-enough, to get them recorded in audio form or for Youtube. Had it was done, it was to be a treasure trove, as certainly it was to be a recipe for any budding actor or a cinema-vérité. He would narrate scene after scene from Agha Hashr Kashmiri, in accordance to characters and their vile. Where? At Sarwar hotel, his favourite pastime, ay Lal Khan ka Hata, , to the rapt attention of his friends who constituted doctors, engineers, editors, lecturers, academicians, businessmen all alike. Obviously, he was always the host.
He would regale ceaselessly his gatherings at Nazeerabad, who would flock around him, not always for his poetic-exuberance but for his versatile genius in colloquial accents. He was perhaps the last of the genre who would quote Asmat Chugtai, Saadat Hasan Manto, Rajender Singh Bedi, Ali Sardar Jafri etc, on their almost unknown aspects, always much to the awe of even research scholars. He would bring the gatherings ‘alive to thrive’ on his incessant quotations from Ameer Meenai, Momin Khan Monin.
I on many occasions would carry him finally to Pioneer, the spot in Lucknow which remained opened 24X7. He would always syntax it from the words of Akbar Allahabadi, “ Ghar se aayi hai Khabar Kal hai Chehleum Unka/ Pioneer likhta hai ki beemaar ka haal ach_cha hai ( Family informs that the 40th day of the dead is the next day/ Pioneer nevertheless tell the ill is still better) in the famous retort of the poet towards the end of the British rule and Pioneer’s biased reporting to it. We would sit there until the wee hours as then I would drop him home. Once we ended up having 27 teas together, as he enamored the lines “Us se paimaan-e-wafa baandh rahi hai bulkul/ Kal na pehchan sakegi gul-e-tar ki soorat” (The nightingale is swearing by the flower/ will not be able to figure it out tomorrow as the flower will be worn-out after tears)
There are hordes of ‘listeners and moaners’ who are now no more to listen or see Mohsin Jamal. One of his friend, Himanshu Bajpayee, who is now a Daastan Go, of international acclaim, says that he could not see Majaz but ‘Mohsin Bhai’ lessened the pain, for he fathomed Majaz to the full-potential. Mohsin Bhai, therefore from now on, will remain out of the purview of people’s gaze, but will forever live in the heart of ‘everyone’ into which he kindled the fire of Majaz and would never let it flicker, until he himself flickered to it. “Haqq Magh.firat kare ajab Azaad mard tha” (May God bless the fearless-independent man) he would sometime requiem for himself.
Lucknow remained a bit same after Majaz, for Mohsin Jamal, inherited the echo, but will it now remain the same? May be yes or may be even no. Long-live Mohsin Bhai.
**
The writer is a former UP State Information Commissioner and writes on politics.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Literature> Obituary / by Haider Abbas / August 14th, 2022
Mohammed Yasin, veteran painter and one of the best calligraphers in the subcontinent.
OBITUARY
Yasin’s early works have explored all available mediums from lithography, etching, aquatint, engraving, dry point, serigraphy, mezzotint water colours, oils, gouache and egg tempera.
“85-year-old veteran artist Mohammed Yasin’s character impresses as a person and his characteristics as an artist. Perhaps the distinction is unreal, for, in his case, it is the same integrity that reveals itself in the structure of life and in self-expression through art.”
These were the words said a few years ago by a noted art critic for Mohammed Yasin, veteran painter and one of the best calligraphers in the subcontinent, who passed away on August 19.
Yasin was born in Mogalgidda, a village near Shadnagar, 30 km from Hyderabad. As a young school boy, he felt an aptitude for Art when he was just 14 years old. After passing his elementary and intermediate drawing examinations, he moved to Hyderabad city with his family members from his birthplace Mogalgidda.
Showcasing art work.
Though quiet in his demeanour, Yasin has had seriously tragic experiences. His father passed away when he was only 14 months old. He was brought up under his mother’s care and guidance. He had to grow up with many hardships. While as a boy, he was affected by tuberculosis of the spine which has left a limp which necessitates the use of a stick to aid in walking. But through a sustained musing, he has won an inner serenity.
Art works displayed in an art gallery
His most important contribution goes to the art of calligraphy. He chose to work in an abstract symbolic manner. Geometrical elements like the circle within the square, concentric circles, etc. comprise the basic structure emphasizing a symmetrical arrangement and abstract formal values–calm and quiet but they are, nevertheless, active fields. They seem to be deeply influenced by the Buddhist art. They generate impulses of colour and focus attention on the symbolic images they contain.
The use of circle, square, triangle adds to his innovation a transparency, a water colour. The orthodox prohibition of representational figuration in art made the Islamic tradition turn to calligraphy. Yasin has brought to this tradition a modernist love of abstraction and monumental geometricism.
His early works have explored all available mediums from lithography, etching, aquatint, engraving, dry point, serigraphy, mezzotint water colours, oils, gouache and egg tempera.
His works are very poetic and also dramatic; actually they are calligraphic in nature. Tantric symbolism, Sufi mysticism, echoes of the miniature schools, shades of thankas and pictorialised Arabic Calligraphy are all inspirations which could be identified in Yasin’s work.
Aseem Asha Usman is founding director of Aseem ASHA Foundation, and has been documenting the life and works of the veteran calligrapher and painter.
source: http://www.clarionindia.net / Clarion India / Home / by Aseem Asha Usman / August 20th, 2020
“I believe deep down in my heart that the great reality of spiritual revelation given to humanity by the Prophet (blessed be His name) is an infinitely greater thing than any sectarian difference (Shia & Sunni) imposed upon it by subsequent human feeling and by lesser vision than his of the inner realities from which the external life of humanity has developed.” Mirza Ismail, a Shia Muslim by faith, who was the Prime Minister of Mysore had spoken these words at the inauguration of Jamia Mosque, a Sunni mosque, in Bengaluru on 30 May 1941.
Jamia Masjid, Bengaluru
Mirza Ismail remained one of the most important politicians in India as he held the position of Prime Minister (PM) of the second wealthiest state, Mysore, from 1926 to 1941 after which he became PM of Jaipur and Hyderabad.
A Shia by his faith whose foreparents had migrated from Iran and stayed in India, Ismail remained committed to the unity of humans. He believed that Shia and Sunni, Hindu and Muslim, or any caste difference among humans could not stop them from living together harmoniously.
Ismail inaugurated the mosque at Bangalore, which was one of the most important cities in Mysore state, as his last public ceremony in the capacity of the PM of Mysore after resigning from the post. On the occasion he noted, “I am particularly happy that this function, which is the last of my period of service as Dewan of Mysore, gave me the opportunity of expressing an ideal of my life which has been foremost in the past and will remain foremost in the future.”
What was the ideal Ismail talking about? Making a mosque or something else?
The ideal he was talking about was the unity of Shia and Sunni as one Muslim community. He told the people gathered there that the non-Muslims observing this ceremony would not think much about it. In their view a Muslim had come to lay the foundation stone of a mosque of his fellow Muslims. “But to you”, Ismail argued, “fellow-Musalmans, it is not so simple. You know that in the historical development of Islam I belong to a section of the organised expression of the Faith that for centuries has been in sharp opposition to the section to which you, who are going to build this mosque, belong.” He expressed satisfaction that Sunnis had invited him for this event. He told the people that since its very inception he had taken “the greatest possible interest” in this mosque where Sunni Muslims would pray in the manner they wanted.
Ismail went on to tell the people;
“At the centre of Islam is the teaching and practice of brotherhood. You would have been false to the truth of life if, because I am a Shia by birth, you had not invited me to this function, and I would have been equally false to the brotherhood of Islam if, because you are Sunnis, I had not accepted your invitation. Our differences are transient, even trivial, in comparison with the spiritual reality which these differences tend to obscure and weaken.”
Ismail went on to state that love and peace are the essence of Islam and Muslims should stop fighting among themselves as well as with their coreligionists in the country. The mosque is one of the most important mosques in Bengaluru today.
(Author is a neurobiologist with a keen interest in history, society and culture of India)
source: http://www.heritagetimes.in / Heritate Times / Home> Featured Posts> Heritage> Leaders / by Mahino Fatima / March 08th, 2022
Members of SONEI along with guests pose for a group photo on the sidelines of the ‘Star Talk-12’ event held in Guwahati on Thursday.
Guwahati :
‘Star Talk-12’, an initiative of the Stars of North East India (SONEI), a registered public charitable trust and talent hunt platform, was held in Guwahati on Thursday.
The first appointed speaker of the event was Aman Wadud, a young lawyer who recently got his Masters in Law from the University of Texas under a Fulbright Scholarship. Besides sharing his American experience, Aman Wadud gave a very informative presentation of the evolution of Civil Rights in the USA.
The second appointed speaker, Suaid M Laskar, Head of Pan-India Sales, Admissify made a presentation to clear the common doubts people have about studying abroad. Laskar, who has been instrumental in facilitating overseas studies of more than 350 students from Assam, over the last five years, in countries like Australia, Germany, UK and USA, informed the audience that 93 per cent of the students who go abroad for studies belong to middle class families.
Abhishek Kumar, a graduate from Guwahati Commerce College, who is all set to study his Masters in Supply Chain Management at Cranfield University, UK also shared his experience on the occasion.
Alemoon Nessa of Bongaigaon, who recently received two national MSME awards along with a cash component of Rs eight lakh from the hands of Prime Minister Narendra Modi, was felicitated on the occasion.
Dr Faizuddin Ahmed, a physicist from Dhubri, who has made it to the Stanford list of world’s top 2% scientists, was also honoured on the occasion.
Shahnaz Islam, a budding poet whose book “Midnight’s melancholy” was launched from Sikkim recently, enthralled the audience by reciting a few poems from her book.
Mirza Arif Hazarika’s short film “Sorry” starring Barasha Rani Bishaya and Ravi Sharma is now live on Disney+Hotstar, a rare honour for an Assamese short film. Mirza shared his experiences of making the film.
Priyanka Paul Banerjee, an upcoming PR practitioner, was also felicitated along with other achievers at the event.
SONEI will complete eight years of its existence in September 2022 during which new projects will be announced in addition to its existing programmes in the field of education, promotion of skills, and social service.
The event was hosted by Samima Sultana Ali and Sharique Hussain.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Education> Positive Story / by Special Correspondent / July 29th, 2022
He is truly a forgotten warrior of the freedom movement. Few know about him and fewer are familiar with his name but delve into the pages of history and you realise that he deserves a better place.
He participated in the Indian Rebellion of 1857 in the Battle of Shamli between the British and the anti-colonialist ulema. The scholars were ultimately defeated at that battle.
He was Mohammad Qasim Nanautawi.
Nanautawi was born in 1832 into the Siddiqui family of Nanauta, a town near Saharanpur in Uttar Pradesh.
He was schooled at Nanauta, where he memorised the Quran and learned calligraphy.
At the age of nine, Nanautawi moved to Deoband where he studied at the madrasa of Karamat Hussain. The teacher at this madrasa was Mehtab Ali, the uncle of Mahmud Hasan Deobandi.
On the instruction of Mehtab Ali, Nanautawi completed the primary books of Arabic grammar and syntax.
Thereafter, his mother sent him to Saharanpur, where his maternal grandfather Wajihuddin Wakil, who was a poet of Urdu and Persian, lived.
Wakil enrolled his grandson in the Persian class of Muhammad Nawaz Saharanpuri, under whom, Nanautawi, then aged twelve, completed Persian studies.
In 1844, Nanautawi joined the Delhi College. Although was enrolled in the college, he would take private classes at his teachers’ home, instead of the college.
Nanautawi stayed in Delhi for around five or six years and graduated, at the age of 17.
After the completion of his education, Nanautawi became the editor of the press at Matbah-e-Ahmadi.
During this period, he wrote a scholium on the last few portions of Sahihul Bukhari.
Before the establishment of Darul Uloom Deoband, he taught for some time at the Chhatta Masjid. His lectures were delivered at the printing press. His teaching produced a group of accomplished Ulama, the example of which had not been seen since Shah Abdul Ghani’s time.
In 1860, he performed Haj and, on his return, he accepted a profession of collating books at Matbah-e-Mujtaba in Meerut. Nanautavi remained attached to this press until 1868.
In May 1876, a Fair for God-Consciousness was held at Chandapur village, near Shahjahanpur.
Christians, Hindus, and Muslims were invited through posters to attend and prove the truthfulness of their respective religions.
All prominent Ulama delivered speeches at the fair. Nanautawi repudiated the Doctrine of the Trinity, speaking in support of the Islamic conception of God.
Christians did not reply to the objections raised by the followers of Islam, while the Muslims replied to the Christians word by word and won.
Mohammad Qasim Nanautawi established the Darul Uloom Deoband in 1866 with the financial help and funding of the Muslim states within India and the rich individuals of the Muslim Indian community.
He conformed to the Sharia and worked to motivate other people to do so. It was through his work that a prominent madrasa was established in Deoband and a mosque was built in 1868. Through his efforts, Islamic schools were established at various other locations as well.
His greatest achievement was the revival of an educational movement for the renaissance of religious sciences in India and the creation of guiding principles for the madaris (schools).
Under his attention and supervision, madaris were established in several areas.
Under Muhammad Qasim Nanautvi’s guidance, these religious schools, at least in the beginning, remained distant from politics and devoted their services to providing only religious education to Muslim children.
Nanautawi died on 15 April 1880 at the age of 47. His grave is to the north of the Darul-Uloom.
Since Qasim Nanautawi is buried there, the place is known as Qabrastan-e-Qasimi, where countless Deobandi scholars, students, and others are buried.
Significantly, the elders of Deoband took more and more part in the struggle for the independence of the country.
After the establishment of Darul-Uloom, the period of participation in national politics began.
Darul-Uloom, Deoband, was a centre of revolution and political, training. It nurtured such a body of such a body of self-sacrificing soldiers of Islam and sympathisers of the community who themselves wept in the grief of the community and also made others weep; who themselves tossed about restlessly for the restitution of the Muslims’ dignity and caused others also to toss about.
They shattered the Muslims’ intellectual stagnation, they broke up the spell of the British imperialism, and, grappling with the contemporary tyrannical powers, dispelled fear and anxiety from the minds of the country.
They also kindled the candle of freedom in the political wilderness.
It is a historical fact that the political awakening in the beginning of the twentieth century was indebted to Deoband and some other revolutionary movements in the country, and the revolutionary freedom-lovers who rose up there were the products of the grace from the spring of thought of Deoband.
Then, after the establishment of Pakistan, the Indian leaders of Deoband guided the Indian Muslims in utterly adverse circumstances and helped keep up their spirits high. — IANS
source: http://www.muslimmirror.com / Muslim Mirror / Home / by Amita Verma / July 31st, 2022
A tribute to a polymath historian who recently passed away.
Dr Ziauddin Ahmed Shakeb at the Qutb Shahi tombs in Hyderabad, October 2013. Photo: Author provided
I first met Dr Mohammed Ziauddin Ahmed Shakeb in the summer of 2011, as a naïve PhD student who’d arrived in Hyderabad from Los Angeles wanting to “read Shah Jahan’s documents”. He asked me the very standard question asked of research students in India, “What is your topic?”
I only had a rather incoherent answer to give to Shakeb, the man who had, among other things, created the Mughal Record Room, in what is today known as the Telangana State Archives. Located in a nondescript building at the periphery of the Osmania University campus in the dusty precinct of Tarnaka, this institution has undergone numerous transformations over the course of a half-century of its existence in Hyderabad. But institutions were often narrow and unimaginative places for sustaining a towering figure such as Shakeb. He went on to have a long and eclectic life and career that consistently defied the logic and constraints of institutions, for he was himself an institution. The loss of Shakeb is thus far more than the loss of an individual.
His was a formidable generation of post-Independence intellectuals from different parts of the subcontinent who, from the 1950s, devoted themselves to preserving its languages, repairing and reconstructing our scattered archives and libraries, and re-imagining our past(s) long before colonialism. Shakeb embodied, above all, a boundless curiosity coupled with a complete disregard for trends, ‘schools,’ cliques, and fancy theories.
He was not interested in being a Marxist or a nationalist nor in chasing the Western academy’s greener pastures. In some ways, his foremost allegiance was to the detritus of the past itself – to what paper, ink, and materiality mean and what they can tell us about our past and present selves. He asked, what a document or manuscript had gone through over centuries, how had it come to be, and how can we best preserve thousands of paper fragments for future generations so we can continue to tell their stories?
This rare commitment to the study and preservation of archival knowledge led him to write the landmark catalog, Mughal Archives Vol I: A Descriptive Catalogue of the Documents Pertaining to the Reign of Shah Jahan, in 1977, followed by many publications for The British Library, State Archives Andhra Pradesh, and other repositories, universities, and auction houses. I remember asking Shakeb once why he was so committed to creating reference tools to access rare historical materials, and he answered, “because I know no one will care to read them in the future!” In some ways, he was right.
Today, when the stakes for writing about the subcontinent’s pasts are fraught and closely tied to an ongoing project of hollowing out academic institutions, it’s worth remembering a very different kind of Indian historian.
Shakeb standing in the second row, in a group photo from a conference in March 1968 at Andhra University, Visakhapatnam. Also pictured are G.H. Khare, Mohibbul Hasan, V.K. Bawa, P.M. Joshi, Suvira Jaiswal, Burton Stein, and Eugene Irschick, among others. Photo: Author provided
Born on October 21, 1933, Shakeb grew up in Hyderabad and Aurangabad. He studied Political Science and English at Osmania University before heading to Aligarh Muslim University in 1956 for his Masters, where he was taught by Mohammed Habib and S. Nurul Hasan. In 1962, he returned to the south where he was employed as an archivist at what was then known as the State Archives Andhra Pradesh. There, Shakeb acquired the unique training of deciphering documents and identifying their categories, genres, and forms from the last generation of the traditional jagirdari staff of the Nizam’s state who were retiring when he joined the archives. He also worked under Yusuf Husain Khan who had begun the work of processing Mughal administrative documents. The archives thrived under the directorship of committed scholar-administrators such as Hadi Bilgrami and V.K. Bawa.
As rich documentary caches from families, Sufi shrines, and samsthanams were discovered and deposited into state institutions, post-independence archivists and historians confronted challenges, including the reluctance of individuals to part with materials that had been in their homes for centuries. Debates and disputes ensued about what constituted a ‘valuable’ manuscript or document, how to classify materials, and to which regional-linguistic nationalism a remnant ‘belonged.’
These were debates that had already begun in the pre-Independence period, in the work of institutions like the Indian Historical Records Commission. Recent studies of the debates between Jadunath Sarkar and the Maratha historians have traced the longer history of such tensions. Part of the problem was the mutual suspicion between scholars oriented to modern social sciences and those with a more ‘traditional’ orientation and training. Shakeb, the archivist-historian, was at once both and neither.
At a distance from the halls of JNU and Aligarh, where the Mughal state’s merits were being debated, Shakeb inhabited yet another set of worlds. He was at ease reconstructing the household library of Chishti Sufi Abu’l Faiz Minallah in Bidar, discussing the southern India Cholas with the American historian Burton Stein, and discovering a shipwreck off the coast of Masulipatnam in the late 1960s.
Based on newly-processed materials, in 1976, he would complete his doctorate under P.M. Joshi at Deccan College in Pune, a connected history that examined circulation and political diplomacy between Safavid Iran, Mughal India, and the Golkonda sultanate. Shakeb’s study brought the question of mobility and exchange to the centre stage at a time when the norm was to study either the Mughal heartland (often synonymous with Delhi or the northern Indian plains) or select one province of the empire. After many years in archives and universities, Shakeb charted his own path beyond academia. His forensic ability for assessing manuscript provenance, material objects, and documentary genres, allowed him to thrive in other professional contexts, leading to work as a consultant for Christie’s in London.
But, to restrict myself to Shakeb the historian would fail to capture the range of subjects, languages, and disciplines over which he had complete mastery – Persian and Urdu literature, Islamic studies, geography, philosophy, linguistics, and art history. Shakeb always kept the historian’s arrogance in check by reminding her of the literary critic’s skills. The study of prosody and poetics was just as important for making sense of an India without and before English.
Dr Ziauddin Ahmed Shakeb (L) with his friend Dr Leonard Lewisohn (R) at Bidar fort in January 2012. Photo: Author provided
Literary circuits would light up the minute Shakeb landed back in Hyderabad (as they often would in London). He had been working for many years on translating Iqbal’s Persian poetry into Urdu. He was equally committed to the study of Bedil, Ghalib, Dagh, and Amir Minai. He would unveil to students the unique phonetics and cadence of Dakani, the pan-regional literary idiom of southern India, with many living poets and a long literary history, which he emphasised, is yet to be fully understood for its role in shaping classical and modern Urdu.
When he published his dissertation, Relations of Golkonda with Iran, in book form in 2017, he dedicated it to his grandchildren – Itrat, Taha, Mahamid, Khadija, Tawsin, Mahd, Istafa, Fatima, ‘Ali, Nuha – all of whom embody their dadasaab’s fortitude and resilience. I haven’t sufficient words to describe the patience of his wife, Farhat Ahmed, and the enormity of what she has taught me over many years about balancing the scholarly life with everyday living. It was this reminder that grounded Shakeb’s engagement with multiple worlds. His hands that treated every piece of archival paper like a newborn child. Lethal scoldings hurled at junior scholars too convinced of their own greatness. And, never forgetting to make fun of people who take themselves too seriously. With Shakeb’s passing, we are reminded how fragile the threads are that connect us to the past, and how dependent we are on a handful of such individuals. It’s difficult to imagine what, if anything, might come after such larger-than-life figures.
Subah Dayal is Assistant Professor at New York University’s Gallatin School of Individualized Study. Her research is on social and cultural histories of the Deccan and the Indian Ocean world.
source: http://www.thewire.in / The Wire / Home> English> Culture> History / by Subah Dayal / February 10th, 2021
Barely visible from across the new Errum Manzil metro and crushed between rows of commercial buildings, lies an abandoned citadel of knowledge: Idara-e Adabiyat-e-Urdu.
Once a core institution of the city for scholarship of the Deccan, this vast library and its museum, Aiwan-e Urdu – like much of Hyderabad’s heritage – exists in a state of disrepair. It is one of Hyderabad’s fast disappearing independent archival institutions connected to a time before – as ruins beneath the consumerist ravages of the new city. And yet, as we step inside, walk up the stairs to the library in its tower, rummage through dusty catalogues and forlorn books – it feels as though we have entered a magical portal into another world.
Established in 1931 by Syed Mohiuddin Qadri Zore (1905-1962), the most prolific scholar of the Deccan, and built upon lands donated by his wife, the illustrious poetess Tahniyatun-Nissa begum, the Idara houses a vast archival collection. That the library and museum continue to exist at all is due almost entirely to their 73-year-old son, Rafiuddin Qadri, who has devoted himself to managing this house of knowledge. Containing over fifty-thousand books and printed materials, including manuscripts and paintings and artefacts, the purpose of the Idara was to preserve the art, history, and multilingual Deccan literary cultures in Urdu Dakkhani, Persian, and Arabic.
At a cursory glance, the closed doors of the book shelves seem dense and inaccessible. But if one is willing to subject themself to the rigours of an erstwhile knowledge production circuit and has the patience to listen to its many stories rendered in multiple languages and idioms, these doors open up fascinating worlds.
Here, beneath dusty glass encasements, is an original eighteenth-century painting of warrior queen Chand Bibi of the Deccan, and a book about Deccan Radio. The museum is typically kept locked and desperately needs restoration. A dusty lithograph of sixteenth-century Qutb Shahi tughra emerges in fragile condition, alongside an original photograph of Kishen Pershad, an erstwhile prime minister of Hyderabad State under the Asaf Jah Nizams. The museum contains rare royal firmans, inscriptions, maps and genealogical trees, arms and weapons, coins, old garments and cloaks that are not available anywhere else.
Behind this seemingly random collection from the past is the erudite vision of Zore, who was not only a scholar himself but also carefully curated and fostered the production of knowledge.
Rafiuddin Qadri at Idara-e-adabiyat-e-Urdu.
Zore’s son Rafiuddin Qadri sits at a desk in the main hall, surrounded by construction workers, painters, and piles of decaying books and magazines. The sound of traffic on the main road tends to drown out his voice. He is the last of a generation to remember why institutions such as the Idara emerged in Hyderabad during the early to mid-twentieth century. He is soft-spoken, donning his characteristic vest and topi. He carries a dignified scholarly attitude resonant with an earlier time. Exceedingly generous and patient, Qadri carries on a legacy that no longer is valued by the current trends of historical knowledge production in India.
Archives and libraries everywhere in India are under threat of some kind, as history literally rots away . Hence, when serious historians come across independent archival institutions and archivists devoted to the preservation of historical knowledge – like Rafiuddin Qadri – it is worth telling their story.
Once a core institution of the city for scholarship of the Deccan, this vast library and its museum, Aiwan-e Urdu – like much of Hyderabad’s heritage – exists in a state of disrepair.
Descended from a Sufi family of Qandhar and North Deccan, Rafiuddin Qadri’s ancestors came to Hyderabad in the late nineteenth century. His father, Syed Mohiuddin Qadri Zore maintained close ties and commitments to Sufism, both in institutional ways regarding his familial lineage and his philosophical approaches in terms of the spiritual values attributed to seeking out knowledge. Sufi dargahs have traditionally been not only spiritual centres but also major arenas of producing knowledge. At the same time, Zore was a modern visionary, establishing a major institution of learning in Hyderabad, in keeping with the time. “The dawn of the twentieth century was an era of renaissance in the Deccan,” and “a number of institutions such as Asafia Library, Osmania University, Dairatul Maarif, Dar-ul-Tarjuma, Salar Jung Museum, were established which contributed immensely to the production of knowledge about the history and culture of Hyderabad.” Zore was not only a major scholar-administrator – publishing hundreds of books and editing the magazine Sab Ras – he was a key figure who brought together intellectuals while establishing and overseeing the Idara, with the help of his friends, ranging from scholars to local politicians and administrators. This spirit lives on in Rafiuddin Qadri.
Rafiuddin Qadri at the Idara Museum.
Schooled as we have been in the contemporary formalities of accessing archives, when we asked if there was a fee we ought to pay to access the library, Rafiuddin Qadri said, “No, not at all,” and then explained his father’s legacy. “Knowledge should be free”, is the principal hallmark of the Idara. “It is completely against my father’s ethics that one should charge money to scholars as this is a place for them to study and learn freely.” This ethics of scholarship and the writing of history is lost as a result of the commercialisation of intellectual production as well as the privatisation of education in India. “It was meant for the youth of Hyderabad,” says Rafiuddin Qadri, about one of the main purposes of establishing the Idara. “The youth were involved in the world of politics constantly, at a very turbulent time,” referring to the anti-colonial nationalist movements of the 1930s and 1940s. “A quiet space of inquiry was needed where they could go to do intellectual work and to study.” The Idara, then, is a physical space and has served as a much-needed refuge from the noise of the world’s polemics, to think, ponder, reflect, and read, without the constant interruptions of the fast-paced intensity of daily urban life in India, and its demands.
‘Scholars come from all over the world. They say, how did Zore know I would need this document so many years later! He had preserved it!’
The extraction of knowledge out of India and into the corridors of more powerful contexts of intellectual knowledge production – such as academia in the West – has contributed to diminishing the role of those who have cultivated the very libraries and institutions so central to academic research about India. It is often suggested that only British libraries and archives are worth perusing when it comes to various aspects of India’s past, given the colonial codification of Indian knowledge – brought there often by way of loot – were preserved there. Moreover, popular histories of the Deccan for a commercial market dominated by elites and their publishing houses tend to overlook vast swathes of historical knowledge produced in languages other than English, such as Urdu. Zore had been vital to Hyderabad in creating a space, a physical place, a free and open library – of which there are few and far between today. The very idea of a library – one of the few spaces which anyone can visit without having to spend money – is itself a revolutionary idea in contexts such as India. The institution Zore created is today preserved by Rafiuddin Qadri, who belongs to the last generation of living reposit.
The Idara Museum.
Rafiuddin devotedly handles the materials, and carefully walks the corridors he has seen during the many seasons of his life. His eyes light up when he narrates the stories of researchers: “Scholars come from all over the world. They say, ‘how did Zore know I would need this document so many years later! He had preserved it!’”, he muses.
Deccan: A region that resists categorisation
“Even though local Indian historians may know more about the Deccan, they won’t get published as easily as outsiders in the top international presses.”
“This is true. But I feel like we do the same thing unfortunately. Produce knowledge for the West.”
“History as a profession in India seems so dead. The assault is coming from all sides. The propagandistic writing to fit the current ruling ideology, the evisceration of educational spaces, the lack of care, no thought.”
“It’s so depressing.”
“So, how do we talk about the Deccan amidst all this? No one seems to care.”
“Just keep going to the archives and keep writing.”
“Yes, Rafi Sahb is waiting.”
“Is he there now?”
“Yes, he is.”
Calligraphy at the Idara-e-adabiyat-e-Urdu.
Rafiuddin Qadri points to the calligraphic poetry of Dakkhani Urdu gracing the high arches of the main hall of the Idara, with its main chandelier, overlooking what once was a clean and orderly library. “This place is not what it once was, there are very few people who are interested in doing serious work like this in Hyderabad,” he says. It is true. The archivists and knowledge-keepers of these earlier institutions are passing away while their knowledge is not being passed down. As we ask Qadri questions about our respective research projects, he says, “Did you ever meet Zia Shakeb?” We shake our heads. Qadri puts his hands to his head. “Oh, that is too bad. He knew so much. And now he is gone. So much is gone and lost.” In describing the history of the Idara-e-Urdu-e Adabiyat, Qadri also shares with us some old photographs detailing the networks of people instrumental to this library.
Zore imagined Idara, with a differently rooted aesthetic, as a space for people from different languages of the Deccan to work together, to have intellectual camaraderie without being subjected to the pressures of capitalist cycles of publish or perish production.
Qadri shuffles slowly between different rooms of the Idara, all under some kind of construction. He seemingly is displaced not only by time, but also between the once vibrant rooms of his family’s library. Over cups of chai, as we discuss historical research, he advises us about specific catalogues and indexes as he repeatedly issues unheeded calls for the library staff to retrieve particular titles.
What happens once these archives, knowledge, and the custodians of stories about the past are lost? One easy answer is that the region takes on a new identity, more sectarian, more oppressive and discriminatory, built around invented histories that weaponise pasts as archives diminish. Perhaps, a more creative and bolder answer would be, that we increasingly become a society alienated from oneself, lost and rootless – our understanding of history diminished by corporate and profit-making knowledge enclaves such as within the dystopia of a hi-tech city and financial district, Hyderabad’s rapidly developing new urban core. It is the responsibility of professional historians to keep stories of the past in circulation, in the hope that they might make us more empathetic, caring and humane.
Although Qadri claims his memory is fading and not what it once was, we marvel at his ability to recall catalogues, titles, essays, authors, scholars, poets, and multiple editions of books and magazines, produced about the Deccan between the 1930s and 1960s. This earlier period of scholarship about Dakhaniyat is largely ignored, as knowledge produced in the languages of this region, such as Urdu, is not considered as worthy as compared to knowledge produced in English.
The Deccan has long been configured as a region of hope in history, offering alternative ways of belonging, those that do not fit within the nationalist frames of India and Southasia overall.
It is in response to European dominance over the circuits of knowledge about India, that Zore imagined Idara, with a differently rooted aesthetic, as a space for people from different languages of the Deccan to work together, to have intellectual camaraderie without being subjected to the pressures of capitalist cycles of publish or perish production. Accessing the Idara today is not just about mechanically sifting through catalogues until you find what you need, and extracting it – but more about setting the pressures of clock-time aside and the arrogance of earned professional degrees aside, to learn from a life-long archivist. It means opening one’s self up to the humbling, slow and feeble processes of identifying voices in history, which are increasingly lost in the maddening clamour of the market and the deafening contours of nationalist totalitarianisms and fascisms of today.
Interest about the Deccan is growing in India, and new works of popular history have emerged in recent years. There has been some recent acknowledgement that the history of the Deccan has been marginalised, and as one headline pronounced, “Indian history without the Deccan is like European history minus France” for it seems that comparisons to Europe must be made, if Southasian regions are to exist at all within the historical imagination or reading public. Overall, it is the north-centric perspective of India’s historical narratives that continue to dominate Southasia’s study of the past. This is a perspective that largely ignores the Deccan region – today, home to the four linguistically organised states of Maharashtra, Telangana, Andhra Pradesh, and Karnataka. Southasian historians continue to favour and focus upon Punjab, Bengal, and Uttar Pradesh. Meanwhile, it is the Mughal era that dominates scholarship on Southasian Islam when turning to India’s medieval and early modern past. Turning to the Deccan region thus challenges the north-centric perspective of Mughal imperial development that dominates histories of India’s Persianate past.
Syed Mohiuddin Qadri Zore (1905 – 1962).
And yet, it is impossible for any serious scholar or historian undertaking research about Deccan or about Hyderabad – once India’s largest and wealthiest princely state – without coming across the legacy of Syed Mohiuddin Qadri Zore.
Rafiuddin Qadri points out a special issue in Sab Ras about his father in which the author points out that, “Dr. Zore gave voice to the Deccan,” during a period of time in India’s history when communal tensions were on the rise. His was a utopian project of “knowledge for the people,” about a region of Southasia with its own distinct role and shared pasts that cut across religious, linguistic, and communitarian identities. It is to Zore’s credit that the Deccan was situated at all in the historiography of the subcontinent, being one the first scholars to research and write seriously about this region. Zore’s legacy is astounding, and he is, in fact, a key figure in India’s intellectual history. Yet, he has been ignored by historians of India. To write about him means having to situate oneself between the missing pages of Southasian historiography and history, between emphasising the importance of ethical citational practices amidst fast disappearing archives.
The Deccan has long been configured as a region of hope in history, offering alternative ways of belonging, those that do not fit within the nationalist frames of India and Southasia overall. Nawab Ali Yavar Jung, the Vice-Chancellor of Osmania University in the first session of the Deccan History Conference held in April 1945, which was sponsored by Zore said “…the history of the Deccan is, in miniature, the history of India. It mirrors all the great reflexes of Indian History and throws its own reflection back on that larger screen…. Separateness in the midst of geographical unity, isolation in the midst of invasion, such have been its characteristics. The resistance of the south to northern pressure provides an instance of the centrifugal forces which baffled successive efforts to establish one and the same rule over the length and breadth of India…” The region carries the spirit of sovereignty and diversity and this was championed by Idara and Zore. Though not like what it once was, in Hyderabad Deccan there still continues the intermingling of the languages of Telugu, Urdu, and English, with a sprinkling of Marathi, Kannada and Tamil.
Archival image of Aiwan-e-Urdu.
The pluralism and cosmopolitanism of the Deccan is reflected in the physical building of the Idara itself, whose construction occurred in 1955, with the patronage of the Government of India, the Nizam Trust, and several other entities in and outside of Hyderabad, from the state of Andhra Pradesh to Kashmir – where Zore was eventually laid to rest. The Indo-Islamic architecture and designs are inspired by Qutb Shahi domes, Indic lotuses of Hindu mythology, Bahmani latticework, flowering buds of the Egyptian Nile, and Spanish minarets and arches, with a main front door meant to represent the gates and doorways of so many forts of India.
Not only was Zore among the chief intellectual architects of Dakhaniyat, he was responsible for building several educational institutions and was at the helm of vast intellectual production. His entire education through his Masters degree was completed in Hyderabad. Born in 1905, Zore was educated in a primary school in a Kayasth Pathshala, where he learned English, and where his fondness grew for poetry, public speaking and debate. By high school he had not only already established a debate society but also a small library. He later joined Darul Uloom and City College and ultimately the College of Arts and Social Sciences at Osmania University.
Descended from a Sufi family of Qandhar and North Deccan, Rafiuddin Qadri’s ancestors came to Hyderabad in the late nineteenth century.
Osmania University is the first university in India to introduce a vernacular language (Urdu) as the medium of instruction. It aimed, among other things, to translate knowledge, including science textbooks into Urdu, which was a remarkable project, and contributed to a cosmopolitan ‘worlding of the Deccan.’ There, Zore eventually became Head of the Department of Urdu, where he was a founding member of ‘Mujalla-e Osmania’, the first Bilingual English-Urdu magazine at Osmania University. He was the first to work seriously on Urdu-Hindi linguistics and phonetics, and later published a book called Ruh-e-Tanqid, which was one of the earliest works of Urdu literary criticism. Widely travelled, journeying to London, Paris, as well as to Germany – where he learned French and German and translated Dakkhani Urdu poetry into European languages – Zore also travelled extensively within India, and to Kashmir and wrote the first book about Dakhaniyat. A polyglot, linguist, and philologist par excellence, Zore had studied Sanskrit and Gujarati as well.
During the mid-1930s, he embarked upon a project to prepare an encyclopedia in Urdu, inviting Mohandas Karamchand Gandhi, Muhammad Ali Jinnah, Sarojini Naidu, and Jawaharlal Nehru to write for it – many of whom had met with Zore. Though the encyclopedia project itself was not realised, the attempt signalled the yearning to produce knowledge about the world for citizens of Hyderabad, to bring in a perspective from the Deccan and its relationship to the wider world. And yet, his legacy is in danger of being forgotten, as Zore’s understanding of the Deccan has never been included in the story of India. The Idara-e-Urdu-e Adabiyat and the Aiwan-e Urdu are institutions that themselves could form the subject of an entire PhD dissertation as well as serious scholarship about Hyderabad’s institutions.
Erasures: The city and the politics of historical memory
Hyderabad’s past is rendered almost invisible: over the past 75 years, there has been tremendous upheaval: from a former Muslim princely kingdom – capital of the Asaf Jahi dynasty – to its violent annexation by the Indian state and army in 1948; and then its incorporation into the state of Andhra Pradesh in 1956; its land reallocations by the linguistic state in the 1970s and 1980s; the neoliberal economic reforms of the 1990s; and then being cast as the capital of the new Telangana state in 2014, the same year India was met with the political triumph of Hindu nationalism. And, it is not only upheavals.
Hyderabad’s history is also marginalised by most historians of India, who have simply not paid close enough attention to this city and its past. Then, there is the fact that popular historians write of Hyderabad’s history in romanticised ways, subjecting its past to their own perspectives, whether nationalist or colonialist, while Hyderabad’s elites produce accounts imbued with relentless nostalgia. Since 1948, there has been a steady demolition of Hyderabad’s historical pasts, inaugurated by the Indian state as well as by a combination of other factors – including the increasing out-migration of the city’s elites who were once patrons of major institutions. They have been replaced by a new elite who care more for malls, sports cars, and bars – and see no value in patronage or cultivation of the arts, cultural activities, or historical knowledge.
Today, the erasure of Hyderabad’s pluralist past is occurring at a resounding pace. The assault upon this city’s history and the shared heritages of its people is tremendous. Buildings torn down, monuments subject to land-grabs by the state or by private entities, and the city’s heritage continues to be destroyed by new capitalist ventures, as the old sixteenth century urban core and the modernising reforms of the Nizams in the nineteenth and twentieth centuries, is decimated by hyper-development, political expediency, and the corrupt scions of progress.
Yet, at the same time, there do exist responses to these assaults by Hyderabad’s numerous heritage activist groups and citizen historians, who daily record, bear witness to, and struggle against the demolition of monuments. While they are few and far between, they frequently lack political backing. There are organisations and individuals on the ground in Hyderabad who are constantly challenging the assaults on Hyderabad’s heritage. Local heritage activists and citizen historians, to several social media groups which have cropped up in recent years, are imbued with a very strong historical consciousness – doing everything from pleading with authorities to preserve heritage, leading heritage walks, to writing extensively about it in newspapers, such as The Siasat Daily – which regularly contains articles about Hyderabad’s heritage. One has only to bend one’s ear and take the time to listen.
Existing alongside these erasures of Hyderabad, is the continued persistence of historical memory among the people of the region. They consistently recall the shared past of the city across different communities and frequently invoke history. Even such mundane activities as providing directions in Hyderabad, constitutes broken maps of history. Directions include not only present landmarks, but also the names of people, properties, and heritages that existed in those same places of an earlier time, for Hyderabad once had the characteristics more akin to small town life – rather than the megapolis it is today. The lanes of Hyderabad are full of oracles who narrate the past. One octogenarian asks, “in the Nizam’s rule, Hindus worked as prime ministers, can Muslims now even be peons of government offices?” voicing some facets of changes the city and the nation have seen. Once the Muslim elites’ lands were confiscated and thoroughly eviscerated by the state, through their displacement as well as their own migrations to the Global North, the past few decades have witnessed the arrival of a set of new elites to the city. They are all too happy to culturally appropriate the memory of the Nizam, while at the same time encroaching on lands in celebration of an “India Shining” with its new temples rooted in the free-market economy – just one endless shopping centre–part of a larger drive that is flattening and homogenising India.
Meanwhile, the politics of the memory of Hyderabad are complicated and are constantly reframed, sometimes they take the shape of the claiming of a shared “Ganga Jamuni Tehzeeb” (Hindu-Muslim culture or harmony), at other times, equating the entire Nizam period with communal rule. What is lost here in the polemics is the complexity of the Deccan, and the region’s capacity to uphold diversity and resist totalitarianism. Qadri’s and Zore’s Idara, and vanishing documents enable us to tell these stories of defiance in the face of erasure.
Women in history, women doing history
The role that women have played in the production of historical knowledge tends to be cast aside in the writing of institutional histories of India – where they are frequently rendered into a separate category of appraisal. In the anthology of poetry produced by Tahniyatun-Nissa begum (1911-1994), who donated her lands so that the Idara could be established, the poetess writes, “bahut baatein hain yun tou tahniyat dunya mein karne ki / hum apne shauq ki apni lagan kii baat karte hain,” “There are many things celebrated for discussion in this world/I follow my own desires, and speak of things which are close to me.” The couplet is an apt reminder of following one’s own individual path amidst that world’s demands for conformity. A devout woman, who was linked on her maternal side to the respected ‘ulema [religious scholars] of Firangi Mahal in Lucknow, Tahniyatun-Nissa begum was educated at Mahboobia Girls High School and went on to pass Senior Cambridge exams in the late 1920s. At the time, for Muslim women to be formally educated at this level, was itself a significant achievement.
Tahniyatun-Nissa begum wrote a great deal of poetry, her specialisation was in ‘Naat’, a genre of Urdu poetry in praise of the Prophet Muhammad. She is reputed to be among the first female poets to have a collection of published works in the Naat genre. There are at least three collections of her poetry, including Zikr-o-Fikr (1955), Sabr-o Shukr (1956), and Tasleem-o Raza (1959). Aside from her poetry, Tahniyatun-Nissa begum was devoted to sustaining the inner everyday workings of the library and museum. Qadri speaks of his mother fondly, recalling how the Idara was managed not by Zore alone, but with the magnanimity of Tahniyatun-Nissa begum. Her existence graces these halls, as he points to where she would organise gatherings for women who were scholars and writers in their own right, and even acknowledging the steps from which she once had a fall.
The Idara initially was a male space, but it was not long before the library began to open its doors to women. Qadri discusses how it was important to his parents that a place and space be made for women scholars. “Today, it seems that it is mainly women scholars who come to seek knowledge here,” he says, reflecting on the irony.
Hyderabad’s history is also marginalised by most historians of India, who have simply not paid close enough attention to this city and its past.
As Qadri unlocks the museum, hidden at the top of the tower of the Idara, it is the portraits of women that are most immediately noticeable, gracing the walls above the filigreed and cobweb-covered windows. They include notable women of Hyderabad State, such as Mah Laqa Bai Chanda, the 18th-century poetess of Urdu, and frequently known as the earliest major female poet of Urdu – though there were others before her. There are at least two portraits of her on the walls – she was a high-ranking court noble of the Asaf Jah state, talented in music, the arts, dance, as well as poetry and hunting. Her devotion to Maula Ali is evident by her mausoleum near the Maula Ali Dargah in the city.
There are paintings and sketches of Premamathi and Taramati – a kuchipudi dancer and the courtesans of the Quli Qutb Shah dynasty from the sixteenth century.
There exists today a serai (caravan station), named after one of them, the Taramati Baradari, built under the reign of Ibrahim Quli Qutub Shah. According to local legends, the sultan was awed by her voice when she sang for the weary travellers and the sounds of her song were carried by the breeze all the way to Golconda Fort.
At a short distance away, there is a mosque of Premamati – and both dancers are buried in the Qutb Shah mausoleum, north of the serai. There is also a portrait of Bhagmati, a legendary courtesan (and later queen of Muhammed Quli Qutb Shah, the founder of Hyderabad city in 1591). Bhagmati’s very existence, or lack thereof, is today the source of considerable controversy.
There is too, a rare portrait of the sixteenth-century warrior queen Chand Bibi, a regent of two Deccan Sultanates.
About Chand Bibi, Zore was critical of how she was dismissed by scholars of his time, writing in 1938 that the “king’s birth, pedigree and influence of Chand Sultana of Ahmadnagar who was his aunt should have been dealt with in a detailed manner…it was she who made him a man of letters, a broad-minded gentleman, generous king, and valiant warrior.” That there was an entire section dedicated to the women of the Deccan, during the early twentieth century – when there is yet to be any serious scholarly books today in English focused upon women and female power within the Deccan – itself indicates attempts for inclusivity within the imagination of the Idara.
Yet, beyond these more well-known names, the Idara itself opened its doors to female scholars and poets of the twentieth century. Qadri tells us the story of how women scholars were patronised by the Idara, and that the institution accommodated them as “gosha-purdah” women would come here to study and research. At the time, this was a novelty, signalling new forms of educational possibilities for women. Today, almost one hundred years later since the conception of the Idara, the historical profession in India continues to be dominated by men, who in turn, continue to produce visions of the past in which women do not exist, with the frequent claim that obtaining records of their existence is next to impossible. It is perhaps not a coincidence that today, we are two women inviting some reflection and further research about the Idara, with a reminder that the legacies and the lineages of the past continue into the present.
***
It is 8pm in the evening and we have finally found a quiet spot in the city. We have taken the steps up to Maula Ali pahaar, at the top of which is an old Shia shrine. We take our place upon an expansive rock formation, offering its vast open natural space to us, with some quiet space all around, and stare out to the city of lights below. As we dream and talk about the need to create and preserve spaces of plurality, free inquiry, openness, and camaraderie, the historical city of Hyderabad vanishes beneath us.
*** SARAH WAHEEN AND YAMINI KRISHNA
Sarah Waheed is Assistant Professor of History at University of South Carolina. She is the author of Hidden Histories of Pakistan: Censorship, Literature, and Secular Nationalism in Late Colonial India. She is a Fulbright Scholar writing her second book, about Chand Bibi and women of the Deccan: The Warrior Queen Who Died Thrice: Gender, Sovereignty and Islam in Premodern India. She can be reached at sarah.f.waheed@gmail.com.
C Yamini Krishna works on film history and urban history. Her work has been published in South Asia, Historical Journal of Film Radio Television, Widescreen, South Asian Popular Culture, The news minute, Caravan and Scroll. She currently teaches at FLAME University. She can be reached at yaminkrishn@gmail.com.
source: http://www.himalmag.com / Himal South Asian / Home>Commentary> Culture> India / by Sarah Waheed and Yamini Krishna / July 19th, 2022
Steering clear of the actor’s controversial life, a new biography focuses on India’s notion of stardom and celebrity instead
A recent bout of illness and feeling all round wretched had me turning to my favourite comfort food — Hindi movies (I refuse to call them Bollywood movies) from the 1990s. That I was simultaneously reading Devapriya Sanyal’s Salman Khan The Man The Actor The Legend, a deconstruction of bhai’s celebrity, proved an adequate road map to my film choices…
Rather than start with Salman Khan’s big, fat blockbuster, Maine Pyaar Kiya (1989), I chose Hum Aapke Hain Koun..! (1994), also directed by Sooraj Barjatya (who had made his directorial debut with Maine Pyaar Kiya). The film, which cemented Khan as a bonafide star, actually gave his co-star, Madhuri Dixit, higher billing, a fact which Sanyal’s book mentions.
Hum Aapke Hain Koun..! unlike that other game-changer of the ‘90s, Dilwale Dulhania Le Jayenge (1995), has not aged well, Dixit’s phulkari-inspired jacket notwithstanding. The film plays out like a loosely strung together series of incidents, songs and comic interludes. How is a dog playing an umpire at a cricket match supposed to be funny is one of those unsolved mysteries. And while we are on the topic, hope Tuffy, the dog, was treated right on set.
Defence of toxicity
Sanyal’s book mostly steers clear of all the scandals and controversies that followed Khan like faithful shadows. While there is mention of the 2002 hit-and-run case, his tumultuous relationship with Aishwarya Rai and its fallout, and the blackbuck hunting and Arms Act violations cases, the book focuses on decoding Khan and India’s notion of stardom and celebrity through his career.
What little we glimpse of Khan is through his good friend Kailash Surendranath’s reminiscences. Surendranath, who knew Khan from his days as an eager 15-year-old getting his first break in modelling for Campa Cola (remember?) to his decade-spanning superstardom, remembers Khan dropping by for late night paratha-bhurji (scrambled eggs) and his motto for working on his body — “When you have no work, work on yourself.”
An introduction sets out what Sanyal intends to do through the book in great detail. The shortest chapter is the one called ‘With Human Failings’, which lists Khan’s headline-grabbing misbehaviour. His public brawls and brushes with the law are explained away as the cost of celebrity, which does not cut much ice as one cannot sweep bad and outright criminal behaviour under the carpet of “boys will be boys”. The book is at its weakest when trying to defend Khan’s toxicity.
An engaging journey
On the other hand, Sanyal’s book is its most engaging when deconstructing Khan through his roles especially in the chapter, ‘The Journey from Prem to Chulbul Pandey’. The chapter introduces the concept of the Emploi, “a theoretical framework as developed by Erving Goffman in his book, Frame Analysis.” The emploi, Sanyal posits “is a category that accounts for the close interaction between performance and reception.”
Just as Amitabh Bachchan’s angry young man was invariably called Vijay (is his Jai in Sholay a diminutive for Vijay?) and Shah Rukh Khan’s many versions of Dilwale Dulhania Le Jayenge’s Raj went towards building an on-screen persona, so too does Salman’s Prem emploi create a film version of Salman Khan.
Sanyal traces Khan’s development through his 15 different portrayals of Prem. From the slender, doe-eyed Prem of Maine Pyar Kiya, the naughty ‘devar’ Prem in Hum Aapke Hain Koun..!, the Prem who sets things right in Hum Saath-Saath Hain (1999) and the slightly dim-witted Prem of Andaz Apna Apna (1994), who nevertheless gets the girl to the tongue-in-cheek narrator Prem of Ready (2011), the cheating-on-his wife Prem of No Entry (2005), the dating guru Prem of Partner (2007) and the travelling theatre artiste Prem of Prem Ratan Dhan Payo (2015), in his fourth collaboration with Barjatya.
Since the chapter details Khan’s journey from Prem to Chulbul Pandey, there is an analysis of the characters he played who are not named Prem, including Akash in that slightly cringy but melodious triangle Saajan (1991), Sameer in Sanjay Leela Bhansali’s exotically colourful Hum Dil De Chuke Sanam (1999), the obsessed lover, Radhe Mohan in Tere Naam (2003), the tapori Radhe in Wanted (2009), Devil in Kick (2014), Bajrangi in Bajrangi Bhaijaan (2015) and Tiger in Ek Tha Tiger (2012) and Tiger Zinda Hai (2017), Laxman in Tubelight (2017) Sultan in and as Sultan (2021), and of course the corrupt but loveable cop Chulbul Pandey in the Dabangg movies.
Sanyal, who teaches English literature at the University of Delhi, has written a thesis on the anatomy of fame with academic rigour— right down to how Khan’s perfect body also contributes to his iconography. Wish the book was better proofed as there are silly errors that grate coming on the back of such a well-researched book.
All looking for salacious details of Khan’s life will be disappointed while those seeking the magic in the bottle of stardom will not. And I am going back to watching Khan fight off the evil Crime Master Gogo in the delightful Andaz Apna Apna.
Salman Khan The Man The Actor The Legend; Devapriya Sanyal, Bloomsbury, ₹699.
mini.chhibber@thehindu.co.in
source: http://www.thehindu.com/ The Hindu / Home> Books> Review / by Mini Anthikad Chhibber / July 22nd, 2022
‘RISING BEYOND THE CEILING’ releases list of Seventy Inspiring Muslim Women of Kerala
Nagma Mallick(L), Shabana Faizal(M) and Sara Aboobacker(R)
Kerala:
‘Rising Beyond the Ceiling’ (RBTC), an initiative born out of the need to change the stereotypical narrative about Muslim women in India has released its list of seventy Inspiring Muslim Women of Kerala. The list includes names like Shabana Faisal, Nagma Mohamed Mallick, Sara Aboobacker, and others.
“The seventy RBTC Honorees from Kerala celebrated in this book have displayed exemplary accomplishments in various fields. They are flying planes, serving as Civil Police Officers in the state, joining the national Indian Police Service, and leading as District Police Chief. They are contributing to nation-building in the Indian Foreign Service, Indian Administrative Service, and Indian Information Service and as Education Administrators, Directors of Departments of Industry.” RBTC said in its statement.
“They are contributing in leadership positions as managing directors, CEO, vice-chairperson, founders. They are influencers and singers, having an individual social media following of over 1 million and have been recognized in international and national awards including YouTube’s Golden Play Button,” it further added.
Global Inspiration Shabana Faizal:
Shabana Faizal, Chief Corporate Officer (CCO) and Vice-Chairperson of KEF Holdings UAE has been listed in the category of ‘Global Inspirations’.
“Shabana started her entrepreneurial career in 1995, when she set up Sophiya’s World – luxury and special items studio – in Calicut, following her marriage to Faizal E Kottikollon, chairman of KEF Holdings.” RBTC wrote about Shabana.
“Shabana has a driving passion to make a difference in the lives of the underprivileged, which led to the setting up of the Faizal and Shabana Foundation. The Foundation carries out campaigns to improve education, healthcare, sustainable livelihood, humanitarian assistance, youth development, and housing in India and the UAE. Her most recent passion project was the revamp and enhancement of the GVHSS in Nadakkavu, Kerala which has empowered more than 2,400 young girls to believe in themselves and their dreams and impacted the lives of more than 69,000 students across 65 schools in Kerala.” It further added.
Shabana is the daughter of a well-known entrepreneur and philanthropist late B.Ahmed Haji Mohiuddeen from Thumbay, Mangalore.
Impassioned author and writer Sara Aboobacker:
Kannada fiction writer Sara Aboobacker has been listed in the category of ‘Impassioned authors and writers’ adding that her stories narrate Muslim lives in the areas bordering Karnataka and Kerala, focusing on the inequities and injustices meted out to women by the male society.
“Aboobacker’s books largely focus on the lives of Muslim women living in the Kasaragod region, bordering the Indian states of Kerala and Karnataka. She focuses on issues of equality and injustice within her community, critiquing patriarchal systems within religious and familial groups. Her writing style is direct and simple, and she has stated that she prefers a realist approach to literature, prioritizing the expression of social concerns over stylistic embellishments. Her books have dealt with complex subjects such as marital rape, communal and religious violence, and individual autonomy.” RBTC wrote about Aboobacker.
Sara Aboobacker has received many prestigious literary awards, such as the Karnataka Sahitya Akademi Award, 1984; Anupama Niranjan Award, 1987; Rathnamma Heggade Mahila Sahitya Award, 1996, etc. She has seven novels, four collections of short stories, and one collection of essays to her credit. The Library of Congress has acquired eight of her works.
Leader in Administration Nagma Mohamed Mallick:
First Muslim woman in Indian Foreign Service (IFS) Nagma Mallick who is currently serving as Additional Secretary in the Ministry of External Affairs, has been named in the category ‘Leadership in Administration’ for contributing to nation-building in the Indian Foreign Service.
“An IFS officer of the 1991 batch, Nagma Mallick has served as the High Commissioner of India to Brunei from 2015 to 2018, and as India’s Ambassador to Tunisia between 2012 to 2015. Earlier she served as a staff officer to Prime Minister I.K. Gujral, then served as the first woman Deputy Chief of Protocol (Ceremonial). During her career in the IFS, Ms. Mallick has also served in France, Middle East, Sri Lanka, and Nepal.” It wrote about Nagma.
The list features a total of seventy Muslim women from Kerala and their stereotype-shattering stories of courage hard work and resilience. The list includes names like Airline pilot Afra Abdullah, IAS Officer Adeela Abdullah, Student Activist Aysha Renna, Life Coach Sahla Parveen and others.
About RBTC:
Rising Beyond The Ceiling (RBTC) is an initiative born out of the need to change the stereotypical narrative about Muslim women in India. It is a celebration of the achievement, endeavor, and diversity of Indian Muslim women. RBTC shines a spotlight on Muslim women’s contributions to nation-building in a variety of ways and professions. Founded in April 2020 by Dr. Farah K. Usmani, this initiative aims to make Muslim women’s stories more visible, provide positive role models for future generations, nurturing young women’s confidence and ambition in all spheres. RBTC works across various platforms- the website, publications, multimedia as well as an outreach young women’s mentorship programme.
RBTC is putting together inspiring profiles from fourteen states in India that are home to nearly eighty percent of the country’s hundred million Muslim women population. Besides state and national levels, there is also an RBTC 100 list under finalization of Global Inspirations which includes women who have done their initial studies in Indian institutions and are now making their mark in countries across the globe. A compendium of Inspirations from the Past compendium of those amazing Muslim women who are not with us now, but on whose shoulders we stand today. We are also excited about our amazing Under-30 Youth Inspirations list. RBTC will continue to institute annual Muslim women honorees lists to share the stories of achievements, courage and resilience.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> India / by Rising Beyound the Ceiling / January 30th, 2022
