Veteran Journalist, activist and an encyclopaedia of Andaman history, Mr. Zubair Ahmed is no more among us. Sad demise of Mr. Zubair Ahmed has left people of Andaman and Nicobar Islands, his friends, family members and followers deeply shocked. The fearless voice of these Islands, Mr. Zubair Ahmed was deeply loved by Islanders because he had what hardly a few have today- a spine to fight for injustice.
His writing in newspapers and blogs on Andaman history, childhood memories and social issues were extremely popular among Islanders. Mr. Zubair Ahmed’s out of box thinking and ability to question authorities on crucial issues made him favourite of masses.
Mr. Zubair Ahmed, after working in Times of India, Bengaluru moved back to Andaman and Nicobar Islands and started republishing ‘The Light of Andamans’ with veteran journalist Late Govind Raju and other senior journalists. ‘The Light of Andamans’ became extremely popular in no time. He was also the Editor of ‘The Sunday Islander’ an online news portal from A&N Islands.
Other than Journalism, he was deeply involved in Education, social works and social reform activities.
His death has left a void in the media fraternity of Andaman and Nicobar Islands. The Andaman Sheekha Daily team deeply mourns the death of Mr. Zubair Ahmed. Meanwhile, the Andaman and Nicobar Media Federation and Daily Newspaper Association have also mourned the death of Mr. Zubair Ahmed.
source: http://www.andamansheekha.com / Andaman Sheekha / Home> City> Featured / by Vikramaditya / July 08th, 2022
Traditional makers of classical Indian string instruments worry about the extinction of their art, with little interest among the younger generation, and most of their clientele now based abroad.
Tanpura artist Altaf Mullah, classical vocalist Rahul Deshpande and Yusuf Mullah (Altaf’s father and Tanpura maker to Bhimsen Joshi). | Photo Credit: Special Arrangement
For generations, Altaf Mullah and his family, residents of Miraj in Goa, have been in the business of tuning the strings and twisting the pegs of Indian string instruments such as the tanpura, surbahar, rudra veena and vichitra veena. They are currently headed for a tour of the United States and the United Kingdom, to hold workshops on how best to keep these instruments tuned, for their clients abroad, a number that now oustrips their domestic market.
On the face of it, it seems as though Mr. Mullah and his family have negotiated the ravages of modernity on traditional businesses quite well, by shifting their client base abroad. But the story is quite different. In fact, the workshop is being sponsored by the Indian Council for Cultural Relations (ICCR) after a distress email from Mr. Mullah, who feared the extinction of this art of making and maintaining string instruments.
“We are the fifth generation making these string instruments. We were given Rajashray (royal patronage) in 1862, but the way things were going, this art would not survive beyond this generation. We make upto ₹500 per day, the younger generation is not that attracted to it,” says Mr. Mullah. His father, Yusuf Mullah, is a much-feted string instrument maker, with Hindustani music maestro Bhimsen Joshi having been a faithful patron.
After having knocked on many doors, Mr. Mullah wrote to ICCR president Vinay Sahasrabuddhe about the systemic and immediate problems faced by his tribe of string instrument makers. “For 1.3 billion people, and countless afficianados abroad, there are only 220 karigars (artisans), mostly concentrated in Goa or Kolkata,” he said.
Mr. Sahasrabuddhe’s response was immediate, and one of the first things he did was to set up a meeting between Mr. Mullah and the Postmaster General of India, in New Delhi. “Our immediate issue was that the parcels of instruments that we used to send abroad [which is the bulk of the business] were through speed post. The department of posts changed it from weighted charges to volumetric post, that raised our costs by three times the amount. We were really struggling,” said Mr. Mullah. The Postmaster General agreed to make an exception for the parcelling of string instruments and some relief was gained.
“Our major problems, however, remained. Our worst period was of course between 1990-2000 with the rising popularity of electronic instruments. Fortunately, acoustic sound made a quick comeback, and our business went up again, but not enough to attract the next generation,” he said.
Mr. Sahasrabuddhe told The Hindu that preserving the tradition of making and maintaining Indian string instruments was important as they were “the tangible and intangible heritage of India, and Indian musical tradition.” In fact, there is now talk of standardising a curriculum via the All India Council for Technical Education (AICTE) for this purpose, to create a base of instrument makers, and prevent the skill from dying.
The Mullahs’ client list, ranging from composer A.R. Rahman to India’s nightingale, the late Lata Mangeshkar, to Bhimsen Joshi and tabla maestro Zakir Hussain — reads like the who’s who of Indian music.
Tanpura artist Altaf Mullah with Tabla maestro Zakir Hussain. | Photo Credit: Special Arrangement
Indian string instruments, especially the tanpura, have been historically referenced through much of Indian history. In his devotional song, “O Sadho”, the poet-saint Kabir draws a parallel between the human body and the tanpura. “ Yaha tan thaata Tambure kaa, paanch tatwa ka banaa hai Tambura, khaenchta taar marodata khoonti, Nikalta raag hajure ka, O Sadho” (O seekers, this body is a splendid tanpura, made of five elements, strung together with nine resonances. Tighten the strings, twist the pegs and it sings the song of the Lord).
As the irreplaceable accompaniment to the sound track of India, the tanpura, struggling for breath, was hoping to “get a ventilator soon”, said Mr. Mullah.
source: http://www.thehindu.com / The Hindu / Home> News> India / by Nistula Hebbar / December 04th, 2022
Since time immemorial, people across cultures have been looking down upon women for their assumed enfeebled existence, but curiously the invincible might of the nation-state is primarily imagined in terms of feminine sensibilities. Nation and women share several traits, such as purity, chastity, and piety that must be protected.
This flimsy admiration aside, women continue to be the object of the stifling affliction of subjugation, marginalization and gender equality. The pitiable condition of Muslim women in India, their boundless deprivation and their servitude to patriarchal misrepresentation of religion look self-evident. Not many know that through determination and self-belief, daughters of destitution knocked over many unsurpassable hurdles and attained unprecedented success.
Undeterred by searing double jeopardy, some determined Muslim women weaved a gripping and admirable narrative of self-discovery and phenomenal individual growth that strengthened collective consciousness, empowerment and national aspirations in the six decades. They have had many firsts to their credit. The fairly long list includes the names of Fathima Bibi ( the first female supreme court judge who took over in 1989); Suraya Tyabji; (the incredible artist who designed our national flag in 1947); Begum Akhtar (the first female singer who judiciously wrapped up Vivadi Sur in Ghazal singing and earned the title of Ghazal Queen), Sania Mirza (the first Indian woman to win the ATS tennis title) Rokeya Sakhwat Hussain, ( jotted down the first female utopian novel, Sultana’s Dream”, 1905 in which gender roles were reversed.) Ismat Chughtai (the first fiction writer who explored various dimensions of the forbidden female sexuality in her short story Lihaf), Rasheed Jahan (edited an anthology of short stories, Angare that presented a poignant and heart wrenching account of exasperating struggles that women have to confront in the patriarchal society) and Qurratul Ain Haider (who judiciously used stream of consciousness to explore and reflect upon the gender injustices). Some Muslim women such as Razia Sultana, Chand Bibi and Begums of Bhopal, especially Sultan Jahan, committed themselves to the male-driven and exhausting path of leading the country, and they mapped new terrains of courage, bravery and governance. However, their contribution to collective life is not adequately documented.
These vital pieces of information largely lay in oblivion and have been aptly articulated and cogently documented in an astutely edited anthology of Muslim women trailblazers, Apostle of Transformation, published recently (Peter Lang, 2022). The anthology, edited by a well-known Islamic scholar Akhtarul Wasey and a promising academician Juhi Gupta, carries an assortment of 23 articles that engages the constitutive acts of turning mundane life into moments of epiphany by Muslim women. Their pulsating and coming-of-age experiences need to be told candidly.
Akhtarul Wasey and Juhi Gupta took pains to upend the widespread but erroneous perception that hardly considers Muslim women beyond being silent and passive onlookers. The book produces a gripping and layered narrative of those women who are to be reckoned as role models, but why their awe-inspiring efforts have not fetched the requisite response? As a central premise of the study, this question hardly took off, and the editors dish out a laudatory and partially plausible answer instead. For Wasey and Juhi, Muslim women, by and large, sump up a story of hope and resilience, and they assert, “In reality, Indian Muslim women, in the past and the present, have exerted their freedom, identity and agency. One way or the other, they have found ways to create, contribute, act and participate in various fields and ascended to prominence. Be it art, science, nation-building or politics, there have been hordes and hordes of Indian Muslim women pioneering, participating and contributing to development in the specific field.”
The creative dexterity, sweep of learning and speculative intelligence of Muslim women resonate with almost every genre of literature and non-fiction, and Urdu is not the only beneficiary. Azarmi Dukht Safavi, Rakshanda Jaleel, Rana Safavi, Annie Zaidi, Sami Rafeeq, Nazia Erum, Rana Ayub, Ghazala Wahab, Huma Khalil, Zehra Naqvi, Reema Ahmad, Nasra Sharma, Sadiqa Nawab Saher and the like make it for Persian English and Hindi with remarkable success. Their stories bear witness to what the editors asserted in the preface.
Several prominent authors and academicians, including Syeda Hameed, Rasheed Kidwai, Madhu Rajput, Bharthi Harishankar, Shahida Murtaza, Sabiha Hussain Ayesha Muneera, Azra Musavi, Shiangini Tandon, excavate details and they set forth a discourse whose emotional arc looks irresistible.
The book zeroes in on many prominent women by employing the case study method. Syeda Hameed, in her ear-to-ground and empathetic story of an accomplished author Saliha Abid Hussain whose fifty books, including her profoundly consequential autobiography, Silsila-e- Roz-o- Shabh (sequence of Days and nights), hardly got the recognition she deserved. It rightfully peeved Syeda Hameed, who candidly enumerated her oeuvre by observing that she was a chronicler of her times with natural talent for storytelling and, above all, a woman who believed, practised, and propagated her religion in its most liberal and humanitarian spirit.
Not many knew that Qudsiya Sikandar, Shah Jhan and Sultan Jahan were more than fortuitous rulers of Bhopal. Rasheed Kidwai employed laudatory idiom for adeptly documenting how their rule saw justice, gender sensitivity, peace and reforms even as faith and traditions remained intact. Surayya Tayyabji’s incredible artistic dexterity and pivotal role in designing our tricolour continue to elude public attention, and Shahida Murtaza’s academic rigour-filled succinct article, Surayya Tayyabji, the Resolute woman, supplements it.
The dreadful and calamitous partition is dotted with poignant tales of sufferance, and heart wrenching stories of the abducted women remained inarticulated. It was the turn of a celebrated author and activist, Begum Anees, who put together permeating and nuanced memories of the event and its earth-shattering aftermaths from the standpoint of women subjected to unprecedented affliction. Azra Musavi made her autobiography, Azadi Ki Chaon Mein (In Freedom’s Shade), the object of a single pristine look. Azra’s lucid close reading of the text draws forth an informed debate on how the two states faltered in fulfilling the aspiration of people.
Ayesha Muneera astutely spells out the contours of Rokeya Sakhawat Hussain’s creative world, and she argues that Sultana’s Dream is a feminist, political, and ecological utopia. She sides with Nilanjana Bhattacharya by terming it an anti-colonial text. For her, the novel works against India’s colonialization and internal colonization of women within Indian society. Rokeya’s trail-blazing text subtly conjures a dystopian world where gender roles are reversed, but the environs remain dreadful.
Naima Khatoon produced an evocative piece on Begum Akhtar, one of the most accomplished singers of Ghazal, Dadra and Thumri that India ever produced. She blended music and poetry with remarkable ease.
In her article, Sabiha Hussain ropes in feminist and cultural studies tools to map the creative terrains of Ismat Chughtai and Qurratul ain Haider.
Juhi Gupta turns her attention to the family of Sheikh Abdullah, the pioneer of Muslim women’s education, and she perceptively analyses the contribution of Begum Abdullah, well-known educationist Mumtaz Jahan, famous author Rasheed Jahan and prominent actor Begum Khurshid Mirza (Renuka Devi).
Shah Alam insightfully unravels the vanguards of change, and his laconic account, Vignettes of Muslim women Politicians in India reads well.
Faiza Abbasi, Mayuri Chaturvedi, Chand Bi, Tauseef Fatima, Bharti Hari Shankar, Rekha Pandey, Abida Quansar, Madhu Rajput, Bilal Wani, Naseem Shah, Shirin Sherwani, Shivandgini Tandon, Ruchika Verma, Anam Wasey and Huma Yaqub are the other contributors who made the anthology an intriguing read.
source: http://www.siasat.com / The Siasat Daily / Home> Featured News / by Shafey Kidwai / November 12th, 2022
Syed Imtiazuddin with his collection of autographs
Syed Imtiazuddin of Hyderbad has turned his hobby of collecting autographs of famous personalities into a body of work that is bound to be of great historic value for the future generations.
His collection of autographs of important world and Indian personalities has reached up to 200 so far.
The famous people whose signatures are part of Syed Imtiazuddin’s proud collection include Nobel laureates, politicians, writers and poets of Urdu and English, the heads of state and prime ministers of many countries, and film stars.
His passion for collecting the signatures of important and famous people transcends borders. Syed Imtiazuddin says he had to be patient while waiting for the signatures of famous personalities to whom he wrote letters requesting the same inside India and abroad.
Syed Imtiazuddin narrated an interesting incident from his student days. He was a 7th-grade student at Gandhi Bhavan Middle School, Nampally, Hyderabad. He says it was triggered when he was learning a chapter on India’s renowned Nobel laureate, Physicist-scientist Sir C.V. Raman. Dr. Raman discovered what is now known as the ‘Raman Effect.’
Dr Rajendra Prasad’s signature in Urdu
When the school teacher was imparting the lesson on the life of Sir C. Raman in the classroom, Imtiaz Ahmed thought of if only he could write to the great scientist. He tried to search for his mailing address with no success.
Finally, he did write to Sir C V Raman and posted it to on the address: Sir CV Raman, Bangalore.’ In the postcard addressed to the scientist, he wrote, ‘I was very impressed when I read about you today and I want your signature.’
To his pleasant surprise, a few days later he received a letter from Sir CV Raman. Dr Raman appreciated his passion.
Syed Imtiazuddin says that this was the first ‘happy and memorable day’ for him and it sparked his passion for getting autographs from celebrities.
After receiving Raman’s reply letter and signature, his happiness knew no end.
Prime Minister Indira Gandhi’s signature
Syed Imtiazuddin said that he passed the class 10 examination from a famous school – Chadar Ghat High Schoo and graduated from Osmania University.
He worked in the Andhra Pradesh State Electricity Department (APSEB) and simultaneously completed his MBA. He retired as Superintending Engineer in year 2001.
The famous poet of Hyderabad, Shaz Tamkant was Syed Imtiazuddin’s elder brother. Shaz Tamkunat was invited to mushairas in Delhi, Lucknow, and other states of the country
Syed Imtiazuddin says, “When Shaz went to Delhi to participate in Mushaira, he also carried an autograph book with him, in which he obtained the signatures of many well-known poets.”
Seeing this, I also decided to follow him. In late 1957, I wrote to the former President of India Dr. Rajendra Prasad expressing my desire to meet him. I received a reply from the Rashtrapati Bhawan that the President is due to visit Hyderabad in June 1958 and I would come to him there at his residence.”
A glimpse of Syed Imtiazuddin’s collection
“As the day of my meeting with Dr Rajendra Prasad was approaching, my anxiety knew no bounds. When I got the message that Rajendra Prasad had come to Hyderabad, I reached Hyderabad Resident with my elder brother Shaz Tamkant and met Rajendra Prasad. I was very happy to meet him. Even Rajendra Prasad appreciated my passion. He had already kept his signatures – in Hindi and English – on an expensive paper ready for me.”
The President also penned his signature in Urdu on his request.
Syed Imtiazuddin is fond of Allama Iqbal’s poetry. He is invited for delivering talks in the ‘Mahfil Iqbal Shanahi’ held every Wednesday.
Syed Imtiazuddin obtained the signatures of more than 200 personalities including Lord Mountbatten, the last Viceroy of India and first Governor-General of India.
Apart from them, the forty-second president of the United States, Jimmy Carter, the second president of Egypt, Gamal Abdel Nasser, the former president of Yugoslavia Josip Broz Tito, the Thirty-fifth US President John F. Kennedy, Indonesia’s first President Abdul Rahim Sukarno.
Signature of Writer T S Eliot
Israel’s first Prime Minister David Ben-Gurion, former King Hussein bin Talal of Jordan, famous American actress Elizabeth Taylor, her husband, famous Hollywood actor Richard Burton, Mother Teresa, and Charlton Heston, the hero of the famous American film The Ten Commandments.
Syed Imtiazuddin also obtained signatures from Pakistan’s first Nobel laureate Dr. Abdus Salam. Many of these personalities presented him with their photo as a gift.
Among the Indian leaders’ collection, Syed Imtiazuddin has the signatures of Pandit Jawaharlal Nehru, Indira Gandhi, Dr. Zakir Hussain, Maulana Abul Kalam Azad, Vijaya Lakshmi Pandit, VK Krishna Menon, Moraraji Desai, V. V. Giri, Dr. Sarvapalli Radhakrishnan, Neelam Sanjeeva Reddy.
Syed Imtiazuddin says he feels literature, film, and sports are close to human life and this is the reason why most of his collection relates to personalities from these fields.
He has an unenviable collection of signatures of TS Eliot, American writer John Steinbeck, British mathematician and Nobel laureate Bertrand Russell, Novelist Ernest Hemingway, Dr. AJ Cronin (Scotland), American writer Pearl S. Buck, English writer Aldous Huxley, Josh Malihabadi, Rashid Ahmad Siddiqui, Jigar Moradabadi, Faiz Ahmed Faiz, Khalilur Rahman Azmi, Sohail Azimabadi, Ahmad Nadeem Qasmi, Makhdoom Mohiuddin, Qaratul Ain Haider Krishna Chandra, Rajendra Singh Bedi, Maulana Syed Abul Hasan Ali Nadvi and Maulana Abdul Majid Dariyabadi.
Besides he has the signatures of Bollywood legends Dilip Kumar, Ashok Kumar, Sunil Gavaskar, Sachin Tendulkar, and Amitabh Bachchan.Syed Imtiazuddin said he used to study at an American library near the famous Muazzam Jahi Market in Hyderabad. While going through the book “Who’s Who in America” made him familiar with many top personalities.
Syed Imtiazuddin says success comes only if a person has passion and true dedication to a cause.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> India / by Abdul Rahman Pasha, Hyderabad / by awazthevoice.in / November 26th, 2022
The four years of the World War 1 saw the service of 1.3 million Indians, of whom 74,000 never made it back home.
The First World War , or the Great War as it is also called, raged across Europe and several war arenas scattered across the world from 28 July 1914 to 11 November 1918. These four years saw the service of 1.3 million Indians, of whom 74,000 never made it back home. For their families, the war was something they couldn’t quite understand.
Given the large-scale Indian involvement in a war that the majority of Indians could not fully comprehend, we shall once again look into the mirror of Urud to see how the poet viewed the momentous years of the Jang-e Azeem as the Great War came to be called in Urdu.
Several poets, lost in the veils of time and virtually unknown today, made interventions as did the more famous ones who continue to be well known though possibly not in the context of what they had to say about World War I.
Urdu’s Rendition of the Greatest Human Tragedy
Presented below is a sampling of the socially-conscious, politically-aware message of the poets of the times. Not all of these poets are well-known today nor is their poetry of a high caliber yet fragments of their work have been included here simply to illustrate how the poet had his finger to the pulse of his age and circumstance.
Let us begin with Sibli Nomani and his wryly mocking Jang-e Europeaur Hindustani that deserves to be quoted in full:
Ek German ne mujh se kaha az rah-e ghuroor
‘Asaan nahi hai fatah to dushwar bhi nahin
Bartania ki fauj hai dus lakh se bhi kum
Aur iss pe lutf yeh hai ke tayyar bhi nahin
Baquii raha France to woh rind-e lam yazal
Aain shanaas-e shewa-e paikaar bhi nahin’
Maine kaha ghalat hai tera dawa-e ghuroor
Diwana to nahi hai tu hoshiyar bhi nahin
Hum log ahl-e Hind hain German se dus guneh
Tujhko tameez-e andak-o bisiar bhi nahin
Sunta raha woh ghaur se mera kalaam aur
Phir woh kaha jo laiq-e izhaar bhi nahin
‘Iss saadgi pe kaun na mar jaaye ai Khuda
Larhte hain aur haath mein talwar bhi nahin!’
(Consumed with pride, a German said to me:
‘Victory is not easy but it isn’t impossible either
The army of Britannia is less than ten lakh
And not even prepared on top of that
As for France, they are a bunch of drunks
And not even familiar with the art of warfare’
I said your arrogant claim is all wrong
If not mad you are certainly not wise
We the people of Hind are ten times the Germans
Cleary you cannot tell big from small
He listened carefully to what I had to say
Then he said something that can’t can’t be described
‘By God, anyone will lay down their life for such simplicity
You are willing to fight but without even a sword in your hand!’)
That the Urdu poet was not content with mere high-flying rhetoric and was rooted in and aware of immediate contemporary realities, becomes evident when Brij Narain Chakbast declares in his Watan ka Raag (‘The Song of the Homeland’):
Zamin Hind ki rutba mein arsh-e-aala hai
Yeh Home Rule ki ummid ka ujala hai
Mrs Besant ne is aarzu ko paala hai
Faqir qaum ke hain aur ye raag maala hai
Talab fuzool hai kante ki phool ke badle
Na lein bahisht bhi hum Home Rule ke badle
(The land of Hind is higher in rank than the highest skies
All because of the light of hope brought forth by Home Rule
This hope has been nurtured by Mrs Besant
I am a mendicant of this land and this is my song
It’s futile to wish for the thorn instead of the flower
We shall not accept even paradise instead of Home Rule)
Poems Charged With the Spirit of Revolution
Similarly, Hasrat Mohani, in a poem called Montagu Reforms, is scathing about the so-called reforms that were given as SOPs to gullible Indians during the war years, which were mere kaagaz ke phool (paper flowers) with no khushboo (fragrance) even for namesake. The poem ends with a fervent plea that the people of Hind should not be taken in by the sorcery of the reforms.
Ai Hindi saada dil khabardar
Hargiz na chale tujh pe jadu
ya paayega khaak phir jab inse
Iss waqt bhi kuchh na le saka tu
(O simple people of Hind beware
Don’t let this spell work on you
If you couldn’t couldn’t take anything from them now
You’re not likely to get anything at all)
Josh Malihabadi who acquired his moniker of the shair-e- inquilab or the ‘revolutionary poet’ during the war period, talks with vim and vigour of the revolution that is nigh, a revolution that will shake the foundations of the British empire in his Shikast-e Zindaan ka Khwaab (‘The Dream of a Defeated Prison’:
Kya Hind ka zindaan kaanp raha hai guunj rahi hain takbiren
Uktae hain shayad kuchh qaidi aur torh rahe hain zanjiren
Divaron ke niche aa aa kar yuun jama hue hain zindani
(How the prison of Hind is trembling and the cries of God’s greatness are echoing
Perhaps some prisoners have got fed up and are breaking their chains
The prisoners have gathered beneath the walls of the prisons)
Satire, Pain and Passion Punctuate These Poems
The ever-doubting, satirical voice of Akbar Allahabadi— a long- time critic of colonial rule and a newfound admirer of Gandhi, shows us the great inescapable link between commerce and empire that Tagore too had alluded to:
Cheezein woh hain jo banein Europe mein
Baat woh hai jo Pioneer mein chhapey…
Europe mein hai jo jung ki quwwat barhi huwi
Lekin fuzoon hai uss se tijarat barhi huwi
Mumkin nahin laga sakein woh tope har jagah
Dekho magar Pears ka hai soap har jagah
(Real goods are those that are made in Europe
Real matter is that which is printed in the Pioneer…
Though Europe has great capability to do war
Greater still is her power to do business
They cannot install a canon everywhere
But the soap made by Pears is everywhere)
The great visionary poet Iqbal, who is at his most active, most powerful during these years, does not make direct references to actual events in the war arena;
nevertheless, he is asking Indians to be careful, to heed the signs in Tasveer-e Dard (‘A Picture of Pain’):
Watan ki fikr kar nadan musibat aane waali hai
Tiri barbadiyon ke mashvare hain asmanon mein
(Worry for your homeland, O innocents, trouble is brewing
The portents of disaster awaiting you are written in the skies.)
Adopting a fake admiring tone, Ahmaq Phaphoondvi seems to be praising the sharpness of the British brain in Angrezi Zehn ki ki Tezi (‘The Cleverness of the English Mind’) when he’s actually warning his readers of the perils of being divided while the British lord over them.
Kis tarah bapa hoon hangama aapas mein ho kyun kar khunaraizi
Hai khatam unhein schemon main angrezi zehn ki sab tezi
Ye qatl-o khoon ye jung-o jadal, ye zor-o sitam ye bajuz-o hasad
Baquii hii raheinge mulk mein sab, baqui hai agar raj angrezi
(Look at the turmoil and the bloodshed among our people
The cleverness of the English mind is used up in all such schemes
This murder ’n mayhem, wars ’n battles, cruelties ’n malice
The country’s garden is barren, with nothing but dust and desolation)
Towards Freedom and Fervour..
Zafar Ali Khan sounds an early, and as it turns out in the face of the British going back on their promise of self-governance, entirely premature bugle of freedom. While warning his fellow Indians to change with the changing winds that are blowing across the country as the war drags to an end, he’s also pointing our attention to the ‘Toadies’, a dreaded word for the subservient Indians who will gladly accept any crumbs by way of reforms in his poem Azaadi ka Bigul (‘The Bugle of Freedom’):
Bartania ki meiz se kuchh reze gire hain
Ai toadiyon chunne tum innhe peet ke bal jao
(Some crumbs have fallen from the table of Britannia
O Toadies, go crawling on your bellies to pick them)
In the end, there’s Agha Hashar Kashmiri who, in a sarcastic ode to Europe called Shukriya Europe, thanks it for turning the world into a matamkhana (mourning chamber), and for having successfully transformed the east into an example of hell.
Utth raha hai shor gham khakistar paamaal se
Keh raha hai Asia ro kar zaban-e haal se
Bar mazar-e ma ghariban ne chiraghe ne gule
Ne pare parwane sozo ne sada-e bulbule
(A shout is rising from the dust of the downtrodden
Asia is crying out and telling the world at large
On my poor grave there are neither lamps nor flowers
And not the wing of the moth or the sad song of the nightingale.)
(Rakhshanda Jalil is a writer, translator and literary historian. She writes on literature, culture and society. She runs Hindustani Awaaz, an organisation devoted to the popularisation of Urdu literature. She tweets at @RakshandaJalil
This is an opinion piece and the views expressed above are the author’s own. The Quint neither endorses nor is responsible for the same.)
source: http://www.thequint.com / The Quint / Home> Voices> Opinion / by Rakshanda Jalil / November 11th, 2022
‘People feel it is lucky to have tea here. There is something charming, something random about this place which makes it cool,’ said Ritu, a student.
People eat at a vegetarian restaurant ‘Lucky Tea Stall’ built on a graveyard, in Ahmedabad. (Photo | PTI)
Ahmedabad:
To the outsider, the idea of an eatery built on a Muslim graveyard, run by a Muslim, serving pure vegetarian food and frequented by all communities seems an anomaly.
Not so for its customers though, many who believe that Lucky is actually lucky for them.
Like Sagar Bhatt, a devout Hindu and a resident of Dariapur, who makes it a point to stop by for a cuppa every morning after visiting the temple.
“It feels auspicious to have tea at this place. There is something special about this place,” Bhatt, sporting a red ’tilak’ on his forehead, told PTI while pointing to a grave.
On one wall is a painting by M F Husain, showing an oasis, camels and a ‘kalma’ – ‘La Ilaha Illallah Muhammadur Rasul Allah’ (There is only one God and he is Allah, and Muhammad is his prophet).
“It is the only tea shop boasting a Husain painting,” said a proud Abdul Rajak Mansury, who operates the tea stall.
Every night, the painting by one of India’s most valued artists is taken off the wall and kept away safely.
The six-decade shop in what is essentially a Muslim-dominated area is a common person’s eating joint, he said.
As the campaign hots up, the tea stall in Old Ahmedabad’s Jamalpur-Khadia is also an oasis of calm, far removed from the din and aggression of the Gujarat assembly election being held in two phases on December 1 and 5.
While the Congress has fielded Imran Khedawala, its sitting MLA, the Aam Aadmi Party has given a ticket to Haroon Bhai Nagori and the BJP is fielding a Hindu candidate, Bhushan Bhatt.
The AIMIM is also contesting the seat with Sabir Kabliwala in the fray.
Talk of ‘dhandha’ (business) supersedes ‘dharam’ (religion) at Lucky – so popular that the traffic light point is also called Lucky Chowk.
It is at the centre of several colleges and offices, and a big hit with students and office-goers.
According to Bhatt, a small-time construction contractor, economic issues and issues impacting his business matter more than religious sentiments.
“Sir, I am following my religion but from the government, I expect to further improve the economy so that my business flourishes. For us Gujaratis Dhandha sab se pehle (business comes first),” he said.
On the menu is the perennial favourite ‘bun maska’ and a range of Chinese and Indian dishes. No eggs are used.
College students Ritu and Tanya said the place is cool. “People feel it is lucky to have tea here. There is something charming, something random about this place which makes it cool,” said Ritu, a third year commerce student.
The first-time voter said better jobs and better business environment are bigger issues for her as a student and daughter of a businessman.
Tanya, studying chartered accountancy, agreed. “The business environment in maru Gujarat (my Gujarat) is its USP, it should not be get disturbed at any cost.”
Lucky started on a handcart under a neem tree, and expanded and developed around the graveyard as business grew, said Mansury.
The 26 graves have grills around them.
The staff clean them everyday and place fresh flowers on them.
Some people put ‘chadars’ on the graves seeking fulfilment of their wishes.
Representing the best of a syncretic India, may many more Luckys flourish and thrive, hope its customers.
source: http://www.newindianexpress.com / The New Indian Express / Home> Nation / by PTI / November 23rd, 2022
A woman has made her village proud by reviving the dying art of Wooden Cutlery of Udayagiri in Nellore District of Andhra Pradesh.
Inheriting the craft from her father, Shaik Gousia Begum has trained 400 artisans in woodware. She has now been selected for YSR Award 2022.
Why is Udayagiri famous?
Situated 100 km from Nellore district headquarters, Udayagiri is known for its intricate wooden cutlery, soap cases, and bowls. More than a hundred years ago Sheikh Abdul Bashir was impressed by the softwood cutlery art of Dadasahib, a carpenter. Sheikh Abdul learnt the art and sold his products locally. He soon began improvising with intricate designs and carving. His cutlery caught the eye of tourists visiting Udayagiri and the Handicraft Department, which subsequently began training artisans, particularly women in the craft.
Shaik Gousiya Begum who is the third generation artisan, took up this job after her father fell sick. She trained many craftsmen. Later she also trained her son Zakeer Husain who is now a fourth-generation artisan.
“After my father fell sick in 2005, I took up the profession and started teaching people. From a batch of 5-6 members, now we have 400 artisans who work in the cluster at the village. Everyone is from a poor background. We used to make products and sell them in other states,” said Shaik Gousiya Begum.
She also received the State Award in 2005.
Her son takes it to social media
Begum’s son always wanted to become a police constable. But she wanted him to pursue business and keep the tradition alive. Zakeer Husain who learnt the work from his grandfather also trained other women. However, as time passed, Udayagiri Cutlery saw a downfall due to a lack of marketing. It was Hussain who promoted the products on social media platforms. “Now, my son is responsible for sales and promotion. We send our products to Lepakshi stalls in Hyderabad, and Andhra Pradesh. My son also travels to other countries to sell products in exhibitions”, said Begum.
Much Demand
Begam says their wood cutlery has a great demand. People book their products online. They have designed 150 different products. These include wooden spoons. forks, salad bowls, trays, and combs influenced by Persian motifs and patterns, earrings, toys, lamps, and many more.
How do they make it?
Wood cutlery takes a lot of time and patience for perfection. The local wood of Devadari, Nardi, and Khalidi is sourced from Durgampalli hills and dried for ten days. The wood is then soaked in water for 2 days, and then dried again in the shade for 3 days. The process of making cutlery then begins and takes time depending on the design.
Take it around the globe:
“I want to take this art form to other countries and make my grandfather proud. Previously, my grandfather used to make and sell locally. But later, I started to run the business on social media and set up stalls in every exhibition hosted by the government”, said Zakeer Hussain.
GI tag
Wood cutlery of Udayagiri got its significance when the village was granted Geographical Indications (GI) tag for being the only region with such a craft form in 2016. Then they started selling out at famous exhibitions such as Shilpararnam in Hyderabad. The women later set up the Udayagiri Cutlery Mutually-Aided Cooperative Society.
Need for development
Tucked away in a quaint corner of the Nellore district, the artisans said there is a need for the development of their cluster. They have been regularly asking the government for better space that can accommodate 400 workers.
. “Udayagiri has a great future and many prospective buyers. However, we need better manpower and machinery. Currently, 90% of the work has to be done by hand. Schemes and opportunities for training more people on this craft form are what we need” said Hussain.
source: http://www.m.dailyhunt.in / Daily Hunt / Home / NewsMeter / November 2022
Mohammad Faiz from Jodhpur won the second season of Superstar Singer. He took home Rs 15 lakh.
Mohammad Faiz with captain Arunita Kinjal.
Sony Entertainment Television’s kids singing reality show, Superstar Singer 2 has finally found this season’s winner! With judges Himesh Reshammiya, Alka Yagnik and Javed Ali, the contestants truly came a long way. Making it to the top six were Mohammad Faiz, Mani, Pranjal Biswas, Aryananda R Babu, Rituraj and Sayisha Gupta.
Mohammad Faiz from Jodhpur was declared as the season winner and lifted the coveted Superstar Singer 2 trophy. Along with the trophy, the 14-year-old was also awarded with a cheque of Rs 15 lakh.
Mohammad Faiz Wins SuperStar Singer 2
Aptly titled as the Future Voice of Romance by Akshay Kumar and other B-town celebrities, Mohammad Faiz brought alive his passion for music on stage through his mesmerising performances. With his first performance on the song Khamoshiyan in the audition round, Faiz found a special place in the hearts of the judges and audience alike. From there on, there was no looking back for Faiz as he wowed the judges, audience and all the celebrity guest with his magical voice. He was given the title of India’s young singing sensation by judge Himesh Reshammiya who also gave him an opportunity with his first ever singing break – Merre Liye. Not only this, but memorable moments were when eminent personalities expressed their wish of getting Faiz to sing and work for them one day as a playback singer.
What did Mohammad Faiz Say ?
Mohammad Faiz said, “Being on Superstar Singer 2 is an achievement by itself. When I gave the auditions, never in my wildest dreams did I ever imagine that I will not only be in the TOP 6 but also win the coveted trophy. I am unable to describe this feeling in words, it’s so surreal. It still feels like a dream to me. I would like to thank all the viewers and my fans i.e., Faizians who have showered me with so much of love and votes. I also want to extend my gratitude to everyone who has made my journey on Superstar Singer 2 truly special, especially all the judges and my captain Arunita di, who has been my pillar of strength, believed in me and guided me to make this dream of mine come true. The show has been an enriching experience throughout and has given me friendships that I will treasure forever. I am extremely delighted to have received this opportunity to showcase my talent.”
Arunita Kanjilal, Captain on the Show reacts
Arunita Kanjilal, captain on Superstar Singer 2 said, “Superstar Singer 2 has been the most wonderful experiences of my life that I will cherish forever. Not only did I get to guide some of the most talented young kids as a captain but also got to learn so much from them. I am truly grateful for this journey. Also, I am extremely elated to see our Rockstar Faiz lift the trophy and be crowned as the winner of Superstar Singer 2. This is a huge honour for both of us. I am also very grateful to everyone who has supported and showered their love on Faiz; making him win the coveted title of this season’s ‘Singing Ka Kal.’ I am super proud of Faiz and all the other contestants who have amazed everybody with their melodious voices. I wish all of them lots of love, luck and prosperity for a brighter future.”
What do the Judges say ?
Judge Alka Yagnik said, “Superstar Singer 2 brought forth some of the most bright and young extraordinary singing talent. Seeing them mature, grow and flourish throughout the season has been an experience. Everyone from the top 6 contestants have been outstanding. Faiz is a well-deserved winner, his graph on the show has been so good. He has been one of the best singers the stage has witnessed, and his determination towards music and zeal to win has made him win the coveted title of Superstar Singer. This is just a beautiful beginning of his career and I believe he will go a long way. My wishes and prayers are always with him. May he soar high always in his future endeavors.”
Judge Himesh Reshammiya added, “Extraordinary this is exactly how I would like to describe Superstar Singer 2! All the contestants on the show have marvelled us with such outstanding performances week on week, making it a tough decision for us and the audience to choose the next ‘Singing Ka Kal’. Faiz has been a complete rockstar right from the beginning and has consistently given his best. I am very proud of Faiz, he has always had this spark in him, and his incredible journey on this show speaks for it. My heartiest congratulations to Faiz who has emerged as the winner of Superstar Singer 2. I personally cannot wait to see the success that will follow his way.”
Judge Javed Ali concluded, “Superstar Singer 2 has been a show that has made a special place in the hearts of the audience with the extraordinary singing talent of the ‘Best Bache Ever’. Watching them perform week after week was so heart-warming; Their magical voices deeply touched all of us. And, I am sure all of them will go a long way. I have personally received so many messages and calls praising the kids of the show. The stage of Superstar Singer 2 has given birth to some of the most impeccable talents and has also given some of the most iconic performances that will forever be cherished in the reality show’s hall of fame. I am extremely proud of all the contestants, especially Faiz who is a very well-deserved winner, and I wish him all the luck for a brighter and successful future. Kudos to the whole team of Superstar Singer 2.”
source: http://www.indiatoday.in / India Today / Home> News> Television> Reality TV / by Grace Cyril / Mumbai, September 04th, 2022
The literary work is the fourth translation and the first Urdu work to win the JCB Prize
(Left to right) Mita Kapur, literary director, The JCB Prize for Literature; Sunil Khurana, chief operating officer, JCB India; winning author Khalid Jawed; translator of ‘The Paradise of Food’ Baran Farooqi and jury member AS Panneerselvan JCB Prize
Khalid Jawed’s The Paradise of Food has been awarded the JCB Prize for Literature 2022. The book was chosen by a panel of five judges.
The Paradise of Food has been translated into English from Urdu by Baran Farooqi and published by Juggernaut. The Rs 25 lakh prize was awarded to the author virtually by Sunil Khurana, chief operating officer, JCB India, and A.S. Panneerselvan, chair of the jury for 2022, at a hybrid event organised at The Oberoi, New Delhi. Khalid Jawed also received the trophy — a sculpture titled ‘Mirror Melting’ by Delhi artist duo Thukral and Tagra.
The Paradise of Food, which is the fourth translation to win the JCB Prize and the first in Urdu, is a bildungsroman that traces the narrator’s journey through life anchored in a middle-class Muslim joint family.
The jury comprised Panneerselvan, journalist, editor and columnist; author Amitabha Bagchi; J Devika, historian, feminist, social critic and academician; author Janice Pariat and Rakhee Balaram, assistant professor, Global Art and Art History at the University of Albany, State University of New York. The award ceremony began with a welcome note from Mita Kapur, literary director of the JCB Prize, and an address by Deepak Shetty, CEO & managing director, JCB India. Classical dance performances by Shriram Bhartiya Kala Kendra led up to the grand announcement.
Speaking about the merit of The Paradise of Food as a piece of literature, Bagchi commented, “This singular and moving book shines a scintillating light on the violence at the heart of human civilisation. The language contains several beautiful and unusual formulations that are a literary achievement by both the author and the extremely skilled translator. A literary landmark in a less-celebrated genre of Urdu’s grand literary tradition, this work deserves to be widely read in India and beyond.”
Other members of the jury, too, unanimously appreciated Jawed’s book. Rakhee Balaram described the work as a “book of indescribable brilliance” and to J. Devika, it was a “powerful ice-pick in the winter of civilisational crisis that has engulfed the countries of South Asia”.
source: http://www.telegraphindia.com / Telegraph India / Home> My Kolkata> Events> Literary Event / by My Kolkata Web Desk / November 20th, 2022
Picture of the Alami Tablighi Ijmeta held in 2019. | Picture: Tablighi News 365
Held for the first time in 1948, the Bhopal Ijtema is known for its massive participation of people and for promotion of peace and inclusivity.
Bhopal (Madhya Pradesh) :
The Alami Tabhligi Ijtema, an annual Islamic congregation held every year in Madhya Pradesh commenced today in the outskirts of the capital Bhopal. The four-day religious event is the third-largest Islamic congregation globally. The first such congregation was held 73 years ago. The event is taking place after two years of halt caused by the Covid-19 pandemic.
The congregation is not only popular for being the largest religious gathering in India but is also well known for the promotion of peace and inclusivity.
For the first time, international participants will not be in attendance at the congregation.
According to a report in Dainik Bhaskar, the congregation will be held on 300 acres of land. “20,000 volunteers will handle management. More than 17,000 taps are installed for ablution only. 7 crore litres of water will be consumed every day for drinking, ablution, and cleansing. Non-veg food is banned due to Lumpi Virus. There will be 45 parking slots and 7000 dustbins. 5000 volunteers will take care of the cleaning. 5 fire brigades and 6 fire bullets will be present there. 2000 policemen will manage security and 500 will handle the traffic management. There will be 3 hospitals of 10 beds each as well,” the report said.
History of the congregation Shams Ur Rehman Alavi, a prominent journalist and former editor with Hindustan Times told TwoCircles.net that even though this grand congregation of Muslims is a purely religious event but in Bhopal, it means much more. “It has a unique relationship with the city and its inhabitants irrespective of their beliefs. Come winter and there is a buzz about the dates of Ijtima. Though such gatherings are now held in different cities across the country, the Ijtima here has an altogether different ‘connect’ with the people,” he said.
Shams Ur Rehman Alavi said that after the independence of the country, the first congregation was held in Bhopal in 1948 at Masjid Shakoor Khan.
It is said that the first congregation was a small gathering. Later, it was shifted to Taajul Masajid and became a big event. In 2002, it was shifted to outside the city in Eintkhedi as the gathering had become too big by then with a participation of 5 lakh people. Today, nearly 1.5 people congregate at the event. “People still get nostalgic when it was held in Tajul Masajid for over half a century. In those days, the temporary market that came to be associated with the gathering gave the congregation another meaning for Bhopalites,” Shams Ur Rehman Alavi said.
Preparations run for months The preparations for the congregation began several months ago. Many youths from the nearby areas volunteer to help with the preparations. “This is farmland. It is very difficult to clean it and make it suitable for the congregation. We made drainage to discharge water from the farms with the help of a generator to dry the land sooner,” Abuzer, a volunteer, told TwoCircles.net.
Abuzer said all volunteer work is done by Muslims. “People willingly come here and do labour without demanding charges. We do it for the sake of Allah,” he said.
Atiq Ul Islam is a member of the organizing team that is looking after the preparations. He told TwoCircles.net that the 300 acres of farmland where the congregation is taking place is lent free by locals, which include both Muslims and non-Muslims.
“Non-Muslims have never refused to lend their lands to this congregation. We organize this Ijtima to please God and send a message to the world to follow God’s commandments which is to do good and refrain from evil,” Atiq Ul Islam said.
He said that the congregation is held to send a message of peace. “Every faithful attends this Ijtima,” he said.
Atiq Ul Islam informed that Muslim volunteers also take responsibility for security and traffic management. “The administration plays a supporting role by keeping an overall eye on things. Rest everything is managed by our volunteers,” he said.
Akram Ahmed Khan is a resident of Bhopal who has been attending the congregation since childhood. For many years, he has volunteered at the event.
Akram said that the congregation has a cross-functional team that has a dedicated system including a security team, transportation and commute team, road management (traffic management) team, parking team, and emergency and procurement (medical team). “The management skills I learned here have helped me in my professional life as well,” Akram Ahmed said.
For effective disposal of waste, the management collaborates with Bhopal Municipal Corporation (BMC). For its zero-waste, the congregation has earned laurels.
Huneza Khan is a student and a budding journalist from Bhopal, Madhya Pradesh. She tweets @KhanHuneza
source: http://www.twocircles.net / TwoCircles.net / Home> Lead Story / by Huneza Khan, TwoCircles.net / November 18th, 2022
