Category Archives: Arts, Culture & Entertainment

The Handsomest Star We Never Knew

Peshawar / Calcutta (now Kolkata), BRITISH INDIA :

The Telegraph tells the story of another Pathan from Peshawar who galloped his way into Indian cinema, and then galloped away much too soon.

Gul Hamid / Courtesy, Film Heritage Foundation

Let’s start from the very beginning, a time when celluloid was just opening up to the light of day. And in those first few pages of the history of Indian cinema, one place finds mention again and again — Peshawar.

The city, some say, derives its name from the Sanskrit Purushapura, meaning the City of Men. Perhaps by divine direction, it truly went on to gain a reputation as the city of stars. Prithviraj Kapoor, Raj Kapoor, Dilip Kumar, Vinod Khanna… were all born in Peshawar or nearabouts. Shah Rukh Khan’s clan too belongs there. It was also home to Gul Hamid, a Pathan who shone bright on the silver screen like few stars did.

Born in 1905 in Pirpai village, Hamid was known for his handsome looks. Nasir Shah, whose great grandmother was the actor’s sibling, reveals how a young Hamid galloped into the movies, quite literally. “He was a constable with the British police in Peshawar and was sent to Lahore as part of a contingent to manage a political event — a public address by Gandhiji. This was around 1928-29,” Shah tells The Telegraph over phone from Australia, where he works as an engineer. 

A member of the mounted police, Hamid was ambling on horseback after work when he came upon a film shoot. The director of the unit was the famous A.R. Kardar, and the scene that of an abduction — of the heroine by the villain, also on horseback. Seeing a helpless woman being chased, Hamid — unaware of what shooting really meant — rode his horse straight into it and brought the villain down. “Kardar was struck by the handsome Pathan and talked him into working in his film,” Shah says.

That’s how he debuted in Sarfarosh, a silent film made in 1930. Hamid was also part of the first Punjabi feature film, Heer Ranjha (1932). After working in several films in Lahore, he followed Kardar to Calcutta, which was then one of cinema’s biggest laboratories. He acted in Debaki Bose’s Bengali film Seeta (1934), which became the first Indian talkie to receive international recognition, at the Venice Film Festival. He was also part of Yahudi ki Ladki (1933), directed by Premankur Atorthy. And then, Hamid made his way to Bombay, to another budding industry for some more action.

“I would call him the first real stud of Indian cinema; his appearance was just so perfect,” says Shivendra Singh Dungarpur, filmmaker, archivist and restorer, “…the kind of star, say, John Wayne was in the Westerns of Hollywood.” Dungarpur shares an anecdote from those times. “When Bose saw the astonishingly good-looking man from Peshawar, he wondered what kind of a role would suit him… and thus Hamid got to play the character of a god, as if to justify his looks.”

The film also featured Prithviraj Kapoor as Rama and Durga Khote as Sita.

In fact, the entire story of Hamid’s career — and untimely death — is in many ways quite incredible. The actor died when he was all of 31, after battling Hodgkin’s disease for a few months. But by then he had acted in 14 films, earning for himself the title of Sitar-e-Hind or Star of Hindustan.

Hamid fell in love with and married the Calcutta-born Patience Cooper, his co-star in many films. But he had to keep it a secret from his family back in Peshawar for obvious reasons.

“He was even engaged to a simple, traditional girl of his mother’s choice,” says Shah. His family came to know about the marriage only after Hamid’s death, when his brothers broke open a chest full of letters shared between the two. It was almost like he was living a double life, feels Shah, “His family clearly had no idea of his stature or the big picture.”

The film world in those days was ruled by the trinity of Prithviraj Kapoor, K.L. Saigal and Hamid. “The scenario would be much altered if Hamid hadn’t died so young,” says Dungarpur. And although very little documentation survives, Hamid — given his pairing up with Cooper — was quite the star people were talking about. “I recall seeing magazines from the era with photographs of couples such as them, and Devika Rani and Himangshu Rai,” says he.

Perhaps the most significant of all of Hamid’s films was Khyber Pass (1936), which he also scripted and directed. “It was made in Peshawar; it was his effort to showcase Pashtun culture,” says Shah.

In an interview reminiscing those days — it is available on YouTube — Prithviraj Kapoor talks about Hamid, “Badi khoobiyat thhi usme, bahut pyara admi thha… Woh mujhey bade bhaiyya pukarte thhe (Hamid was a talented man and lovable man, he would address me as big brother).”

As a very sick Hamid lay on his deathbed, Kapoor went to visit his friend one last time. Shah’s grandfather, who was then a little boy, witnessed a conversation between the two that could very well have been lifted straight out of a script.

Kapoor asked, “Gul Hamid, kaise ho… how are you?”

And Hamid answered, “Andar se aag ki tarah garam aur bahar se barf ki tarah thanda (Burning like fire itself from within and as cold as ice on the outside).”

It is said that cinema never again saw an actor with Gul Hamid’s looks.

source: http://www.telegraphindia.com / The Telegraph Online / Home> Culture / by Paromita Kar / October 31st, 2021

G Santha Teacher Memorial Journalism Award 2021 for Kashmir-based journalist Mudassir Kuloo

JAMMU & KASHMIR :

The award has been instituted in the memory of G Shantha, an English teacher hailing from Thalavadi in Kerala’s Alappuzha district. 

Rekha Satheesh from The New Indian Express was the first winner.

The specially-crafted stone memento made by noted mural artist MS Chandramouli that will be awarded to Mudassir Ahmad (right). (Photos | Special Arrangement)

Bengaluru :

Mudassir Ahmad Kuloo (33), an independent journalist from Kashmir, has been awarded the 5th G Santha Teacher Memorial Journalism Award instituted by the Inspired Indian Foundation (IIF), Bengaluru.

The award will be presented on November 6 in Bengaluru, during the 5th Guru Kalam Memorial Lecture, an annual national event being organised by the IIF to commemorate the birth anniversary of former President Dr APJ Abdul Kalam. The IIF spearheads several missions of Dr Kalam in association with Dr APJ Abdul Kalam International Foundation, Rameswaram.

This year the award carries a specially-crafted stone memento made by noted mural artist MS Chandramouli from Karnataka in addition to Rs 25,000 as a cash component.

The 2021 jury included aerospace and defence scientists, writers, teachers and activists in addition to the trustees of IIF. Mudassir was chosen from a list of three shortlisted Indian journalists.

Mudassir pursued his Masters in Mass Communication and Journalism from University of Kashmir and has been a Senior Correspondent with The Kashmir Monitor for six years. 

His reports have also featured in The Third PoleTRT WorldFirst PostThe TehelkaHuffPostCNBC TV and Dainik Bhaskar among others.

Ashfaq ul Hassan, Editor of The Kashmir Monitor, termed Mudassir as a dependable journalist who covers all possible angles of a story. “His honest, enthusiastic and realistic approach is highly commendable,” Ashfaq noted.

Ishtiyaq Ahmad, Editor of Kashmir Indepth, also hailed Mudassir terming him an extremely intelligent journalist who has always strived to highlight issues of human rights, gender, social justice, environment and health. “A perfect team man who has his ear to the ground” was how Ishtiyaq summed him up.

The award has been instituted in the memory of G Shantha, an English teacher hailing from Thalavadi in Kerala’s Alappuzha district. Born in 1942, she dedicated her career to instilling in her young wards an unshakeable determination to chase their dreams wherever she taught, including at Seethalakshmi Ramaswami College, Trichy, Tamil Nadu, and Devasvom Board College, Thalayolaparambu, Kerala, and Mahatma High School for Girls, Chennithala, Kerala. 

G Shanta passed away in 2007 at the age of 65. She worked selflessly to promote the English language among rural kids. She also found time to write short stories and poetry.

Rekha Satheesh, a Senior Chief Sub-Editor with The New Indian Express, Kochi, was the first recipient of the award in 2016, while Rajeev Kumar Mishra, a Chief Sub-Editor with the Bengaluru edition of Rajasthan Patrika, won the honour in 2017. 

The award went to Jugal Purohit, a Senior Broadcast Journalist with BBC India, in 2018 and in 2019 M Nanjundaswamy a Mysuru -based stringer of Kannada daily Vijay Karnataka, was the recipient.

(Mudassir can be reached at: mudasirkuloo00@gmail.com | Twitter: @MudasirKuloo)

If you have any queries w.r.t. this release, please contact the following: Madhusoodanan A: 9731065269 / Snigdha Jha: 7899778888

source: http://www.newindianexpress.com / The New Indian Express / Home> Nation / by Press Release – Madhusoodanan / November 01st, 2021

Leander Paes and Nafisa Ali join Trinamul Congress in Goa

Kolkata, WEST BENGAL :

While the names of swimmer and activist Ali and Deshprabhu had been doing the rounds, the tennis icon was a surprise for most.

Mamata Banerjee with Leander Paes in Dona Paula, Goa / Telegraph picture

Trinamul chief Mamata Banerjee on Friday inducted celebrities such as Leander Paes and Nafisa Ali and entrepreneur Mrinalini Deshprabhu into her party for its Goa foray, which she formally launched over the course of a busy day of political and PR exercises.

While the names of swimmer and activist Ali and Deshprabhu had been doing the rounds, tennis icon Paes was a surprise for most.

“When, at the age of 14, I went to play tennis for India, Didi (Mamata) was the (junior) Union sports minister. She used to always encourage, always support…. Now, after three decades of tennis, I would like to support the lady who has been going forward with immense courage. She is a real champion to me,” said Paes, 48, a Calcutta boy and now a resident of Goa.

Regarded as one of the greatest players in doubles, he won 18 Grand Slams in men’s and mixed doubles, and a bronze for India in men’s singles at the 1996 Olympics in Atlanta.

“I would like to serve the people by means of politics. I would like to serve the youth of the nation. That is why I have joined Didi,” said Paes. “India is the world’s largest democracy. There cannot be division here on the basis of caste, creed, or religion,” he added.

Now 64, Ali was a Congress candidate against Mamata in Calcutta South in the 2004 Lok Sabha polls. She lost. Ali also had a brief stint with Samajwadi Party before returning to the Congress in 2009.

Mamata Banerjee with Nafisa Ali in Goa / Telegraph picture

“She (Mamata) is such a champion for the cause of protecting the inclusive ethos of India…. It is important, now more than ever, to close the ranks on forces that seek to divide this great nation,” said Ali, a Calcutta girl who was the national swimming champion in the early 1970s, was crowned Miss India in 1976, and went on to act in films.

Sources in Trinamul said Mamata was keen on engaging civil society members in politics in Goa, something she did successfully in Bengal.

The BJP’s Pramod Sawant-led government would seek re-election to the 40-seat Goa Assembly in  February 2022.

The principal Opposition there is the Congress, with the AAP testing waters there for some time.

Last month, Mamata inducted Goa’s former chief minister Luizinho Faleiro, with four decades in the Congress. He is now a national vice-president of Trinamul, helping it not only in Goa but also in several states of the Northeast, which he handled organisationally for the Grand Old Party.

After Faleiro came a number of political leaders from Goa, from various parties there. From the civil society, Trinamul has already managed to get the likes of poet N. Shivdas, filmmaker Tony Dias, environmentalist Rajendra Shivaji Kakodkar, footballer Denzil Franco, and boxer Lenny Da Gama.

source: http://www.telegraphindia.com / The Telegraph Online / Home> West Bengal / by Meghdeep Bhattacharrya, Calcutta / October 30th, 2021

The dying art of hand-painted film posters and an artist who still brings celebs alive through his works

Kolkata, WEST BENGAL :

Equipped with the knowledge of hand-painted posters, in 1981, Mahmood left for Siliguri, a fairly less-competitive market, in search of a job. After an illustrious career, the 65-year-old, locally known as ‘Painter Mahmood’, lives in a nondescript, barely-lit house in Kolkata’s Crematorium Street.

Hand painted by Mehmood Alam on Nalin Sarkar Street. (Express Photo Shashi Ghosh)

There was a time when people would worship film stars, a time when cinemas of all languages would give birth to extraordinary heroes and heroines. If it was Rajesh Khanna, Amitabh Bachchan, Hema Malini and Rekha in Bollywood, their counterparts Uttam Kumar, Shubhendu Chatterjee, Suchitra Sen and Supriya Debi were dominating the Bengali cine world.

While onscreen, dialogues like main aaj bhi phenke hue paise nahi uthata (Amitabh Bachchan in Deewar, 1975) and korbo, albaat korbo, I will go to the top, the top, the top (Uttam Kumar in Nayak, 1966) turned the actors into superstars, off screen, their larger-than-life images would be drawn by the hand-painted cutouts and posters.

Those who have seen the frenzy outside single-screen cinema halls back in those days would remember how fans would garland a hero’s cutout and throw slippers at a villain’s poster.

Painter Mehmood Alam is locally known as ‘Painter Mahmood’. (Express Photo Shashi Ghosh)

With the advent of digital printing, however, the art of hand-painting film posters first took a backseat and then died a natural death and with that people like Mahmood Alam found themselves jobless.

After an illustrious career, 65-year-old Mahmood, locally known as ‘Painter Mahmood’, lives in a nondescript, barely-lit house in Kolkata’s Crematorium Street, which got its name from the now-defunct gas crematorium, the only-of-its-kind in the city. The crematorium and Mahmood have an uncanny similarity — both were celebrated in the past, but now barely manage to attract attention.

Mahmood, arguably the last such artist in Kolkata, was around 17-year-old when he took interest in learning the art of making film posters. “I was still a student back then, at Islamia High School, when studios in Kolkata would offer classes on painting banners and posters. I loved the film world and enjoyed painting too so I learnt the art at a nearby studio.”

Equipped with the knowledge of hand-painted posters, in 1981, Mahmood left for Siliguri. (Express Photo Shashi Ghosh)

Equipped with the knowledge of hand-painted posters, in 1981, Mahmood left for Siliguri, a fairly less-competitive market, in search of a job. Back in those days, much before the murky tales of the industry flooded primetimes of news channels, Bollywood was considered to be a platform for those with a dream.

The superhit movie Andha Kanoon had helped two such dreamers — Rajnikanth, who debuted in Bollywood with this movie, and Mahmood, who made a banner for the movie in Siliguri.

Although there was a brief period of lull for a month, there was no looking back after that one poster, says Mahmood. “After successfully making one poster, I was confident I would find employment and soon, the owner of Jhankar Hall in Siliguri gave me work and provided space in the premises of the hall to set up my own studio. I even had employees to assist me,” boasted Mahmood.

Painter Mehmood Alam has been painting for 65 years (Express Photo Shashi Ghosh)

His fame rose and the words of his artistry spread till Nepal’s Kathmandu. “In those days, Sambhu Pradhan was a big Nepali director. He got in touch with me and asked me to make posters for his films. He even asked me to leave Siliguri and stay in Kathmandu but I refused. However, I started making posters for Nepali films too.”

Talking about the process of making the cutouts and posters, Mahmood said the trick was to make a graph. “We would have a photograph for reference on which we would draw a graph. The same number of grids would be first drawn on a blank poster or a cutout and then the images would be hand-painted,” he said.

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Talking about the process of making the cutouts and posters, Mahmood said the trick was to make a graph (Express Photo Shashi Ghosh)

While Mahmood has painted cutouts of almost all actors of that time, his personal favourite was Dilip Kumar. “Nobody matched Dilip sahab. The aura around him was enough to pull the crowd and I loved making his cutouts the most,” he said.

All was well for Mahmood until the turn of the century ushered in a wave of development which did result in a fresh air but left many like Mahmood jobless. “I still tried my best. Shifted to banners and posters of shops but the going was getting tough and finally in 2010, I came back to Kolkata,” he said.

All was well for Mahmood until the turn of the century ushered in a wave of development which did result in a fresh air but left many like Mahmood jobless (Express Photo Shashi Ghosh)

Now, Mahmood finds work only when he is asked to paint a wall with some political graffiti. But no work is small, the artist says. “One day I was painting a graffiti of  Mamata Banerjee on a wall when someone clicked a photograph. I called him near and said why only click the picture of the painting? Don’t you want to show the world who painted it? I don’t know what happened and he said that he will get work for me. After a few days, he came back and said he’s found work for me at a Durga Puja pandal,” he said.

Mahmood is once again back in the limelight after he hand-painted hoardings and posters for the theme-based Durga Puja at Nalin Sarkar Street in north Kolkata this year. Although Mahmood’s works won the puja committee accolades, the painter continues to live a life in penury.

source: http://www.indianexpress.com / The Indian Express / Home> Lifestyle> Art & Culture / by Utsav Basu, Kolkata / October 28th, 2021

Winners Of Dasara And Rajyotsava – Kavya Puraskar And Katha Puraskar

Mysuru (Mysore), KARNATAKA :

A total of 24 poets including four Horanadu Kannadigas and a specially abled have been selected for State-level Dasara and Rajyotsava Kavya Puraskar in the State-level Poetry Contest organised by Akhila Bharatiya Kannada Sahitya haagu Samskrutika Parishat and Gramantara Buddhijeevigala Balaga.

They are as follows:

Horanadu Kannadigas Category:

Seema Kulkarni (Malaysia), S. Nalina Prasad (Mumbai), Ramana Shetty Renjal (Maharashtra) and Divakar   Ballal (Kasargod).

Poetess Category:

Renuka Kodaganji (Bengaluru), Leela-kumari Todikyana (Kodagu), Vasanta Surendranath (Magadi), Divyaja (Bengaluru), Asif Begaum (Kolar), P. Veena (Harihar), Dr. Gurudevi Hulleppanavar Mutt (Belagavi), Indira Shetty (Mysuru) and Nandana P. Shetty     (Dakshina Kannada).

Poets Category:

K. Raveesh M.C. Halli (Chikkamagalur), Pradeep Soranagadde (Shivamogga), Raghuveer Mahalingapura (Bagalkot), D.M. Bhatta Kulave (Uttara Kannada), Dr. K.C. Chandrapakash (Tumakuru), K.T. Adarsh Kappadur (Shivamogga), D.P. Chikkanna (Mandya), M. Shivanna (Hassan) and B. Vijaykumar (Udupi).

Specially Abled Poets:

Poornima Hanumantappa Badigeri (Hassan).

Senior writer and columnist from Belagavi Y.M. Menasinakai and senior writer and social worker from Hassan Jayashri D. Krishna were the jury.

P.A. Meghashree from Kasargod has been selected for the State-level Kavya Puraskar given by Balaga President and journalist Dr. Berya Ramakumar and H.N. Savita couple in the name of their son late B.R. Ullas.

Katha Puraskar

A total of 13 members including two Horanadu Kannadigas and a specially abled have been selected for Dr. K. Shivaram Karanth Katha Puraskar in the State-level Story Contest organised as part of the 120th birth anniversary of Jnanapith Awardee Dr. K. Shivaram Karanth.

Horanadu Kannadigas:

Karunakara S. Shetty (Maharashtra) and Sharada A. Anchan (Navi Mumbai).

Women Writers:

Divya Jagadish (Bengaluru), Sahana Kantabailu (Kodagu), S.L. Varalakshmi Manjunath (Nanjangud), B.R. Nagaratna (Mysuru), Hanchettira Fansy Muttanna (Kodagu) and Prof. Vidyareddy (Belagavi).

Men Writers:

K.G. Bhadrannanavar (Tumakuru), Y.M. Raghunandan (Mysuru), B. Kantappa (Bhadravati) and S.G. Shivashankar (Mysuru).

Specially Abled Writers:

Bandihole Manjunath (Mandya).

Senior writer couple from Mysuru – K. Ramesh and Dr. S. Sudha and senior writer and columnist from Mumbai Dr. G.D. Joshi were the jury.

Both Kavya Puraskar and Katha Puraskar will be presented to the winners during the Sahityotsava to be held in the month of November, according to a press release.

source: http://www.starofmysore.com / Star of Mysore / Home> News / October 25th, 2021

Remembering Majaz Lakhnavi, the Keats of Urdu poetry

Rudauli (British India / Lucknow, UTTAR PRADESH :

Majaz, uncle of lyricist Javed Akhtar, was one of those rare gems whose poetry reflected two most important aspects: romance and revolution.

Born in Rudauli (then in Barabanki, UP) during Diwali celebrations, he was named Asrarul Haque and later took up the name ‘Majaz Lakhnavi’. (Photo: Wikimedia Commons)

Two days ago, a nazm reverberated across Aligarh Muslim University as the institution celebrated its founder’s day on October 17. Alumni across the globe, who proudly address themselves as ‘Alig’, sang: Ye Mera Chaman, Ye Mera Chaman.

The author of this famous nazm, Asrarul Haque, popularly known as ‘Majaz Lakhnavi’, whose poetry still rules the heart of millions, was born on October 19, 1911.

Regarded as the Keats of Urdu poetry, Majaz was one of those rare gems whose poetry reflected two most important aspects: romance and revolution. In an era when legendary Urdu poets as Faiz, Jazbi, Sardar Jafri, Sahir Ludhiyanvi were in their prime, Majaz rose to fame and carved a niche for himself.

Born in Rudauli (then in Barabanki, UP) during Diwali celebrations, he was named Asrarul Haque and later took up the name ‘Majaz Lakhnavi’. He belonged to a zamindar family. At a young age, Majaz had an inclination towards Urdu poetry. His fame came when he reached AMU as a student where he got the company of literary legends as Ali Sardar Jafri, Ismat Chugtai, and others. During one of the mushairas, Majaz, dressed in sherwani, delivered his famous poem:

Khoob Pehchan lo Asrar Hoon Main,
Jinse-Ulfat ka talabghar hoon, Main,
Ishq hi Ishq hai Duniya Meri,
Fitna-e-Aql se Bezar hoon Main,
Ek Lapakta ho Shola ho, Ek Chalti Hui Talwar Hoon Main.

The audience was mesmerised; the silence established that Majaz had arrived on the scene. There was no looking back. Majaz gave his alma mater a famous nazm, which is now the university tarana (anthem).

Majaz’s popularity rose by leaps and bounds and there were more females than males among his admirers. At AMU, girls used to keep his book ‘Aahang’ beneath their pillows. They would commit to keeping ‘Majaz’ as the name of their children.

Himanshu Bajpai, Daastango, who has rendered several daastans on Majaz, recalls one incident: “Once, Ismat Chugtai told Majaz that girls love him and Majaz quickly replied, ‘And they marry a rich person’.”

Truly, Majaz had a failed love life, and the dejection got him admitted to a mental asylum at Ranchi. His addiction to liquor took its toll. Chugtai asked him, “Liquor or wine, who destroyed your life, Majaz?” Witty and humorous as always, he replied, “I have given this right to both of them.”

His poem Awara was also an instant hit.

Shahar ki raat aur main naashaad o nakara phirun
Jagmagati jagti sadko pe awara phirun
Ghair ki basti hai kab tak dar-badar maara phurin
Ai Gham-e-Dil kya karun, Ai Vahshat-e-Dil kya karun.

Majaz had recited this nazm on the request of people at White Baradari in Lucknow, which eventually turned out to be his last public gathering before his demise.

His poetry, as said earlier, had both romance and revolution. Some of his lines for women empowerment are still relevant.

Tere Mathe pe ye anchal bahut hi khub hai lekin,
Tu is aanchal se ek parcham bana leti toh achcha tha.

Bajpai narrates an incident: “Once, famous film actress Nargis came to meet Majaz. She requested for his autograph and Majaz obliged by writing the above lines on her white dupatta. He identified himself with every deprived person — perhaps this brought him closer to the progressive movement.” In his poetry, Majaz had raised the issues of women liberation and feminism, which are still discussed today.

Majaz’s revolutionary couplets, too, ruled the masses. While other poets raised the pitch in their revolutionary couplets, Majaz rendered his lines that could be sung with revolution. ‘Bol, Ari O Dharti Bol, Raj Sinhasan Daanwa Dol‘ is one such poem. It is simply unbelievable to see anyone write on the worldly intricacies so beautifully — ‘Bahut Mushkil hai Duniya ka Sanwarna, Teri Zulfo ka Pencho Kham nahi Hai‘.

Alas, Majaz remained a loner. Josh Malihabadi even advised him to keep a ghadi (watch) with him while drinking, but Majaz laughed it off, saying, “You drink keeping a ghadi, I drink keeping a ghada (pitcher).”

In December 1955, his end came abruptly, after he collapsed in Lucknow, and passed away before reaching Balrampur Hospital. The present generation may recall him as the uncle of Bollywood lyricist Javed Akhtar.

The poet, whose kingdom was in the hearts of millions, is buried in a six-feet grave at Nishatganj graveyard with his own lines from a nazm on the epitaph.

Ab iske baad subah hai aur subah-e-Nau Majaz
Ham par hai khatm Sham-e-Gareebaan-e-Lucknow

source: http://www.indianexpress.com / The Indian Express / Home> Books & Literature / by Faisal Fareed, New Delhi / October 19th, 2021

Former Kerala Jamaat-e-Islami Hind President Expires

Kozhikode, KERALA :

Former Kerala Jamaat-e-Islami Hind President T K Abdullah.

Kozhikode :

Former president of the Kerala Jamaat-e-Islami Hind (JIH),T K Abdullah, passed away today at the age of 92.

He is survived by his wife Kunjamina, sons TK Farooq and TK Iqbal, and daughter Sajida.

A senior Islamic scholar, he was a member of JIH’s Markazi Majlis-e-Shoora, or the Central Advisory Council, the top decision-making body of the Jamaat, from 1972 till now. He was also a member of the Kerala JIH’s State Advisory Council.

A founder member of the All India Muslim Personal Law Board (AIMPLB), he was JIH’s state president from 1972 to 79 and from 1982 to 1984. 

He was also a state executive member of the Ittihadul Ulema.

Abdullah sahib was also the Chief Editor of Islamic Encyclopaedia that Islamic Publishing House, Kozhikode, is publishing.

He was born to a great Islamic scholar Tharakandi Abdurrahman sahib, and Fatima, in 1929 in village Ayencheri in Kozhikode district. 

Abdullah sahib obtained his early education at Vazhakadu Darul Uloom, Thirurangadi Jumma Masjid, Pulikkal Madinathul Uloom and Aliya Arabic College, Kasargod.

He joined Prabodhanam in 1950 and became its deputy chief editor in 1959. When Prabodhanam became a weekly in 1964, he was appointed its first Chief Editor and continued in the same position till 1995.

He, later on, joined the JIH Kerala mouthpiece Bodhanam quarterly journal as the Chief Editor.

When the government banned the Jamaat in 1992 after the demolition of the Babri Masjid, Abdullah sahib was imprisoned along with many other JIH leaders. 

He also helped translate two volumes of Maulana Maududi’s Tafhim-ul-Quran (explanation of the Quran) from Urdu to Malayalam. Besides, he wrote several books, including Nazhikakallukal (Mile Stones) and Iqbaline Kandethal (Finding Iqbal).

In addition, his autobiography was published by the name “Nadannu Theeratha Vazhikal”.

Many of his speeches, articles, and sermons were compiled and published.

source: http://www.indiatomorrow.net / India Tomorrow / Home> Inspiring Personality / October 15th, 2021

Urdu activist Qayyum Nadvi’s low-cost library idea stuns delegates of international library conference

Aurangabad, MAHARASHTRA :

Gulbarga ( Karnataka) :

At an international library conference, noted Aurangabad based Urdu activist and President of Read and Lead Foundation, Mirza Abdul Qayyum Nadvi has stunned the library experts by presenting the idea of low-cost library scheme which he  called as “Micro Library, Micro Funding”.

He was speaking at  the two-day International Conference on  “Visualizing Librarianship in the 21th century’, Connecting Minds and Creating Future,”  held at the Gulbarga University here.

 Sharing his experiences, Mirza Nadvi said merely a budget of Rs. 10,000/ is quite enough  to set up a well-equipped  Mohalla library  with useful informative  books for children  which can be opened at housing societies, complexes, schools,  and religious places. From where he got this idea, he said his school going daughter Maryam Mirza’s dreamt of opening a Mohalla Library for children in his locality who were killing their time during the last lockdown.  He realized his daughter’s dream and opened the first library in his own locality in the historic Aurangabad city. Now this experiment has caught the imagination of book-loving people and inspired others to follow the suit. Mirza Nadvi highlighted the efforts of his daughter Maryam Mirza who became a pioneer in the country to launch Mohalla Libraries for children.

She launched the first children’s neighborhood library with her own 300 books and in a short span of just eight months, 19 neighborhood libraries have sprung up in the city, he said. The participants of the conference lauded and praised Maryam for her movement.

Mirza Nadvi was especially invited by the Indian Library Association, Delhi to address the conference. It was 66th annual conference of the Indian Library Association organized in collaboration with Gulbarga University and other organizations. The Conference assured Mirza Nadvi of all help in his daughter’s mission of spreading knowledge through libraries.  

source: http://www. muslimmirror.com / Muslim Mirror / Home> Exclusive Reports> Indian Muslim> Media / by Special Correspondent / October 01st, 2021

The merchant who bought a mosque

NEW DELHI :

Chunnamal Haveli carries many fascinating tales about the change in lifestyle and architecture of Delhi after 1857

Chunnamal Haveli carries many fascinating tales about the change in lifestyle and architecture of Delhi after 1857

The redone arterial road of Shahjahanabad has attracted attention towards conserving the historical architectural facades of several buildings along the stretch that connects Sri Digambar Lal Jain Mandir to Fatehpuri Masjid.

Along with the facades of heritage homes, there is an urgent need to conserve family and lifestyle histories as part of intangible heritage. In this regard, Lala Chunnamal, the largest living mansion on the iconic street, illustrates a fascinating account.

The Chandni Chowk and surrounding lanes and by-lanes represent, along with several other layers, the lifestyles of the landed elites, merchant classes and evolving middle-class professionals. Several mansions reflect the Mughal period and the British rule in Delhi. Many of these families aligned with the Mughals for practical reasons and changed their allegiance to the new British masters, impacting the nature of lifestyles and architecture.

‘Lalacracy’ era

The period and predominance of merchants and the new landed class in different cities have been described as ‘Lalacracy’ by eminent historian Narayani Gupta in Delhi Between Two Empires 1803-1931: Society, Government and Urban Growth.

Built in 1864, the Chunnamal Haveli continues to be used by Lala’s sixth-generation descendant Anil Pershad and his family. A successful trader, Chunnamal was primarily a cloth merchant (indicative of the exact location of the house in Katra Neel) and had significant trade links in Kolkata, and a summer home in Shimla.

Soon after 1857, Lala Chunnamal bought a large part of the present-day Chandni Chowk and the Fatehpuri Masjid in an auction for a pittance. “Most mosques were closed for a couple of years after the rebellion; many Muslims fled the city. My grandfather, a practical businessman, watched out for the shops around the mosque. The family-owned shops built Shivalayas, dharamshalas and drinking water kiosks in Shahjahanabad, Mehrauli, Nangloi, etc. So why could he not manage a mosque,” remarks Pershad.

He says the family owned the shops from the erstwhile Majestic cinema to the Baptist Church and the area behind the present Bhagirath Palace. “After some years, the family returned the Fatehpuri mosque to the Muslim community. The British recognised the gesture and gave us some villages as a gift,” adds Pershad.

Unlike many others, knowingly or inadvertently, the Chunnamal family saved a mosque from being demolished or turned into a bakery shop or a garrison for the armed forces when the British took over after the First War of Independence.

The grand mansion integrated sturdy cast-iron balconies and spun spiral staircases, wooden Venetian windows, and used stained glass. The interiors characterise Indo-Western aesthetics decor like the famed Osler glassware chandeliers for candles, Belgian mirrors, European furniture, clocks, telephones, fireplaces, and even maintenance tools for the fireplace. Sophisticated crafts to embellish the interiors include clay tiles from Sindh that provide a carpet look. The gold-plated stucco work in the ceiling is offset with natural indigo. The roof is decorated with ceiling cloth that displays the best of Indian crafts.

Ice emerged as a much-wanted product since the British required it to cool their drinks and water. Chunnamal owned the famous Baraf Khana or the ice-making unit in North Delhi, the Old Subzi Mandi and Pul Bangash. “Twice-elected to the Municipal Corporation, he was one of the few Indians who were granted membership of the exclusive Delhi Gymkhana Club during the British days,” remembers Pershad. He was also a member of the Roshanara Club, Delhi Race Club and the National Sports Club.

High life

The Chunnamal family bred horses, some were housed in their home stables, while others were in the Delhi Race Club. Members of the family rode horses from Chandni Chowk to New Delhi. A special place for the family was their Rambagh Garden near the Roshanara Club. Viceroys visited, Indira Gandhi came to dine, and the family participated in horse races, including winning the Aminabad horseshow in Lucknow. Some members of the family even came to be members of the secret society of the Freemasons, who continued to meet in the Qudsia Bagh in Civil Lines.

The courtyard hosted gatherings of courtesans, which women of the family watched from behind the bamboo curtains. Pershad’s daughter-in-law Swetcha Pershad described how female service providers like washerwomen and barbers transmitted ‘news’ from one zenana or women quarters to other havelis. The hustle-bustle of the home saw the women under the guidance of a Parsi governess acquire skills in cooking western dishes, accessing recipes from the Woman & Home magazine launched in the 1920s.

Organisations like the UNESCO and urban governments in different parts of the world attempt to formulate policies to balance development with preserving historic urban landscapes. They involve stakeholders, incentivise owners of heritage homes to retain facades while making the inside of dwellings modern.

The remaking of the Chandni Chowk requires holistic policies and their execution before many of more than 30 private-public owned heritage buildings are replaced by buildings that do not go with the character of the historical landscape.

(The author is an expert on cultural heritage)

source: http://www.thehindu.com / The Hindu / Home> News> Cities / by Navina Jafa / October 10th, 2021

A feel-good take on life

Coimbatore, TAMIL NADU :

Shades of life (Clockwise from far left) Late Jabaramma in a still from Insha Allah; Director Bhaskaran with directors Bharathiraja and Bhagyaraj and Abdul Salam in a still from the film / Special Arrangement  

SPP Bhaskaran’s film Insha Allah set in Coimbatore, releases in theatres on October 15

“It was a special moment,” says director SPP Bhaskaran about receiving praise from his mentors, director Bharathiraja and K Bhagyaraj, for his first feature film, Insha Allah .

He arranged a private screening for the veteran filmmakers in Chennai recently. “They had positive things to say about the film, location, cinematography which was done by T S Prasanna of Blue Ocean Film and Television Academy and recording of live sounds.

But what took them by complete surprise is the performances of poet Vikramathithan and his wife Bhagavathi Ammal who play an old couple in the film. Vikramathithan has played character roles in director Bala’s award-winning films like Naan Kadavul .”

After doing the festival circuit (it made to the official selection at 32 film festivals and won nine awards at international film festivals), the film gears up for a theatrical release in Tamil Nadu, on October 15. Bhaskaran shot the film at Pillyarpuram village in Coimbatore where hundreds of families from different religious communities live in perfect harmony.

The 84-minute film narrates the story of a middle-class Muslim society and is partly inspired by short stories by Thoppil Mohammed Meeran and Firdous Rajakumaran.

He chose death as a central theme and the script touches upon the five tenets of Islam that includes daily prayers, alms giving ( zakat ), fasting during Ramadan, pilgrimage to Mecca (Haj) and the profession of faith.

The protagonist is an ambulance driver played by Mogly K Mohan (who has been part of films like Kirumi , Bakrid and Master ).

Abdul Salam from Thanjavur who is related to Kamala amma, wife of late actor Sivaji Ganesan plays an important role in the film. “He converted to Islam many years ago and Sivaji Ganesan’s family stood by his decision and supported him. He plays the role of an elderly man who saves money to do Haj but gives it away to support a needy girl’s marriage.”

The film also has footage that shows the Cheraman Juma Masjid, believed to be the first mosque in the country, located at Kodungalloor in Kerala and the 800-year-old mosque at Keeranur, near Palani.

Insha Allah is produced by Shahul Hameed, under his banner Nesam Entertainment Private Limited. “To learn more about the community, I shifted my residence to Karumbukadai, a Muslim-dominated locality in Coimbatore, and lived there for six months,” says Bhaskaran, whose first short film Naanudaimai won recognition at online short film festivals. Insha Allah , he says, sheds light on the philosophy behind the Islamic way of life.

The film is dedicated to the late Jabaramma,who ran a mess at Pillyarpuram. “She served us all three meals during our 30-day shoot there. I wrote a character based on her during my stay there and nudged her to play the role. Though shy to face the camera, she learned acting at a workshop done by late Arunmozhi and his team during our shoot and performed confidently. Her role in the film showcases how looks become banal in a relationship bound by love.”

source: http://www.thehindu.com / The Hindu / Home> Features> Metro Plus / by K Jeshi / October 08th, 2021