The Hazarath Gunangudi Masthan Sahib Dargah (Kunangudi Mastan Sahib Dargah) at Royapuram in Chennai | Photo Credit: B. Jothi Ramalingam
Written with a knowledge of grammar and aesthetics, their songs are immortal
If you think of the Muslim link to Carnatic classical music, Sheikh Chinna Moula and his descendants and disciples are the first that come to mind. In the 1970s, T.M. Abdul Azeez was a violin accompanist on the Carnatic platform. He is now settled in Kerala, where he teaches music. Abraham Pandithar’s Karunamirtha Sagaram (1917) lists a few Mohammedan names as performing artistes though it is difficult to fathom now if they were performing in the Hindustani or Carnatic styles.
Gulab Mantil is one — he claimed to be a descendant of Mian Tansen of Akbar’s Court and was under the patronage of the Sivaganga rulers. He was adept at various instruments. On Chottu Mian there is no information other than the fact that he was a good singer of Hindustani Music. Nannu Mian and Mirali are listed as brothers, who were noted for their skill on the dholak. Closer home, at Tondiarpet we have the dargah of Kunangudi Mastan Sahib who is propitiated with music of the Sufi variety.
Given this background, it was a revelation when PAK Mohammad Sulaiman walked in with PS Ilyas of Kayalpattinam into the Music Academy a month or so ago. The latter had with him a precious possession — a fragile copy of a book published in 1909. Titled Kirtanaranjitham, it was a compilation of songs composed by his grandfather and Mohammad Sulaiman’s great grandfather, PS Muhammad Abdullah Labbai. It was printed at the Kalarathnakara Press, Madras.
Famous jeweller
A preface to the book gives details of the composer’s antecedents. His grandfather, Sheikh Sadakatullah was a Kazi (judge) at Kayalpattinam and had the privilege of moving about in a palanquin. That made him Pallakku Labbai to the locals. His son, Muhammad Suleiman Labbai got into the precious stone trade and his three sons, of whom the composer was the second, followed him into the business. The first and third sons set up offices in Colombo while Muhammad Abdullah Labbai (1870-1962), the composer, moved to Bombay. He made such a name for himself in the business that jewellers referred to him as Abdullah Jauhari. But his attachment to the dargah where the family prayed, the Shahibu Appa Thaikka at Kayalpattinam, was such that he eventually moved back to take care of it. He is also buried there.
Muhammad Abdullah Labbai has composed around 90 songs as per this book. It is also stated in the preface that the composer presented all of these at the dargah. What is interesting is that some of the songs are still being sung there, though the tunes have changed over time. The book sadly lacks notation (it must be remembered that notation in print was not common practice in the early 1900s). But ragas and talas are provided for every song. The popular ragas are all there, with preponderance for usage of Khamas, Mohanam and Kalyani. There are certain ragas that are not easy to identify. Names such as Desikam, Karnataka Desikam, Mohana Thodi and Nilakambodi are puzzling.
The composer was clearly well aware of the laws of composition and follows the requisites of prosody and alliteration. The language used is Manipravalam — a mix of Sanskrit, Tamil and Urdu/Persian. The bulk of the songs are in the usual kriti structure of pallavi, anupallavi and charanam. The last named are usually three and in some songs, four in number. The mudra of Abdullah appears in all the pieces.
Perusing the songs, you see all the familiar themes of Tamizh Padams — the lovelorn maiden yearning for union with the Supreme, the sending of messages to the divine via swans and companions, berating the Beloved for His heartlessness, and songs of surrender. Besides these, there are songs in the Thevaram format and some structured as Kannis. Certain songs are on specific locations where holy personages are buried, in the manner of kshetra kritis. These include Kayalpattinam, Manjakollai, Kizhakkarai, Saragam/Ervadi in Thirunelveli District, Cannanore in Kerala and Kandy in Sri Lanka.
The book follows the format for music publications of its time. There are benedictory verses in form of kappu, kanni and viruttam. Besides, like the ratha bandams that Tamil scholars of yore indulged in when patterns like chariots could emerge from the way they wrote verses, Muhammad Abdullah Labbai has worked on calligraphy by way of a Chithirakkavi Kattalai Kalithurai. His scholarship came in for praise from several Muslim men of letters, all of whom wrote verses in his praise, which were included in the first edition.
The 1909 publication was reprinted in 1963. This was done with the support of the family business in Colombo. Hussain Bhagavatar of the Panchalingapuram Jam’ath kept the songs in circulation for much of the 20th century. The descendants of the composer are now in the process of bringing out a new edition.
source: http://www.thehindu.com / The Hindu / Home> Society> Faith / by V. Sriram / June 14th, 2018
Khan was among the 21 cine personalities who were remembered during the ceremony’s ‘In Memoriam’ segment.
Late Bollywood actor Irrfan Khan (Photo | PTI)
Los Angeles :
The 2021 edition of the Producer’s Guild of America (PGA) Awards honoured the late Indian star Irrfan Khan during its “In Memoriam” segment but got his name wrong.
The awards, considered as an Oscar bellwether, were held virtually on Wednesday.
Khan was among the 21 cine personalities who were remembered during the ceremony’s “In Memoriam” segment.
However, the pre-taped production of the awards committed a gaffe with the actor’s name as it read ‘Irrif Kahn’ instead of Irrfan Khan, reported Variety.
Another typo was spotted when the name of “Minari” star Steven Yeun, who was one of the presenters at the event, was misspelled as ‘Steven Yuen’.
Khan, who straddled both Indian and international cinema with equal elan, died in April 2020 at the age of 54 following a two year-long battle with a rare form of cancer.
In Hollywood, he featured in blockbusters such as “Inferno”, “A Mighty Heart”, “Life of Pi”, “Amazing Spider-Man” and “Jurassic World”.
The “In Memoriam” segment of PGA Awards also paid to tributes to Hollywood great Kirk Douglas, who died at the age of 103 in February 2020, and “Black Panther” star Chadwick Boseman, who passed away in August at 43 after a private four-year-long battle with cancer.
Other prominent names in the segment included Harry Bring, Sue Bruce-Smith, Allan Burns, Kevin Burns, Stuart Cornfeld, Charles Gordon, Buck Henry, Thomas L Miller, Tom Pollock, Rebecca Ramsey, Carl Reiner, Gene Reynolds, Pamela Ross, Ronald Schwary, Lynn Shelton, Fred Silverman and Jamie Tarses.
source: http://www.newindianexpress.com / The New Indian Express / Home> Entertainment> English / by PTI / March 25th, 2021
According to the INTACH’s listing of heritage structures in the national capital, Jharna was built around 1700 in which additions were made subsequently by later rulers of Delhi.
The tomb of Bijri Khan is located on the Venkateshwara Marg. (Photo| EPS)
New Delhi :
Two inconspicuous heritage sites Jharna, a Mughal era garden in Mehrauli and the Tomb of Bijri Khan in RK Puram are set to get a new lease of life.
The Indian National Trust for Art and Cultural Heritage (INTACH) will develop and promote these historical buildings, victims of urban sprawling, as venues for cultural and literary events under the ‘adopt a heritage scheme’.
The archaeology department of the Delhi government and INTACH have also signed a memorandum of understating (MoU) for regular upkeep and sprucing up of their surroundings. Vikas Maloo, head of office (archaeology), said that the department would soon start working on a plan to develop these site for events.
“We will determine what needs to be done apart from basic amenities such as pathways, installation of dustbins, and toilets. Some requirements are site-specific, which are to be ascertained. Hopefully, both the places will be available for the events soon,” said Maloo.
According to the INTACH’s listing of heritage structures in the national capital, Jharna was built around 1700 in which additions were made subsequently by later rulers of Delhi.
The walled garden earned its name from a waterfall, which was constructed to drain off excess water from Shamshi Talab located in its vicinity. Mughal kings Akbar Shah II and Bahadur Shah Zafar added two pavilions to the place.
The Lodi-period mausoleum of Bijri Khan is located at a raised mound along Venkateshwara Marg. Khan was probably a noble. Apart from this fact, no significant information is available about the tomb and the person buried at the site. The grave inside the sepulchre has no inscription.
As per the MoU, the sites, once ready, will be available for cultural events and activities such as Sufi musical recital, poetry symposiums, book readings, theatrical plays and also for products launches. The officials, in the know of the matter, said that INTACH will tie up with different organisations and corporates for their better maintenance and create awareness about their significance.
“The idea is to promote and bring more footfalls to small monuments. The events, majorly connected with culture, will pave the way for their popularity. They can be utilised for art exhibitions, book launches, musical programmes, and other purposes. Corporates can be roped in to run a cleanliness drive etc. The association will result in their better upkeep and make people more aware of the heritage of Delhi,” said Ajay Kumar, project director, INTACH (Delhi chapter).
The sites will be available for corporate or private events on nominal charges. INTACH will ensure proper illumination and facilities such as a sitting area, benches, kiosks for refreshments, and signage or information panels about the history of the site.
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Delhi / by Parvez Sultan, Express News Service / March 21st, 2021
Marakkar Arabikadalinte Simham director Priyadarshan is a proud father as his son Siddharth Priyadarshan bagged a National Award for Best Special Effects in Mohanlal-starrer.
Marakkar Arabikadalinte Simham is directed by Priyadarshan. (Photo: Mohanlal/Instagram)
The team of Marakkar Arabikadalinte Simham is in a celebratory mode as the Mohanlal-starrer won Best Feature Film award, Best Special Effects award and Best Costume award at the 67th National Film Awards ceremony, which took place in Delhi on Monday.
The actor dedicated the National Award “to the glory of the Indian Navy.” The Malayalam superstar celebrated the win with his team and shared the pictures on his Instagram account.
Expressing his emotions, the 60-year-old said, “Hearty congratulations to all the National Award winners. Happy and elated to hear the fantastic news…. Marakkar- Arabikadalinte Simham (Marakkar – Lion of the Arabian Sea) has bagged the National Award for best feature film.
My Congratulations to Team Marakkar and the Captain of the ship priyadarshan for this honour. My sincere thanks also to all who supported us on this labour of love. I join Aashirvad Cinemas in celebrating this award and dedicate it to the glory of the Indian Navy.
Dedicating this overwhelming moment to all such fathers out there in the world aspiring to see their children being succesful and happy. Thanks @Mohanlal, @antonypbvr, Team Marakkar and to all those who supported me . 2/2
For the filmmaker Priyadarshan, the win was also a moment of pride as a father as his son Siddharth Priyadarshan won an award for Best Special Effects. Overwhelmed with the win, Priyadarshan dedicated the awards to all fathers who aspire to see their children achieving success.
“It is an affectionately proud moment for any father to see his children getting recognised for excellence in their chosen field of activity. Dedicating this overwhelming moment to all such fathers out there in the world aspiring to see their children being succesful and happy. Thanks @Mohanlal, @antonypbvr, Team Marakkar and to all those who supported me,” the director tweeted.
Suniel Shetty, who played a pivotal role in the film, said that he is “super proud to be a part of this National award winning film.” Celebrating his very first “National Award-winning film,” Suniel thanked Priyadarshan, Mohanlal and the entire team of Marakkar- Arabikadalinte Simham.
“Big big congratulations to my baby, Chandu, Sidharth Priyadarshan for winning the award for the Best VFX. Once again congratulations Team @MarakkarMovie,” he concluded.
Marakkar Lion Of The Arabian Sea stars Mohanlal as a decorated commander in Zamorin’s naval force. The film also stars Pranav Mohanlal, who plays the younger version of the superstar.
The film, made at an estimated cost of Rs 100 crore, also stars Prabhu, Manju Warrier, Keerthy Suresh and Kalyani Priyadarshan among others.
source: http://www.indianexpress.com / The Indian Express / Home> Entertainment> Malayalam / by A. Kameshwari, New Delhi / March 24th, 2021
Arif Shaikh had a long stint as a journalist with over 40 years of experience in Marathi, English, Urdu and Hindi journalism.
Aurangabad :
Veteran English and Urdu Journalist Arif Shaikh passed away in a private hospital following a brief illness here on Monday evening, family sources said.
Shaikh was 70 and is survived by his wife, two sons and a daughter.
Shaikh’s last rites were performed at the Masjid Ganje Shaheedan late on Monday night, followed by his burial at the Ganje Shaheedan cemetery.
Shaikh had a long stint as a journalist with over 40 years of experience in Marathi, English, Urdu and Hindi journalism.
He started his career in 1970 with Ajintha Daily, and worked in Marathwada, Aurangabad Times and United News Of India before joining the Indian Express in Mumbai, where he worked for over 15 years.
Later, he joined the Mid Day in Mumbai besides working with Hindi Daily Citizens. He also launched an English language weekly, Public Express, in Aurangabad.
Shaikh was the recipient of many state and district level awards for excellence in journalism. — IANS
source: http://www.clarionindia.net / Clarion India / Home> India> Indian Muslims / by IANS / March 09th, 2021
Faria Abdullah, who made her acting debut with ‘Jathi Ratnalu’, is a multi-hyphenate, pursuing dance, theatre, painting and poetry
Faria Abdullah is still coming to terms with the euphoric response to her Telugu film Jathi Ratnalu: “It’s sinking in, one step at a time,” she says, speaking for this interview in between visiting cinema halls in Hyderabad for post-release promotions.
Jathi Ratnalu directed by K V Anudeep and starring Naveen Polishetty, Priyadarshi and Rahul Ramakrishna as three friends who migrate to Hyderabad in search of better prospects, but are sucked into a whirlwind of unexpected events, has taken the box office by storm.
All through lockdown, producers Vyjayanthi Films waited patiently for theatres to re-open, not wanting to take the OTT route. Faria looks back at the seemingly never-ending wait and says, “Nagi (producer Nag Ashwin) took a vote by asking us whether the film should have an OTT release or wait for theatres to re-open. I had completed filming 95% of my scenes and 90% of dubbing in 2019, and it was a long wait for me. Impatient to see myself on any screen, I voted for OTT. But he held on. Soon after the film’s preview and theatrical release, I messaged Nagi, thanking him for not listening to me. This is a once-in-a-lifetime experience for a newcomer like me.”
Rooted humour
She, just like the others involved with the film, was confident that it would be received well. But the euphoric response took them by pleasant surprise: “It’s becoming a sort of cult film?” Faria says cheerfully, adding, “We knew that the audience would relate to the authentic, rooted humour. Anudeep hails from Sangareddy district and his writing reflects the milieu. But the response is much more than what we imagined.”
Faria grew up in Banjara Hills, Hyderabad, and was inclined to fine arts in school. She used to paint, learnt dance in summer camps and all this, she says, added to her personality. After Class X, she didn’t want to take the MPC (maths, physics, chemistry), BiPC (biology, physics, chemistry) or commerce streams. Her mother arranged for home-schooling: “That gave me the freedom to learn what I wanted, from different teachers. I would travel to Kachiguda for painting classes and Lingampally for literature…”
Around the same time, Faria got introduced to theatre and has been a part of well known theatre groups in Hyderabad — Nishumbita, Torn Curtains, Samahaara, Dramanon, Rangeen Sapne and Kissago, to name a few. “I missed working with the Sutradhar group so far,” she says. For a brief while, she also wrote and directed plays.
While pursuing Mass Communication at Loyola College, Hyderabad, she met Nag Ashwin who visited the campus as chief guest for an event: “He asked if I would be interested in acting in one of his productions, and I auditioned for the role.”
Faria Abdullah
On stage
Her experience in theatre prepared her for Jathi Ratnalu: “The stage prepares you for everything — acting, networking and social skills. On stage, you have to be present in the moment and think on your feet. Once, my sari nearly came undone. I quickly went backstage, took the strings off someone’s hoodie, tied my sari, and got back on stage.”
While many actors state that cinema, unlike theatre, has scope for retakes, Faria differs, “You have the opportunity to improvise when you perform the same play again. In cinema, you can’t do that.”
She remembers her parents and grandparents being inclined to the arts, especially acting and dancing, but not having the opportunities to showcase their talents: “I would hear that my mom used to dance when she was carrying me; maybe that’s how my interest in dance began. She was born in Kuwait, though her parents are from Mumbai and Hyderabad.”
The family spoke Hindi and Urdu. Faria learnt Telugu in the last couple of years and dubbed for the film.
Movement practitioner
Away from the cameras, her interests include abstract painting, poetry and dance. She’s also a movement practitioner: “I love freestyle dancing and I let music dictate my moves.” She learnt Kathak briefly, hip hop, house, waacking, belly dancing and dance hall styles.
Talking about her journey ahead, she says she hasn’t signed any new films yet: “I am open to acting in Telugu, Tamil, Malayalam, Hindi and even English. Who knows?” She doesn’t want to limit herself to acting: “I’ve always been multi-hyphenate, expanding my skill sets and integrating them to my personality. I don’t want to be unidimensional.”
Before we wind up, we talk about Jathi Ratnalu and if, beneath its hilarious veneer, it’s a black comedy of migration and survival in the big city. Faria mulls over it and says, “It can be watched just as a fun film and later, one can ponder what it was about. I think there’s an element of black comedy. We talk about success and development and don’t realise that real development is when you can succeed in staying true to your roots. That’s what I believe in and I’m glad I could begin my career from Hyderabad.”
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by Sangeetha Devi Dundoo / Hyderabad – March 16th, 2021
The Urdu writer was chosen for his work Fakr-E-Watan
Shikaripur-based Urdu writer Hafiz Karnataki has been chosen for Sahitya Akademi’s Bal Sahitya Puraskar of 2020. He received the award for his book Fakr-E-Watan, a work on freedom fighters of India.
Mr. Karnataki, 57, began his literary career as a poet in the 1980s and later turned towards writing for children. So far, he has brought out 94 books. He has translated many vacahanas of Basavanna and Akkamahadevi and writings of Kuvempu into Urdu.
Born into a family of teachers, he developed an interest in literature at a young age. He became a teacher at a government primary school in 1987 and worked at different places before resigning from the job in 2006.
Now he looks after his educational institution, which provides education to 3,000 girls at Shikaripura. He also worked as chairman of Karnataka Urdu Academy. A couple of students have done PhDs on his literature. Considering his contribution to the field of literature, Gulbarga University honoured him with an honorary doctorate in 2013.
After the Sahitya Akademi announced the award on Friday, he received calls from different parts of the country congratulating him. “I am getting congratulatory messages from many people. First among those called me were the scholars who did study my literature for PhD,” he told The Hindu on the phone.
Mr. Karnataki wants to hit a century by bringing out six more books soon, as he has already published 94 works. “Children of the present generation are more intelligent than me. I wish to write for them on values they have to inculcate at a young age,” he said. The award carries a cash prize of ₹50,000, besides a memento.
source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Special Correspondent / Hassan – March 14th, 2021
Opportunist, vote-splitter, kingmaker or gamechanger? Profile of Abbas Bhaijaan Siddiqui, the entity making ripples in the battle for Bengal.
Abbas Siddiqui / Prasun Chaudhuri
I head out for Furfura Sharif in Hooghly district, 44 kilometres northwest of Calcutta, one early March morning. Hooghly is the potato bowl of Bengal. As the car speeds down the Durgapur Expressway, I notice freshly harvested potatoes in pink sacks dotting bare fields. I don’t have to ask for directions to the village centred around a 14th century mosque; it is all too well known.
Furfura Sharif, according to one of several theories, derives its name from the Farsi word farre farrah, meaning glory and happiness.
As my car veers off the expressway, I spot huge flex banners welcoming pilgrims to the upcoming Esaal-e-Sawab, an occasion where people congregate to pray for the deceased. The three-day-long gathering held every spring attracts over a million Muslim men from eastern India and Bangladesh. At the centre of the celebrations is a light green structure with golden domes — the mazar or tomb of Pir Hazrat Abu Baqr Siddique.
The pir, known locally as DadaHuzur, was a 19th century Sufi saint, educationist and social reformer. He had founded charitable organisations, orphanages, madrasas and health centres. To date, large sections of Muslims from Howrah, Hooghly, South 24-Parganas, North 24-Parganas and Dinajpur districts of Bengal visit Furfura Sharif to pay obeisance to him.
The area covers at least 90 Assembly constituencies in a state in which Muslims constitute about 27 per cent of the population. In the past, come election time, politicians would come here to offer prayers and meet the pirzadas, or direct descendants of Pir Hazrat, and seek their blessings and support.
This year, Furfura Sharif is in the news for a different reason. For the first time, a pirzada will be contesting elections.
Abbas Siddiqui, the 35-year-old who has floated the Indian Secular Front (ISF), a formation suddenly embraced by the Left Front — and to an uncertain degree, the Congress — ahead of the Bengal polls, is the great-grandson of the pir.
The place is milling with representatives of political parties, reporters and television crews. At the centre of it all is a freshly painted pink mansion, about 300 metres from the mazar. It is the office-cum-residence of Abbas and his family.
” Furfura Sharif was home to Pir Hazrat Abu Baqr Siddique, a 19th century Sufi saint.Abbas is his great-grandson and the first pirzada to join politics “
As I step into the courtyard, I find Abbas surrounded by TV crews of five different national channels. Before I can introduce myself, he signals as if to say I should get in the queue with the rest of the journalists. As I wait, I watch the man in white kurta-pyjama, waistcoat and skullcap. He is almost six feet tall, clearly in love with the TV camera. His voice is hoarse, possibly from all those recent campaigns.
Some men are at work erecting pandals for Esaal-e-Sawab. Young madrasa students in long robes and skull caps are scurrying around running errands. A couple of passers-by are gawking at the TV crews. A TV reporter, who is also waiting, is live-streaming all of this.
Abbas shot to fame overnight, after Left Front leaders introduced him at the rally at Calcutta’s Brigade Parade Ground on February 28. His freshly minted party was introduced as the third component of the United Front of the Left and the Congress. The unsaid expectation — ISF would help them eat into the Muslim vote bank of their arch enemy, the Trinamul Congress (TMC). Before joining the coalition, Abbas had been in talks with the Hyderabad-based AIMIM, headed by Asaduddin Owaisi.
” In a 2020 speech, Abbas lashes out at Nusrat Jahan, ëJara deho bikkiri kore tara desh bikkiri korbe na ki maane aachhe. He also said he would ensure she is tied to a tree and beaten up–“
At the Brigade Parade Ground, Abbas delivered a high-decibel speech calling for “the uprooting of Mamata, leader of the BJP’s B-team”. The Left Front-Congress combine has been repeatedly saying the ISF includes people from backward Hindu classes and Adivasis. The president of the ISF, Simal Soren, is also a member of the tribal community. But when I browse videos of Abbas’s past speeches at Islamic jalsas organised across Bengal, there is little doubt that he is conservative and fundamentalist to the core.
Among his most controversial and incendiary speeches is the one in which he lashes out at the TMC MP Nusrat Jahan. In the 2020 speech at a jalsa in Sasan in the South 24-Parganas, he thunders “Jara deho bikkiri kore tara desh bikkiri korbe na ki maane aachhe… those who sell their own body can some day sell their own country”; Abbas also said he would ensure Nusrat is tied to a tree and beaten up. On other occasions, he called Calcutta’s mayor Firhad Hakim “a kafir”, “beimaan” and “namak haram” for organising Durga Puja. He even attacked Bengal chief minister Mamata Banerjee for wearing the hijab and reciting Islamic verses, “to fool Muslims”.
Ever since he expressed his intention to form a party to “expose the TMC’s appeasement politics”, Abbas has not tired of accusing the TMC and the state police of hounding his supporters. Apparently, these Muslim youths between 18 and 35 have been framed for possession of fire arms and narcotics, threatened and beaten up on their way to his jalsas, while he himself has been accused of spreading “terrorist ideology”.
Biswanath Chakraborty, a political commentator and professor at Calcutta’s Rabindra Bharati University, has been following the rise of Abbas. He says, “Abbas wouldn’t have risen had his followers not been harassed and heckled by the TMC.” Chakraborty and his students conducted a survey among Muslim youth — educated and unemployed — which revealed their animosity towards successive governments. Says Chakraborty, “They feel the so-called secular parties have been playing with them. They think it is time to create their own political space.”
Chakraborty says that, though late, the Left Front in Bengal has realised the ground reality of identity politics. He has no doubts about Abbas’s huge support base among the Muslim youth, but is not sure if he will be able to get the votes of Dalit Hindus and Adivasis.
Justifying the Left Front’s move, Shamik Lahiri, a senior leader of the CPI(M), says, “Those belonging to scheduled castes, tribes and minority religions, and Adivasis are sick and tired of the TMC’s treachery and the BJP’s increasing atrocities. These people are now uniting as different organisations. The ISF is one such outfit.”
And what does the Left have to say to the charge of aligning with a communal force? The CPI(M)’s politburo member Mohammed Salim says vehemently, “Defaming the ISF is part of a well-planned conspiracy being played out by the RSS and its associates…”
The RSS-BJP may have been shrill in its criticism of the new front for bringing “Muslim fundamentalist politics” into mainstream politics, but BJP MP Swapan Dasgupta, also a columnist with The Telegraph, offers a more balanced analysis. Says Dasgupta, “A significant chunk of the Muslim vote plus the transferable vote of the CPI(M) would make the third formation more winnable and catapult the ISF to a position where it could claim to be the foremost representative of Muslims in the state… Abbas would become the Bengal counterpart of Assam’s Badruddin Ajmal.”
In the 2019 Lok Sabha elections, the BJP benefitted as the Left and the Congress votes fell into its kitty. The ISF can hope to harvest some of these votes for the United Front. Alternatively, if Hindu voters of the two old parties perceive the ISF as an aggressive communal force, they may turn to the BJP.
The TMC’s top leaders, however, have decided to ignore Abbas. Saugata Ray, senior leader of the TMC, says, “Not only will I not say anything (about Abbas or the ISF), I won’t even utter the name.”
Even within Furfura Sharif, Abbas doesn’t seem to have the support of all sections. Buzurgs, or elders, such as his uncle Pirzada Tawha Siddiqui stand firmly with the TMC.
I spoke to Narul Islam, who works with a charitable outfit there. He says, “Dada Huzur had laid down a guideline for his descendants. Following that no pirzada directly joined politics in these 82 years after his demise. Abbas is an exceptional character and a controversial one too.”
According to Dipankar Bhattacharya, general secretary of the CPI-ML (Liberation), Abbas’s rise is proof that a political vacuum has been created in Bengal due to increasing Hindu supremacist aggression. He says, “Abbas is trying to get into this. But the question is — has he got that leadership quality?” Bhattacharya is apprehensive that by yielding such a wide berth to the ISF, the Left Front-Congress alliance might help the BJP sharpen communal polarisation.
Bhattacharya adds, “Hoping the anti-BJP voters are mature enough to avoid the BJP trap.”
‘The TMC has stamped us communal’
Abbas Siddiqui / Prasun Chaudhuri
Why did you defy family diktat and join politics?
The situation was never so bad. Never before have Muslims, Dalits or minorities faced such atrocities like the NRC or the CAA. Never before were Indian citizens driven into detention camps or threatened with deportation. The situation forced me. Even Babasaheb Ambedkar has said, “We will no longer beg for our rights but grab them.”
Then why not fight the polls alone?
Electorally we are not that strong yet. But we do have supporters in several districts. So, we decided to build an alliance… If we get the rights in this jot we will continue. I’d like to quote Kanshi Ramji, founder of the Bahujan Samaj Party, who said: “Hamein majboot sarkar nahi, majboor sarkar chahiye.” If a party gets over 200 seats, it will browbeat others. However, such dadagiri is not possible in an alliance.
Why did you choose the Left and the Congress and not the AIMIM?
Our talks with the AIMIM didn’t progress. We chose the Left Front and the Congress as they have a proven track record. The Left had done a remarkable job of distributing land to poor Muslims, Dalits and Adivasis. There was little corruption and the unemployment situation was not so bad during their regime. The Congress gave the country so many institutions, dams, power plants, railway networks.
Was there an effort to tie up with the TMC?
No. They’ve stamped us as “communal”.
Some believe you will split the minority votes and help the BJP.
What will happen if Muslim votes get split? Do you think this will help the BJP polarise all Hindu votes? Do you seriously believe all Hindus in Bengal want the BJP to come to power?
Your past comments about Nusrat and Firhad Hakim had raised a storm.
Those comments were put out of context. My point is you have to state your religion clearly and follow its basic tenets. If you are a true Muslim, you can’t worship an idol. Similarly, if you are a Hindu you cannot don a hijab and recite Islamic prayers. You can’t join an iftar if you haven’t done proper ritual fasting during Ramzan. You don’t have the right to insult either Hinduism or Islam.
source: http://www.telegraphindia.com / The Telegraph Online / Home> West Bengal / by Prasun Chaudhuri / March 14th, 2021
… says writer-filmmaker Asghar Wajahat, who was in Bengaluru for the staging of his play, Jissney Lahore Nai Dekhya
Asghar Wajahat
Bengaluru :
That she could become a playwright’s muse was the last thing on her mind when mai (mother) – a lone elderly Punjabi Hindu woman in Lahore – was trying to figure out her survival in Pakistan, when she refused to come to India after Partition. Four decades later, and across the border, a scant piece of information on her led Asghar Wajahat – a well-known Hindi playwright, novelist and documentary maker from Uttar Pradesh (UP) – to pen Jissney Lahore Nai Dekhya (Those who have not seen Lahore) in 1989. The play is not about the pain of Partition.
“It is a paean to insaniyat (humanity),” said Wajahat in an exclusive talk with CE on the sidelines of the show in Bengaluru. The play, directed by Zafer Mohiuddin, was staged at the Alliance Francaise on Sunday. “It highlights the mindset, which divides people on the basis of nationality, ethnicity, religion, caste, race and language, among many other things, and what humanity can do to bring people together,” added Wajahat.
“The characters in the play, from a cleric who, when confronted with the question whether a Hindu could live in Pakistan, says that the earth belongs to God and anyone could live anywhere, to the character of real life poet Naser Kazmi, who says that an artiste’s world has no boundaries, believe in togetherness,” he said. Besides raising the existential questions on life, its driving and dividing forces, the play has portrayed strong women characters. In fact, their roles have highlighted how patriarchy has sidelined their voices.
“A daughter of a family that provides shelter to mai asks her mother that if a Hindu could live at ease with a Muslim family where was the need for Partition? In reply, her mother says, “Tum apney abba sey poochho (ask your father).”“It says a lot about male dominance and the absence of women’s voices in decision making,” said Wajahat.
Contrary to its spirit and the message it aims to send across, performing Jissney Lahore Nai Dekhya has not been an easy task. “When the play was taken to Karachi, the director of the play Khaled Ahmed was refused permission by the Pakistani authorities. They objected on the grounds that a Hindu was the protagonist of the play; that the playwright was Indian and that the killing of a religious cleric in the play sends a wrong message in an Islamic country. Ahmed did stage the play at Goethe Institute in Karachi. In Meerut, in UP, permission to stage the play was denied because its title is Lahore and the authorities felt that it was about Pakistan,” he smirked.
“It is ironical that Jissney Lahore nai Dekhya has raised issues surrounding the myth of ‘us versus them.’ It is about ironing out the creases and celebrating human relationships, above all,” said the veteran playwright.Wajahat is also an avid traveller, who looks forward to visiting people-oriented places. “I love meeting people wherever I go,” he said. From being invited to weddings by newly-made friends to being caught on the wrong side of law are some of the many anecdotes in Wajahat’s travelogue.
source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Bala Chauhan / Express News Service / March 02nd, 2021
Sabbir Khan has directed Tiger shroff’s Heropanti, Baaghi and Munna Michael. (Photo: Sabbir Khan/Instagram)
From finely chiselled six-pack abs to smooth synchronised action choreography, Tiger Shroff is the new-age action hero of Bollywood.
From the time he debuted with Heropanti to his more recent appearance in War, Tiger Shroff has proved his versatility with every outing. Contrary to what cynics might think, the actor’s ever-increasing fanbase is proof of his enduring popularity. On Tiger Shroff’s 31st birthday, Sabbir Khan who directed him in films like Heropanti, Baaghi and Munna Michael tells indianexpress.com what makes the actor one of the best on-screen action heroes today, and how he discovered his action potential.
In 2014, Tiger along with along with Kriti Sanon entered Bollywood with Sabbir’s Heropanti. This was followed with two more actions flicks, Baaghi (2016) and Munna Micheal (2017). Sabbir reminisces on the journey, “Munna Michael was basically a dance film, we didn’t want to make one more action film because we had already done two action films together. However, whatever small action sequences were scattered in the film, got more positive reviews than the film itself.”
5 years of Heropanti – I dedicate this to every aspiring film maker and writer. Big budget or no budget … Super star or rank newcomer … Smooth sailing or trying circumstances … Whether people appreciate you or try to steal your credit. It doesn’t matter, what matters is the belief in yourself and showing up each day in the direction of trying to tell your story without excuses. If a middle class boy like me can do it so can you. A big heartfelt thank you to everyone on the film that made this journey beautiful and the fans for loving and making these two into the much loved stars that they are today @tigerjackieshroff@kritisanon
He continued commending the actor on his skills. “He is definitely the best action hero we have, considering how much younger he is compared to his contemporaries who are doing action. And what makes him really the best is that action is inherent to him, he doesn’t do it for the screen. What you see on the screen, is him! The skills he showcases on screen are actually his personal skills– he is a fantastic gymnast, he has a great body and he is always willing to go the extra mile. It comes from inside, he is a natural when it comes to doing action sequences.”
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On directing Tiger in his debut film Heropanti, that was bankrolled by Sajid Nadiadwala, Sabbir says, “What happened is, because he did his first film with me, I spent a lot of time doing workshops with him, and took the time to understand him as a person. The more I figured how he is as a person, the more I ingrained his traits in the screenplay and shot around it. For example Heropanti is a romantic film, but that also got lauded for its action, even when it has only 6-7 minutes of action.”
Sabbir took time to understand what Tiger had to offer, but once he figured what he had discovered, he did not hold back from polishing Tiger’s action skills. “I didn’t know his full potential in action when we did Heropanti. But, one day on set, when we were shooting the action patches, I realised how good he was. I promised him that I will do a full-fledged action film with him, and that’s how Baaghi happened. Today when I see the franchise being so successful, I feel proud of Tiger.”
“Tiger is an action director’s delight! when the director thinks of something fantastic, here is an actor who wants to give his all and try and achieve that. He is not someone who’d say ‘this is tough, I can’t do it, let’s find a body-double, or find around it,” Sabbir shares.
Tiger has been around for some time now, eight years to be specific. Has the actor changed in anyway? Sabbir feels he has and only for the better,”A lot of confidence and understanding of cinema.”
He continued, “When we were doing the first film, he wouldn’t understand the synergy between what we could do and what cinema is, what captures a certain skill of his. By continuously doing what he is good at, he has gained a lot of confidence and he understands his craft. He now understands how much is required and how to give just that much. Earlier, if there was a shot where he just needed to give a kick, he would do it 100 per cent and maybe only 20 per cent was needed. He didn’t have to do that much, but now I see that change. He is well-versed with his craft. He is not the raw star-kid who wanted to be part of film. He now owns the space and well, deserves it.”
source: http://www.indianexpress.com / The Indian Express / Home> Entertainment> Bollywood / by Komal Raj Panchal, Mumbai / March 02nd, 2021
