Category Archives: Arts, Culture & Entertainment

Breaking bread between neighbours helps bring down barriers

Kolkata, WEST BENGAL / London , UNITED KINGDOM:

AsmaKhanMPOs27oct2019

Interview

Drawing from her vast knowledge of  Indian cuisine, celebrated British chef Asma Khan dives into how a shared love for food can blur the boundaries of race and gender.

How would you define the soft power of Indian cuisine in the world?

The beauty of food is that you can enjoy and appreciate it without having to understand the language or the intricacies of a culture. It is the first contact many non-Indians have with Indian heritage. Indian food is a doorway to Indian culture and its people. It sparks conversations between people of different ethnicities.

The prevalence of Indian restaurants and food in supermarkets in countries like the UK means that almost every person has a chance to try and taste the country’s food.

What are some transformative business models (and hiring practices) that you feel could harness the potential of Indian food globally

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It is important that food from a culture reflects the roots, flavours, and aromas of that cuisine. Given the popularity of street food in big cities around the world, it is one way in which Indian street food can be presented. Street food is complex, but people of all nationalities can be trained to assemble and serve these dishes.

As far as restaurants are concerned, the traditional model of family-owned businesses is deeply under threat as the next generation seldom wants to go into this business. In the UK, this has resulted in the closing down of many restaurants. A radical rethink is required in the way staff are recruited and trained. The first change should be an attempt to increase the number of women working.

Are the nuances of Indian food filtering through alongside its general popularity?

The generic Indian food, which was popular a decade ago, is still favoured by many. There is a greater awareness of regionality of Indian cuisine because of cheap travel to India, and information available on both the internet and television.

Does cuisine have a role to play in wider political debates, such as Brexit?

There isn’t a united cuisine of Europe. The European Union’s biggest role when it came to food was establishing vigorous health and safety regulations for the food industry and for the way we farmed and fished.

In Europe, there is a very strong regional tradition when it comes to food, which was not impacted by the birth and extension of the European Union. There is no doubt that breaking bread between neighbours is helpful, and sharing a meal helps bring down barriers between people.

How would you categorise your vision for gender balance in the workplace?

My vision is one of equality, equality for opportunity and progression in kitchens for men and women. There is an urgent need to establish codes of conduct, which protect the dignity and honour of everyone working in the kitchen. For too long, the dominant position of the head chef, invariably a man, has meant that the culture of a kitchen is very masculine and sometimes toxic and aggressive. This can intimidate and exclude some women working alongside these men. There has to be respect for women in all kitchens.

How can food technology be harnessed to tackle health-related issues such as diabetes?

There is a growth in food items that are low in fat, low in cholesterol, that are targeted to people trying to practice a healthier diet. Additional information in the labelling for diabetics is the way forward as healthy eating is the standard advice given to them. Diabetics do not necessarily need food produced specifically for them as there is already a growth of low sugar, low starch options.

How does being a Global Indian impact your wider worldview?

I have the advantage of being from the east and the west. I feel rooted in two nations. My cultural and culinary heritage is Indian. This is a great advantage in the work I do as I can present the cuisine of my country of origin with a depth and understanding that comes from having lived there for the first 22 years of my life.

Even though I have now lived longer in the UK than in India, I still feel a deep-rooted connection to my motherland. I can, therefore, explain to someone from another heritage who I am, where I come from, and what my country stands for.

source: http://www.indiaincgroup.com / Home> Interviews / October 24 & October 25th, 2019

A retired official’s intensive research on Holy Quran

Coimbatore, TAMIL NADU :

Dr M Ameer Althaf
Dr M Ameer Althaf

Coimbatore:

Retired, but not tired of working for former NTC official Dr M Ameer Althaf, who took up intensive research on Holy Quran for well over three decade. And in his seven yearlong untiring effort, he has penned the book ‘Athaatchigal Thirukkuran Kalai Kalanjiam’ in a four part series, which is close to his heart. Undoubtedly, this is a magnum opus for the author.

Notably, Ameer Althaf had won the heart of Kovaiites for his different avatars in Thirukkuran Arakkattalai, Coimbatore District United Jamaath, AIMMS Muslim Women Community College. Adding another feather to his cap, he brought out the book ‘Pettagam’, a compilation of 300 long history of Coimbatore Muslims which was released at a gala function in 2014.

As to the adage ‘Hardwork pays rich dividends’, his research papers on Holy Quran were presented and published in global forum like Umma-al Qura University in Mecca, King Fahad University in Madina, University Malaya, Islamic Science University Malaysia besides universities in Istanbul, Jordan, Qatar, Mali.  His four decade central government service and three decade research on Holy Quran made him go places across the globe. Significantly, he became to be known as International Holy Quran researcher.

A function is being organised under the aegis of Dhaanish Ahmed Institute of Technology (DAIT) and Al Azhar Educational Trust on October 20 at Podanur Thendral mahal to release the book ‘Athaatchigal’ by former supreme court judge Fakir Mohamed Ibrahim Kalifullah and former High Court judge K N Basha in the presence of leading luminaries Alhaj K Moosa, chairman, DAIT group, Alhaj UAK Jailani, managing trustee, Al Azhar Education Trust.

Sunnath Jamaath Federation general secretary Alhaj M A Inayathullah will preside while Ranipet Additional District and Sessions Judge A Mohamed Ziyavudeen will felicitate at the event.

Moulavi Alhaj M A Abdur Rahim, president, Coimbatore-Nilgiris-Tirupur district Jamathul Ulema Sabai, Moulavi Alhaj M A Mohammed Imdhadi, president, Coimbatore city Jamathul Ulema Sabai, social activist Aloor Shanavas, Coimbatore district United Jamaath president Alhaj A R Basheer Ahamed, Tamil Nadu Haj organisors association president Alhaj A Mohamed Rafeek, Iqra Educational Trust president Alhaj H E Iqbal Sait, Project Manager in Kuwait Haji M A Azad will address the audience at the book release event. Himayathul Muslimeen Sunnath Jamaath, Podanur secretary Haji KTS Riyas Kapoor will propose the vote of thanks. Other dignitaries who will speak at the event include Holy Quran translator Prof Mohamed Khan baqavi, TN state Jamathul Ulema deputy general secretary Moulavi Alhaj  K M Ilyas Riyaji, Chennai Anna Salai Makkah Masjid chief imam Moulana M Mohammed Mansoor Kasimi, Madras University HoD Arabic,  Persian and Urdu Dr A Zakir Hussain Baqavi and senior network consultant, Abudhabi Dr Mohamed Ibrahim.

source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim> Positive Story> Religion / by M. Rafi Ahmed / October 10th, 2019

Food in Indian Muslim households is beyond biryani & kebabs: Recipes are subtle, and include various vegetables

JHARKHAND / NEW DELHI :

Sadaf Hussain chronicles home-made food in his new book Daastane-Dastarkhan.

​Sadaf Hussain’s charming new, first book Daastane-Dastarkhan​ has been published by Hachette India​.

Sadaf Hussain’s charming new, first book Daastane-Dastarkhan has been published by Hachette India.

Sadaf Hussain’s charming new book Daastane-Dastarkhan starts with the story of a pir who, every Thursday, visited his mother’s family in Sasaram, Bihar. But one day he appeared on a Wednesday, throwing his grandmother into panic because there was no meat for the aloo-gosht she always fed him. She had to be inventive. She used dried figs and poppy seed paste, to make a salan, threw in fried potatoes, balanced it with garam masala and chillies, and served it with rice and besan rotis. The pir was delighted: “May Allah bless you with an abundance of food and may no one ever leave your home hungry.

A recipe like this is not what many would think of as Indian Muslim food. Where is the intense meat focus? Where are the kebabs and biryanis? The problem starts with thinking there is something that can be neatly labelled Indian Muslim food. The fact that people do this might be just another way in which Indian Muslims are diminished by clubbing their many communities into one and ascribing easy stereotypes to them.

Ummi Abdulla, who has documented the food of Malabar Muslims, makes mutta mala or egg threads.
Ummi Abdulla, who has documented the food of Malabar Muslims, makes mutta mala or egg threads.

Part of the problem is that there is a market in catering to such stereotypes. Once a year during Ramzan, many people decide to have an iftar experience and go out — without fasting — to eat the rich food cooked on street sides for the occasion. But this has as little relation to regular home food in Muslim communities across India, as does a Diwali or Christmas feast have for Hindu or Christian home food.

One way people get exposed to home food of different communities is when they share food with neighbours, especially as kids. But as housing becomes increasingly segregated, this is becoming harder.

This lack of knowledge has been compounded by a curious lack of cookbooks from different Indian Muslim communities.

There are cookbooks from cities like Lucknow and Hyderabad where certain types of Muslim food dominate, but what’s presented tends to be street food or special occasion dishes, both mostly made by men. These are important, but it means that the daily, home dishes get left out.

SadafHussainMPOs14oct2019

There have been a few exceptions. Ummi Abdulla made a pioneering contribution by documenting the food of the Malabar Muslim, or Moplah, community, with all its complex interactions between the local ingredients of Kerala and influences from Arab traders.

Bilkees Latif ’s Essential Andhra Cookbook captured similar interactions from Hyderabad. Mumbai’s Inquilab newspaper brought out a collection of booklets, in Urdu and English, on Memon, Kokani, Bohra and Kashmiri food. There were a few other books printed privately or abroad, but little else.

Adil Ahmad’s Tehzeeb chronicles the home food of an upper-class Lucknow family.

Doreen Hassan’s Saffron and Pearls does the same for her husband’s family from Hyderabad, but with roots in both Persia and Uttar Pradesh. Zaiqa e-Kadwai provides a very different perspective. It is a team effort to document the food of a village in Ratnagiri district, where most of the families just happen to be Muslim, but their food is quite typically Konkani. Hazeena Syed’s Ravathur Recipes: With a Pinch of Love shows, in a very impressively produced volume, the food of this Tamil Muslim community.

 These books show the food of these communities to be, as with all communities in a region, primarily dictated by what’s locally available, but with small tweaks. As Hassan’s husband’s family shows, at a more upper-class level there were more likely to be interactions with communities across countries, and recipes travel with daughters-inlaw, who are one of the least acknowledged agents for social change.

 There is certainly a lot of meat eaten in all these communities, but the recipes are much simpler and subtler than what is served up to unthinking eaters as “Muslim” food. Meat is often cooked with vegetables as in the chuqandar gosht, beetroot and mutton; or keema kakdi, cucumbers and mince, given in Tehzeeb. There are inventive egg dishes, like boiled eggs stuffed with mince and then skewered, that Hassan discovers in Hyderabed, or eggs fried in gravy that are a favourite in Kadwai.

Other similarities might be slightly more use of some spices, like star anise, and less of others — hing rarely features since onions are widely used. Chefs will tell you that Muslims in their kitchens are particularly adept at frying, and that copper, with its excellent heat conduction, is the metal of choice for utensils. Many traditional vessels shown in these books are copper, and careful distinctions are made in types of frying: shallow, deep, braising and so on.

Books like these are important because, apart from the problems of unthinking stereotypes, the food of Indian Muslim communities faces another kind of obliterating pressure. Many cooks from the communities have gone to work in the Gulf and have picked up the kind of Lebanese-Arab food that is becoming a standard across the world. It is easy to produce, cheap and tasty enough and has the allure of being modern, rather than old-fashioned, labour-intensive home food. People shouldn’t be faulted for opting for what’s cheap and convenient, but it is important to remember, as these books remind us, that there are also other ways to nourish our roots.

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source: http://www.economictimes.indiatimes.com / The Economic Times / Home> Business News> Magazines> Panache / by Vikram Doctor / ET Bureau / October 13th, 2019

The nihari kulcha you must have if you’re in Lucknow

Lucknow, UTTAR PRADESH :

While in Lucknow’s Chowk area, the quickest way to sate hunger is with a plate of Raheem’s nihari kulcha.

Raheem nihari kulcha, Umar Raza, Azam Hussain

(What’s for Breakfast? (Above) Bilal Raheem Ahmad (in blue) at Raheem’s

When Umrao Jaan was being shot in the early 1980s, the cast and crew of the Rekha-starrer film would visit Raheem’s regularly. “I was too young then, so I don’t have any memory, but my father told me that the entire cast ate at our restaurant on more than one occasion and Farooq Shaikh had loved the nihari,” says Bilal Raheem Ahmad, one of five brothers who run the restaurant now.

At 8 pm in old Lucknow’s Chowk area, Raheem’s hotel is one of the busiest spots in the area. Most customers thronging the restaurant, in a basement near the Tehseen mosque, are there for the nihari kulcha — meat stew with baked flatbread. The nihari, which is traditionally a breakfast dish, is available all day at Raheem’s. In the alley leading to the restaurant, one can smell the kulchas being baked on the tandoor from a distance. After entering the basement, the aroma changes to that of slow-cooked meat.

Raheem’s nihari kulcha.

Bilal says the delicacy has always been the bestselling item at his restaurant, which was started by his great grandfather Haji Abdul Ghani in around 1920. The family belongs to old Lucknow’s Chowk area. The restaurant started selling the nihari kulcha in the 1940s under Haji Abdul Ghani’s son and Bilal’s grandfather Haji Abdul Raheem, after whom the restaurant is named. “It was Raheem sahab who invented the ghilaf kulcha which is served with the nihari,” says Bilal, 48, who generally sits at the restaurant’s counter every day from 5.30 pm to 11 pm.

After Haji Abdul Raheem, who ran the restaurant till 1983, the restaurant was taken over by Raheem’s father Fakruddin, who managed it till 2000, after which Bilal and his four brothers — Manzoor Ahmad (60), Mohammed Usama (47), Mohammed Shuaib (40) and Zaid Ahmad (37) — run it.

“The word ghilaf means a cover. The ghilaf kulcha has two layers which makes it so special. The upper layer has flour, ghee and creamy milk, while the lower layer has flour and yeast which makes the kulcha rise. The nihari is cooked overnight, for 6-7 hours, on very low heat over wood,” says Bilal.

He says, one of the most important aspects of his restaurant is the tehzeeb (etiquette). “We never return a customer without serving them. There are several madrasas for the poor near our restaurant. My grandfather Haji Abdul Raheem had written two points in his will — one was that we must always serve the poor and, second, that we will never ever compromise on the quality of the food. We are doing everything to follow his orders and hence, did not open a single branch,” says Bilal with a smile, while he returns change to 14-year-old Owais, who studies at the Furqania madrasa next to the Tehseen mosque.

The madrasa student says he comes to the restaurant almost every second day. “I get my own tiffin box and get one kulcha and some nihari for Rs 20,” says Owais, who belongs to neighbouring Barabanki district and stays at the residential madrasa.

The mutton nihari and two kulchas are priced at Rs 148, while the buffalo nihari and two kulchas for Rs 83. The paaya nihari, both mutton and buffalo, comes for an additional Rs 20. In between serving the evening crowd karara (crispy) kulchas, Habib Ahmad (62), who has been working at Raheem’s for the last 45 years, says, “The paaya nihari is mostly made with meat from the calf area.” The restaurant also sells mutton biryani for Rs 300 with four “big” pieces of mutton. Another bestseller is pasanda. A plate of nihari and two kulchas used to be sold at Rs 1.40 in the early 1980s when Habib started working there.

Bilal says, till date, the restaurant buys raw spices and uses them only after getting them cleaned and ground. “Our nihari has around 95 types of spices. We put them in a potli (bundle) and drop them into the nihari when the cooking starts. The recipe was given to us by our father, who got it from his grandfather Haji Raheem sahab,” says the co-owner. The meat used to make the nihari is bought daily. No artificial ingredients are used, and “it is only cooked in a copper deg (cauldron) with kalai (a layer of tin) on the outside. The kalai is a must for slow cooking. It doesn’t let the food burn,” he says, with a wry smile, before adding, “I can’t tell you what our spices are.”

Waiting for their “wholesome meal” at the restaurant are childhood friends — Umar Raza (44) and Azam Hussain (42) — both tailors. but Raza is getting annoyed by the delay, their order — two plates of steaming hot paaya nihari with a sprinkling of green coriander and chilli on top and one kulcha each — finally arrives and they start guzzling the food. They say they have been coming together to the restaurant for the past 15 years. “It is a filling meal which is the secret to our great health,” says Hussain, pointing to Raza’s bulging tummy.

Bilal says, people from “far-off” places come during Ramzan, when the restaurant remains open from iftar (meal eaten to break the fast) to sehri (pre-dawn meal before the fast). “Ramzan is when Lucknow and Chowk has the highest number of visitors. All the tables are occupied through the evening and nights,” says Bilal, adding that the next generation will continue to serve the food the way it has been served for almost a hundred years.

This article appeared in the print edition with the headline ‘A Plate of Sunshine’

source: http://www.indianexpress.com / The Indian Express / Home> Eye / by Asad Rehman / October 13th,2019

Maratha blood and Persian veins

KARNATAKA :

A detail of the ‘House of Bijapur’ genealogical painting depicting most of the rulers of the Adil Shahi dynasty of Bijapur. (Photo: Wikimedia Commons)
A detail of the ‘House of Bijapur’ genealogical painting depicting most of the rulers of the Adil Shahi dynasty of Bijapur. (Photo: Wikimedia Commons)
  • Although the Adil Shahi dynasty of Bijapur was formally Muslim, it was influenced by multiple religions and different identities
  • Such complicated realities were not unusual in the subcontinent, from Vijayanagar in the south to further north in Kashmir

In 1680, a few years before emperor Aurangzeb swallowed up the sultanate of Bijapur, two court artists in that city produced a striking genealogical painting. Rich in quality, with ink, watercolours, as well as gold and silver generously employed, the picture shows all the rulers of the doomed Adil Shahi dynasty, save for one who was blinded and discarded for not being up to the mark.

In the centre, on the throne, for instance, sits Yusuf, the man who sailed from Persia and founded the house with his Maratha wife in the 15th century: In a mark of the kingdom’s allegiance to the Shah of Iran (as opposed to the Mughals), Yusuf is shown receiving a key of sovereignty from the Iranian emperor. Then there is Ali, who appears in armour—a symbol of the role he played in the defeat of Vijayanagar in 1565—just as there is the boy-king Sikander, the smallest figure in the group, who would spend much of his life as Aurangzeb’s dethroned prisoner.

Created on the eve of the kingdom’s demise, the painting is at once a family tree but also, as one scholar puts it, a “painted curtain call” for the extraordinary Adil Shahi dynasty.

But the portrait is significant also in another way, in that it depicts the contrasts that can develop in the same ruling house and in interpretations of its official ideology. The Adil Shahi state was formally Muslim. From the start, however, it was influenced not only by multiple religions but also by different identities. So, for instance, Ismail (reign 1510-34) chose to highlight the family’s Persian heritage—he made his troops wear Iranian uniforms and himself adopted the 12-pointed cap, a reference, as the scholar Deborah Hutton notes, to the 12 imams of Shia Muslims.

Ibrahim II (reign 1580-1627), on the other hand, was Sunni and is depicted in a style associated with the Indian faction at court, a reflection of his own attitudes. He was, for example, not only a lover of Marathi (much to the horror of a Mughal envoy, who found Ibrahim’s Persian weak) but also a great admirer of Hindu traditions. It was he who proclaimed himself son of Saraswati and Ganapati, studied Sanskrit, and went to the extent of renaming Bijapur “Vidyapur” to honour his favourite goddess.

Only two generations divided the orthodox Shia Ismail from Sunni Ibrahim (who was rumoured to be secretly Hindu) but there was a world of difference in their outlook.

The Adil Shahs certainly presented themselves as good Muslim rulers—indeed, even Ibrahim’s grave carries an inscription denying rumours that he was an apostate, affirming that he was a true believer of the Prophet’s message. But as this column showed previously in the case of Hindu Vijayanagar, official identity and self-image did not preclude the absorption of multiple influences, or even contradictory practice. The Adil Shahs, even as Muslims, alternated between Sunnism and Shiism, and it was their latter identity that often supplied the Mughals an excuse to invade in the name of religion—this when even Aurangzeb, who led the final charge against the “heretics”, was himself the son of a Shia mother. Add to this a give and take of culture from not only the Marathas (including Shivaji’s father, who served the Adil Shahs) but also Ottomans, Europeans and African grandees at court, and Bijapur was confirmed as an eclectic, mixed universe—one where the king had a formal identity that he could interpret strictly or with deliberate laxity, depending both on his predilections and official necessities.

But in this the Adil Shahs were hardly unique. The rayas of Vijayanagar shaped their self-image in Sanskritic terms and declared themselves consciously Hindu. And yet, one of them sought a marriage alliance with Catholic Portugal; many of them used the title “sultan”; and their sartorial tastes and everyday lives were influenced visibly by Persian culture. A raya might keep the Quran in court so that his Muslim nobles could prostrate before it, even as he destroyed mosques in enemy territory—policy depended on the context in which the king found himself. Further north, in Kashmir too, as Richard Eaton shows in his India In The Persianate Age, we witness such ironies.

Sultan Sikander (reign 1389-1413), for instance, was a destroyer of Hindu shrines and burner of Sanskrit books. But his son Zain al-Abdin (reign 1420-70), officially as devout a Muslim as his father, implemented the opposite policy: Not only did he resume temple grants, but under him the court also witnessed an unprecedented production of Sanskrit literature, as well as translation of Hindu texts into Persian for the ruler’s edification.

The greatest controversy, of course, arises in understanding Tipu Sultan of Mysore. To some, he is a giver of grants to Hindu temples and a protector of his non-Muslim subjects. Others cite his cruel conquest of Malabar, where Hindus were forced to renounce their religion, their temples demolished. But, simply put, the question is not one of either/or: The same king could act in opposite ways in different settings.

In Malabar, its chiefs and people were “infidels”, but in his settled territories in Mysore, Tipu had no qualms employing “infidel” Brahmins (including the celebrated Purniah) as officials. One was a land of conquest, where destruction of significant shrines was, to him, legitimate, while forced conversions were a method of flaunting to the Islamic world his commitment to their faith; but in his home territory, he was king in a broader sense, accepting of the land’s realities as well as its people. A villain in one reading, he could be a hero in another, employing his religious identity in different degrees, determined largely by the contingencies of politics.

It was this complicated reality that the painters of that Adil Shahi family portrait inadvertently conveyed in their work: a house of Muslim kings with Maratha blood, who cheerfully switched sects as they desired, and whose dynastic roster included all types—those whose faith guided them to extremes, and others for whom religion was more a formality, engaging as they did with a land of diverse realities.

Medium Rare is a column on society, politics and history. Manu S. Pillai is the author of The Ivory Throne (2015) and Rebel Sultans (2018).

Twitter – @UnamPillai

source: http://www.livemint.com / Live Mint / Home> Explore> Medium Rare / by Manu S. Pillai / September 05th, 2019

The gustakh director

NEW DELHI  :

The NCPA was keen to host it and Shapoorji Pallonji, the business conglomerate, keen to finance it. And both wanted a “big production”.

Priyanka Barve as Anarkali.
Priyanka Barve as Anarkali.

Mostly, perfection is elusive, unattainable. And yet, every society, every culture has something that is, simply, perfect.

Buildings, bridges, monuments, pieces of art, a song, a book, an athlete, a sportswoman or sportsman, a performance, an inning and, sometimes, a movie.

Based on Imtiaz Ali Taj’s 1922 play about the fictional love story of Salim and Anarkali, K. Asif’s Mughal-e-Azam — whose shooting first began in 1946, with Nargis as Anarkali and D.K. Sapru playing Salim, but released finally in 1960 with Dilip Kumar, Madhubala and Prithviraj Kapoor — is one such piece of perfection.

Feroz Abbas Khan, the first artistic director of Mumbai’s Prithvi Theatre and a veteran director with several plays to his credit, including Tumhari Amrita, admits as much. “Mughal-e-Azam, from the play to the script to the screenplay is a piece of literature. The script of Mughal-e-Azam is pitch perfect… It’s one film where everything is perfect. The acting, the screenplay, the dialogue, the music, the lyrics, the performances… And it has a dream cast — you can’t get a cast like that… Madhubala ko dekhiye, aur khatam uske pyaar mein… Mughal-e-Azam ek bahut badi cheez hai,” he says.

And yet, Khan dared to touch this piece of perfection, this sacrosanct icon.

In 2004, Khan was watching the colour version of Mughal-e-Azam when he had an audacious thought: It’s structured like a play and can be staged. But then there were other thoughts. “Sheesh Mahal kahan se aayega?”

It was something he wanted to do, but it didn’t seem possible. It needed a financier with deep pockets and deeper love for Mughal-e-Azam, a stage large enough, skilled production and lighting designers… And, yes, there was also a sense of what a gustakhi it would still be.

“You can do things which, agar nahin bhi theek hua toh log aapko muaf kar denge. Isme toh muafi ki koi gunjayesh hi nahin hai. Sazaye maut!” says Khan.

So for years, the idea of staging Mughal-e-Azam stayed in some corner of his head, circling around his restless to do a huge production, till a casual discussion at Mumbai’s NCPA sometime last year took him to Shapoorji Pallonji, the producers of the film who owned the rights.

The NCPA was keen to host it and Shapoorji Pallonji, the  business conglomerate, keen to finance it. And both wanted a “big production”.

The sense of what a gustakhi it was now became a motivator.

“Gustakhi nahin… bewakoofi. Dekhiye aisa hai, ke aapki jo imagination hai, uska size chota kyun hona chahiye? Usmein toh koi paise lagte nahin hain? You have to aspire to be the biggest, the best, and then, somewhere between reality and utopia, you may get to the point of possibility… For me, unless I feel that this is going to go to a point that it could be the biggest disaster, unless I feel that it is something that is really challenging me, toh maza nahin aata mujhe.”

The challenge was to recreate the magic of Madhubala-Dilip Kumar romance, the high drama of a kaneez challenging Akbar the Great in bhari sabha, to pull off in two-and-a-half months of rehearsals what K. Asif had taken 14 years to do.

How do you do that, even if you find the same white ostrich feather and can play the recording of Bade Ghulam Ali Khan sahab? And are lucky enough to find an art designer who can simulate the heady dazzle of Sheesh Mahal which, in the original, required the headlights of 500 trucks?

You don’t. Because you can’t.

Because of the limitations of stage and time, because it’s all live, and because you have neither Dilip Kumar nor Madhubala, you don’t go for drama.

So Khan did the next best thing. He took 38 kathak dancers, added live singing and turned the epic romance into a stunning, spectacular musical.

With 350 cast and crew, 550 dresses, The Great Mughal became The Grand Musical which has run to full houses for four seasons (about 57 shows) in Mumbai, and, since September 9, has had packed shows at the 2,000-seater Jawaharlal Nehru Stadium.

According to Wikipedia, the premiere of K. Asif’s Mughal-e-Azam was held at the 1,100-seater Maratha Mandir in Mumbai where the Sheesh Mahal, transported from the studio, was on display. Outside the hall stood a 40-foot cut-out of Prithviraj Kapoor, and the film’s reels arrived on an decorated elephant, accompanied by the sound of bugles and shehnais.

In Delhi’s Jawaharlal Nehru Stadium, Khan had to remake all his sets from scratch because the stage here is 60 feet, whereas NCPA’s was 36 feet.

And to make the experience palatable and comfortable for the audience, who would be paying anywhere between `500 to `10,000 for a ticket, he had to redo the carpeting, improve the air conditioning, paint the facade and get the loos fixed.

The response has been so overwhelming that Khan has had to extended the Delhi schedule, adding five more shows over three days.

Mughal-e-Azam, the two-hour-15-minute musical is an opulent, nostalgic dance-drama which is beautiful and mesmerising when it’s singing and dancing. Its spectacle is spectacular.

But in moments of intimacy, in scenes with dialogue, it irritates those who have watched Dilip Kumar and Prithviraj Kapoor go head-to-head, and that despite a Salim (played by Dhanveer Singh), whose dialogue delivery and body language are mostly impressive.

The play’s scale is both, its strength and weakness.

The stark sparseness of two characters talking on a huge stage, arriving immediately after sensational dances that rise to an impressive crescendo, needed more drama. But that’s missing.

The actors, though well-rehearsed and speaking in trained diction, often sign off on a lame note. The exits are limp, especially Akbar’s. Anarkali’s body-language and energy is often the opposite of what’s required. In Pyar Kiya Toh Darna Kya, there was no defiance in her body movements, and in a dramatic scene, Salim walked as if on a languid stroll in a park.

Admittedly, this is nitpicking. These are just tiny details. But these small, careless moments get magnified when all that is happening on a 60-foot stage is two characters talking, or an angry Salim walking, and yet his heel-toe movements say nothing.

As Khan himself says, “Ek second bhi hamare liye agar galat hoga, ek empty second can become a minute on stage.”

But, he adds, his musical play works well at both levels — spectacle, and when it’s sparse — and that’s why it is so successful.

Khan credits that to the dialogue which, he says, at once have scale and invoke personal intimacy. “Jab Jodha bolti hai ke, ‘Hamara Hindustan koi tumhara dil nahin ki laundi jiski mallika bane’, and Salim says, ‘Mera dil bhi aapka Hindustan nahin jispar aap hukumat karein…’ Yeh kya hai? Large and personal. It’s in the dialogue.”

But then adds, “See, I’m never going to be totally happy. Because I think there’s still room to do better. But I think, finally, a nice balance has come and the girls are absolutely brilliant.”

After the scene where he irritates with his listless walk, Salim faints and falls so perfectly that it gets a round of applause. And then another song-dance comes on, and the play rises. Till it dips, to rise again… So it goes, dipping and rising, leaving you at the end with admiration for Salim, Anarkali’s live singing, a smile for the chirpy Suraiya, but above all teary-eyed respect for the 38 kathak dancers who create moments so perfect and magical with their feet and ghungroos that Lachhu Maharaj would be proud.

Feroz Abbas Khan attends most rehearsals, often with his eyes closed. Listening and moving his arms around, like a music conductor. He’s simultaneously conducting and imagining the rest — music, lights, costumes, the backdrop, the screens, the impact and the applause.

During the shows he makes notes in his diary under each character’s name and after the curtain call these notes are handed over.

“Har ek character ke naam pe notes bane hote hain, aur hamein end pe woh notes milte hain, ki, okay, tum yahan kamzor the, tumhein ye better karna hai… Mujhe last mila tha ki main jhuk ke chal raha tha… energy kam lagi,” says Dhanveer Singh.

The Mughal-e-Azam script that Khan loves so much was also subjected to his directorial nitpicking.

Khan, who has worked on women empowerment in entertainment, and whose TV serial on DD, Main Kuch Bhi Kar Sakti Hoon, is one of the most watched TV shows in the world, refused to let his female characters be shown as less than his male characters, whatever the hierarchy, situation.

“In the film Saleem slaps Anarkali. Bahar usko jootiyan pehnati hai… I cannot, just cannot, I cannot do this… Mere liye yeh gawara nahin tha ke main aaj ke time mein yeh karoonga. After all, it is imagined history,” says Khan.

So he took these bits out and added an extra dollop of chutzpah and ambition to Anarkali.

Khan’s Anarkali owns her ambition with impressive spunk when she wears the crown and says, “Hindustan ki Mallika toh main hi banongi.”

“Jodha also gives it to Akbar, nor does Anarkali stop at it. When she says, ‘Shahenshah ki behisaab baksheshon ke badle mein, yeh kaneez Jalaluddin Mohammad Akbar ko apna khoon maaf karti hai’, she doesn’t do it, pithy — Ki, ‘Maaf karti hoon’. Aise nahin. She’s (he gestures) “Jaa! Teri kya aukat hai. GO!”

“Ab dekhiye, yeh meri choice hai. Jo main kehta aa raha hoon, even for entertainment, you don’t necessarily have to do good, but you can do a little bit not bad. Maine jhapad nikal diya, toh play kuch kum hua kya?”

Priyanka Barve and Dhanveer Singh as Salim.
Priyanka Barve and Dhanveer Singh as Salim.

But before these girls, and boys, can flex and flaunt their characters’ chutzpah on stage, they had to undergo some mind games, or what Khan calls “exercises”, for him to gauge whether they can act, and if they can, then “kis gehrai tak”.

Khan, says Singh, is the kind of perfectionist who will not let his actors go to the next word till the previous one is to his satisfaction.

“Unko agar 100% chahiye, toh unko 100% hi chahiye. 99.9% bhi nahin chahiye.”

Khan is not short tempered, says Singh, “but everything about him is grand… unka gussa bhi, pyaar bhi, daant bhi”.

“Woh Mughal-e-Azam se itni mohabbat karte hain ki woh kehte hain, ‘Main kuch bhi bardasht kar sakta hoon, lekin Mughal-e-Azam itni bhi kutahi (negligence) nahin bardasht kar sakta’.”

This perfection ki khoj began early for Khan, and those he thought were not up to putting in the work, or would get distracted by the glamour were weeded out. Like a B-grade Hindi film star who was pretty, a decent dancer and a very decent singer, but had “started celebrating playing Anarkali without going through the process”.

Worse, she wanted to be treated like a star. “She was told in advance ki yahan, if I tell you to come at 8, and you come at 8.05, the gates are closed. You are standing out.”

The starlet was let go. She didn’t have it in her to become Feroz sahab’s Anarkali.

The ones who stayed had to go through the “exercises” for Khan to see if he could actually make them act.

Apart from the basic requirements of the play — that the girls had to be very good singers, very graceful — what was especially important to Khan was that they be sensitive enough to be prodded to become actors if they were not already. And many were not.

“They need to have the sensitivity for me to take them to those areas… they should be neither very cold nor very knotted, because then I won’t be able to access them,” says Khan.

Accessing, he says, is very important because “if you stop yourself from feeling, then how will you believe”.

“The most fundamental thing in acting is believing. When I look at an actor, I first understand the person, what’s gonna tick with him or her, and then trigger that. According to what the person is, I tailor my exercises…”

These exercises, which often push his actors to a point of breakdown, are necessary, he says, to also see if there is vulnerability.

“I don’t like sure-footed characters. Jab tak usmein vulnerability nahin hai, usmein aap ko dimension nahin milta hai. Jab woh bolta hai, ‘Taqdeerein badal jaati hai, zamana badal jaata hai, mulkon ki tarikh badal jaati hai, Shahenshah badal jaate hai… Magar mohabbat jis insaan ka daman thamti hai, woh insaan nahi badalta…’ Jab-tak usmein vulnerability nahin hogi, toh kahan se bolega?”

The applause will come, he says, because these dialogues were written for wah-wah and taaliyan, but without vulnerability in the character, “dialogue bus dialogue reh jayenge.”

After much insistence, Khan reluctantly relents and agrees to share one exercise.

“Bahut saari exercises hain, but I’ll just give you one example. It’s very interesting. This girl, Bahar, the second Bahar, I told her, tomorrow you come, I’m going to do some exercises with you… I had a girl with her. So you take her to a place, a room, where she has come to meet somebody. She meets somebody, and the guy says, I’m going to come back, I’ll leave you here. Then it’s dark… And then somebody comes and puts a cloth around her eyes and then on her mouth and now she is put around a chair and then… I’m giving her the suggestion that five men are now abusing her. One after the other, one after the other, one after the other… It’s all imagination. So I start saying that… they are abusing her, and abusing her… I keep seeing her, and putting up the temperature… to see how far, because some of them refuse to do anything. They think, it’s fun, nothing real. And some of them start believing, get affected immediately, so I know I need to stop there… This girl broke down very badly and for another hour
she just could not get over it. So I realised that she has that sensitivity.”

Zil-e-Elahi, as Khan’s actors refer to him behind his back, narrated two more exercises which were, thankfully, slightly less scary.

Boys get different types of exercises because “Ladkon ki sensitivity bahut kum hoti hai. Ladkon ko zayada waqt lagta hai. Unko bahut mujhe le jana padta hai, but le jata hoon unko bhi main.”

All this because, Khan believes, “agar aap nahin jalenge, toh audience kaise jalegi, zara mujhe bataiye…”

“Jab tak tum khud ko Salim nahin samjhoge, tum kuch kar nahin paoge. Jab tak tum us mohabbat mein nahin jaloge, toh dekhne waale nahin jalenge. Feroz Sir ki is line ne mujhe bahut help ki. Woh paseena jab tak mein apne hathon mein, body mein jalan mehsoos nahin karta hoon toh us din mujhe lagta hai ki maine achcha nahin kiya,” says Singh.

“Main sab ko ye kehta hoon. It’s a simple line… It goes to the heart of the problem. Like, for example, I also tell them, aap ko karna kya hai, aap soch leejiye — you want to impress or you want to actually express…”

Most of Feroz Abbas Khan’s actors picked one. The gustakh director decided that he would do both.

Mughal-e-Azam
Director: Feroz Abbas Khan
Presenters: NCPA, Shapoorji Pallonji
Cast: Nissar Khan (Akbar), Dhanveer Singh (Salim), Priyanka Barve and Neha Sargam (Anarkali), Ashima Mahajan (Bahar), Sonal Jha (Jodha)
Costumes: Manish Malhotra
Production Design: Neil Patel
Projection design: John Narun
Lighting design: David Lander
Choreography: Mayuri Upadhya
Music: Piyush Kanojia

Shows at Jawaharlal Nehru Stadium on Sept. 22, 23, 24, at 3 pm and 7 pm (except on Friday)

source: http://www.asianage.com / The Asian Age / Home> Life> Art / by Suparna Sharma / September 22nd, 2017

Now, learn about Hyderabad’s Hayat Bakshi Begum through virtual reality experience

Hyderabad, TELANGANA :

The HDW, which has been organized by the Telangana government in partnership with India Design Forum (IDF) and the World Design Organisation (WDO), is being held parallelly with the World Design Assembly
The HDW, which has been organized by the Telangana government in partnership with India Design Forum (IDF) and the World Design Organisation (WDO), is being held parallelly with the World Design Assembly
  • A trailer titled, ‘Ma Saheba – The queen of Hyderabad’, explores 360-degree VR animation as the latest technology of film
  • The technology enables the viewer to visit the Qutb Shahi tombs (necropolis) from the comfort of their own location, interacting with the landscape as if almost they were physically present there

Hyderabad:

A team from the Indian Institute of Technology-Hyderabad’s (IIT-H) department of design has created a Virtual Reality (VR) experience for an oral historical narrative of Begum Hayat Bakshi, one of the most influential historical figures of the Qutb Shahi dynasty (1518-1687), which founded Hyderabad (in 1591).

The story of Hayat Bakshi Begum is considered to be of women empowerment, given that she lived through the rule of three kings of the Qutb Shahi dynasty. A trailer titled, ‘Ma Saheba – The queen of Hyderabad’, explores 360-degree VR animation as the latest technology of film. Begum was the daughter of Mohammed Quli Qutb Shah (1580-1611), the founder of Hyderabad.

She was married to Mohammed Qutb Shah (1612-26), the nephew of (and king after) Mohammed Quli Shah. After the death of her husband, though her son Abdullah Qutb Shah (1626-71) became king, Hayat Bakshi Begum had a considerable influence over the affairs of the Golconda (or Qutb Shahi) kingdom, which was founded in 1518. The VR oral history narrative will be available for the public on 11 and 12 October in Hyderabad, as part of the ongoing (9 to 13 October) Hyderabad Design week (HDW).

The HDW, which has been organized by the Telangana government in partnership with India Design Forum (IDF) and the World Design Organisation (WDO), is being held parallelly with the World Design Assembly, which will be held in Hyderabad on 11 and 12 October.

“Using the premier technology in immersion, IIT-H developed a virtual exploratory landscape which lets the user experience the historical monuments (tombs, where the founders of Hyderabad and others from the kingdom are buried) of Qutb Shahi like never before. The use of virtual reality-based technology to preserve and explore history is a method that provides results with almost lifelike experiences,” said a press release from IIT-H on Wednesday.

Speaking about the initiative, Prof. Deepak John Mathew, head, department of design, IIT-H said, “This project is initiated with the support of the Design Innovation Centre at IIT Hyderabad. The objective is to create a Visual Model of the monuments in India. This is the first attempt in this series. This will be exhibited at the airport as well as HICC during the WDO Conference. This is a fusion of art and technology.”

The technology enables the viewer to visit the Qutb Shahi tombs (necropolis) from the comfort of their own location, interacting with the landscape as if almost they were physically present there. The installation aims at raising awareness about the intricate history of Hyderabad. The IIT-H’s department of design undertook a high-resolution scan of the tomb complex for the project.

source: http://www.livemint.com / Live Mint / Home> Explore / by Yunus Y. Lasania / October 09th, 2019

Unique initiative of Siasat: Old Age Home inaugurated by Prince Muffakham Jah

Hyderabad, TELANGANA :

OldAgeHome-18

Hyderabad:

Education is very essential. There can’t be anything more pleasant than the restoration of high standard of Madarasa-e-Aliya. This was stated by Prince Muffakham Jah while addressing the inaugural function of Old Age Home, “Sukoon” yesterday which was established by Siasat Urdu Daily at Vikarabad.

Prince Muffakham Jah further told that if any steps are taken for the restoration of old standard Madrasa-e-Aliya, he is ready to provide all kind of assistance.

It may be mentioned that in his welcome address, Mr. Zahid Ali Khan had recalled the good olden days spent as a students by him and Prince Muffakham Jah at Madrasa-e-Aliya.

Mr. Zahid Ali Khan mentioned that he could find no other person suitable for the inauguration of Old Age Home than Prince Muffakham Jah. He also recalled the long association of his family with the Asif Jahi rulers and said that the contribution they made for the development of Hyderabad City cannot be undermined.

Citing the modesty and humility of Prince Muffakham Jah, Mr. Zahid Ali Khan told that quite often, prince says that Hyderabad is not identified by its Biryani and Sherwani but it is known for the humility and nobility of the Hyderabadis. He further said that he salutes this passion of humility of Prince Muffakham Jah.

He told that he and Prince Muffakham Jah are the products of Madrasa-e-Aliya.

Present on this occasion were Dr. Shahid Ali Khan, Mr. Zaheeruddin Ali Khan, Managing Editor of Siasat Urdu Daily, Mr. Amer Ali Khan, News Editor of Siasat Urdu Daily, Mr. Mohammed Jalaluddin Akbar, IFoS, Mr. Khudadad Khan, Mr. Syed Abdul Wahab Qadri, Mr. Aizazur Rehman Khan, Vice Chairman of Shadan Group of Institutions, Mr. Ali Masqati, Mr. Iftekhar Husain, Mr. Sarib Rasool Khan and others.

Addressing the gathering on this occasion, Mr. Zaheeruddin Ali Khan told that taking advantage of the presence of Prince Muffakham Jah in Hyderabad City, the inauguration of Old Age Home has been organized.

He further told that the Old Age Home provides accommodation for 100 persons. He mentioned that basic amenities and medical facilities will be ensured for the inmates of Old Age Home.

The audience congratulated Siasat Urdu Daily and said that the need for such a modern and well-furnished Old Age Home was deeply felt.

source: Siasat News

source: http://www.archive.siasat.com / The Siasat Daily / Home> Hyderabad> Top Stories / by Sameer / April 08th, 2019

COVER STORY : Travelling in tandem

Bengaluru, KARNATAKA :

Anjum is a self-confessed foodie, and loves cooking. In fact, she recalls, it was this love and talent that led to her meeting Omer at the restaurant: “I used to bake a lot, and market my cakes and pastries to earn my pocket money, to spend on music and clothes”

He is a descendant of the royal families of Bhopal, Pataudi and the Paigahs of Hyderabad, she is the sister of the tycoons who run one of Bengaluru’s biggest realty companies. They have now joined hands to raise the level of living in the Prestige Group’s apartments and resorts-she designs and executes the interiors, while he has set up and runs the group’s hospitality vertical

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Nawabzada Omer Bin Jung and Anjum Razack met on a blind date. Well, not exactly a blind date, they say: “Actually, we were set up!” says Anjum, and Omer agrees. “But she picked me up!” he adds, with a twinkle in his eye. He is being literal: “I had no car, and used to roam around in buses and auto-rickshaws when I was working with Wipro.” So this young woman whom he had never met came to his office and gave him a lift.

Recalling the incidents of more than a decade ago, husband and wife keep bickering good-naturedly and correcting each other over details. The story that emerges is that a friend of Anjum’s said she wanted to meet her-at Casa Piccola, a restaurant to which Anjum used to supply cakes she baked. “And will you please pick up this guy Omer on the way? I want to meet him too,” she said. So an unsuspecting Anjum drove an equally unsuspecting Omer to the restaurant, where they sat and waited for the friend. When some time passed and she didn’t appear, they realised what had happened.

Was it love at first sight? “I don’t know if it was love, but I knew immediately that this was the guy I was going to marry!” she says. “My mother had always told me: ‘You should know what kind of boy you should bring home to meet me!’-and that afternoon I told her I had met the right man.”

Omer, for his part, “Enjoyed being the hunted, for a change”. They didn’t meet, or talk, for a month; but one day-just before Valentine’s Day, Anjum remembers-she and her friend were driving somewhere, when they spotted Omer walking. “We stopped, said ‘Hi!’ and gave him a lift.”

Things didn’t take very long after that. “My family doesn’t have the time for trivia!” Anjum explains. “I told my mother as soon as I got home that I had met the boy I was going to marry. I mean, we were two eligible young people in the same town. He was not of our caste of traditional business people, which was actually a plus point in his favour! Our families met, and I went through the various shredders his family put me through, then picked up the pieces-and we got engaged, then married in the next eight months.”

“We were two eligible young people in the same town. He was not of our caste of traditional business people, which was actually a plus point in his favour! Our families met, and I went through the various shredders his family put me through, then picked up the pieces−and we got engaged, then married in the next eight months.” − Anjum

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A few months before the marriage, they went to see Omer’s grandmother: “That was the first time I took a break from work,” she says. “Morph was still a one-person company, with only a set of carpenters to supervise. When we came back, I was broke, and went straight back to work. Side by side, I set up home and pottered around there, too.”

Anjum, the sister of the Razack brothers who run Bengaluru-based construction major Prestige group, is an entrepreneur in her own right: she set up Morph Design Company (MDC), which she runs as its Managing Director. Omer, who heads Prestige’s recent diversification into the hospitality business, comes from a long line of rulers-from the Paigahs of Hyderabad on his father’s side to a royal pedigree on his mother’s. “I have an interesting and diverse lineage. My maternal grandmother was the ruler of Bhopal with its matriarchal system. She married the Nawab of Pataudi, which was a much smaller kingdom, but both became our family’s houses. My father’s people were Prime Ministers to the Nizam of Hyderabad.” The Paigahs are a family of the senior aristocracy of the erstwhile Hyderabad State, with each of them maintaining his own court, individual palaces and a standing army of 3,000 or 4,000 soldiers.

Anjum, on the other hand, was what she calls ‘a one-woman army’ in a male-dominated business when she joined her brothers in 1993 and set up MDC. That ‘one-woman army’ has grown in 23 years to a Rs. 200-crore, 30-member team; but she continues to work hands-on with every project. “They are a bunch of kids-we are a young, growing office,” she says. “Besides, I love what I do-and I always put in 100 per cent into any assignment, because you always get only what you put in. I am also an obsessive perfectionist and would never deliver to a client what I wouldn’t live in myself.”

She had found, when she finished school, that she was in a ‘strange situation’ with not too many career options for a girl of her background-a Kutchi Memon in a typical business family, but one whose father had believed in education for his daughter as well as his three sons. “My parents have always been very aspirational for all their four children,” she explains. “We were all given education, encouraged to travel and grow-all against the norm in our community.” So after her B Com, she did a course in interiors with paint manufacturer Jenson & Nicholson. She then got a job with an interior designer in the early 1990s before joining the family business. “I jumped into the ocean headlong, without even knowing how to swim!” she says. “It was only the challenge that kept me

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MDC, which she established soon after that plunge, not only creates all the interiors in the Prestige Group’s developments, but also offers consultation, comprehensive planning and end-to-end design solutions for a range of other select clients for both their existing structures and new projects. She is also rightfully proud of the fact that her brothers Irfan Razack, Chairman and Managing Director of the Rs. 4,700-crore Prestige Group, and Rezwan Razack, who is Joint MD, never gave her any special privileges in business. “Even though we are a very close-knit family,” she says. “Morph is my very own, Prestige is my client. I charge design and project management fees, and for the furniture and other material I supply from either my own manufacturing units or those from whom I source them.” She does, however, describe working with family as putting her ‘between a rock and a hard place’ very often.

“My big idea was to reach out to the discerning interior design market, be it luxury or aspirational, and provide my clients with a lifestyle that they would enjoy,” is how Anjum how explains the way she approaches her work. “I wanted to introduce discerning customers to living spaces that represent and reflect their individual taste and stay relevant through changing times.” Designing an interior space, she points out, presupposes that “A design metaphor will reveal itself in every object, colour, finish and patina”. Obviously, when the idea finds expression and rhythm in such detail, the natural outcome would be a space made distinctive by its very uniqueness. “That,” she adds, “is why I do not just stop at designing the experience of an interior space, but also construct or create most of the objects that shape the design.”

“I went to boarding school at Sanawar, then Hindu College in Delhi and the London School of Economics. When I came back to India, I decided to move to Bengaluru instead of Hyderabad−it was a new city as compared to Hyderabad, and I could do anything here with its own level of decadence! Besides, my elder brother was here too” − Omer

“Good taste in interiors has come of age. The challenge lies in the fact that often, the notion of interior design stops at the placement of attractive objects in a well-designed room. While that is a mandate we can serve with ease, we challenge ourselves to give our customers much more. This we do by shaping their experience of interior space, through manipulation of spatial volume, as well as surface treatment. So, while apartments today are predicated on the optimal use of space and uniformity, our challenge is to create a unique interior space in a structurally similar landscape,” she says.

“We have also integrated backward to create a super-large vertical, with project management, sourcing and a trading company-and now even furniture manufacturing. We create 90 per cent of all the furniture that is provided in any Prestige construction.”

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From its beginnings as an in-house interior design subdivision, Morph has morphed into a fully integrated interior design firm that executes and handles projects for external clientele, too. It provides a one-point solution from design, creating a portfolio of work across apartments, villas, clubhouses, spas, resorts and hotels. Hotels, resorts or serviced apartments. “All of these need to be addressed very differently from one another,” Anjum explains. Along the way, the company has worked with globally renowned architecture firms like Dileonardo, Woods Bagot, HBA, MAP and SRSS, and executed projects as large as 2.5 million sq ft (nearly a quarter million sq m). “We have also won a lot of awards, in different areas of our work. My brothers look at me differently now!” she adds.

Describing herself as an entrepreneur at heart, not satisfied with interior design alone, Anjum says this is why she vertically integrated the manufacturing process by setting up state-of-the-art in-house factories over two decades ago, to cater to the different design sensibilities of customers, from traditional, classic to the more contemporary, experimental and eclectic. “Our products are also designed to give our clients great value for money across the entire product spectrum,” she adds.

“From a process perspective, everything from concept, drawings, prototyping, to the final production of each and every piece of furniture that we use in our projects is backward integrated,” she explains. “Our external dependence is minimal and allows us to achieve unmatched quality giving us the ability to create truly bespoke interiors, where each detail is created by us. Having control over customisation and production, we ensure that our design process is a constantly evolving and dynamic one”

“The journey has been tough-but a good tough!” Anjum smiles. “The biggest chip on my shoulder is that I didn’t go to design school. But I love working, and I have been loyal to my work.” She did, however, take a course in designing at Cornell University. “I firmly believe that you must always start from the back operations to be strong. There was a sad lack of originality and quality in the market-that’s why I started my furniture business with visits to China, Italy, Germany, Austria and Burma, getting the best rates at which I could import what I needed for each project.”

With this bottom-up organisational design approach, Anjum has been responsible for business development, strategic planning, diversification, and project management along with all other key executive functions. Her work is inspired by a diverse set of influences, both traditional and contemporary, and she references the Deco and Nouveau period styles as being particularly impactful. Firmly believing in the importance of constant evolution for prolonged success, she doesn’t hesitate to incorporate innovative materials into her projects, work with young artists and experiment with all aspects of execution.

“Some things are non-negotiable! For instance, no phones are allowed at meal time. The kids get a platform to talk to each other and us, about things that would otherwise get buried in their busy lives. There are some ground rules, and they stick to them” – Omer

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“My two new factories involve a huge investment, which means I will probably be able to break even only two or three years,” says the businesswoman, now 49. “The state-of-the-art factories have been conceived with a lot of mechanisation-manufacturing wooden joineries, handcrafted furniture, modular furniture, wardrobes, windows and kitchen assemblies. MDC also has a unit which specialises in developing soft furnishings.” Today, Anjum can proudly claim that she has nurtured MDC into one of the country’s most respected décor studios with globally recognised clientele and numerous national and international awards to its credit.

Talking of challenges, Anjum says the biggest one has always been the debate between functionality and design and how to marry them: “The aspirational customers have a relatively limited budget and want products that are aesthetically pleasing, have longevity and are easy to maintain. We have strived to address the needs of this particular segment and are happy to say that we have managed to achieve it to a very large extent.”

The other challenge, she says, is to provide aesthetic designs to any area. “Everyone deserves appealing spaces, regardless of its size,” she says. “We, at Morph Design Company, excel in providing just that.” Pointing out that the business also involves effectively executing two opposing areas of demand: the high-volume kitchen and wardrobe assemblies on one side, and the need for personalised and exclusive products that cater to the individual versus the mainstream on the other, she credits the nature of these challenges is what keeps her and her team striving for excellence.

Anjum is a self-confessed foodie, and loves cooking. In fact, it was this love and talent that led to her meeting Omer at the restaurant: “I used to bake a lot, and market my cakes and pastries to earn my pocket money, to spend on music and clothes,” she says. “Casa Piccola was one of my biggest customers. And so, when my friend Goga suggested meeting her there, I didn’t think it was at all strange.”

She also reads voraciously and loves to travel-collecting art and antiques from the places she visits. Her husband shares her interests-and so they pack their bags and heads off to different locales in India and abroad. The couple began with a two-week honeymoon in Africa; and because he loves surprising her, he recently took her on a road trip from Budapest to Prague via Vienna-“He made me drive!” she mock-complains- so that he could treat her to a four-hour meal at a three-star Michelin restaurant on the way.

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Nawabzada Omer Bin Jung, formally designated Executive Director, Hospitality-Prestige Group, is also the Founding Managing Director of Prestige Leisure Resorts (P) Ltd. With three decades of experience in hospitality, he is currently spearheading the Group’s foray into hospitality. “I went to boarding school at Sanawar, then Hindu College in Delhi (where he was a gold medallist in his BA, Anjum intercedes) and the London School of Economics,” he says. “When I came back to India, I decided to move to Bengaluru instead of Hyderabad-it was a new city as compared to Hyderabad, and I could do anything here with its own level of decadence! Besides, my elder brother was here too.”

After a couple of years in the finance department of Wipro, he joined his brother who has a resort in Bandipur. “Actually, it was a just a Club House; now it has been converted into the Northwest County resort,” he explains. In 1997, three years after he married Anjum, he floated the idea of helping his brothers-in-law take their construction business into resorts. “There has been no looking back since then,” he says. “We also have food courts in malls, we run franchises for Subway, Falafel and others… it’s a good mix.”

Adds his Begum: “It wasn’t an asset class at all – it was Omer’s brainchild.” He explains that because the business was totally in real estate, it had no assets on its balance sheet because all its projects were sold. “Assets are always good to have,” he says. “That’s where the discussion started. And we began to become more asset heavy.”

And so, having established Prestige Leisure Resorts, Omer now aims to set up international spas, city hotels, resorts and food courts all over India in the coming years. He is amply qualified: besides his gold-medal BA and his post-graduate Diploma in Business Studies from LSE, he also has a post-graduate Master’s Degree in Business Administration with a specialisation in Marketing, as well as a Certification in Strategic Management by Cornell University School of Hotel Administration, US.

“To excel in any field, one needs to be a team player. Managing people and ensuring employee and customer satisfaction is an integral part of being a success. We are a service-oriented industry and it is our team’s talent that decides the success of our work” – Anjum

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At Prestige, Omer has been instrumental in conceptualising and tying up with Banyan Tree Hotels and Resorts, Singapore, for one of Bengaluru’s most beautiful spa resorts the world-class Angsana Oasis Spa & Resort; the Angsana Oasis City Spas at UB City; Hilton International for the Conrad, Bengaluru; Oakwood Asia Pacific for the Oakwood Premier Serviced Residences at UB City and the Oakwood Residences-Forum Value Mall, Whitefield as well as the 3.4-hectare Sheraton Grand Whitefield Hotel and Convention Center in the group’s Shantiniketan project; the JW Marriott Hotel in Prestige Golfshire below the Nandi Hills and the 23-storey Conrad Hotel overlooking the Ulsoor Lake. He is also the brain behind the Transit food lounge at The Forum, Koramangala.

“We have introduced some of the most reputed international brands in the world to South India, such as the Hilton Group and Marriott International for hotels; the Banyan Tree for resorts: our Angsana Oasis Spa & Resort is managed by Banyan Tree Hotel & Resorts, Singapore. We also have the Oakwood Premier Prestige Serviced Residences in our landmark development, UB City, as well as in Whitefield,” he points out. We launched our hotel, ‘The Aloft’, in Prestige Cessna Business Park in 2014 in association with Starwood Hotels & Resorts Worldwide.”

Anjum also shares some of the secrets for her success: “To excel in any field, one needs to be a team player. Managing people and ensuring employee and customer satisfaction is an integral part of being a success. We are a service-oriented industry and it is our team’s talent that decides the success of our work. Therefore, it is very important to ensure that your team is motivated and happy. Finally, it is crucial to have in depth knowledge of both the industry and the products, which is only possible if you have a genuine passion for your work, as only then will you constantly strive towards perfecting your art.” Apart from this, it is paramount to believe in yourself, your abilities and objectives and have the right conviction. Life is full of complexities. Keeping things simple and using a straightforward approach helps unravel intricacies.

Her role models are her father Razack Sattar, an enterprising entrepreneur who started Prestige Fashions way back in 1956; and after his passing, her three elder brothers Irfan, Rezwan and Noaman have been her mentors, propelling her to success. “They have inspired me to keep pushing myself to achieve greater heights and are a source of constant motivation for me,” she explains. She too wants to carry on this culture of helping others: “I want to create a platform for young interior, product and furniture designers whom I will launch and mentor, to help hone their skills and realise their dreams,” she concludes.

The Jungs’ daughter Zara was born in 1999, and their son Ayaan five years later. “Kids never worried me, I enjoy them at all ages,” Omer says. And Anjum gives him ‘100 per cent for being an outstanding father’, saying: “He handles the children so well. Till date, he puts Ayaan to bed every night. He also takes his just-into-his-teens son on a fishing and hunting trip for two weeks every year.”

How did they manage everything: work, which is often 24×7, parenting- which is 24×7-and getting away for holidays? “We have a very good support system in the family,” Anjum says. “My mother has always been a big help, even though she was looking after my father who fell sick in 1995 soon after our marriage, and never recovered till he passed away in 2004. But I too never thought of multi-tasking-handling work, kids and home-as a problem. Of course, we had good staff: our maid and driver are very devoted to the family.”

Both of them are religious, and practise their faith: “We pray, fast, and go for Haj,” Omer says. Adds Anjum: “My mother was very pragmatic in her approach to Islam, though my father was more ritualistic.” According to Omer, their prayers are more for thankfulness than to ask for something. “We are so blessed,” he points out. “We have been to Arabia few times. So yes, we practise-but at the same time, we question.” Says Anjum, simply: “I like the balance.”

And the children are, fortunately, not yet growing away from their parents: Zara has her own life, but is at the same time totally plugged into the concept of family. “Some things are non-negotiable!” says Omer. “For instance, no phones are allowed at meal time. The kids get a platform to talk to each other and us, about things that would otherwise get buried in their busy lives. There are some ground rules, and they stick to them.” They are not totally happy going away on their own, but can still manage independently all over the place. Zara, for example, went to Oxford on her own for a summer course, Anjum points out. “She organised her own travel, and did very well there too-she came first in her class.”

All four of them spend a lot of time together as a family, even on holidays. “We don’t need to go out and mingle, we are very content by ourselves,” she says. “Three holidays every year are a must. We go away for the summer, Dussehra and Christmas vacations.”

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Last year, Ayaan came up with a surprising question: “Why must we always fly abroad? Why don’t we take a holiday in India?” Says Omer: “Both of us had found it very difficult earlier to wrap ourselves around a holiday in India. But after my son asked this question, we decided to go to Rajasthan-it was fun. We like our luxuries-but besides the Michelin restaurants, we also like to eat local food in different places. For example, we had a great meal of daal-bhaat at a truck stop in Rajasthan.” They didn’t of course, exactly rough it out in the desert: his royal connections ensured that they had the best hospitality in the local palaces. “India is brilliant!” Anjum says.

“Even though both of us are busy, we like to invest time in the kids as well as for ourselves together,” Omer says. “Of course, there is always a trade-off, in terms of earning less than we could if we concentrated only on our work or business. The question of what has priority in our lives keeps changing. But health, time with the children, family time, religion-they all take precedence.”

In addition to all this, Omer manages to find time to play cricket-coming as he does from a cricketing family-and golf, besides his angling and hunting which again is a throwback to his family’s traditions. “He is a ‘renowned shot’!” Anjum says with obvious pride. That, he explains, is a qualification that enables him to participate in national shooting championships. He is also interested in football, and took his son to watch Manchester United play a home match on Boxing Day last year: “There must always be an element of surprise in what I do,” he grins. “I had planned the itinerary for that trip with a gap of one day, which the rest of the family were clued in that they didn’t even notice! That was the day I just took off with Ayaan for the match.”

“We have introduced some of the most reputed international brands in the world to South India, such as the Hilton Group and Marriott International for hotels; the Banyan Tree for resorts: our Angsana Oasis Spa & Resort is managed by Banyan Tree Hotel & Resorts, Singapore” — Omer

How have they found the much-vaunted “entrepreneur-friendly” systems introduced by the government, especially that of Karnataka where they operate? “Well,” starts Omer, “When we started the hospitality business, we needed a total of 29 licenses… But today,” he pauses dramatically, and adds: “We need 29 licenses, still. The license raj has not gone away, it is only that we have learned to handle it more gracefully. The pain is still there. But we had the luxury of assets like easy access to loans and, our families.”

Anjum’s story is slightly different. “I started as a woman entrepreneur,” she explains. “That angle worked for me.” She still loves to cook; and, Omer says, “People love to be invited to our home for a meal.”

“We never have the time to get bored,” Anjum says. “We’ve practically grown up together, through our 23-year marriage. Both of us are the same age, so that’s almost half our lives. We have so many things in common; like, we were reading the same translation of the Quran, or The Little Prince, at the same time-but we are still as different as chalk and cheese. Of course, his stupid sense of humour sometimes irritates me, but…” To which her husband grins. And she adds: “I promise you, I wouldn’t want to grow older with anyone else but Omer.”

source: http://www.corporatecitizen.in / Corporate Citizen / Home> Cover Story / by Sekhar Seshan / Vol.3, Issue No. 2 / April 15th, 2017

Tracing the Journey of Murrabas from Central Asia to the Indian Kitchen

INDIA :

Image result for images Tracing the Journey of Murrabas from Central Asia to the Indian Kitchen

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Highlights
  • Murraba came down to the Indian kitchen possibly from Central Asia
  • The Royal Turkish kitchen had a separate section devoted to murraba
  • In Azerbajjan, the jams are part of every tea time table

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It’s a spiced and sweet preserve that possibly has as many people who revile it as those who love it. Murabbas are not for everyone-and even before we begin this piece, here’s the disclaimer: I absolutely, staunchly, vehemently dislike it. But then I don’t care for European style jams either, and my revulsion with the murraba may have something to do with the fact that as children we were force fed quite a bit of it on grounds of good health.

Unlike the mango murraba, popular in Gujarat, in UP, it is Amla ke Murraba that used to be quite popular at least within a social mileu engendered by the fabled composite Ganga-Jamuni tehzeeb or culture of the region. While that culture may be marginalized today, the story of murraba is one that can keep it preserved, much like the fruit itself.

Murrabas possibly came down to the Indian kitchens from Central Asia, where they are a part of many regional culinary cultures. Georgian food, for instance, has preserved sweet fruit as part of the traditional desserts . In Azerbaijan, the jams are part of every tea time table. And the food of the Ottomans that borrows from all these traditions has murraba-making firmly in place. The royal Turkish kitchens had a separate section devoted to “rub” and “murraba”, styles of jams that were thicker than the other Western style jams. To make these, fruit pulp and sap was boiled and thickened and then dried in the sun to preserve it for the harsh winter months.

Photo Credit: Nata Vkusidey/Istock. Mango murraba from Gujarat
Photo Credit: Nata Vkusidey/Istock. Mango murraba from Gujarat

Murrabas in all these central Asian and Turkish traditions naturally used the bounty of the land – the many fruit available in these regions from black currants to quince, pomegranate and even rose that grew in the imperial gardens. Different cities were famous for different jams.

The Mughals who ruled India for almost 300 years obviously brought to the subcontinent this way of preserving fruit from central Asia. Some murraba traditions that we still find in the country – like a ginger candy in Andhra Pradesh are quite reminiscent of the central Asian sweets. However, the Subcontinent had its own fruit and spices and local produce was naturally used to make these preserves.

Image result for images Tracing the Journey of Murrabas from Central Asia to the Indian Kitchen

Photo Credit: Xuanhuongho/Istock

Apple  murraba from Himachal, Amla from UP and Mango from Gujarat are perhaps the three most popular murrabas in our midst today, though the almost anything can be candied. Naturally, any fruit with a slightly sour (or astringent) flavour is far better suited to being stewed than sweet ones, which already have a high sugar content.

Amla, or the Indian gooseberry, now regarded as a superfood, is rich in Vitamin C, has fiber to combat digestive ailments and a host of trace minerals which are invaluable nutrients. In Ayurvedic medicine, the fruit is support to bring many benefits-it is given to pregnant women as a source of nutrition.

To make a murraba out of amla was obviously a way to make the fruit more palatable. The sour and bitter berries are cooked in honey  or sugar , candying them. Eating one or two of these candied fruit a day is supposed to be therapeutic.

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Of course, the use of murraba or preserves as something out of a pharmacy itself is a Turkish tradition, where the royal cooks developed recipes out of ingredients regarded as medically superior for the elite. It was a practice that the Mughal aristocracy followed too and murrabas became a rich man’s delicacy and indulgence. Those times are past, and yet some tastes linger on.

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About the Author:

Anoothi Vishal is a columnist and writes on food for The Economic Times and NDTV Food, and runs the blog a moveablefeast.in. She tracks the business of restaurants and cuisine trends and also researches and writes on food history and the cultural links between cuisines. Anoothi’s work with community-based cuisines led her to set up The Great Delhi Pop-Up three years ago, under which she promotes heritage, regional and community-based cuisines as well as researched and non-restaurantised food concepts. She has also been instrumental in reviving her own community’s Kayastha cuisine, a blend of Indo-Islamic traditions, which she cooks with her family and has taken across India to a diverse audience.

Disclaimer:

The opinions expressed within this article are the personal opinions of the author. NDTV is not responsible for the accuracy, completeness, suitability, or validity of any information on this article. All information is provided on an as-is basis. The information, facts or opinions appearing in the article do not reflect the views of NDTV and NDTV does not assume any responsibility or liability for the same.

source: http://www.food.ndtv.com / NDTV Food / Home> Food & Drinks / by Anoothi Vishal / September 18th, 2017