Gulbarga University has selected Yenepoya Abdulla Kunhi, chancellor of Yenepoya University, managing director of Yenepoya Group of Institutes and social and religious leader for an honorary doctorate.
The 39th and 40th convocation of the university will be held together and three people each have been selected for honorary doctorate. The honorary doctorate on Yenepoya Abdulla Kunhi will be conferred on the 40th convocation considering his immense achievements in the educational sector.
He has served as the trustee of Islamic Academy of Education, promoter of the Centre for Development Studies, president of Yenepoya Moidin Kunhi Memorial Educational and Charitable Trust, president of Malja-Ul-Islam English medium school, vice president of Badria Educational Institute, president of Takwa Open university, trustee of P A Education trust, president of Yenepoya Institute of Medical Sciences, partner in Moidin Kunhi and Company, managing director of Canara Wood and Plywood Industries, trustee of Yenepoya Saw Mills, convener of Yenepoya Vineers, partner in Yenepoya Transport company, partner in Yenepoya hotels, partner in Yenepoya Builders and Developers, president of Yenepoya Energy Private Limited and SLV Power Private Limited, chief promoter of Yenepoya Football Club, vice president of Islamic Trust, president of Malja-Ul-Islam Orphanage, president of Masjid Zeenath Baksh and Idga Juma Masjid, president of Islamic Cultural Centre, president of Karnataka Muslim Jamat, Dakshina Kannada district unit etc.
Yenepoya Abdulla Kunhi stays at Vas Lane in city his wife P K Nasreen. His two sons and two daughters are also serving in the Yenepoya group of organizations.
source: http://www.daijiworld.com / Daijiworld.com / Home> National-World / by Daijiworld Media Network – Mangaluru (EP) / April 25th, 2022
Whether it is a hundred-year-old dish Kuzi or Fish Salad or Badam Ka Kund or the Noorani Seviyaan, Shahnoor Jehan, the descendent of a Sultan of Yemen, dishes out these mystic 100-year old cuisines for the connoisseurs and the gourmands.
Even as the erstwhile nawabs of India deal with the loss of their titular legacy, tables laden with succulent meats, and the foods flavoured with freshly ground spices and their untranslatable code of tehzeeb- their last standing bastions of power, wealth, and heritage – Shahnoor Jehan, whose grandmother Muzaffar Unissa Begum hailed from the family of the Sultan of Yemen, has kept it alive.
Meeting this soft-spoken lady was a quiet grounding experience given her repertoire of knowledge on food.
Shahnoor Jehan with her daughter
Daughter of an IAS officer and wife of a very supportive businessman Adil Mirza, Shahnoor Jehan was also encouraged by her adorable children Shohrab Mirza and Nimrah Mirza to use her knowledge and the knowhow inherited from her blue-blooded family and preserve the 100-year-old recipes for posterity. Khassa, a food brand, is a reality because of the support Shahnoor Jehan got from her family.
Shahnoor Jehan says, “There’s a certain etiquette that embraces all nawabi culture. It’s not so much about the commonality of ingredients or dishes but the way the food is prepared and served and the way we host our guests. And for these families, it’s comforting if you understand that,” she says. “Khassa is just that.”
In earlier days people never said “food is ready’ while inviting guests to the table,; they would say but said “Khassa Taiyaar Hain.” Shahnoor Jehan has preserved her well-guarded recipes dating back to several generations.
A dish from Shahnoor Jahan’s cook book
Her cookbook which she has preserved to date from her school days takes on a narrative beyond food; it’s about legends, anecdotes, and antiquities that comprise heritage. It is this inherited legacy that has made her take up cooking as a passion and make it her business. “I think cooking was a hidden talent in me. Most of the time friends appreciating my cooking made me ponder over the possibility of taking it up as my profession and when my kids and family support came, I converted my culinary skills into a startup.”
“Till I got married, I never had any experience of cooking; it was only an interest. It was my grandmother and mother who inspired me initially and the realization and confidence that I can cook well came with the appreciation I got from my friends and family who eagerly awaited the indulgence. The original cuisine is slowly fading away. I kept up the tradition of preparing dishes on charcoal and grounding spices made by hand..”
Begum Shahnoor Jehan the granddaughter of Nawab Ahmed Baig and her Grandmother Muzaffar Unissa Begum shares a princely legacy of the Sultan of Yemen and her food is an amalgamation of Mughal, Turkish and Arabic and influences of Hyderabadi cuisine.
She has infused local foods like rice, wheat, and meat dishes and the skilled use of spices herbs, and natural edibles in Khassa,
Owner of brand Khassa, Shahnoor Jehan serves cuisines like mutton haleem, mutton Shikamaru, dum ka murgh, or whether it is her signature dish a hundred-year-old dish called the Kuzi- leg of mutton cooked in pure almonds, saffron, and spices like black pepper enriched further with dry fruits, sugar candy ( Rock Mishri ) saffron, and silver foil are steeped in history.
Shahnoor Jahan’s recipies
While Khassa has been in the limelight for its iconic Kuzi, mutton roast or the kebabs like Shikampoor Shahnoor has also drool-worthy desserts to her credit that you can never say ever! Whether they are the innovative desserts like the Noorani Seviyan or the most rich ones like the Badam ka Kund– a traditional Hyderabadi dessert rich in almonds infused with saffron and cooked for hours together to get that creamy finish.
Says Shahnoor Jehan some of the recipes are native but they have been prepared and perfected down the generations at Shah Manzil, which is the present-day Raj Bhavan (the official residence of the State Governor). They have been part of Shahnoors family legacy for generations over a hundred years of age Adds Shahnoor my maternal Grandmother Muzzafar Unissa Begum, the daughter of the Sultan of erstwhile Yemen, and her grandfather Nawab Ahmed Baig, the son of late Shehzoor Jung, was influenced prominently by the flavours of Yemen, where she was from. I picked up most of her techniques and recipes which were well guarded and preserved by Shahnoor Jehan’s mother Faiq Jehan Till date Shahnoor continues to preserve the diaries and books belonging to her royal family. She adds that while her mother has been an inspiration for her she did pick up a few techniques from her mother-in-law Shaheda Begum she adds.
Today this luxury dining has come alive with her cuisine “Khassa” which is offered to her customers by way of food based on orders from her customers. It is indeed a luxe dining experience as nothing is too extravagant at her end whether it is the use of the saffron or the almonds, or whether it is the use of gold and silver foil, they season most of her meals. Only the finest cuts of meat make it to your orders. Whether it is ordering the mutton roast -chunks of meat soaked in sauces, ginger garlic paste, pepper, and roasted or whether it is Kairi Ka Do Pyaaza chunks of meat cooked alongside with raw mangoes spices and silky onion gravy a seasonal specialty.
Shahnoor says some of her dishes are cooked languorously , sometimes for entire day-the dum (where food is cooked for hours over low heat in lagan and smoked with the piece of burning coals placed on top to flavor the food , and these remain her techniques of choice.
Shahnoor Jahan with Khassa
In the earlier days, the chefs or the bawarchis at her Shah Manzil sometimes specialized in just one dish. Kitchens were considered laboratories, and chefs artists were encouraged to experiment innovate and create. Today we are preserving this past heritage as an agenda. She recalls the Nawabs of yore were patrons of food, helping the food to evolve Now dining With The Khassa brings back some of the grandeur and is a beautiful reminder of the lavish brilliance of nawabi food.
Says Shahnoor Jehan we want to bring a culinary slice of Yemen and the Nawabs of Hyderabad at Khassa with dishes that resonate with our philosophy of cooking with the choicest of ingredients.
Her spread in her menu looks fit for a king. There are Shammi Kebab-succulent pieces of tender lamb cooked with spices a melt-in-the-mouth experience and the Mutton Shikampur, the iconic kebabs from the royal kitchens of Hyderabad. The main course consists of Tamatar ka Kut a classic Hyderabadi dish and a rich tomato gravy topped with mild temperate spices and boiled eggs. Mutton Dalcha, is an age-old recipe of mutton cooked with lentils and bottlegourd. There are classic dishes such as Chicken or Mutton Korma cooked in rich gravy sauce or the traditional Kairi Do Pyaza a tangy lamb preparation. Her signature dishes include Haleem, Kuzi, Fish Salad Mutton Roast, Dum Ka Murgh, or the Dum Ka Raan all slow-cooked in mild spices.
Also, there are desserts to die for whether it is the Zafrani Badami Kheer, Sheer Khorma, or the Qubani ka Meetha.
Khassa indeed brings the hidden treasures of food that is heavy on aroma and boasts of rich flavours that will hit the spot if you’re looking for a feast.
www.khassabyshahnoorjehan.com
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Culture / by Ratna G. Chotrani, Hyderabad / April 17th, 2022
Dr Zainul Aabideen, with his patient, a 5-year-old Ugandan girl.
Abu Dhabi/Thiruvananthapuram :
A Malayali doctor in Abu Dhabi wrote himself into record books when he performed the first pediatric stem cell bone marrow transplant in the UAE.
Dr Zainul Aabideen, a native of Kannur in Kerala, presently Head of the Department of Pediatric Hematology and Oncology at Burjeel Medical City successfully performed the advanced allogeneic procedure on a five-year-old girl from Uganda with sickle cell disease.
Billed as the first such surgery done in the UAE, the patient’s 10-year-old sister donated her bone marrow for the transplant treatment at Burjeel Medical City, a flagship hospital of VPS Healthcare.
Sickle cell disease is a genetic disorder, which results in an abnormality in the hemoglobin found in red blood cells, causing them to become sickle-shaped and leading to several complications including anemia, swelling in the hands and feet, frequent pain, acute chest syndrome, and sometimes stroke.
Prior to the treatment, the child has been regularly admitted to the hospital due to complications arising from her disease since birth.
“As this was a life-threatening condition, the only curative option was bone marrow transplantation. Before this procedure, the patient suffered a lot. The entire care team here at the hospital and the child’s parents are delighted that the transplant will relieve this pain from her life,” said Zainul Aabideen, who headed a team of highly specialised doctors, including a pediatric intensive care team, for the procedure.
The patient has responded well to the treatment and will be discharged in a few days after a five-week stay at the hospital.
Earlier, pediatric patients in the UAE who had to undergo allogeneic stem cell bone marrow transplants travelled to the US, the UK, India, and other European countries.
Zainul Aabideen, completed his MBBS from Calicut University in Kerala and a post-graduate degree in Pediatrics from the University of Mumbai.
He then moved to the United Kingdom to specialise and undertake further training in pediatric hematology, pediatric oncology, and pediatric bone marrow transplantation in various hospitals in the UK.
source: http://www.awazthevoice.in / Awaz / Home> Health / by awazthevoice.in / April 20th, 2022
Dr. Shamsheer Vayalil, Chairman and Managing Director of VPS Healthcare Group, has announced a donation of AED1 million to the 1 Billion Meals initiative, the largest of its kind in the region, which aims to assist and provide sustainable food support to the underprivileged and most needy groups in 50 countries in the Middle East, North Africa and the world – in particular children, refugees, displaced persons, and victims of disasters and crises.
The 1 Billion Meals initiative, organised by the Mohammed bin Rashid Al Maktoum Global Initiatives (MBRGI), provides food support in coordination with the United Nations’ World Food Programme (WFP), the Food Banking Regional Network (FBRN), the Mohammed bin Rashid Al Maktoum Humanitarian and Charity Establishment (MBRCH), the United Nations High Commissioner for Refugees (UNHCR), the UAE Food Bank, as well as a number of local charity and humanitarian organisations in beneficiary countries.
Dr. Shamsheer Vayalil said: “We are honoured to contribute to the 1 Billion Meals initiative organised by MBRGI to provide aid and relief to those undernourished, which supports the global battle against hunger and represents the values of the UAE and its wise leadership in giving and expanding the scope of humanitarian work. This is especially true given the escalation of the global hunger crisis and the increase in the number of people affected by it, especially children, refugees, displaced persons, and victims of disasters and crises.”
The initiative, organised by the Mohammed bin Rashid Al Maktoum Global Initiatives (MBRGI), is a continuation of last year’s 100 Million Meals campaign, which ended up distributing 220 million meals, prompting the new goal of one billion meals.
Donors can contribute to the 1 Billion Meals initiative through the following donation channels – the campaign’s official website: www.1billionmeals.ae; bank transfer to the campaign’s account at Emirates NBD, number: AE300260001015333439802.
Donors can also opt to donate AED1 a day through a monthly subscription by sending “Meal” or “وجبة” via SMS to 1020 on the du network or 1110 on the Etisalat network.
Donations can also be made through campaign’s call centre via a toll-free number 8009999.
Making amends for wrongs done requires compassion and a human touch, says Sandeep Virmani of Hunnarshala Foundation
In 2013, Muzaffarnagar in Uttar Pradesh experienced one of the worst communal riots in recent history. Some 62 people died and more than 50,000 were displaced.
Hunnarshala Foundation helped resettle about 250 families who could not return to their original villages. It was a challenging project for the not-for-profit organisation, which has been working with communities in the area of housing and infrastructure for over 20 years now.
Muzaffarnagar Diaries: A Post-Riot Resettlement Story talks of how the project fell in place. Sandeep Virmani, Executive Vice-Chairman of Hunnarshala, spoke about the importance of empathetic resettlement in the context of this project. Excerpts from the interview:
What is the magnitude of the problem of internally displaced persons (IDPs) in India?
IDPs are people displaced from their homes and communities due to natural disasters, conflicts or development projects. In India, at any given point, we have between 40 lakh and 80 lakh people living in camps, away from home. Of these, about 20,000 are displaced due to conflicts — ethnic, armed, communal, or even targeted violence. India consistently features in the 10 worst affected countries in the world. Conflict victims are the worst hit since invariably, the state is involved in abetting violence or allowing it to happen. For this reason, unlike after natural disasters, very few people come forward to help.
How does Indian law fall short when it comes to reparative justice, especially for victims of incidents such as the 2002 Gujarat riots or the 2013 Muzaffarnagar riots?
Unlike cross-border refugees, IDPs don’t have any rights. Even though the Constitution requires the state to take responsibility for the safety of its citizens, there are no laws, policies, or statutory frameworks for reparative justice. The UN has ‘The Guiding Principles on Internal Displacement’ but these are not binding. Consequently, almost every such event requires the intervention of the courts to provide justice.
Ruins of a house in Kutba, Muzaffarnagar, after the riots.
The government grants compensation; ₹15 lakh was given per family after the Muzaffarnagar riots. But you call this the ‘compensation trap’?
Invariably, governments directed by the courts want to weigh the losses of IDPs financially and get away with compensation. While compensation for families who lost a member was raised to ₹15 lakh, displaced families who will never be able to return to their villages got ₹5 lakh. But making amends for wrongs done, so that the scars of displacement and loss are healed, requires compassion and a human touch. It requires apology, handholding until they are physically settled, integrated into a new society, so that they and their children can let go of fear. The shock and betrayal, sometimes even unfounded guilt, never leaves one.
When you took up this project, you went to Kutba to see the ruins of the destroyed homes. Can you talk a bit about the ‘culture of spaces’?
The design and skills used in building homes is the collective cultural expression of a community’s values. When you lose everything, you look for hope in two places: community and expression. The process of rebuilding provides both. However, after incidents like the Muzaffarnagar and Shamli riots, most families were scattered in unfamiliar places. It became difficult for them to get new homes. Most used the compensation to rebuild livelihoods and get some land but could not build homes. We helped the community procure land together, so that they were reunited. Giving a house is charity; one is grateful, but it doesn’t rebuild lost confidence. And, invariably, donors and governments give ‘modern’ houses, disregarding cultural moorings.
We wanted to understand their histories, ways of living, skills, aesthetic expressions, identities, before we facilitated the rehabilitation. So, we went to their old village in Kutba. It was difficult; there was fear of the dominant Hindu community, at whose hands they had experienced betrayal, violence, death. People with whom they had lived over generations, people who had convinced them not to migrate to Pakistan in 1947. A mason named Nawab finally agreed to take us there with police escort.
The central stairway in a new house built in Kairana, Shamli district (the ‘chulha’ or stove keeps changing places).
We found a unique lifestyle. For example, the khat (bed) determines the width of the veranda and even the staircase (it is carried to the first floor). The chulha (stove) shifts through the year from kitchen to veranda to courtyard. The old men sit at the juncture of street and house in a unique space called the ‘gallery’. The mother-in-law sits at the other end of the gallery, at a spot from where she can see every part of the house. The sitting room must be accessed straight from the street through a separate door. The houses always have potential for expansion to make room for newly-weds. Families make intricate patterns on coloured cement oxide floors with stencils made from newspapers. They mould concrete into aesthetic forms. The more elaborate the gate, the more the prestige… we found many such features.
A new house in Arya Puri, Muzaffarnagar district, for a rehabilitated family. The house incorporates the classic archways and verandah and makes room for the all-important ‘khats’ (cots).
Your book speaks of how the villagers rejected open-brick facades for painted concrete. Is it a challenge to promote low-cost or green building in the hinterland?
On the contrary, villages are familiar with the advantages of, say, earthen walls or mud mortar for putting bricks together. It is possible to have an informed conversation with them, unlike urban people who reject such technologies based on bias or get fixated on a technology even when not appropriate. In rural homes, many parts of the house are left unplastered due to lack of funds, so exposed material has a different connotation — it means poverty. That is why they wanted to plaster and colour their walls.
Western UP is a seismic zone, but existing building practices are poor due to lack of resources; there is hardly any foundation, very thin mud mortar walls hold up heavy roofs. One shudders to think of earthquakes. We insisted on increasing costs by 15-20% to ensure safe housing. The villagers are extremely proud of this; they say they have the strongest homes in the city now.
Sandeep Virmani of Hunnarshala Foundation.
What is the nature of the partnership you entered into with the community?
In Shamli, we signed an agreement with each family articulating the roles of the family, the rehabilitation committee, and our organisations. We financed one room, the staircase, and the sanitation. The families paid for the rest.
Misereor Germany gave funding and HT Parekh Foundation supported all sanitation work. It was the government’s responsibility to provide roads, water and electricity, but finally we had to raise money for that too. The villagers were extremely resourceful. They got cheap material and support from former employers. Many local people helped, including a supplier who not just gave extensive credit, but also cash when funding was delayed.
NGOs Sadbhavana and Vanangna supported the rehabilitation committee to ensure that children gave their board exams in their old exam centres and didn’t lose a year. We helped with enrolments into schools, new identity papers, and resuming pensions. We also conducted psycho-social counselling with the children to help them overcome the trauma of loss and separation.
You insisted, for instance, that women be part of the Rehabilitation Committee. Do you think such interventions can have a lasting impact on social mores?
When a big social upheaval happens, it provides opportunities for making paradigm shifts in social norms such as patriarchy. Women are ready to change their roles in a new location where everyone has to contribute; men are ready to turn a blind eye to women in unconventional roles. This provides women the opportunity to not only demonstrate their abilities but also assure men that it doesn’t threaten them. For instance, women are very good at bringing consensus on difficult decisions. It particularly helps the girl child, as they see what is happening and adopt the changes permanently.
And what did you in turn learn from these families?
Perhaps the biggest contribution from the IDPs of Muzaffarnagar has been the building of the daat chat or shallow domes. When we visited the old homes in Kutba, we saw an array of beautifully crafted roofs made with bricks. These roofs look flat but are in fact very shallow domes, where all the bricks are in compression. It allows for flattening the top of the roof and building another storey on top. The masons who build these roofs are expert craftsmen. The importance of the shallow dome roof is that it can reduce the use of cement and steel by 70-75%. This is important; these two contribute most to carbon emissions from the building industry. The roof is cheaper than RCC and more durable. We saw homes with roofs that are 300-400 years old!
We researched and tested the roofs for seismic safety and invited the artisans to share their knowledge at a national conference in Delhi. Since then, many architects are adopting the shallow dome. Artisans are invited to architecture schools to demonstrate and teach the next generation.
Perhaps this is a befitting recognition of a culture and a people who did not deserve to be violently removed from their ancestral homes.
vaishna.r@thehindu.co.in
source: http://www.thehindu.com / The Hindu / Home> Society – In Conversation / by Vaishna Roy / April 16th, 2022
‘Gulal Gota’ is made with unique craftsmanship and compliments the festival of colours. | Picture by Tabeenah Anjum
Dozens of Muslim artisans in Jaipur have kept the 400-year-old traditional art form of Gulal Gota alive.
Jaipur :
The narrow lanes of Jaipur’s walled city are abuzz with festive fervour ahead of Holi, the festival of colours to be celebrated on March 17. Twenty-eight-year-old Amjad Khan, a seventh-generation lac bangle maker is busy selling Gulal Gotas (lac balls filled with colours) at his shop situated in the Maniharon-Ka-Raasta inside the Tripolia Bazar in the walled city of Jaipur.
Every year, two months ahead of the Holi, Amjad along with his eight siblings starts making the lac balls and fills them with colours before packing them in boxes. Amjad is not alone. Dozens of artisans in Jaipur have kept this traditional art form alive, which is as old as 400 years.
Gulal Gota is made with unique craftsmanship and compliments the festival of colours. After completing his basic education, Amjad learnt this art from his father late Babbu Khan. The family does not earn much from the sale of Gulal Gota but they don’t want to give up on this traditional art form that they have inherited from their forefathers.
‘Gulal Gota’ is made with unique craftsmanship and compliments the festival of colours. | Picture by Tabeenah Anjum
“In the last two decades and especially from the last two years because of the pandemic, the demand for Gulal Gota has come down a bit but for the love of this art form, we want to keep it alive and pass this to our next generation irrespective of gender. My siblings, mother and late father used to participate. It brings families together,” Amjad shared.
“Every year for two months our entire family gets busy making Gulal Gotas. It is an art to add colours in the lac containers. It is again re-heated and then, with the help of a steel rod and the air is blown into the small balls. We fill it later with organic colours. We are not even earning 50 per cent of what we are spending to make these balls but we are only doing to make the Holi special,” Amjad said.
Each ball weighs from 10 to 20 grams and costs anywhere between Rs 100 to 150.
The Gulal Gotas are still popular with traditional families and are used at the famous Govind Dev Ji temple in Jaipur. According to the popular view of historians, Sawai Jai Singh II brought the artists from Amber to the walled city and developed the unique art of Gulal Gota. Even today during the annual Holi celebration at the city palace, revellers throw these balls at each other and get smeared with colours without hurting anyone.
Boxes of Gulal Gotas being prepared for sale. | Picture by Tabeenah Anjum
Apart from states such as Madhya Pradesh, national capital New Delhi and Uttar Pradesh, it is shipped to other parts of the world including Canada, Britain, Australia, Spain, France and Nepal. However, packaging the balls needs careful handling to avoid the risk of the balls bursting in their wrapping. The balls are sold in packs of 6 or 8.
Those involved in the production of these balls belong to the Muslim community. Awaz Mohammed, a national award-winning artist who has been in this field for seven generations said, “This is a beautiful gesture and brings two communities together. The only sad part is that for an artist the sale from Gulal Gotas is not enough to sustain their livelihood.”
Awaz’s daughter Gulrukh Sultana who is a trained lac artist not only learnt the art from her father but is also sharing the skill at national institutes across India such as NIID, JJ School of Arts, Pearl Academy etc.
“Making lac artifacts is an intricate and unsafe job, but I want to share this art and skill with the future generation. It is the passing of tradition and heritage Jaipur is proud of. Lac is delicate and it needs proper handling. I have trained so many artists in different cities and also given demonstrations internationally,” said 35-year-old Sultana, a recipient of the state award in 2009 and a UNESCO award in 2013.
Looking at the market and interest of the younger generation, Sultana is apprehensive about whether this art could be saved. “Since there is not much earning, it is less attractive for youngsters to learn this skill but at the same time the government should come up with lucrative initiatives and ensure the art is kept alive”, she added.
Tabeenah Anjum is a journalist based in Rajasthan reporting on politics, gender, human rights, and issues impacting marginalized communities. She tweets at @TabeenahAnjum
source: http://www.twocircles.net / TwoCircles.net / Home> Lead Story / by Tabeenah Anjum, TwoCircles.net / March 16th, 2022
8 yrs into venture, V Hakeem has over 150 cows and supplies 650l of milk daily, reports A SATISH
Palakkad :
By 2am, V Hakeem is on his feet. He then goes to his coconut grove, located more than a kilometre away, and wakes up his eight migrant workers. And they begin work at his dairy farm in the village of Kamblichungam near Chittur. Hakeem’s foray into dairy farming happened with the cost of purchasing manure for his coconut grove becoming unaffordable. “So I decided to set up a dairy farm inside the grove,” he recounts.
Eight years down the line, Hakeem now has more than 150 cows and supplies 650 litres of milk daily to the Panniperunthala milk society, of which he is the president.
On Friday, he received the district’s best farmer award instituted by the dairy development department. Last year, he supplied 1.36 lakh litres of milk. Animal Husbandry and Dairy Development Minister J Chinchurani gave away the award. “It is the involvement of the farmer that brings in the results,” Hakeem says.“Apart from high-breed varieties like Holstein Friesian and Jerseys, we also have native varieties like Sahiwal, Vechur and Gir.”
He decided to set up the shed there as the cows can be housed in a cool place. “There are coconut palms on all sides, which helps the cattle stay cool and produce more milk. The only issue is that I have to replace the sheets of the shed occasionally as dry palm leaves fall on them.”
He now plans to install a machine that can automatically milk 20 cows in seven minutes. “It will reduce the workload,” he points out. Hakeem says dairy farmers should be given at least Rs 50 per litre to ensure a minimum return on investment, with the cost of feed and other inputs increasing substantially.
source: http://www.newindianexpress.com / The New Indian Express / Home> Good News / by A Satish, Express News Service / April 03rd, 2022
Hamied has successfully steered Cipla on an accelerated growth path with a focus on boosting margins, without diluting the core values it stood for.
Synopsis
“I am humbled and honoured to receive the ET’s Businesswoman of the Year Award. This recognition belongs to each and every one of our 25,000 employees who stand with Cipla, putting patients’ interests before their own and upholding our purpose of Caring for Life,” Hamied, executive vice-chairperson, Cipla, told ET.
Samina Hamied represents a rich legacy. Her grandfather, KA Hamied, a freedom fighter and nationalist, founded Cipla in 1935, making it one of India’s oldest pharmaceutical companies. Her uncle Yusuf Hamied is the doyen of Indian pharma known globally for making affordable generic AIDS drugs accessible to millions of patients in Africa and other low- and middle-income countries.
“I am humbled and honoured to receive the ET’s Businesswoman of the Year Award. This recognition belongs to each and every one of our 25,000 employees who stand with Cipla, putting patients’ interests before their own and upholding our purpose of Caring for Life,” Hamied, executive vice-chairperson, Cipla, told ET.
Hamied has successfully steered Cipla on an accelerated growth path with a focus on boosting margins, without diluting the core values it stood for.
Both as executive director from July 2015 and as executive vice-chairperson from September 2016, Hamied has been instrumental in driving the company’s transformation from a traditional low-cost drug manufacturer to one with a young professional management and an aggressive approach towards inorganic expansion. Under her, Cipla also restructured its business and has also initiated cost-optimisation measures.
She spearheaded Cipla’s entry into the US market with strategic acquisitions of two generic companies, InvaGen Pharma and Exelan Pharma, for $550 million in 2015.
From FY15 to FY21, Cipla’s US revenue grew close to five times. US business contributed one-fifth of the total revenue in FY21.
Cipla’s revenue from operations grew at a compounded annual growth rate of 7% in the last 5 years to Rs 19,160 crore in FY21. Ebitda margin and net profit rose 12% CAGR in the last 5 years to 22.5% and Rs 2,405 crore, respectively, in FY21.
During Covid, Cipla launched antivirals, antibody cocktails, testing kits, masks and sanitizers. Cipla’s India business grew 15% year-on-year to Rs 7,736 crore.
Hamied focuses on board and governance issues, furthering Cipla’s global partnerships, shaping its corporate culture and hiring the right talent.
source: http://www.economictimes.indiatimes.com / The Economic Times / Home> English edition> Business News> Industry> Healthcare-Biotech> Healthcare / by ET Bureau / March 28th, 2022
Powerlifter Gulshan Banu Kazi has not only made her native Udupi, India proud but also Dubai proud by securing a world record among the master category athletes in the Professional Raw Organisations Push-Pull Championship 2022, a national level event held in Bengaluru recently.
This sporting event held at Onyx Fitness was one of the most popular internationally sanctioned national powerlifting championships, consisting of three main events -Bench Press, Deadlifts and Push-Pull.
Record holder Gulshan Banu Kazi is a 43-year-old mother of three, working six days a week at a corporate office in Dubai.
A native of Udupi, she is from Udupi and an alumnus of St Cecily’s and PPC College here .
She is a competitive Powerlifter. Powerlifting is a form of competitive weightlifting in which the contestants attempt three types of lifts in a set sequence, squat, bench press, and deadlift.
Gulshan started powerlifting training in the year 2019.
The training is tough. She trains at least four times a week for about 90 minutes each time and keeps a watch on her nutrition intake and sleep pattern.
She has been participating in a powerlifting competition in UAE and did well there. One of her latest has been the Pro-League National Championship-2022 where she hit five personal records and registered a World Record in Deadlifts (U82.5kg Masters and Open Category) by pulling 180 kgs. She becomes the first woman of India in her age and her weight category to pull off this deadlift.
Last April, she participated in the WPC National Powerlifting Championship securing four gold medals in Bengaluru. Gulshan Kazi won the Best Lifter Award in the Masters’ category.
Gulshan used to be above 100 kgs till 2016 when she suffered from Rheumatoid Arthritis.
Resistance training and tracking her food intake enabled her to start losing weight and gaining muscle. Soon after, she was introduced to powerlifting and has been consistent at it ever since.
She is grateful to Raju Pal, her first coach who introduced her to powerlifting and taught her all the basics.
Now she is training under Mohammad Azmat who is a multiple-time national and international medalist in powerlifting, having won medals for India in different federations. He has been coaching her since 2020.
Gulshan Kazi is looking forward to her representation at World Championships and working hard to make India proud.
source: http://www.daijiworld.com / Daijiworld.com / Home> Middle East / by Daijiworld Media Network – DRD / March 22nd, 2022
Amin Jaffer in his library dining room, standing in front of Yuntao Zhang’s painting of Cellini’s Medusa | Photo Credit: Architectural Digest / Antonio Martinelli
The Rwanda-born Indian curator, who has made the French capital his home, on the Al Thani collection’s first museum, his new book, and the importance of private collections
Writer, curator, collaborator, colonial furniture specialist: Amin Jaffer wears his titles effortlessly. And in the last couple of years, he’s added another one — that of Paris denizen — after he uprooted his English life of 25 years to move into a hôtel particulier (a grand townhouse) on Quai Voltaire along the Seine.
The move made sense. An “éminence grise of the international art world”, as an Architectural Digest article calls him (Jaffer is on the cover of the magazine’s 10th anniversary issue this month), he was “spending a lot of time in Venice, and the commute to London was becoming taxing”. But more importantly, his newest project, a private museum for the Al Thani Collection, is in the city, at Place de la Concorde’s Hôtel de la Marine.
“Sheikh Hamad bin Abdullah Al Thani was looking for a more permanent place to house the treasures of his collection,” says Jaffer, recalling how at the time, the French government body Centre des Monuments Nationaux was thinking of converting the former storage space for royal tapestries at the Hôtel — a four-year, €132 million restoration project. “They proposed that the Al Thani Collection could exhibit its masterpieces there.” With a 20-year agreement in place, acquiring a Parisian pin code thus gave him a twofold advantage, both with work and keeping up his continental way of life. (The last few weeks alone have seen Jaffer travel to Seville and Carmona in Spain and Parma and Venice in Italy.)
The Al Thani Collection at Hôtel de la Marine | Photo Credit: Marc Domage
Polaroid and a passion for art
The view of the Louvre from his third floor flat definitely tipped the scales in its favour. (The photos he shares on his Instagram, @aminjaffer_curator, are proof enough.) And the fact that Vivant Denon, the first director of the museum, had once been a resident in the 17th century building. Moreover, as he explains in an email that he squeezes in between flights, he’s always had a special connection with the Louvre. As a six-year-old, he had visited the museum with his mum, spending an entire day exploring its rooms, a Polaroid camera clutched tightly in his hands. He still has the photographs. “The adrenalin rush of seeing a great work of art inspired me then — as it does now,” he says, adding how by the time he turned 10 he had visited most of the major museums in Europe. “Other seminal moments include an early visit to the Musée des Beaux-Arts in Brussels and a trip to Rome to see the Vatican collections.”
The courtyard at L’Hôtel de Beuvron with its Rococo fountain | Photo Credit: @aminjaffer_curato
But he nearly missed his calling. Born into an Indian business family in Kigali, Rwanda, a career in art wasn’t an option growing up. His subjects in university were economics and commerce! That is, until he chose the history of French opera and French Renaissance châteaux as his first year electives and reignited his love affair with the arts.
Today, Jaffer, who is in his early 50s, is not only the chief curator of the Al Thani Collection, but also works with leading museums around the world in a “curatorial role, focussed on public projects, exhibition programming and producing catalogues”. His resume includes long stints at the V&A Museum in London as curator and as the International Director of Asian Art at Christie’s.
Amin Jaffer in his home office, sitting in front of a triptych by Reza Aramesh | Photo Credit: Architectural Digest / Antonio Martinelli
The perks of a private collection
“Born in central Africa, educated in Europe and America, I do feel something of a hybrid and I am drawn by works of art that are born from the encounter of two — or more — civilisations,” says Jaffer, who has recently “been fascinated by the fusion of Spanish and Amerindian culture, particularly in the domain of painting”. This ties in beautifully with the Al Thani Collection and its catalogue of more than 5,000 works of art drawn from across world civilisations.
It makes us wonder, how important are such private collections in the art world? “Pioneer collectors have vision and resources that compliment the public art offering,” he says, explaining how such collections play a significant role in the programming of national institutions. “Recent examples in Paris [besides the Al Thani Collection] includes the Bourse de Commerce and the Fondation Louis Vuitton. In India, Kiran Nadar has developed a programme of exhibitions around her collection that makes an essential contribution to the art scene,” adds the Indian art expert who played a key part in launching Christie’s first auction in Mumbai in 2013.
At Hôtel de la Marine | Photo Credit: Marc Domage
On board with digital
Jaffer’s personal collection is equally varied. A triptych by Iranian photographer Raza Aramesh, of Afghan refugees sitting in the Versailles’ Hall of Mirrors, takes pride of place in his home office, while a painting of Italian sculptor Benvenuto Cellini’s Medusa by Chinese contemporary artist Yuntao Zhang hangs in the library dining room. Elsewhere, Qing period armchairs, Louis XVI commodes, and Bouke De Vries’ Memory Jars are tucked into corners and under tables. “My most recent passions are French 18th century silver and hardstones from late Antiquity, especially objects in porphyry. I am learning more about Symbolist painting, too,” he says.
His days of confinement (as the French called the lockdown) helped broaden his base. When not watching life on the river, he was visiting digital museums and “researching parallel institutions” around the world. “What’s certain,” he says, “is that technology will play a greater role in the way we enjoy works of art — whether through the presence of more immersive, digitally-led exhibitions [such as the RMN Grand Palais’ immersive Venice show opening in autumn] or the sharing of information about works of art through digital platforms [like the one for the Palazzo Pilotta collection in Parma, which he experienced last weekend].” Does this mean he’s also on board with NFTs? “Of course, the phenomenon interests me,” he says, “but I do not yet have sufficient expertise to comment on anything in this new domain.”
The Al Thani Collection | Photo Credit: Marc Domage
Left Bank to the Concorde
For now, he’s back at his home at L’Hôtel de Beuvron, listening to Wagner and Mahler, and updating his Instagram. V&A’s new exhibition, Fashioning masculinities — on the male dress and its influences — has caught his eye, though he admits his personal wardrobe is rather formulaic. Tailored clothes in a limited palette of colours is the ‘uniform’, accented by pocket squares and ties that reflect the season or his mood. “Cufflinks are a weakness,” he shares, “and the best ones are by [Indian jeweller] Viren Bhagat, without doubt.”
Even as Jaffer immerses himself in life on the Left Bank, work at the museum is keeping up its momentum. “Some substantial pieces have been added to the collection in the past two years, which reflect the diversity of interests [of Sheikh Al Thani]. These will be shared with the public through displays at the Hôtel de la Marine,” he concludes.
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Surya Praphulla Kumar / March 19th, 2022
