Dr. Mustafa A. Barbhuiya at his workplace in the US
Hailing from a remote village in southern Assam’s Hailakandi district, Dr. Mustafa A. Barbhuiya has been selected among top 100 most influential people in Pathology, specifically, as one of the Top 20 Heroes of Pathology in US for this year.
Featured in ‘The Pathologist Power List’ 2024, Dr Mustafa has demonstrated innovation, leadership, and achievement in the field of Pathology. But the journey of Dr Mustafa to achieve this coveted position was not so easy.
Dr Barbhuiya completed his elementary schooling (HSLC/10th) in Sanuhar Ali Memorial High School, Bahadurpur, a remote village in Hailakandi district of southern Assam. During those days in the early nineties, his village neither had electricity nor had motorable road communication.
Dr Barbhuiya Mustafa with his family
“I used to cycle from my village on muddy roads to attend Advanced Mathematics and Science classes in Hailakandi town. I went to Gurucharan College, Silchar, Assam for 12th and Bachelor of Science with a major in Zoology and pass course in Botany, Chemistry and other science and language electives,” Dr Barbhuiya told Awaz – The Voice.
He studied further in Jiwaji University, Gwalior for Masters and PhD in Biochemistry which paved his way to become a Clinical Biochemist and a Molecular Biologist.
“I will remain ever grateful to two of my teachers who helped me to become what I am today. One is Prof. Baby Singha (Retired) of Department of Zoology, Gurucharan College, Silchar with whom I have specialized in the subject of Parasitology and I have never looked back. The other teacher who actually got me into Clinical Biochemistry was Late Prof. Meenu Rai, former Head of Biochemistry, College of Life Sciences, Cancer Hospital and Research Institute, Gwalior, Madhya Pradesh.
“My PhD guide Prof. Pramod K. Tiwari shaped me as the future molecular biologist with whom I have not only learnt about science of medicine, study of diseases but several life lessons that I continue to carry as of today,” Dr Barbhuiya said.
Dr Barbhuiya with his collegaues
Dr Barbhuiya completed his PhD in Biochemistry Jiwaji University, Gwalior, Madhya Pradesh in July, 2013. He went to Johns Hopkins School of Medicine, Baltimore, Maryland, USA in July 2013 to pursue advanced postdoctoral training.
“The ultimate goal was to return to India and set up my own laboratory around clinical biochemistry and molecular diagnostics in my home state Assam. But the circumstances after completion of my postdoctoral training in Johns Hopkins and lack of securing a suitable job back in India compelled me to pursue things in the United States. I further completed my clinical chemistry fellowship in Penn State College of Medicine, Hershey, Pennsylvania, USA and have become a practicing clinical biochemist and clinical laboratory director,” he said.
Dr Barbhuiya currently holds the position of section medical director overseeing the Clinical Chemistry and Point of Care Testing operations of Baystate Health Pathology services across Western Massachusetts, USA. He provides clinical consultation to physicians and other healthcare providers regarding the laboratory test interpretations in the subspecialty area as systems consultant.
Dr Barbhuiya with other renowned pathologists
He ensures that the clinical laboratory meets several US federal and local state regulations delivering timely and accurate diagnosis for patients. He is accountable for the effective management and administrations of clinical operations of the Clinical Chemistry and Point of Care Testing service within the Baystate Health Pathology operations. He also serves as Assistant Professor of Pathology; Healthcare Delivery and Population Sciences, UMass Chan Medical School- Baystate Regional Campus.
Dr Barbhuiya has set up a global non-profit organization, Foundation for Advancement of Essential Diagnostics, both in the USA and India. “My next goal is to take my non-profit foundation activities to low and middle-income countries around the world and locally serve in underserved areas of the United States,” he added.
Academically, Dr Barbhuiya is making efforts to continue his research areas of interest. His primary areas of research are studying biliary tract (liver and gallbladder) cancer mechanisms, discover biomarkers of diagnostic and therapeutic values.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Story / by Daulat Rahman, Guwahati / October 27th, 2024
Chathiramanai village (Perambalur district) /Tiruchi, TAMIL NADU :
A. Basheer Khan, right, and his son Mohamed Imran, of Tiruchi demonstrate the oil spill filtration device that they have designed and obtained a patent. / | Photo Credit: SPECIAL ARRANGEMENT
A. Basheer Khan, 62, and his son B. Mohamed Imran, 28, of Tiruchi recently received a patent for a device that they designed to remove oil spill from seawater through filtration along coastal areas.
The recognition was given on September 24 by the Patent Office and is valid for 20 years from the date of filing.
“At present, the technology to deal with oil spill on land is limited. Our device uses a low-energy method to draw out the oil contaminated water from a targeted area, and after filtering, pumps cleaned water back into the sea. The filtered sediment has to be processed further for eco-friendly usage,” Mr. Khan told The Hindu.
Mr. Khan, who retired as a machinist at the Ordnance Factory Tiruchi (OFT) in 2023, was interested in engineering from a young age while growing up at Chathiramanai village, Perambalur district. “ I studied at an Industrial Training Institute in the 1980s and apprenticed at Bharat Heavy Electricals Limited (BHEL). I used to be inspired by mechanical objects and science concepts to invent my own machines. In 2017, when an outbound empty tanker collided with an inbound loaded oil tanker in Ennore, Chennai, the crude oil was spread all over the coastal areas. I decided to design something to deal with such situations, and started working on the concept from 2018,” he said.
A prototype of the device is available at his home. It consists of a metal tank with two sections for polluted and clean water. The inlet pipe is lined with fine nylon mesh and sieved sand to allow free movement of water contaminated with oil.
During a demonstration on Saturday, Mr. Khan mixed machine oil into water in one section of the device and created ‘waves’ in it with the help of a small steel snack plate fitted to a pulley and sewing machine motor. To guide the water into the filtering inlet pipe, a manually operated shutter fixed with multiple springs is placed at the mouth of the targeted area. In a matter of minutes, the oil and grease were separated from water.
Mr. Imran, who helped his father in research and trials, said the prototype had potential for commercial development. “In the event of an oil spill, our machine can help not only save the environment, but also keep salvage workers safe from direct exposure to harmful chemicals,” he said.
source: http://www.tartv.in / TARTV / Home / by admin / October 19th, 2024
While debate on Jama Masjid’s decision to disallow women from visiting the premises for non-praying activities rages on, it is time to look at some of Capital’s mosques built by women.
All photos: Mohd Shehwaaz Khan
Women may have been restricted from entering Jama Masjid for non-prayer activities due to a recent decision by the committee of the Mughal-era mosque that was seemingly miffed by those making social media videos, but there is no denying the contribution of women in many mosques across the country.
Even in the Capital, some of the old iconic mosques have been built – rather commissioned to be built — by women. Patriot takes you through some of these iconic monuments.
Mubarak Begum Masjid (Randi Ki Masjid)
Lying among tall buildings, shops of machine parts as well as clusters of electric wires running from one pole to another, the double-storeyed Mubarak Begum Masjid – also known as Randi ki Masjid (courtesan’s mosque) – serves as a reminder to a more peaceful and simpler time. The honking of vehicles and the shouting of vendors and labourers on the street that faces the mosque and runs from Hauz Qazi to Lal Kuan comprise the hustle-bustle of old Delhi. The mosque, however, reminds one of a different era.
The upper floor consists of a prayer chamber and the ground floor has toilets. The central one of the three red-and-white striped domes, which collapsed in 2020, is covered by black canvas.
Even in the Capital, some of the old iconic mosques have been built – rather commissioned to be built — by women. Patriot takes you through some of these iconic monuments.
Mubarak Begum Masjid (Randi Ki Masjid)
Lying among tall buildings, shops of machine parts as well as clusters of electric wires running from one pole to another, the double-storeyed Mubarak Begum Masjid – also known as Randi ki Masjid (courtesan’s mosque) – serves as a reminder to a more peaceful and simpler time. The honking of vehicles and the shouting of vendors and labourers on the street that faces the mosque and runs from Hauz Qazi to Lal Kuan comprise the hustle-bustle of old Delhi. The mosque, however, reminds one of a different era.
The upper floor consists of a prayer chamber and the ground floor has toilets. The central one of the three red-and-white striped domes, which collapsed in 2020, is covered by black canvas.
COURTESAN’S LEGACY: Masjid Mubarak Begum is famously known as Randi Ki Masjid
“A lot of people come here for the first time and say that they feel as if they have been here for years,” says the Imam of the mosque after the prayer, smiling in admiration. The imam has been looking after the mosque for the last 17 years.
The mosque was constructed in 1823 by Bibi Mahru Tun Mubarak-ul-Nisa Begum (Mubarak Begum), a nautch girl from Pune, who came from a Brahmin family and converted to Islam after she married General David Ochterlony, who was the British Resident in Delhi during the time of Emperor Akbar Shah II.
Ochterlony was a ‘white mughal’ who was known for his lavish lifestyle, his love for hookahs and mistresses. Mubarak Begum was one of the 13 wives of the British official. After the death of Ochterlony in 1825, Mubarak Begum married a Mughal nobleman who fought in the 1857 mutiny against the British.
According to Scottish scholar William Dalrymple, the Begum’s house was famous for Mughal culture where the Mughal prince Mirza Farhatullah Baig organised the last Urdu mushaira before the Mughal empire was overthrown by the British.
Due to the early profession of the Begum, the mosque is famously known as Randi Ki Masjid. The randis or courtesans, during the Mughal period, were highest in the order of women entertainers, who were skilled not only in dance, but also singing, conversation and poetry. It is said that young nawabs were sent to learn the art of conversation with randis. They were called city’s divas who were visited by the rich and powerful – who often shared with them the secret of the city and society.
Asked about how the mosque is perceived by the visitors and people in the area, the caretaker says: “The courtesans at that time were not as we understand them today. They were respectable and influential women. Many tourists come here and ask if the mosque was built by a prostitute. All of this is best left in history books. All I know is that whoever built, must have built it with good intention and halal (legitimate) money.”
People in the area were embarrassed by the infamous name of the mosque. When one asked them where Randi Ki Masjid was located, they chuckled and laughed, before hastily pointing at the Mubarak Begum Masjid.
During the Mughal era, so many Mughal princesses built mosques. In Bengal, mosques had side corridors with lattice walls for women.
– Ziya Us Salam, journalist and author of Women in Masjid
Sunehri Masjid
A couple of kilometres away from Mubarak Begum Masjid, stands a mosque built in 1747 by khwajasara (eunuch) Jawed Khan and emperor Ahmad Shah Bahadur’s mother Qudsiya Begum. It is located in a corner, just opposite the busy Nishad Raj Marg and Red Fort parking. This mosque is often confused with the Sunehri Masjid of Chandni Chowk, which was built a few decades earlier – in early 1720s – by a Mughal noble, Raushan-ud-Daulah, during the reign of Mughal emperor Mohammad Shah Rangila.
However, the one at the Red Fort is often called the Parking Waali Sunehri Masjid.
Qudsiya Begum, whose real name was Udham Bai, was introduced to the Mughal court as a nautch girl. In the court, she met Muhammad Shah Rangila who became fond of her and eventually married her. With time, she became influential in the court: even appointing the mansabdars (high rank holder such as civil or military officers) who would enforce the rule of the Emperor.
After the death of her husband, she served as a regent to her son Ahmad Shah Bahadur from 1748 to 1754. Known for her generosity and influence, Qudsia provided the Begums and the late emperor’s children with pensions using both her personal money and government finances.
GOLDEN TIMES: Sunehri Masjid was built by Qudsiya Begum for Jawed Khan khwajasara (eunuch)
It is believed that Qudsia had an affair with Jawed Khan khwajasara, who was also the Darogha (police chief) under Mohammad Shah Rangila and a eunuch-superintendent of the zenana (women) quarters. This proximity between the two led to the construction of the Sunehri Masjid. It was built by the efforts of Jawed Khan and commissioned by Qudsiya Begum, as written on its epitaph:
‘sayi-e-nawab-bahadur sahib-e-lutf-o-karam
saakht tameer-e-haseen jawed aali dastgaah’
(By efforts of Nawab Bahadur, the bestower of rewards and grants,
Jawed of high reach and commands, was constructed this beautiful structure)
As expected, those who came for prayers were unaware of the history of the mosque despite an inscription outside the mosque. The grave of Qudsiya Begum lies in the backyard of the mosque.
Khairul Manazil Masjid
Situated just opposite to Purana Quila (Old Fort), the Khairul Manazil Masjid is often confused by the visitors to be a part of the Quila. Many tourists enter the mosque thinking they are visiting the monument and are surprised when the caretaker of the mosque asks them to remove their shoes as they move into the prayer chamber.
The confusion stands valid as the mosque is in complete ruins, just like the monument opposite to it. The hauz (ablution tank) is not functional and there is no electricity in the premises. The prayer chamber serves as a permanent abode for pigeons and the inscription on the walls is hard to make sense of.
There were many mosques built by women in regular spaces in the past. The bigger ones, such as Fatehpuri Masjid and Khairul Manazil mosque, stand as a testament to this.
– Rana Safvi, author and historian
The three walls with small rooms – which were once part of the madrasah – also lie in dilapidated state. It is currently protected and maintained by the Archaeological Survey of India.
“We just offer prayers three times a day here, that is Asr (afternoon), Zuhr (midday) and Maghrib (sunset) – along with the Friday prayers. It is because the mosque is a heritage sight,” says the caretaker of the masjid.
Khairul Manazil, which literally translates to ‘best of houses’, has a numerical value that corresponds to the year of the construction of the building, 969 hijri as per Islamic calendar or 1561–1562 AD.
IN RUINS: Prayers at Khairul Manazil mosque are offered three times a day
It was commissioned by Maham Anga, the wet-nurse of the Mughal emperor Akbar, and is believed to be the first mosque in Delhi commissioned by a woman. Anga served as the de facto regent and the young emperor’s political advisor. The inscription on the central arch of the mosque reads that Shihabuddin Ahmad Khan assisted in its erection.
The ASI attempted to ban Islamic prayers in the mosque in 1992 but without success.
Zeenat-ul-Masajid
Zeenat-ul-Masajid was built by Zeenat-un-Nisa, the second daughter of the Mughal emperor Aurangzeb, in 1700 AD. The mosque is famously known as Ghata Masjid, which may perhaps be derived from its proximity to a bank (ghat) of the river Yamuna back then or the tall minarets that touch the clouds (ghata).
While a mosque can be a place of prayer for men, it isn’t quite so for women. It is a place of dignity, safety, protection, and aid. A woman’s mosque, that which focuses on preserving all these things, is the solution to most of our problems.
– Huda Ahsan, architect and independent researcher
The locals in the area dearly call the mosque Ghata Masjid and are unaware of its real name.
The part of Daryaganj, where the mosque is located, is also known by the name of Ghata because of the presence of the mosque.
The caretaker of the masjid says that the mosque is rarely visited by tourists and only attended by the men who come to pray. The Jama Masjid at opposite Urdu Bazaar, constructed by Zeenat-un-Nisa’s famed and adored grandfather, Shah Jahan, is thought to have served as an inspiration for the mosque.
OLD TREASURE: Zeenat-ul-Masajid, famously known as Ghata Masjid, is inspired by Jama Masjid in old Delhi
Like in many mosques in the Capital, the hauz (or ablution tank) is not functional but the mosque remains in good condition despite some signs of decay. The mosque is constructed on a plinth. It has three marble domes and seven arched entrances opening to the prayer chamber. Two towering minarets flank the mosque’s front and support an octagonal pavilion made of white marble. In the quaint campus of the mosque, there is no one present except the caretakers.
During the first war of independence, when the Mughal emperor in Delhi joined the uprising against the British in 1857, the mosque experienced some dark times. After the Mughals and the British sepoys lost the war, the mosque was first used by the British as a barrack and later converted into a bakery.
The grave of Zeenat-un-Nisa was also destroyed. However, on the southern corner of the mosque, a tomb for the princesses has been rebuilt as a memorial. The mosque is surrounded by plants of a variety of flowers, especially roses.
Fatehpuri Masjid
Of all the mosques Patriot visited, only Fatehpuri Masjid had visitors flocking in numbers. The hauz of the mosque is full with tap water – which in the past was fed with water directly from Yamuna – and tourists often sit by its side. The mosque is the second largest in Delhi after Jama Masjid and it was built in 1650 by Fatehpuri Begum, one of emperor Shah Jahan’s wives who was from Fatehpur Sikri.
“The number of visitors to this mosque are just a tad lesser in number than Jama Masjid,” said one of the caretakers of the mosque.
Surprisingly, one found as many women in the mosque as men.
VISITING HISTORY: Women visitors at the Fatehpuri mosque
The mosque has a fluted dome made of red sandstone with a kalash (inverted lotus) on top.
The mosque has a conventional design with seven-arched entrances in the prayer hall and is surrounded by minarets. One of the minarets is under construction.
The Shahi Imam of the mosque attends visitors who come to tell him their dukh-takleef (complaints) and seek his blessings as well as medicines.
The room of the Imam is occupied mainly by women who had come to pay him a courtesy call and seek his blessings and prayers. Interestingly, the women sitting with the Imam were unaware that the mosque was built by a woman.
GRAND WELCOME: One of the three main gates of Fatehpuri Masjid that opens to Lal Quan
The mosque has three main gates, one of which opens to Chandni Chowk and the other two to Lal Kuan and Old Delhi Railway Station.
source: http://www.thepatriot.in / Patriot / Home / by Mohd Shehwaaz Khan / Delhi NCR / December 08th, 2022
Master-craftsman Ghulam Rasool Khan had once made a shawl using 360 individual pieces of ‘jamawar’. He has produced several other priceless jamawar designs for which he has received several state and national level awards including the prestigious Padmashree (2021).
Though Khan has not lost passion for this work, he regrets that the new generation does not take much interest in the craft and says the machine-made cheap varieties posed a great threat to the sector.
“Now, we have machine-made shawls that sell for Rs. 5000 and are no match for the original jamawar. This is the biggest threat to this craft as there is no match for a hand-made piece. This art requires a lot of hard work and patience but nowadays artisans do not have the patience,” Khan told reporters during a Craft Safari to Amda Kadal area of the old city on Saturday.
The safaris had been started in the wake of Srinagar making it to the coveted list of the United Nations Educational, Scientific & Cultural Organisation (UNESCO) in Crafts and Folk Arts Category for the year 2021.
Khan said they also used to receive orders worth Rs. 100 cr for ‘Arabi Rumal’ annually but due to entry of fakes, they had stopped receiving the same.
“There was a time when there was a great demand for Arabi rumal. The ones we make have different and intricate artwork that is not usually available in the market. There was a time when we used to receive orders to the tune of Rs. 100 cr annually from the elite Arabs. Unfortunately, the same has stopped now,” he said.
An official of the Handicrafts Department said the master craftsman had received several awards in recognition of his hard work.
“Though many artisans have received Padmashree, Ghulam Rasool Khan is the only one who has received it for his jamawar works. He has also received several other awards at the state and national level. His enthusiasm, patience, and knowledge of the colours and designs enabled him to bring out the extraordinary work. He also made a shawl using 360 individual pieces of jamwar to make the pattern,” the official said.
source: http://www.thekashmirmonitor.net / The Kashmir Monitor / Home> Kashmir> Latest News / by M Aamir Khan / October 22nd, 2022
Artisans, who have inherited the legacy of handmade chain stitch work, express concern over the various challenges that threaten the continuity of this unique craft.
Srinagar:
The intricate artistry of handmade chain stitch work is witnessing a decline, posing challenges for artisans who have mastered this meticulous craft through generations.
The demand for such traditional craftsmanship is diminishing, overshadowed by the allure of mass-produced alternatives.
Artisans, who have inherited the legacy of handmade chain stitch work, express concern over the various challenges that threaten the continuity of this unique craft.
Abdul Rasheed Bhat, a 60-year-old chain stitch master from Tengpora Nawa Kadal, lamented the decline of this art form despite his family running a Kashmir Crewel Chain stitch factory in the area for the past century.
“I have been associated with this craft for the last 40 years. Earlier, there were good returns but a person who works dawn to dusk on a handmade chain stitch doesn’t even earn Rs 100 per day and sustaining a livelihood on such earnings is impossible in today’s era,” he said.
With each passing day, this craft is sinking towards decline, Bhat said, adding that the shift towards mass production and the prevalence of mechanised alternatives led to the dwindling demand for handmade chain stitch work.
With such little earnings, how can young people take up this craft, he questioned.
Artisans said the intricate detailing and personalised touch of handmade chain stitch work have been overshadowed by the allure of machine-produced alternatives, which offer quicker and more cost-effective solutions.
Despite claims of a tourism boon in recent years, artisans said there was a minimal positive impact on their craft. “It is brokers who manage this craft and are responsible for low demand of handmade chain stitch work as they sell machine-made products at the cost of handmade items,” they said.
The artisans who have honed their skills over the years said they find themselves grappling with economic pressures as the demand for their craft is dwindling with each passing day. “People associated with this craft are leaving, opting for some other work,” they said, adding that with the technological advancements, youth prefer digital careers over mastering time-honoured artisanal techniques.
While the government claims to be making efforts to revive and preserve this cultural heritage, artisans said there has been no positive impact on the ground. They urged authorities to address the matter and take effective steps to safeguard this centuries-old art form from fading away in the face of modern trends. (KNO)
Abdul Ahad’s nuanced book explores Kashmir’s artisans’ legacy, offering profound insights on resilience amid enduring turmoil.
Kashmiri women at work on crewel embroidery. | Photo Credit: Jaspreet Kaur
In the annals of Kashmir’s tumultuous history, the Zaldagar agitation of 1865 is a watershed moment. On April 29, 1865, the community of Shawlbafs (traditional weavers of the famed Kashmiri shawl) hit the streets of Zaldagar in Srinagar in a peaceful protest against the high taxes levied upon them by the Dogra rulers. In the mayhem and stampede that ensued when the Dogra Army attacked the unarmed protesters, as many as 28 Shawlbafs drowned and scores were injured.
The Zaldagar rebellion, as it came to be known, was not just a revolt against immediate grievances. It was the first indigenous political movement of modern South Asia, a precursor to the broader struggles against colonial and feudal oppression. Though the Shawlbafs are often relegated to the shadows of history, their defiance at Zaldagar lit a flame that would ignite countless hearts, shaping the resistance ethos of Kashmir for generations to come.
Who are these unsung heroes? How does the painstaking labour of these artisans elevate the Kashmiri shawl to a symbol of global prestige? In what ways does a labour uprising from the 19th century continue to resonate within the veins of Kashmir’s political discourse today?
The former bureaucrat-turned-historian Dr Abdul Ahad deftly navigates these questions in his most recent book Shawls and Shawlbafs of Kashmir: Legends of Unsung Heroes,which sheds light on the enduring legacy of these artisans and the historical events that continue to shape the cultural and political fabric of Kashmir. Well-researched and richly embellished, this book is a painstaking exploration of the origin of the Kashmiri shawl as an indigenous product and the commitment and craftsmanship of its makers, the Shawlbafs.
Embedded within Kashmir’s cultural tapestry, this cottage industry, now on the precipice of oblivion, finds a voice in these pages, as the text meticulously chronicles its decline and the indelible mark it has left upon the region’s historical and socio-cultural landscape. The book serves not merely as a chronicle but as a poignant requiem for an artisanal legacy that teeters on the brink of extinction.
The shawl as an emblem of Kashmiri identity
Dr Ahad’s groundbreaking work fundamentally challenges the narrative that positions the Kashmiri shawl as an exotic import, alien to the indigenous cultural and artistic milieu of Kashmir. In Chapter One titled “Birth of an Occupation”, while departing from the perspectives presented in earlier works like Frank Ames’ The Kashmir Shawl and Its Indo French Influence and Parviz Nemati’s Shawls of the East: From Kerman to Kashmir, both of which suggested a foreign origin for this craft, Dr Ahad argues that the shawl is not merely a fabric but a profound articulation of Kashmiri artistic identity, deeply interwoven with the region’s socio-cultural fabric from its inception.
Shawls and Shawlbafs of Kashmir: Legends of Unsung Heroes / By Dr Abdul Ahad / South Asia Distributors and Publishers, 2024 / Pages: 100 / Price:Rs.6,250
Archaeological evidence shows that the art of shawl-weaving in Kashmir began in Burzahom, Srinagar, over 5,000 years ago. Tiles found in Harwan, Srinagar, and Hutmur, Anantnag, suggest that people in Kashmir at that time were highly skilled in weaving fine, transparent cloth. These discoveries highlight the long and rich tradition of weaving in the region. The shawl, Dr Ahad asserts, is emblematic of the Kashmiri ethos, reflecting the intricate interplay of history, tradition, and artistry that defines the region, thereby reasserting its rightful place as an indigenous craft that is not a derivative of Central Asian influences.
In the chapters “Shawl Karkhanas: Avenues of Employment” and “Shawl Trade: A Lucrative Business”, Dr Ahad provides a comprehensive analysis of the wool industry in Kashmir, presenting it as a cornerstone of both economic and social development. He elucidates how shawl karkhanas (woollen weaving workshops) functioned as traditional special economic zones, providing extensive employment opportunities and facilitating the socio-economic upliftment of rural and urban Kashmir. Dr Ahad’s documentation highlights how the integration of these industries into broader economic frameworks not only spurred local development but also positioned the shawl trade as a significant contributor to the region’s prosperity.
Haji Ghulam Rasool Khan, a master craftsman from Srinagar who was awarded the Padma Shri for reviving the art of Jamawar patchwork. | Photo Credit: Jaspreet Kaur
The unsung Shawlbafs
In the forthcoming chapters, Dr Ahad unveils the tribulations of Kashmir’s artisans—its weavers, embroiderers, designers, spinners, and craftsmen. Through a comprehensive analysis, he shows us how their labour not only influences the socio-economic fabric of Kashmir but also feeds into the region’s political discourse of dissent. In this way, he highlights the historiographical neglect of the shawlbafs, whose lived experiences and socio-economic struggles have been conspicuously absent from historical narratives. He writes: “The productive and creative activities of Shawlbafs—who have carried them out against heavy odds to eke out their existence, improvise their skills, increase the quality of shawl products, and, thereby, build the edifice of Kashmiri society and the soul of its cultural stockpile—have regrettably been denied (and are being denied even today) the space they deserve in the history of Kashmir.”
Dr Ahad posits that the significant surge in population, coupled with the expansion of the commodity economy, catalysed a profound disjunction between industry and agriculture, as well as a bifurcation of artisans from the agrarian populace. This transformation, driven by the burgeoning bazaar economy, engendered a reliance of artisans on intermediaries and merchants, thereby undermining the autonomy of production.
Abdul Rashid Bhat, the famed “chain-stitch master” from Tengpora, Srinagar. | Photo Credit: Jaspreet Kaur
The shawl industry languished under the weight of relentless taxation imposed by successive regimes. Except the benevolent reign of Zain-ul-Abideen, the Mughal, Sikh, and Afghan dynasties exacted crippling levies upon the shawlbafs, driving these artisans, the very lifeblood of the craft, to the brink of destitution. Their impoverishment and subsequent migration to alternate livelihoods marked the slow erosion of a once-flourishing tradition. A Persian couplet in the book poignantly captures the tragedy of Kashmir and its workforce during the Afghan rule:
“Purseedum az khadabiye gulshan zi baghban Afghan kasheed, guft ki Afghan khadabiye kardd (When the poet asked the gardener who laid waste to his garden/ Drawing a deep sigh, he replied: ‘Afghan’)”
This book, ostensibly a treatise on Kashmiri craftsmanship, is also a poignant memoir chronicling the region’s turbulent politics. It dissects how labour strife and uprisings laid bare the yearning for Kashmiri sovereignty, a yearning tragically marred by the relentless machinations of political expediency, which plunged the Valley into perennial turmoil. The narrative captures the essence of the Zaldagar Rebellion of 1865 which ignited a wave of cooperative movements that reverberated far beyond Kashmir’s borders, their ideological ripples echoing across distant geographies.
It also meticulously charts the region’s descent from a bastion of cultural and historical significance into a landscape marred by chaos, anarchy, and oppressive foreign occupations. Through a nuanced exploration of centuries of political resistance and agitation, the book captures Kashmir’s relentless struggle to reclaim its lost identity and agency, offering a profound commentary on the resilience of a people amid enduring turmoil.
This book sheds light on the often-overlooked artisans whose skilled hands have brought international fame to the humble shawl, from gracing the shoulders of VVIPs at events like the FIFA World Cup to driving an industry worth Rs.5,000 crores annually. It is a poignant call to recognise the quiet resilience of these unsung heroes, whose craftsmanship speaks louder than their voices, yet remains largely unheard. Shawls and Shawlbafs of Kashmir is a remarkable ode to Kashmiri culture, seamlessly weaving history, artistry, and tradition into a compelling narrative.
Bilal Ahmad Wagay teaches Politics at Government College, Beerwah.
source: http://www.frontline.thehindu.com / Frontline / Home> Books> Book Review / by Bilal Ahmad Wagay / September 20th, 2024
How one man made ethnic wear a fashion statement. The story behind a Kolkata fashion empire.
The outlet of Sultan in New Market and its Managing Director Arshad Shamim
Kolkata:
They say that a lion before making the final leap takes a step back. In ways similar to it, this youngster in early 2000 chose not to start on with his business sale despite having his stock and shop in place. He chose to strike at the right time with the right strategy.
As Ramadan arrived, back in 2001, he placed ads and banners with an unbelievable offer – Kurtas for only 99 and that too with a one-year guarantee. A tempting deal that not many would want to miss. The unique marketing strategy gave the now-famous-ethnic brand for men the push that its founder had anticipated – a record-breaking sale that saw buyers queued to buy kurtas for Rs 99. Within an hour the stock ended. The crowd went into a frenzy to catch hold of its kurta, glasses broke, police had to be called to reign control and then as they say – the rest is history.
The man behind it was Arshad Shamim, the Managing Director of Sultan – The King of Kurtas. Born in a family that dealt in ethnic wear, especially for women, Shamim aspired to grow beyond Chittpur, the hub for ethnic wear manufacturers in Kolkata.
The journey of this commerce graduate from St Xaviers’ College is nothing but magical. However, magic is not easy. It took a lot of patience, perseverance and strategising to achieve the result. And, that’s exactly what Shamim excelled in.
“I always wanted to be a businessman. The apparel industry appealed to me as it was my family business. But I didn’t want to venture into the women’s ethnic wear industry. Men’s ethnic wear was where I wanted to make a mark. So, my goal was set. And the strategy that I chose to launch Sultan Kurtas gave my business the right push,” reminisces Shamim.
With a capital of rupees of only five lakhs, he chose to invest in the ethnic wear industry. “We started very small, in 2001. And till lockdown happened, I could have been spotted hawking for Sultan Kurtas outside our shop at Zakaria Street (Rabindra Sarani). My job was to reach out to the maximum customers and I had no qualms selling my products on the streets of Kolkata,” he says.
Did he ever think that the Sultan could compete with Manyavar?
“Well, the clientele of Manyavar and Sultan is different. They cater to the rich and we cater to the needs of the middle class. So, we didn’t face much competition. The price range from where Manyavar begins its range is the price for the most expensive range of apparel we have on offer,” the MD gave an honest reply.
He adds, “See, we have one vision – offer the best quality apparel at an affordable price. And that has managed to create a mark for our brand.”
Also, the fact that two-decades later when the business has not just expanded in Bengal, but across India and even beyond the borders.
“As far as production of Kurta is concerned, Sultan is the largest kurta producer in the Indian subcontinent,” he proudly mentioned.
Any specific reason to choose kurtas? “I have a liking for sherwanis and kurtas. And they are pretty expensive. I knew that there was a market for it and all that needed to be done was to make them affordable. And that’s exactly what I did.”
“Bengal is culturally rich and men here like to wear kurtas, irrespective of one’s religion. And it’s love for ethnic wear and value for money that made Sultan become the King of Kurtas. So, let me be very clear, it’s not just in Ramadan that our sales witness a peak but also during the Pujas,” Shamim points out.
As the brand grew, Sultan also began to sell Sherwani and four other items together for just Rs 863. It was another hot cake offered by the King of Kurtas after its Rs 99 kurta offer.
Sultan’s success also lies in its appealing and maverick advertisements, which got ideated by the Xavierian itself.
Shamim’s strength lies in the fact that even after tasting success, he has remained grounded and works as hard even today. He recalls an incident soon after he had purchased a Mercedes Benz car.
“Once I was hawking near our old shop in Zakaria Street when I spotted a man observing me from a distance. I initially took him to be a thief and kept my eye on him as I sold my goods. A few hours later, the man came up to me and asked if I had a brother, who drove a Mercedes. I shocked him by saying that both people are the same, and it is me who drives the expensive car as well.”
Today Sultan has at least fourteen showrooms across Kolkata. Still, it doesn’t make Shamim take a break. Even till date, the main dealing, negotiations, and product handling is done by him.
This sense of humility still exists in the man, who set up a brand that in these two-and-a-half decades has become a name to reckon with when it comes to ethnic wear for men. During Ramadan, he breaks his fast with his colleagues in his office premises. He doesn’t forget to offer his tiffin to those sitting with him.
The 52-year-old man who has witnessed several shades of life, adds, “I will look after the business for three more years, thereafter, I would like to give society back. I will work in the education sector and will ensure that at least where I reside, in that area, no child sleeps hungry.”
source: http://www.enewsroom.in / eNewsRoom India / Home> Art & Culture / by Shabina Akhtar / March 26th, 2024
The Razack family, renowned for their legacy of generosity, has donated Rs 5 crore to St Joseph’s Boys’ High School (SJBHS) to support the institution’s ongoing projects.
The unveiling of the ‘Razack Family Block’ plaque in September 2024 marked a significant moment for the school. Present at the event were prominent alumni, including Irfan Razack, Managing Director of Prestige Estates Projects (Batch of 1968), along with his brothers Rezwan Razack (Batch of 1970) and Noaman Razack (Batch of 1974).
The generous contribution will fund crucial developments at the school, including the construction of a playground with a double basement and additional classrooms. These infrastructure upgrades aim to align with the new National Education Policy (NEP) and address longstanding challenges such as parking limitations in Bengaluru’s Central Business District.
During the ceremony, Irfan Razack expressed his gratitude, saying, “It is a privilege to give back to my alma mater, which has shaped me into who I am today. Your recognition of my efforts is humbling, and I am deeply grateful.” The sentiments were echoed by Rezwan Razack and other family members, all underscoring their continued commitment to supporting the school’s growth.
Jayashree Prince Jacob, a teaching faculty member at SJBHS, highlighted the deeper meaning of the Razack family’s donation, stating, “This contribution represents more than just financial support. It is a testament to the lasting bond between the school and its alumni, inspiring future Josephites to uphold the tradition of giving back.”
In a statement, the school reflected on its cherished motto, “Fide et Labore” (Faith and Toil), emphasizing that the values imparted through the years continue to resonate with the alumni. “Once a Josephite, always a Josephite” remains more than a saying—it embodies the unyielding love and loyalty of the Josephite community.
The Razack family’s contribution serves as a lasting example of dedication to the school’s mission, ensuring that St Joseph’s Boys’ High School continues to thrive and inspire future generations.
source: http://www.radiancenews.com / Radiance News / Home> Latest News> Report / by Radiance News Bureau / October 12th, 2024
That culinary addition is attributed to Chef Manzilat Fatima’s great-great grandfather Wajid Ali Shah, the Nawab of Awadh.
Chef Manzilat Fatima, April 22, 2024. (image courtesy: Umang Sharma)
Manzilat’s great-grandfather did
On most evenings, Manzilat Fatima’s rooftop restaurant in South Kolkata, aptly named Manzilat’s, is packed with food connoisseurs waiting to taste the incredible dishes she prepares for them. But there is another reason foodies climb four flights of stairs to her quaint little eatery.
An engraving of Nawab Wajid Ali Shah. Pic Courtesy/ Wikimedia Commmons
What Manzilat does, is nothing short of remarkable. Not only does she tantalize the tastebuds of food lovers with exceptional dishes such as Chicken Lazeez Shami Kebab, Lakhnavi Murgh Biryani, or the famed Lakhnawi Mutton Yakhni Pulav – but she also evocatively creates a bridge between the present and the royal past of Wajid Ali Shah, the last Nawab of Awadh.
Manzilat Fatima is the great-great granddaughter of the Nawab who made his home in Kolkata after the British East India Company annexed his kingdom. He gave the culinary world the famed aloo in Biryani.
A descendant of Awadh
“I am a direct descendent of Wajid Ali Shah and Begum Hazrat Mahal ,” Manzilat reveals.
After the annexation, her great, great grandmother Begum Hazrat Mahal who took charge of Awadh, put her son Birjis Qadr on the throne in 1857. Birjis Qudr was the son of Jaan e Alam Wajid Ali Shah and Begum Hazrat Mahal.
Manzilat is the daughter of Dr. Kaukub Qudr Meerza, the grandson of Birjis Qudr, she explains.
Like her pantry, stocked with delectable food, Manzilat is a storehouse of stories and fascinating history.
A conspiracy at play
According to Manzilat, despite having no inheritance, Birjs was still the legal heir of Wajid Ali Shah and Begum Hazrat Mahal.
“Birjs Qadr had a son Mehr Qadr who was my grandfather,” adds Manzilat. “He did not have any siblings growing up. He did have a family, but they were assassinated in cold blood on August 14, 1893.”
Manzilat says that the British invited Mehr Quadr from Kathmandu to Calcutta under a false pretext. “The other descendants of the Awadh royal family wanted to snuff out the last crown king, even though there was nothing to inherit by then.”
There was a deeper conspiracy at play.
A dish of Awadhi biryani (image courtesy: Manzilat Fatima restaurant)
A poisoned dinner
“In order to snuff out this branch they cooked up a conspiracy along with the British and invited him and his family over for dinner where they laced the food with poison. In that tragedy, he, along with a son and daughter as well as his guards and dogs were murdered.”
Only Mehr Quadr’s wife, Mehtab Ara Begum, survived. She was pregnant with Manzilat’s grandfather and did not attend the dinner. “Had she gone for the dinner, the entire course of history would perhaps have been different,” says Manzilat.
Her grandmother, Mehtab Ara Begum, survived along with an unborn child – Manzilat’s father- and a daughter who was four years old at that time. The little girl grew up and married, but died childless. But the lineage of Wajid Ali Shah continued through Mehr Qadr and Manzilat’s father Kaukub Qudr Meerza.
“My lineage shaped me into a very loyal Indian,” she says. “We grew up hearing stories of valor of Begum Hazrat Mahal and Birjs Qadr and how, after 1857, (she) chose to live free in Kathmandu, Nepal. Our history helped us be grounded and honest. We learned the art of sacrifice.”
From lawyer to chef
Growing up, Manzilat heard stories about the tragedy and the conspiracy that destroyed her family – from their time in Lucknow until Birjs Qadr’s assassination, and how her grandfather was protected and grew up very sheltered because of the constant threat to his life.
Being a chef was not always the game plan. Manzilat studied at Aligarh Public School and graduated with an English (Hons) degree from Women’s College, Aligarh Muslim University. She enrolled at Calcutta University for her Master’s in English and a few years after her marriage, even completed a five-year LL.B course in 2002.
Chef Manzilat Fatima (image courtesy: (Umang Sharma)
Manzilat opened the doors to her kitchen to food lovers from all over the world. As the smoke rises from her tender Mutton Awadhi Galwtii Kebab, or tear-drop-shaped condensation rolls down her chilled Khus ka sherbet, or even as patrons savor the pillowy soft aloo in their biryani, Manzilat knows that she has not only served some delectable dishes but offered her guests a panoramic view into the world of her ancestors and what they stood for – the mighty Wajid Ali Shah, the indomitable Begum Hazrat Mahal.
In the fragrant aroma of her kitchen, Manzilat Fatima is the custodian of the legacy of the last Nawab of Awadh. Her guests experience more than just culinary delights; they immerse themselves in a narrative of courage, tradition, and the enduring spirit of Awadh.
source: http://www.indiacurrents.org / India Currents / Home> Food> India> Lifestyle / by Umang Sharma / April 26th, 2024
Humayun World Heritage Site Museum in New Delhi opened for visitors on Tuesday
Latest addition to 16th-century tomb complex ‘brings alive 700 years of heritage’
Visitors look at artifacts at the Humayun World Heritage Site Museum — the newest addition in Humayun’s Tomb complex — in New Delhi on July 29, 2024. (AN Photo)
The second Mughal emperor Humayun was widely known as an avid reader fond of journeys, architecture, and storytelling. Almost half a millennium after his death, a new museum in the heart of New Delhi highlights his role in shaping India’s cultural heritage.
Opened for visitors on Tuesday, the Humayun World Heritage Site Museum is the newest addition in Humayun’s Tomb complex — a landmark 300-acre area in New Delhi’s Nizamuddin that features dozens of historical monuments and includes Sunder Nursery, a 16th-century heritage park.
The advent of the Mughal dynasty, which ruled the Indian subcontinent between the 16th and 19th centuries, marked the global revival of Islamic architecture, with works that until today are examples of the highest quality and refinement.
Originally from Central Asia, the Mughals carried cultural elements borrowed from Arabs, Persians and Ottomans. As they settled in India, they fused these with the various local styles found in their new domains.
Humayun was the son and successor of Babur, founder of the dynasty, and ruled the empire from 1530 to 1540 and again from 1555 until his death the following year.
The new museum, established by the Agha Khan Trust for Culture and the Archaeological Survey of India, traces Humayun and his descendants’ lives, as well as the 700-year-old history of the whole Nizamuddin locality and its influence on Indian culture.
“There are hundreds of stories to be told, which the stones don’t speak,” Ratish Nanda, conservation architect and projects director at the AKTC, told Arab News. “The idea is to bring alive 700 years of heritage.”
The museum is located in Humayun’s Tomb, a UNESCO World Heritage Site, and the first of the grand mausoleums that became synonymous with Mughal architectural innovations and, three generations later, culminated in the construction of India’s most iconic monument, the Taj Mahal. About 7 million tourists from across India and abroad visit the complex every year.
“The idea is that people who now visit the World Heritage Site come with a deep understanding of the site,” Nanda said.
“We’ve been able to … combine architectural elements with incredible manuscripts, miniature paintings, calligraphy, textiles, coins, metalware, architectural elements — one is two one scale — with lots of films and digital technology, and models and so on.”
Spanning five galleries, the underground museum has over 500 artefacts sourced from the collections of the National Museum in New Delhi, ASI and AKTC.
“It captures the 700 years of history that is associated with the region of Nizamuddin and the World Heritage site of Humayun’s Tomb …This museum really captures the history,” said Ujwala Menon, AKTC conservation architect.
“The principal gallery talks about Humayun. There’s very little known about this emperor, and one of the things with this museum is to really address that … Then we have a second section of this gallery which talks about the personalities that are associated with Nizamuddin.”
Among the famed figures featured in the second gallery are Nizamuddin Auliya and Amir Khusro. Auliya was an 13th-century Indian Sunni Muslim scholar, Sufi saint of the Chishti Order, and is one of the most famous Sufis from the Indian subcontinent. His shrine and tomb are located near Humayun’s complex.
Khusro was a 13th-century poet and scholar who remains an iconic figure in the culture of the subcontinent.
Both Auliya and Khusro lived during the period of the Delhi Sultanate, which Humayun’s father conquered, leading to its succession by the Mughal empire. The museum shows how the empire did not come to its bloom in a cultural vacuum, but drew from and incorporated the culture of its predecessors.
“There was this idea of pluralism that existed during the Mughal period,” Menon said. “And this (museum) really captures all of that.”
source: http://www.arabnews.com / Arab News / Home> World / by Sanjay Kumar / July 31st, 2024
