The valedictory function of the 4th Asian Congress for Alternatives to Animal Experiments was held at Jamia Hamdard Convention Centre where Prof. (Dr.) M. Afshar Alam, Vice-Chancellor, Jamia Hamdard was the Chief Guest of the programme. Organizing secretary Prof. S. Raisuddin informed that this congress is being held for the first time in India. During this congress, the founding members of the society and representatives from India, China, Japan, and South Korea signed a joint declaration to establish the Asian Federation of Societies for Alternatives to Animal Experiments (AFSAAE).
Well-wishers from societies working for alternatives from America, Europe, and Sri Lanka also wished good link to the foundation. All the representatives were felicitated by the Organising Secretary. Prof. Y.K. Gupta and Dr. M.A. Akbarsha graced the occasion as Guest of Honour.
Prof. Y.K. Gupta urged the scientists to understand the pain of animals while using them for scientific experiments. Dr. Akbarsha announced the next meeting to be held at Hyderabad.
Prof. Raisuddin presented a detailed report of three days deliberations during the conference. He also announced various awards for best presentations by young scientists.
Dr. Christian Pellevoisin, Scientific Director, MatTek & CEO Urbilateria France sponsored best poster presentation awards and cash prizes to the budding scientists.
Dr. Kristie Sullivan, Vice President, Education and Outreach, Institute for In Vitro Sciences, USA and Prof Winfried Neuhaus, member of the Austrian Commission for Animal Experimentation also appreciated the successful organisation of the Congress.
Prof. (Dr.) M. Afshar Alam, Vice Chancellor congratulated the Organising committee members for the successful organisation of the conference. He appreciated the patronage of Mr. Hammad Ahmed, Chancellor, Jamia Hamdard and financial support of Hamdard National Foundation along with other funding agencies for enabling Jamia Hamdard to develop alternative models of animal experiments. Programme ended with vote of thanks by the Organising Secretary and National Anthem.
source: http://www.radiancenews.com / Radiance News / Home> Latest News> Report / by Radiance News Bureau / December 16th, 2024
Pakistan’s misadventure in Kargil will be remembered not only for the convincing win of the brave Indian army but also for some of the heroes who sacrificed their lives for our dear motherland. Prominent among those heroes was a 25-year young Captain Haneefuddin of 11 Rajputana Rifles who led from the front and made the ultimate sacrifice. Martyr Vir Chakra Captain Haneefuddin had to be from the Dilwalon ki Dilli! Truly, he had a large heart for he volunteered to command an operation to capture a post which would give a vantage position to observe the enemy’s movements.
It was quite early days of Kargil war when there was hardly any information available about the enemy troops. A company of 11 Rajputana Rifles was deployed in Operation Thunderbolt on June 6th, 1999 led by Captain Haneefuddin. It was at an altitude of 18,000 feet in the Turtuk region. The Mission: To capture a position in the region which would facilitate the Indian army to monitor the movements of the enemy troops better. The capture of this position would give the troops a strategic advantage in those early stages of the war. Captain Haneef volunteered for this Operation Thunderbolt as it was his ingrained in his nature to lead from the front. He set off for the vital operation with one junior commissioned officer and three other ranks. They made significant strides on the nights of 4th and 5th June 1999. They captured nearby positions. They captured the adjacent position and set out their advance on 6th June 1999 to capture the position they desired. They were undaunted by an altitude of 18,500 feet and extremely cold temperatures. They were however spotted by the enemy and fired upon. A firefight followed, against an enemy equipped with heavy artillery.
Captain Haneefuddin was concerned about the safety of his team more than himself. He took up a position and fearlessly showered bullets on the enemy. In the exchange of bullets, he was severely injured. But he kept engaging the cunning enemy, until his boys were safe from the enemy fire. Unfortunately, he ran out of ammunition and he was shot from all directions. He succumbed to his injuries, just 200 meters from the position they valiantly set out to capture. He displayed extraordinary valor in the face of the enemy and cared more about his team’s safety than his own. Captain Haneefuddin attained martyrdom at the young age of 25. It was exactly two years after he was commissioned in the army. But his body could not be retrieved due to heavy firing till a brave Colonel Bhatia and his illustrious team set out to retrieve the body. It was on 18th July, 43 days after Haneef’s martyrdom, Captain S K Dhiman, Major Sanjay Vishwas Rao, Lieutenant Ashish Bhalla, Havaldar Surinder and Rifleman Dharam Vir volunteered for the task.
Col. Bhatia and his team carefully negotiated the deadly precipices. The team managed to locate the brave heroes Haneef and Parvesh. They extricated the frozen bodies. Dragging them behind the boulders, the team carried the fallen heroes on their backs. They walk quietly through the night, reaching Zangpal by early morning. A helicopter carried the bodies away as the brave Colonel Bhatia watched the body bags with moist eyes for one last time.
Vir Chakra Captain Haneefuddin’s mother Hema Aziz had paid tribute to her martyr son thus: “As a soldier, Capt Haneef served his country with pride and dedication. “There cannot be a greater statement on his valor than his death which came while fighting the enemy.” Later, a subsector in the battle zone was named as Subsector Captain Haneefuddin.
It is interesting to note that Captain Haneefuddin had gone to fight for 11 Rajputana Rifles whose war cry is ‘Raja Ram Chandra ki Jai’. Twenty years later, in February 2020, in Captain Haneefuddin’s hometown – Delhi, a similar war cry — Jai Sri Ram was used by the rioters who looted, raped, killed innocents, destroyed 11 mosques and burnt down the copies of the Holy Quran, according to the just released report of the Delhi Minorities Commission. Those who carried out this pogram do not have guts to go to the borders and fight the enemies Pakistan and China. Instead, they choose our own citizens!
Where have the Dilwallas disappeared from Dilli? Lest we forget Kargil War Hero Vir Chakra Captain Haneefuddin and other heroes!
source: http://www.beyondheadlines.in / Beyond Headlines / Home> Lead / by Dr Ahmed Mohiuddin Siddiqui / July 27th, 2024
Dr. Majid Ahmed Talikoti, a renowned oncosurgeon, announced his candidacy for the presidency of the India Islamic Cultural Centre (IICC) during a press conference at Hotel Riverview in Jamia Nagar, New Delhi.
Dr. Talikoti highlighted his diverse interactions with people from various walks of life as a key factor in his decision to engage with IICC. “As a surgeon, I interacted with people from different walks of life, and I know how to deal and serve people. That’s why I decided to engage myself with IICC,” he stated.
Dr. Talikoti, who is well-regarded in the medical community, aims to showcase IICC as a beacon of Islamic heritage and culture. He emphasized the peaceful nature of Islam and the importance of promoting this message through IICC. “Given a chance, I will try to showcase IICC as a prominent center of Islamic heritage and culture. Islam is a religion of peace, and I would try my best to send the message of peace through this Centre. We are supposed to welcome our non-Muslim brothers on Eid and join them on Diwali,” Dr. Talikoti said.
Dr. Talikoti outlined his vision for IICC, focusing on maintaining a non-political, brotherly atmosphere during the election and beyond. He stressed the importance of adhering to IICC’s aims and objectives, which include fostering youth empowerment and initiating interfaith dialogues to bridge community gaps. “We will not fight this election as a political battle, but in a brotherly manner in a very congenial atmosphere and try to keep the center away from politics, following the aims and objectives of IICC. We will develop IICC as a center of empowerment for youths and start interfaith dialogues to bridge the gap between communities,” he asserted.
With the support of former IICC president Sirajuddin Quraishi, Dr. Talikoti’s campaign has garnered significant attention. He is also the convener of the Muslim Rashtriya Manch (MRM), an RSS-affiliated organization formed in 2002 to facilitate dialogue with the Muslim community.
Established in 1981, IICC is a premier institution in New Delhi dedicated to promoting and preserving Islamic culture and heritage. It aims to foster cultural exchange, interfaith dialogue, and communal harmony through various educational, social, and cultural programs.
The election campaign for the governing body of IICC has officially commenced, with candidates contesting for posts of president, vice president, and members of the Board of Trustees (BoT) and Executive Committee (EC) promising significant shifts in the center’s functioning. The election is scheduled for August 13th.
Among the other presidential candidates are ex-cabinet minister Salman Khurshid, retired IRS officer Abrar Ahmad, former bureaucrat Afzal Amanullah, businessman and philanthropist Waseem Ghazi, businessman M. Asif Habib, and BJP activist Suhail Hindustani. Each candidate brings unique perspectives and visions, making this election a pivotal moment for IICC’s future.
Interestingly, Dr. Majid Talikoti’s panel includes Kaleemul Hafeez, who is contesting for the post of vice president. Until recently Hafeez has been a sharp critic of Serajuddin Quraishi, the former IICC president, who is also running for membership on the Board of Trustees (BoT)
Md Irshad Ahmad Advocate, Supreme Court of India & Former President, AMUOBA-DELHI is also contesting for BoT from this panel.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim / by Special Correspondent / June 25th, 2024
A quick glance at Roshni Misbah’s Instagram account and she seems like every other young woman today, posing in the occasional high-heeled boots, with her own unique style and a definite flair for fashion, and a loyal following of over 130,000 people. Okay, maybe that last one isn’t all that typical and once you scroll through her profile, you quickly see that Misbah isn’t very ordinary at all!
Misbah’s love for motorbikes is more than evident on her page and most of her posts will attest to that. Dubbed the Hijabi Biker of Delhi, the 23-year-old rider from India has been spotted around her city riding her Honda CBR 250 cc, to the surprise of many in Delhi and quickly becoming an inspiration to young hijabis across the world.
Her IG profile describes her as Punjabi-Muslim, an Arab and Islamic Studies scholar (at Jamia Millia Islamia in New Delhi), a businesswoman, and the only “girl in Indian to own the fastest bike.” According to Hindustan Times, Misbah started riding bikes in her school years, in the ninth standard. After practicing on her friend’s and her father’s motorcycle for years, she got her very first bike, a Bajaj Avenger Cruiser 220, which she paid half for and her father the rest.
Speaking to the news site, Misbah said, “Unlike many girls, I wanted to ride a bike rather than a scooty (gearless). I always had a passion for bikes and I am fulfilling it.” The young rider is today part of several biking groups in her city, including Bikerni, which is an all-female bikers’ group based in Delhi. Her celebrity status is not restricted to social media as the young rider often has fans around the city who recognize her and wave at her. In university, she also receives praise from other female students, who often ask if she could teach them to ride a motorbike.
To date, Misbah has driven over 24,000 kilometers across India and more than 60 bikes, according to SportsWallah.com. When she’s not riding the streets of Delhi and beyond, Misbah is working on plans to continue a PhD in Arab culture, helping her father in the family business, and planning her next motorbike purchase, her sights set on a Triumph Rocket 2300 cc.
source: http://www.abouther.com / About Her / Home> Lifestyle> Influencers
In a significant development aimed at revitalizing the activities of a prominent Muslim organization, the All India Muslim Majlis-e-Mushawarat (Registered) convened a General Body Meeting on June 9, 2024, at New Horizon School in the Hazrat Nizamuddin area. The primary agenda was to elect a new president and establish a new administrative framework.
The meeting was chaired by the former president, Dr. Zafrul Islam Khan, and attended by 33 members from across India, alongside three additional invitees. Five members participated online via Zoom. The assembly unanimously elected Dr. Zafrul Islam Khan as the president for a two-year term.
In his inaugural address, Dr. Khan underscored the organization’s goal to rejuvenate the All India Muslim Majlis-e-Mushawarat (AIMMM) and reaffirm its role as a premier forum for Muslim organizations and institutions. He addressed the challenges that arose from previous leadership under Mr. Navaid Hamid, which led to internal discord and inactivity.
Dr. Khan recalled the resignation of the late Syed Shahabuddin from the executive committee due to the organization’s adverse direction under the new leadership. He criticized the expulsion of 70 key members and unconstitutional amendments to the organization’s constitution, which marginalized significant voices within the Majlis-e-Mushawarat.
He also mentioned that efforts to merge the Majlis-e-Mushawarat (registered) with the Navaid Hamid group would continue.
Resolutions Passed
Election Satisfaction: The assembly expressed satisfaction with recent general election results, noting a majority of secular votes and urging secular parties to unite for national progress.
Condemnation of Hate Politics: The organization condemned the rise in hate politics over the past decade and advocated for unity and resilience among Muslims against divisive tactics.
Condemnation of Gaza Attacks: The Majlis-e-Mushawarat condemned the ongoing Israeli attacks on Gaza since October 7, 2023, calling for global condemnation and support for Palestinian autonomy.
Addressing Muslim Marginalization: The body highlighted increased efforts to marginalize Muslims since 2014, urging the community to focus on education, trade, and legal recourse against injustices.
Notable attendees included Ms. Uzma Naheed from Mumbai, Muhammad Wazir Ansari (Rtd. IPS), Khawaja Muhammad Shahid (Rtd. IAS), and many other distinguished members and former officials from various parts of India. Some members participated online, including Munir Ahmad Khan from Indore and Dr. Obaid Iqbal Asim.
The meeting signifies a renewed effort to strengthen the organization’s influence and address key issues affecting the Muslim community in India.
source: http://www.radiancenews.com / Radiance News / Home> Latest News / by Radiance News Bureau / June 15th, 2024
Through its dedication, sensitivity, and comprehensive approach, CTAG empowers individuals from socio-economically weaker backgrounds to pursue their dreams and aspirations.
In the pursuit of a brighter future for all, particularly those from socio-economically weaker backgrounds, initiatives like the Centre for Training and Academic Guidance (CTAG) play a pivotal role. CTAG, a non-profit organization under the auspices of the Human Welfare Foundation, is dedicated to providing career counseling and guidance to students hailing from such backgrounds.
In this exclusive interview, Ayesha Sultana, Assistant Editor of Radiance and an educator and academician by profession, engages in a conversation with Faizy Rahman, a dynamic individual with a diverse educational background, holding a BTECH in Mechanical Engineering from DTU and an MA in Psychology from DU. Currently serving as the Centre In-Charge of CTAG, Mr. Rahman brings a unique blend of technical expertise and psychological insight to his role. With her keen interest in initiatives aimed at empowering individuals from diverse backgrounds, Ayesha delves into CTAG’s mission and impact through her insightful questions.
Q: Could you provide an overview of CTAG’s mission and objectives?
A: CTAG’s mission is to provide career counseling and guidance to students from socio-economically weaker sections of society. We aim to empower individuals with the knowledge and tools to make informed career decisions, thereby opening doors to brighter futures.
Q: What inspired the establishment of CTAG, and how does it aim to make a difference in the lives of its beneficiaries?
A: CTAG was established to address the barriers faced by students from disadvantaged backgrounds in accessing career guidance. By providing personalized guidance and support, we strive to empower our beneficiaries to pursue fulfilling career paths aligned with their interests and aptitudes.
Q: Can you elaborate on the services and programs offered by CTAG to achieve its objectives?
A: Certainly. CTAG offers a range of services including psychometric assessments, individual counseling sessions, group workshops, career awareness workshops, and scholarship support. Additionally, we provide training programs for teachers and counseling professionals to enhance their skills in guiding students effectively.
Q: How does CTAG ensure its guidance and assessments are culturally sensitive, particularly in states across North India?
A: Cultural sensitivity is integral to our approach at CTAG. We tailor our assessments and guidance to suit the cultural backgrounds of our students, ensuring that our services are relevant and effective. By understanding and respecting cultural nuances, we aim to build trust and rapport with our beneficiaries.
Q: What initiatives does CTAG undertake to engage with the community and raise awareness about career guidance?
A: CTAG actively engages with communities through outreach programs, workshops, and seminars to raise awareness about the importance of career guidance. We collaborate with local organizations, schools, and colleges to reach a wider audience and provide valuable insights into career options and opportunities.
Q: As CTAG expands its reach, what are some future goals and aspirations for the organization?
A: Our future goals include expanding our reach to underserved communities across India and enhancing the quality and accessibility of our services. We aim to leverage technology and innovation to reach more individuals and provide them with the guidance and support they need to pursue their aspirations.
Q: How does CTAG measure its impact and success in empowering individuals from socio-economically weaker backgrounds?
A: CTAG evaluates its impact through various metrics including the number of beneficiaries served, feedback from beneficiaries and their success stories, partnerships formed with educational institutions and community organizations, and post-counselling tracking of students. We continuously assess and refine our programs to ensure they effectively meet the needs of our beneficiaries.
Q: What kind of help do you provide after career guidance for placements?
A: We offer an Employability Enhancement Program which includes assistance on how to face an interview and writing CVs.
Q: What else does CTAG offer besides career guidance?
A: CTAG also provides training for teachers and mentors, as well as one-day career guidance counselor workshops. Additionally, we offer a Career Guide Training Program for individuals interested in becoming professional career counselors. We also conduct a 5-day program for comprehensive guidance, annually.
Q: How can individuals access all the information provided by CTAG?
A: We have a career library and an updated website which provide information on various courses, admissions, university notifications, etc.
Individuals can access information through our website, www.ctag.in and/or contact us via WhatsApp at 72919 20374.
In a world where opportunities are often scarce, organizations like CTAG serve as beacons of hope, guiding individuals towards brighter futures. Through its dedication, sensitivity, and comprehensive approach, CTAG empowers individuals from socio-economically weaker backgrounds to pursue their dreams and aspirations. As it continues to expand its reach and impact, CTAG remains committed to shaping careers and transforming lives for the better.
source: http://www.radiancenews.com / Radiance News / Home> Face to Face / by Ayesha Sultana, Radiance News Bureau / May 05th, 2024
Nusrat Jahan, the headmistress of Jamia Middle School at Jamia Millia Islamia (JMI), has been honored with the Best District Principal Award for the academic session 2023-24 by the Academic Council of the Science Olympiad Foundation (SOF).
This prestigious award recognizes her exemplary leadership, commitment to academic excellence, and innovative initiatives that have significantly enhanced scientific and mathematical aptitude among her students.
Under Jahan’s leadership, Jamia Middle School saw remarkable achievements, with 72 students earning Gold medals in the Olympiad during the 2023-2024 academic year.
The Science Olympiad Foundation, known for its dedication to promoting STEM education globally, acknowledged Jahan’s transformative initiatives and their positive impact on both students and faculty.
The award comes after a rigorous selection process, considering 79,400 schools from over 1,400 cities across 70 countries that participated in this year’s Olympiad examination. Jahan attributed this success to the collaborative efforts of the school’s dedicated teaching staff and the hard work of the students.
Prof Mohammad Shakeel, the officiating vice-chancellor of JMI, congratulated Jahan on her outstanding achievement and praised her relentless dedication to student success and school improvement. Jahan’s deep knowledge, leadership skills, and pleasant personality have been pivotal in driving the school’s achievements and earning this distinguished award.
source: http://www.radiancenews.com / Radiance News / Home> Pride of the Nation / by Radiance News Bureau (headline edited) / June 08th, 2024
It burnt her face, but not her spirit. Resham Fatma, National Bravery Award winner, is confident about tomorrow
Sometime last summer, Resham Fatma, 17, decided that she needed to score 98 per cent in her twelfth standard board examinations. For days, she had been scouring the newspapers to find the best college to pursue her favourite subject, mathematics. St Stephen’s College, Delhi, it was. “Last year’s cut off was 97.2 per cent, so with 98, it will be smooth sailing,” says the Lucknow girl.
Resham has planned her future in detail. After graduation, she will do an MBA from IIM-Ahmedabad. Then, she will take the Union Public Service Commission exams, get into the Indian Administrative Service and work towards the post of district magistrate, a post from which she believes she can implement all the glorious government policies that remain on paper. “If I set my mind on something, I can achieve it,” she says. But, the future does not always work out the way you plan it. The last year has been, to put it bleakly, scarring for Resham.
The day is etched into her memory. It was February 1. On the previous day, her class had given their seniors a formal farewell. Her hair was a curtain of black satin, glossy from all the shampooing and conditioning. “See, this is me, in the centre,” she says, fishing out her smartphone and showing a groupfie with friends at the farewell.
The next day, she headed for her tuition, getting off the autorickshaw and walking the last mile as per routine. Suddenly, Riyaz, 38, her mother’s cousin, pulled up in his Tata Indica. He had been pestering her for a few years, and she had learnt to avoid him. On farewell day, he had asked her to meet him and she had said, “Main pagalon se baat nahi karti [I don’t talk to madmen].” She had no idea how mad he was.
After dragging her into the car, he held a butcher’s knife to her throat and asked her to marry him. She struggled; he got forceful. When she loosened his grip on the knife, he pulled out a barber’s razor from under the seat. “The car was auto-locked,” she says. “I was in his grip, struggling with all my strength. He banged his head on the steering and asked why I was refusing him. Then, suddenly, he pulled out a plastic bottle from the recess in the car door. It was filled with a yellowish liquid. He asked me if I knew what it was and said it was shakkar pani ghol [sugar solution]. He poured the liquid over my head.”
For a fraction of a second, she did not know what it was. Then it began to burn and she immediately shut her eyes. Her face, arm and thigh were on fire. He pulled her by the hair, still holding the knife to her throat. “I do not know how I got this phenomenal strength at that moment,” she says. “I pushed him and he crumpled towards the door. I fumbled blindly with the ignition, unlocked the car and tumbled out.” It was a dark winter evening and the road was desolate. Presently, an autorickshaw drove by and she pleaded to be taken to the police station. Luck was on her side, the occupants rushed to help. Later, as she was taken from the police station to hospital in an autorickshaw, they had to stop at a railway crossing. Passers-by peered into the auto, clucking in sympathy or gasping in horror. “That’s when I learnt that my face was black and I had my first shudder,” she says. “Riyaz mama ko mat chodna [Don’t let Riyaz get away], I screamed.”
Resham had so far known only unconditional love. She was the eldest grandchild from her maternal side, and her mother’s brothers doted on her so much that when she entered primary school, she moved from Bihar, where her father is an automobile dealer, to her grandfather’s residence at Amausi, near the Lucknow airport. Both her uncles have sons, she grew up as the only girl and the apple of everyone’s eyes. She has a younger sister and brother, who live with her parents. “I am more comfortable here, this is my home,” she says.
Resham means silk. But in the months ahead, the teenager discovered reserves of steel within her. Her long tresses were shorn, there is a huge patch on the scalp where follicles are dead. Resham, for the first time in her life, started wearing a scarf and headed for her evening coaching. She had to skip regular school at Stella Maris; her skin was not ready to face the onslaught of the sun.
In between, she kept popping into the hospital for surgeries. Her thigh needed grafting and her face needs a lot more work, but that has not deterred Resham from going out with nonchalance. A few months after the incident, her uncle declared she could do her own shopping without being escorted around like an invalid. “People ask me what happened, most ask whether it’s an allergy,” she says. “I tell them blankly, ‘No allergy, I survived an acid attack.’’’ Does she miss her old face? “Well, I am a girl, I like looking into the mirror and I’d want to like what I see,” she says. “I am still not bad looking, am I? This is my new identity.”
Most of her friends broke down when they visited and she consoled them. Her best friend is her diary. One day, she wrote about her dream: “I wanted to become the district magistrate and visit Riyaz in jail and tell him, see where you are today and where I am.” But these Bollywood-type situations are not meant for off-screen lives, even if they are as extraordinary as Resham’s.
Riyaz was arrested and was in lockup, where on December 28, he committed suicide. “I read about it in the newspaper next day and felt blank,” Resham says. “He got away so easily. He should have lived a long life, regretting every moment.”
Her earliest recollections of Riyaz are of sitting on his shoulders as he ran across the lawn. As she grew up though, his presence began getting uncomfortable. He would enter her room, force her to leave her books and talk to him. At one point, her grandfather, a former policeman, banished him from their house.
Resham today prefers to look at the possibilities that the future offers. “I have bad days, though I don’t cry in public,” she says. “Some days ago, I was very angry with Allah pak. But then, I got this call from Delhi that I was getting the Bharat Award at the Republic Day celebrations. I am so happy today. I have met big people, Modiji himself. I am a heroine, isn’t that great?” The scar tissue on her face hurts a lot, especially when she has to receive injections for treatment. But now she is complaining happily about how her cheeks are hurting with the constant smiling. “I am posing for cameras all day. Yaay,” she shrieks.
President of India Shri Pranab Mukherjee presenting the ‘National Bravery Awards 2014’ at Rashtrapati Bhavan . January 22nd, 2015. pic credit: facebook.com/Muslims.of.India.Page
There’s a bit of regret, though. “When I came to Delhi, I learnt that all the other children had been felicitated by their states. But no one from my state government ever came to me. A Supreme Court order says the state has to give an immediate relief of 03 lakh to an acid attack victim. I have not got anything yet, though my family has sent several Right To Information pleas. We could afford my treatment, but there are those for whom this money means a lot more. You know, there is a lot of good intent and great laws, but what we lack in this country is implementation. That’s why I want to be an IAS officer,” she emphasises with all her Taurean determination.
source: http://www.theweek.in / The Week / Home> Web Specials> Features> Heroes / by Rekha Dixit / Headline Edited + Additional image inserted courtesy of Facebook.com/Muslims.of.India.page / February 08th, 2015
Calligraphy. Aware of this word? Or heard it somewhere? It is an art, now a rare art almost on the brink of extinction. It is an art of writing a decorative language that begins from right to left for instance, Urdu Arabic, Persian, Pashto, Kashmiri and Sindhi.
The art, ‘kitabat’ as it is commonly known, owes its origin to a period before the Mughal reign in India. At that time, a town called ‘Bayana’ in Rajasthan had an entire mohalla, ‘Katibaan’ (meaning calligraphers who write books only), whose residents’ vocation was calligraphy. The art saw its golden times during the Mughal era.
Emperors Babar, Jahangir, Darashikoh, Alamgir, Aurangzeb and the last Emperor-in-exile Bahadur Shah Zafar were not only experts in calligraphy but they also ordered that it was a must-learn art, an order that was first carried out in their own homes.
It is also said that Aurangzeb brought home the bacon by writing the Quran in calligraphy. Once, when his aging wife requested him to keep a maid for her, as she was unable to do the household chores alone, the emperor was believed to have replied, “How do you expect me to hire a maid for you with such a low income?”
For the people hailing from the upper strata, learning this art or ‘funne khattati’ was considered a proud privilege. They would use the language primarily for writing beautiful, artistic letters to their near and dear ones and also for incorporating this skill in various other forms of art.
Once, Muradabad was also considered a hub for calligraphic works for it had various printing houses for the purpose.
The art was used later to write books of literature and religion by various calligraphers, so also epitaphs and engraved writings on the monuments all over the world. On the three gates of the wonder of the world, the Taj Mahal, Surah Yaseen (a surah, which is considered as the heart of the Quran) is inscribed in splendid calligraphy. Similarly, in all monuments, which are a remarkable example of Mughal architecture, calligraphy in the form of writings on its various facets can be witnessed till today. These calligraphers were invited from different parts of the world. Most of them find their names mentioned at the end of their creation in all these structures.
Earlier, several pens or ‘kalam’ of 7–8 inches with different width, made up of wood and ‘sarkanda’ (cow dung) were used to write artistically. Its ink too was home-made. Kanpur was considered to be the hub for such ink-making, where it was a small scale industry. As the art saw new developments, so did its pens. Now, America and China are the main pen nib makers and Germany has replaced the wood pen with steel one.
The art started witnessing its decline in early 90s, when it was learnt that China and Pakistan had created a software that would replace the art to merely a mechanical work and render many jobless. The threat has come true in many aspects. Sadly enough despite having a glorious history, this legendary art is dying a slow death.
Seventy-nine-year-old Syed Manzoor Uddin is a renowned name in the field, who has to his credit around 600 books written on history, literature, prose, poetry and religion in Urdu, Arabic, Persian, Sindhi, Pashto and Kashmiri and who has countless works done and distributed in Bahrain, Sharjah, Dubai, Pakistan, Iran and Turkey. He says, “In the days of yore, a ‘khushnavees’ (calligrapher) would be awarded even a palace by the kings and queens for their work in the field. Now, those who want some work to be done in calligraphic style, refuse to pay even Rs 25 for such an arduous work.”
Syed Manzoor has written coronation/invitation, (sahra) for the Shah of Iran, rare letters of the world’s who’s who, addresses of ex-prime ministers of India, and poems for the showman Raj Kapoor’s elder daughter on her wedding and several such works. He has now stopped practising this art. He owes the reason to his age and the invasion of computer that has almost destroyed this art. “I have served the artistry for more than five decades. The hopeless times have done a great injustice to this rare writing form. Now, I don’t feel like working,” he reasons.
With the onset of computers, the art has suffered a setback mainly because the computers do not have softwares that could parallel the manual skill. Moreover, the graphic designers mainly do not have a good command of Urdu. Hence, the work they do on the computer is full of grammatical mistakes, Syed Manzoor observes.
Unfortunately, for such an art, there is no recognition in the form of any award. Most awards instituted by one or the other organisations, have now been withdrawn.
Take for example, the Information and Broadcasting Unit of Press Trust of India had a National Award for printers and designers that included calligraphers also. But the practice saw its last year in 1988.
Similarly, Ghalib Institute also had an award for the same and 15 years back this award was also withdrawn.
The Urdu Academy, however, still gives an award in this category that carries a citation and Rs 11,000. This year it is awarding, Mohd Yusuf, a calligrapher of repute though his work does not diversify in other languages as of Syed Manzoor.
An ailing and aged Mohd. Yusuf, who did India proud through many of his works, is now living in penury with his several family members in a small room, enough only for two men in old Delhi. While many calligraphers, for whom it was the only source of earning sometime back, now sit on pavements in the vicinity of Jama Masjid and get just a measly amount for their labour of love.
The art of calligraphy has mainly suffered because of lack of promoters. “Only in last November, the Ministry of Human Resource and Development had organised an Urdu Kitab Mela at Lal Qila ground. It turned out to be a major fiasco for this form of art. Even the rent for the ground, Rs 3,000, could not be recovered in the 11-day fete. Only two persons turned up all these days. And they too thought that a sum of Rs 25 was high for getting their names written in a calligraphic style. Even someone from the famous Rajshri Production bargained for a rare pen, used in the art and managed to buy it for just Rs 3,” recalls Syed Salahuddin, the disciple and son of Syed Manzoor.
Here, slogans were shouted against Mr Hamidullah Bhatt of Qaumi Council, who was blamed for not doing enough publicity for an art though he received a package for it. The condition of dying art was witnessed at the fete by Civil Aviation Minister Shahnawaz, Chief Minister Sheila Dikshit and HRD minister M M Joshi.
Salahuddin asks, “When a doctor can be awarded for operating upon the Prime Minister. There is an award for Hussain’s brush; even for a best citizen. Then why not for a calligrapher? Why not my father and guru, who burnt the midnight oil to prepare 600 books and countless other works for many ministries all over the world. Why can’t he be recognised for his contribution to the art?” Ironically, Salahuddin, who wants to carry forward this artistic legacy, finds no sponsors for it. He also tries hard to get an award for his aged father from the government.
Although a few organisations and individuals are doing some work in the domain, that is not sufficient. For example, Urdu Academy still provides a two-year course on calligraphy that includes computer calligraphy in its second year. While in the first year, the manual expertise in the Urdu language and design is taught so that they do not commit errors that today’s so-called computer calligraphers are committing. But, unfortunately the learners there come only from the aged and financially week backgrounds, who learn the art only to make fast bucks. In fact, the academy pays a scholarship of Rs 150 to teach this art!
“I see several grammatical and other mistakes in Urdu newspapers and names of roads, lanes, bazaars in Urdu are mostly wrong because the language is not known to those who get the work done on computers by inefficient people,” moans Syed Manzoor. However, he is happy about the Urdu software that has come in the market now as he is reminded of what Dr Zakir Husain’s said once, “The language that does not have its type face, dies its own slow death.”
A reputed calligrapher, Anees Siddiqui is known to be compiling a dictionary of calligraphers in India.
The art, however, still needs a helping hand. Will the recognition ever come to the dying art and its artists? Will the proud heritage of India be saved? Only time will tell.
source: http://www.tribuneindia.com / Tribune India / Home> Culture> Artscape / February 22nd, 2002
Budhana Town (Muzzaffarnagar) / Meerut, UTTAR PRADESH / NEW DELHI:
Poet Azhar Iqbal has gained prominence due to his use of simple Urdu language mixed with Hindi and his reach on social media.
QUICK RISE:
Azhar Iqbal has suddenly risen to fame in the last two years
Saying Urdu/Hindi couplets (shayri) in the language of the common man and usage of social media has raised Delhi’s Azhar Iqbal to a level he had never imagined.
The famous saying bhagwaan jab deta to chhappad phaad ke deta hai (when God decides to bestow His bounty, He showers it all) seems to have come true for Delhi’s Urdu poet (shayar), Azhar Iqbal.
He suddenly rose to fame in the last two years. He is seen in almost all domestic as well as prestigious mushairas (poetry sessions) in Europe, Middle East and Dubai. The limelight-hungry, from literary to television world, have suddenly started showing a sense of belonging to him and their pictures together adorn several social media accounts.
Those who had not even known him remotely, have started commenting on his posts, expecting few seconds of a shared fame! His recent claim to fame is his presence at the famous Kapil Sharma Show on Sony LIV television.
The shayar has to thank two factors that worked wonders for him, social media and couplets he wrote in simple Urdu projecting relatable truths of peoples’ life.
For instance, Ghutan si hone lagi uske paas jaate hue, main khud se rooth gaya hoon usey manate hue or Parindo ko shajar acchha laga hai, Bohot din baad ghar acchha lagta hai, Gale main hai teri bahon ka ghera, Ye bike ka safar acchha laga hai.
Iqbal is not new to shayri but to the fame. The 45-year-old is yet to sink it in.
He admits, “Social media’s wide reach is a magical reality. My seniors and buzurg shayars (experienced poets) would not have imagined reaching that far globally with their genius. I don’t think I do shayri as well as them. But I wouldn’t mind taking credit for the fact that I do shayri that common man understands. From students to youth, females to those battling crises of various kinds in their daily grind.”
Substance too
It not just the miracle of social media but a life of hard work, interest in shayri, taleem-o-tehzeeb and patience that Azhar’s poetry is made of. He isn’t a product of an aristocratic school or family either. Azhar, one among 11 siblings, is a father of two, and homemaker wife. His father, a literary person and an avid Urdu reader, had a tea shop in Meerut where he would go to help him in his holidays as a child and in his youth.
A fertile background plays the most significant role in the making of a poet. Azhar is no exception. Remarkably, in western UP, educated people in small towns like Budhana, Kairana, Gango, Jhinjhana, Nakod among others had immense affinity with literature and religion – adab and deen. Women would always find time to read good novels during the day and even narrate them to their children and siblings. Menfolk would find catharsis in nashist or baithak (poetic gatherings) almost every evening.
Azhar comes from Budhana town in Muzaffarnagar where such novel narrations and nashisht were regular.
“We were surrounded by these adab-loving people, qawwals and their mehfils (gatherings). The zauq (interest) for shayri was getting into the system automatically.”
Here, senior shayars would say a couplet and ask young boys to write the next on that analogy. The teenagers would spend much of their time in reading good poets and evolve themselves to do the task.
Azhar recalls famous shayar Dushyant Kumar’s sher (couplet) which was given to him for an analogy to create his own.
Vo mutmayeen hai ke paththar pighal nahi sakta, Main intezar main hoon awaz main asar ke liye.
(They are certain that the stone cannot melt away, Restless yet I am, for a voice to hold sway.)
Azhar could create one in bahar (rhythm). And it went like this
Vo phool banke mere pass hi mehakta raha,
Main sochta hi raha apne humsafar ke liye.
(It lingered like the scent of a flower beside me, Yet, I longed for my companion to be.)
This was his first couplet that showed his poetic pen at 13.
Alongside writing ghazals and studying, Azhar would help his father run his tea shop. In late 90s, to help the family financially, he joined as lab assistant at Noida, on a salary of Rs 3,000. He would go to the mushairas by spending from his own pocket.
“The mushairas wouldn’t pay young poets like me during those days.”
By 2013, he met famous dastango Mehmood Farooqui and soon wrote the poetic part of his classic dastans.
“I also used to host some of his dastan shows and mushairas at Delhi’s India Habitat Centre — a favourite haunt for arts and literary luminaries.
“The visits helped me expand my circle and meet geniuses in the creative arts.”
FAME:
Iqbal also featured in the Kapil Sharma show and often gets thronged at airports
The Almighty answered
Around the first Covid lockdown, Azhar got an invitation to go to Bahrain. “That was my first foreign trip. But the lockdown spoiled it. In pain, I complained to Allah that this was my first such prestigious trip and l can’t even go. As if Allah was free then. He heard me so well that I never looked back after that. It happened like that.
“Someone picked up a sher from one of my old videos and posted it on his Youtube channel. Within no time, it received 50 million views. Soon, people started finding my other ashaar (couplets), and did the same. Some 10 to 12 such couplets got so popular that billions of people watched them and I became famous instantly.”
The fame helped the poet not only with offers of mushairas at domestic but also international levels, and to preside over them too. Prestigious spaces like Sahitya Akademi, Sangeet Natak Akademi also started inviting him to host programmes.
The icing on the cake was an invitation from Kapil Sharma show which is viewed by crores of people. It changed his life completely. The mushaira venues have often got him standing ovation for long.
“Now at times it takes me over an hour to reach the venue as people gather for autographs at the airports. I often get shockingly surprised and think, ‘they have come for me?’”
Shared language
A creative person is known for diversifying, without which he risks his pen to boredom.
Azhar also decided to be a bit more creative and mix Urdu-Hindi to say couplets that would emanate fragrance of a shared co-existence.
Though use of Hindi words in Urdu shayri and Urdu words in Hindi kavita is not new but his initiative of a different kind was lapped up by “both Left and Right ideologists”. One of these goes as:
Maroosthal se jaise jungle ho gaye hain,
Tera sanidhya pa kar, hum mukammal ho gaye hain.
(With your proximity, I am metamorphosed from a desert to green) or
Nadi ke shaant tut par baith kar mann,
Teri yadain visarjan kar raha hai;
Bohot din ho gaye hain tumse bichhde,
Tumhe milne ko ab mann kar raha hai.
(On the silent banks of a river, immersing your memories; long alienated, my heart is aching to meet you).
The poet credits it to the gap that came after Dushyant Kumar’s demise in 1975 at a young age of 42.
“There was a gap in the Hindi poetic arena after Dushyantji. Most were doing lateefebazi (frivolity). Geet and nazm had suffered in the hands of mediocre writers. So, I decided to experiment the mix and it worked out, again, thanks to the social media.”
Breaking monopoly of seniors
Most creative domains have some authoritative forces who wouldn’t let their juniors grow, unless they belonged to their coterie. The world of shayri isn’t an exception. Some senior poets and known lyricists who are also a part of the film world, often started dominating the biggest mushairas.
“If you see the mushairas before 2000, you will notice that same 20-odd shayars would be seen in all mushairas in the country or even abroad. Aik poora giroh thaa jo kisi ko aage aane hi nahi deta thaa. (There was a gang of senior shayars who wouldn’t let any newcomer break their monopoly).”
The social media boom, however, did the needful, especially during Covid and subsequent lockdowns.
Those who were not in any reckoning, started making small videos of their own couplets, or other Youtubers would select couplets of any shayar and upload them for hits. This slowly opened vistas for several hidden talents. Azhar is one of them.
“If you scroll through social media, every second video is about a new shayar or his shayri uploaded by someone to get hits on his Youtube channel. The seniors who once ruled the game, have no role to play in promoting them.”
However, like any pros and cons of a boom, excessive use of social media also popularised mediocrity and exposed the difference between the great poets and weak writers, the originals and copy cats.
The “husn-parast” (esthete) Azhar is a new age craze for the generation which is turning towards simple shayri to understand the heavier later. “I think I have done my job if any youth has started taking interest in reading and creating couplets in simple Urdu.”
And one couldn’t agree more.
(The writer is Delhi-based senior journalist, co-author of ‘Muslims in Media’, poet, an art and music curator.)
source: http://www.thepatriot.in / The Patriot / Home> Profile / by Rana Siddiqui Zaman / August 12th, 2024
