Category Archives: Arts, Culture & Entertainment

Amer Ali Khan releases book on ‘Karbala’

Hyderabad, TELANGANA :

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Hyderabad:

Mr. Amer Ali Khan, News Editor of Siasat Urdu Daily released the Sovenir of “Zawia Adab” society.

It is the first book of the society. In his speech, Mr. Amer Ali Khan told that the incident of Karbala is the eradication of evil forces and support of the values of Islam.

On this occasion, he made a references to various literary books published in English, Hindi and Urdu right from Meer Taqi Meer to the present day.

At the beginning of the function, Mr. Mazharul Haq, President of the society highlighted its aims and objectives.

Present on the occasion were Mr. Ali Anjum Sadiq, Mr. Ali Inayat, Mr. Baquer Mehdi Abedi, Mr. Akhtarul Hasan and Mr. Meer Haider Ali.

Mr. Faraz Rizvi thanked Mr. Amer Ali Khan and the audience.

source: http://www.siasat.com / The Siasat Daily / Home> Hyderabad / by Sameer / October 23rd, 2018

Rich tributes paid to founder of Jamia Hamdard Hakeem Abdul Hameed

NEW DELHI :

HakeemAbdulHameedMPOs24oct2018

New Delhi:

Birth anniversary of noted Hakeem Padma Bhushan Hakeem Abdul Hameed was celebrated on September 14, 2018. Former Rajya Sabha MP and noted journalist Shahid Siddiqui delivered the lecture on ‘Hakeem Abdul Hamed, a great thinker, philosopher and his role in the construction of the nation’ as Chief Guest. The programme was presided over by Prof Syed Ihtesham Hasnain Vice Chancellor Jamia Hamdard. Prof Ihtesham Hasnain said late Hakeem Abdul Hameed was ‘Hamdard’ in the real sense.

Pro Vice-Chancellor Prof Ahmed Kamal, registrar Saud Akhtar, relatives of Hakeem Abdul Hameed from India and Pakistan, a large number of teachers, officers and students were present on the occasion.

Late Hakeem Abdul Hameed, a renowned physician, was the Founder-Chancellor of Jamia Hamdard, which he established with his own resources. A great philanthropist, thinker and visionary, he set up several institutions with the funds of Hamdard Wakf Laboratories. Some of the esteemed institutions established by him include Hamdard National Foundation, Hamdard Education Society, Hamdard Study Circle, Hamdard Public School, Hamdard Institute of Historical Research, Ghalib Academy, Centre for South Asian Studies and Business & Employment Bureau.

Hakeem Abdul Hameed was honoured by several national and international awards including the Avicenna Award presented by the erstwhile USSR in 1983. He was conferred with Padma Shri and Padma Bhushan by the Government of India. He was also an honorary member of the Academy of Medical Science of the Islamic Republic of Iran and Chancellor of Aligarh Muslim University, Aligarh. In October 2000, the Research Centre for Islamic History, Art and Culture (IRCICA) Istanbul, Turkey, presented IRCICA Award for Patronage in Preservation of Cultural Heritage & Promotion of Scholarship to Hakeem Saheb posthumously.

source: http://www.siasat.com / The Siasat Daily / Home> India> News  / by Rasia / September 15th, 2018

Stitch by stitch, homemaker weaves dream into reality

Bengaluru, KARNATAKA :

It takes Dadu two weeks to complete an order.

Nusaiba at work (Photo | Pandarinath B)
Nusaiba at work (Photo | Pandarinath B)

Bengaluru :

Nusaiba, the sole working woman from her family, runs her own boutique on Commercial Street. A fan of Sabyasachi and Manish Malhotra, she was once recognised as a homemaker alone, but today aims to turn her designs into a brand one day. Her journey till this point, she claims, has been a result of maintaining a fine balance between her household expectations and her passion for her dreams. “My kids were young and I had to attend classes to learn more about designing. It was tough but I had my mind set on opening a boutique, so I managed it,” she recalls.

One of Nusaiba’s designs
One of Nusaiba’s designs

Now, she says, her kids are proud of her. “Their school bus passes by my store. They feel happy to tell their friends that this is their mother’s store. On the opening day, my daughter struck off my occupation as ‘housewife’ and wrote ‘fashion designer’ in her school diary.”She also goes on to give credit to her family members, saying, “My husband, a businessman, is a great support. All my family members are supportive,” she adds.

Popularly known as Dadu, the passionate fashion designer has named the boutique on Promenade Road after this nickname. “My customers ask me about the name of the boutique. They say it is intriguing,” Dadu says with a smile.Speacialising in Indo Western wear, Dadu provides customised services. “I discuss client requirements and design the attire accordingly. I show them my colour charts and once it’s all finalised, we work on designs. I give my suggestions and draw them out for my customers,” she explains.

It takes Dadu two weeks to complete an order. “It takes time because we source fabrics from Kolkata and Mumbai. We source white fabrics, dye them to the client’s preferred colour, and then polish them,” she says. Behind this successful woman, is a team of 15 who aid her.

“Only after the trial is done and the fitting is right, we deliver the order,” she says, adding that she always maintains client relationships even after orders are delivered.On an average, she gets at least four to five orders a day. “We have many regular customers. I have customers from the UK and the US as well, who have liked the designs I share on social media, and have gotten in touch with me. I have been getting a good response,” she says.

Dadu is a diploma holder in fashion designing, with a one-year diploma course in Calicut and another 1.5 year diploma course in Bengaluru. With the sky as the limit for her dreams, she is planning to expand her venture to Kochi, Hyderabad and Chennai in two years.

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Akhila Damodaran, Express News Service / October 23rd, 2018

Md Saaduddin a scrap metal artist

Hyderabad, TELANGANA :

Md Saaduddin is on an artsy journey where he utilises scrap metal to construct purely artistic as well as functional sculptures.

I was always inclined towards art but I never had the nazakat that is needed to wield a paint brush. The hammer and grinder are a better fit for me. (Photo: DC)
I was always inclined towards art but I never had the nazakat that is needed to wield a paint brush. The hammer and grinder are a better fit for me. (Photo: DC)

It is quite common for a young boy to fall in love with machines. But what is not so common is translating that love into beautiful art. Although Md Saaduddin is today an artist, he does not work on canvases, but with scrap iron, steel and sometimes copper to make beautiful sculptures and functional art pieces like lamps and furniture, some set in the backdrop of interesting storylines.

With Saad’s father being a vintage car restorer, he, along with his brother Hamzauddin, grew up around machines, albeit with a unique perspective. On how he took up the hobby, the mechanical engineer and  self-made artist says, “I was always inclined towards art but I never had the nazakat that is needed to wield a paint brush. The hammer and grinder are a better fit for me. I love it also because of the physical work that is involved in creating it.” Saaduddin spends time on his artwork in the evenings, after work, and has made furniture for a couple of breweries in the city.

Explaining his style of work, he shares, “I try to incorporate a sense of movement. A bird just about to take flight, for instance! I’ve learnt the art by watching other people online and practicing. I used to help my dad in his workshop, and that’s how I got introduced to it. Just once a year, my brother and I collect all our savings and build a modified bike. We ride it around to our heart’s content and then sell it.”

He further reveals, “I’m also getting into blacksmithery now; I usually make the handles of spatulas and ladels with this. People appreciated my work and said I should get on Instagram. That’s how I started IRONic”

His brother, Md Hamzauddin is another bundle of talent, whose digital art is recognised around the world. He goes by the name ‘Hamerred’. Hamzauddin’s works have been showcased in countries like the US, Mexico and many others. In fact, he was also one of the only 13 artists from around the world to display their art at the Oil and Ink Expo, a motorcycle art show.  Hamza’s signature style features paint dripping from motorbikes.

source: http://www.deccanchronicle.com / Deccan Chronicle / Home> Lifestyle> Books and Art / by Nikhita Gowra, Deccan Chronicle / December 04th, 2017

Mohammed Hussain’s Mawa jalebi is a huge hit in the month of Ramzan

Mumbai, MAHARASHTRA :

In a narrow lane, Burhanpur Mawa Jalebi is a 4×4 sq ft shop, no bigger than a kiosk.

Peak hours of business during Ramzan begin after 10 pm for Burhanpur Mawa Jalebi. (Source: Express photo by Vasant Prabhu)
Peak hours of business during Ramzan begin after 10 pm for Burhanpur Mawa Jalebi. (Source: Express photo by Vasant Prabhu)

Tight coils of pale yellow turn dark brown within minutes. As soon as they rise to the surface in the kadhai of hot oil, cooked to their thick core, Mohammed Hussain scoops them out with a frying ladle and deposits them in a shallow dish of thick sugar syrup. Immediately, the customers that have, until now, been watching Hussain intently, close in for the mawa jalebi.

During the month of Ramzan, Mohammed Ali Road in Mumbai wears a festive look. By 6 pm, the air is thick with a mix of aromas as all shops and stalls in the Khau Galli light up with fairy lights. Walk down the crowded lane and one notices that the jalebi is curiously missing from the scene. “That is because Mohammed Ali Road has only one jalebi shop, and not the regular variety but mawa jalebi, available at Burhanpur Mawa Jalebi,” says the cashier at Suleman Usman Mithaiwala, which sits at the Khau Galli junction.

In a narrow lane, Burhanpur Mawa Jalebi is a 4×4 sq ft shop, no bigger than a kiosk. Hussain and his brothers Mohammed Yusuf and Mohammed Hissar cater to the thickening crowd. “Mawa jalebi is a specialty from Madhya Pradesh,” says Yusuf between taking orders. “Our shop introduced Mumbai to this sweet, which is distinct,” he adds.

Made using mawa, arrowroot and milk, it is closer to gulab jamun in taste. “Its crispness comes from arrowroot, which gives the batter a better hold. Unlike the other jalebi, this doesn’t have the tinge of sour taste,” says Hussain.

Burhanpur Mawa Jalebi was started a decade ago by his uncle Nooruddin. “The recipe is original, passed on by a karigar in Mathura to our maternal grandfather,” says Hussain. This shop is a branch of the original, which has been in Burhanpur, for 45 years.

Open from 3 pm to 3 am during Ramzan and till midnight on other days, Burhanpur Mawa Jalebi prices its specialty at Rs 240 a kg. “With a hike in the rates of mawa and other ingredients, we will increase its price after Ramzan,” says Yusuf. Why not during the festive season, when they are bound to do good business? “Ramzan is a holy month; a time to reflect, cleanse self and do good. Acting greedy will bring us sin,” says Yusuf. Upon hearing the azaan at the nearby Minara Masjid, he takes a break and heads in the direction. It is time for namaaz before he breaks his fast.

source: http://www.indianexpress.com / The Indian Express / Home> Lifestyle / by Dipti Nagpaul D’Souza, Mumbai / July 09th, 2015

‘Nur Jahan is the history of India’: Historian Ruby Lal on her new book

INDIA :

In an interview with Indianexpress.com, Lal spoke about the incredible achievements of Nur Jahan. Remnants of imperial orders issued by her, coins minted in her name, paintings that paid ode to her sovereignty and bravery are all evidence of the enormously powerful figure she was.

Left- Cover of the book ‘Empress: The astonishing reign of Nur Jahan’ (wwnorton.com) Right- Historian Ruby Lal (personal website of Ruby Lal)
Left- Cover of the book ‘Empress: The astonishing reign of Nur Jahan’ (wwnorton.com) Right- Historian Ruby Lal (personal website of Ruby Lal)

For four centuries, from when she was at the centre of one of the largest empires of the world, Nur Jahan, the twentieth and supposedly the most loved wife of Mughal emperor Jahangir, has been a household name in the Subcontinent. Though she was not officially the ruler of Mughal India, Nur Jahan has been noted by historians to be the real power behind the throne. A politically astute and charismatic figure, she ruled Mughal India as a co-sovereign of Jahangir and is known to have been more decisive and influential than he ever was. Historian Ruby Lal in her latest book, ‘Empress: The astonishing reign of Nur Jahan’, dives deep into the intriguing world of the only woman to have helmed the Mughal empire. Tracing her life in great detail, Lal attempts to rip apart narratives of romance and exoticism that surround the image of Nur Jahan and focus upon what made a Muslim woman living in seventeenth-century India, one of the most authoritarian figures in Indian history.

In an interview with Indianexpress.com, Lal spoke about the incredible achievements of Nur Jahan. “People say she always sat right next to Jehangir in the court and that if some cases or decisions came up and if she agreed with him, she would pat him on the back and he would say yes to that decision,” says Lal who is Professor of South Asian Studies at Emory University in Atlanta. Remnants of imperial orders issued by her, coins minted in her name, paintings that paid ode to her sovereignty and bravery are all evidence of the enormously powerful figure she was. Charting the life history of Nur Jahan, and placing her in the background of the pluralistic cultural space that Mughal India was, Lal puts together an evocative biographical account of the queen.

Here are excerpts from the interview with Lal.

Popular perception of Nur Jahan is somehow constricted to the romantic relationship she shared with Jahangir. Why is that the case?

There is a very long history of the erasure of Nur Jahan’s power that I chart in the book. As she traveled through the length and breadth of the country with Jahangir – issuing imperial orders, hunting a killer tiger near Mathura, discussing the expansion of the empire- she rose to being the co-sovereign. This does not mean that in her own time people did not raise eyebrows. In 1622, her stepson and Jahangir’s son Shah Jahan had risen in revolt. The catalyst for his revolt was the moment when Nur Jahan arranged a match for her daughter from her first marriage, Ladli; she chose the youngest prince, Shahriyar for her. About that time, Shah Jahan went into rebellion against Jahangir. And its is very clear that he felt threatened; he knew about the power of Nur Jahan. In fact, Shah Jahan and Nur Jahan had been closely aligned. The year 1622 is when certain chroniclers begin to write about the chaos that Nur Jahan Begum had raked up between the father and son.

“There is a very long history of the erasure of Nur Jahan’s power that I chart in the book,” says Ruby Lal. (Wikimedia Commons)
“There is a very long history of the erasure of Nur Jahan’s power that I chart in the book,” says Ruby Lal. (Wikimedia Commons)

So the early criticism appears to begin around this time. The other major moment of critique of Nur’s power was when they were on their way to Kashmir and Mahabat Khan (who went on to capture Jahangir later in 1626) goes on the journey with them to a certain distance and according to one of the chroniclers he says to Jahangir that a man who was governed by a woman is likely to suffer from unforseen results. In 1626, she, completely visible, goes to save Jahangir (sitting upon an elephant on a roaring river), commanding all men including her brother Asaf Khan. She stratergises and eventually saves the emperor. After this, we begin to come across a word called Fitna, in the records.

Fitna is a very loaded term in Islamic history. It is used for the first time during the Shia-Sunni split for civil strife. It was also used against Ayesha, Prophet Muhammad’s favourite wife, when she went on a battle against Ali who was eventually the leader of the Shias. Over time, the word came to be used against women’s visibility, their sexuality and so on. Following 1626, this is one word that is used repeatedly against nur – that is to say that her power produced chaos.

Later, in the Shahjahanama, we find that at one point that the chronicler lists her power as a “problem”: the Shahjahanama reverts to the male inheritance of power and completely undoes her co-sovereignty with Jahangir.

Then there were also visitors to India like Thomas Roe, the ambassador of James I of England who follows Nur and Jahangir through the camps in Gujarat and Malwa. He calls her the Goddess of heathen impiety.

In the 19th century orientalist renditions of the romance of Nur and Jahangir become very important in the histories of the time; later, the colonial renditions highlight and forward such stories. Nur Jahan becomes classic oriental queen. Thus, a long-standing history of the erasure of the power of an astonishing emperess. It is certain that the erasure of Nur’s power travels into modern times and we only hear about her romance with Jahangir, not about her work as co-sovereign of the empire.

Jahangir is often compared with Akbar and criticised for being an uncompetitive, flamboyant king, who spent much of his time in drinking and merrymaking. But the fact that it was during the reign of Jahangir that a woman became so powerful, what does it say about his attitude towards women?

You are right, this is how Jahangir has come to be imagined. There are a range of scholars who for sometime now have been rethinking Jahangir’s reign, his philosophical and artistic engagements. My book foregrounds the ways in which Jahangir seeks to go differently from how Akbar articulated his sovereignty. If you look at the reigns of Babur and Humayun, there was no stone harem: the kings were nomadic and forever on the move. During Akbar the Great, for the first time in Mughal history, the imperial harem is built in stone in Fatehpur Sikhri. For the first time in the Ain-e-Akbari, women are declared as ‘pardeh-giyan’ which means “the veiled ones.”

“My book foregrounds the ways in which Jahangir seeks to go differently from how Akbar articulated his sovereignty,” says Ruby Lal. (Wikimedia Commons)
“My book foregrounds the ways in which Jahangir seeks to go differently from how Akbar articulated his sovereignty,” says Ruby Lal. (Wikimedia Commons)

But what Jahangir does is that he goes back to the ethics of Babur. He was constantly wandering, he was constantly moving. The ethics of a peripatetic life and movement, which contributed to the co-sovereignty of Nur Jahan. Nur Jahan is the biggest example of Jahangir’s attitude towards women. An 18th-century chronicler that advances the Jahangirnama to the end of Jahangir’s death had suggested that the emperor had once claimed that he had given the sovereignty to Nur Jahan Begum and that he was quite content with his wine and meat. It’s an allegorical statement: and one indicates his admiration of Nur, something that he chronicles in his own memoir

Would Nur Jahan be this powerful had she not been married to Jahangir or had she not been part of the Mughal empire?

I think, Nur Jahan, looking at her whole life history and context, would have expressed her power differently in other circumstances. Her life history shows her dynamism and boldness. Of course, as I have been saying, and detail in the book that the plural landscape of Hindustan was very important- in that that it fostered experimentation and all sorts of ways of being (alongside war other challenges of co-existence of multi-confessional identities). We should also remember that she comes from an important Persian family background, deeply invested in poetry, arts, calligraphy. Then her own initiative must be highlighted: there were other women in the harem – and indeed Nur walks in the tracks of these women’s power – but no one becomes a co-sovereign. That speaks something about her boldness, her endeavours and of course her ambition.

Islamic societies are often noted to be more regressive compared to others in their treatment of women. In your book do you try to subvert this notion?

I Am trying to suggest that Nur Jahan is the history of India. She was a Shia married to a Sunni Muslim who was also half Hindu Rajput. Further, Nur Jahan is the only woman ruler among the great Mughals of India (there are technical signs of being a sovereign and informal signs, both of which I detail in the book). That is the history of India. As far as Islam is concerned, people should know that there were incredible and powerful women in Islamic history all the way through. We have Ayesha, Raziya, we have Nur Jahan Begum, we have any number of powerful women. It is also the multicultural world. In the modern world, we tend to think in terms of fixed identities. People in early modern times were much more open. Jahangir was engaging with Siddichandra, a Jain monk. Nur Jahan used to tease him about the pleasures of the flesh.  What does this tell you? It tells you about an open engagement. It tells you about how experimental Islam is, how mixed Islam is, how vibrant Muslim women are and how Islam is so deeply attached to India.

‘Empress: The astonishing reign of Nur Jahan’ has been published by W.W.Norton in the United States earlier this month and will be published by Penguin Books in India soon.
source: http://www.indianexpress.com / The Indian Express / Home> Research / by Anrija Roychowdhury, New Delhi / July 11th, 2018

Brand dame

NEW DELHI :

ShahnazHussainMPOs15oct2018

Entrepreneur, under-the-radar philanthropist and an over-the-top personality — the relevance of Shahnaz Husain 40 years after her first formulation

Shahnaz Husain’s press kit weighs 12.3 kilos, and contains press clippings from around the world. But then everything about her is over the top, and it’s not just her red hair threaded through with gold ribbons. Of her 58 homes, one is in Delhi’s tony Greater Kailash. There is a Rolls-Royce and a Jaguar parked up front, while inside is a sort of Midas-touch shocker. There are swans, a Ganesha, cushions, high-backed chairs, window valances, all in gold. There is an MF Husain on the wall that the artist did especially for her, large urns in the corners taller than people, horses sprinting across the carpet. Curios clutter, and I imagine a dusting nightmare.

She is not short on staff though. There are at least 15 people I have counted, and I am there just for a couple of hours. They appear, to offer food, tea, more food, juice; and to take instruction each time Shahnaz rings her bell to show me something — her first husband’s photograph, a letter from romance novelist Barbara Cartland’s friend’s son whose eyesight she cured, a picture of a man she picked up off the street because he was lame. They are dismissed soon after, with a wave of Madam’s hand.

She is wearing a blue-and-leopard print cassock-like garment, and holds forth for the next couple of hours. While she knows just what to say to the media, often telling the same stories, there is a certain warmth I feel, even as she holds my hand, her 70+ years, showing only in her hands.

Cosmetic shift

She begins with the first of many stories (these are her forte, not the dates or the details): when on a course with cosmetics entrepreneur Helena Rubinstein, she had a friend whose mother would come and sit outside the class because she was blind and had no one to take care of her at home. “She’d been a sought-after model who had worked for an eye make-up company,” says Shahnaz. She had modelled a new line, complaining to the manufacturers that her eyes would feel blurred after use. “They told her to wash them and put Optrix.” The blurring continued, until she simply could not see any more.

Shahnaz was learning what she calls “chemical beauty” at the time — Arnould Taylor, London; Christine Valmy, New York; Lancome, Paris; Swarzkopf, Germany; Lean of Copenhagen, Denmark. “There was no school I hadn’t been to, until Rubenstein started to say ‘we have nothing to teach you’.” She had funded herself through her writing work. Married at 15 to Nasir Husain, who was director foreign trade in the State Trading Corporation, she was determined to study. She did, for eight years.

Back in India when she was about 24, she set up a small factory in Delhi’s Okhla (that she still has) and “employed a yurvaids . I gave them the chemical formulations and asked them to convert them”. She also recruited chemists to make products for “treatment and cures” — falling hair, acne, pigmentation, dark circles, stretch marks. She asked people who came to her home salon to test them and give her feedback, tweaking each product as she went along. They retailed out of Sahib Singh Chemists in Connaught Place, in little white bottles with green caps and handwritten labels. That is the thing, she says. It has never been about beauty, but always about Ayurveda, in the days before it became a marketing tool.

Thinking beyond business

There is no marketing, in fact. At an address at Harvard Business School in 2015, she spoke about how she created a successful business sans advertising. Two years ago she told the same school in an interview how she entered Selfridges and broke a 40-year record, selling products worth £2,700 (approximately Rs. 2,63,500) in the first two hours, even as she displaced half of the space allocated to Pierre Cardin.

Her way of entering a foreign market is often through the Indian government (as in Selfridges, where Ingrid Bergman bought 12 of her cactus cleansing creams at the Festival of India), and by liaising with the press. She says wherever in the world she goes, ambassadors are happy to organise a press conference. She will talk Ayurveda, distribute samples, and get enormous press coverage. She is clear that the future is Ayurveda, not chemicals.

In fact, even as a young girl travelling the world studying, her father, Nasirullah Beg, a chief justice of the Allahabad High Court, would write to the ambassadors in various countries so his daughter could stay with them through the duration of the course.

But it is not just running a business; she is happy to dole out products made for cancer patients free of cost, especially those with patches of alopecia, and will pick people off the street, offering them jobs, connecting them to medical specialists.

Today, the company invests in R&D, with customers from salons testing them out, though it is not clear whether they know they are part of the research. She also talks in terms of “prescriptions” and “fairness creams”, a throwback to an era where protocols, both medical and social, were not as strict.

The label life

Earlier this year, the Shahnaz Husain brand was relaunched, with a new store at Delhi’s Select Citywalk, with new branding that seems rather mixed, with large pictures of flowers all over the frontage. Her face is still on some of the packaging, not retro-styled, but much like how it would have been done in the ’90s. She is not about to sell out or have anyone invest in the company. The brand is present in 40 countries today, including Iceland and Vietnam.

I dare not ask, ‘What after you?’ For Shahnaz is the brand.

As we conclude, she declares, “I think you have enough for a book now,” in her alto. Then she asks for her matching blue-and-leopard print bag, as we sit in her foyer, surrounded by a garden of plastic flowers, taking photos, with a couple of photographers jumping into the fray, seemingly from nowhere (waiting in the wings for this moment, perhaps). “Now we are best friends,” she declares, after we cut a cake, the done thing when a guest comes to her house for the first time.

She says wherever in the world she goes, ambassadors are happy to organise a press conference. She will talk Ayurveda, distribute samples, and get enormous press coverage. She is clear that the future is Ayurveda, not chemicals.

source: http://www.thehindu.com / The Hindu / Home> Features> Weekend / by Sunalini Mathew / October 13th, 2018

Shahryar — A Life in Poetry review: Dream merchant

Aonia,Bareilly / Aligarh – UTTAR PRADESH :

ShahryarMPOs14oct2018

Why a flag-bearer of modern Urdu poetry chose to be moderate

In 1936, Munshi Premchand made a seminal speech, Sahitya ka Uddeshya(‘The Aim of Literature’), to the Progressive Writers’ Association. While asserting that literature is meant to critique society, the novelist said it can never regress into propaganda. The point applies to the work of Shahryar, who was born, reportedly, in the same year. For, while being a self-avowed Marxist, he refused to be bracketed into the categories of ‘modernism’ or ‘progressivism’. Finding his voice in the post-Nehruvian period of disillusionment in the 1960s, he turned his gaze inward, into the inner struggles of an individual, while not remaining oblivious of the external environment.

Rakhshanda Jalil stresses in Shahryar: A Life in Poetry that his tone was one of moderation. The poet, who was among the flag-bearers of the jadeed (modern) shayari, did not declaim, he whispered into the reader’s ears his thoughts on social issues. One example is Ek Siyasi Nazm (A Political Poem), where he gently chides a neighbour who has passed on his communal hatred to his children.

Some of the leitmotifs that occupied the poet’s imagination were sleep, dreams and night. His most famous collection, Khwab ke Dar Band Hain (The Doorway to Dreams is Closed), paid tribute to his favourite theme, khwab (dream). In its title nazm, he presents the night as freeing the eyes of the protagonist not only of all ‘sins’ but also of dreams, an act that he calls a punishment.

The poet, among the four Urdu writers to have been given the Jnanpith, is remembered outside Urdu literary circles, and especially among cinephiles, for his association with filmmaker Muzaffar Ali. The partnership resulted in Gaman, Umrao Jaan, Anjuman and the incomplete Daman and Zooni. It is when Jalil delves into this side of Shahryar that her arguments become a bit problematic, especially when she says that there exists a dichotomy between film lyrics and poetry.

Here, Sahir Ludhianvi’s write-up to his fellow poets is instructive. While Ludhianvi acknowledged that a nagma nigar (lyricist) doesn’t have the freedom of an adabi shayar (poet), as he is constrained by the film’s screenplay and characters, he added that his own attempt was to elevate film lyrics to the status of high art. It is when a film’s lyrics rise above its mere narrative that they take the form of art. What Jalil ignores is that a poetry lover would use such lyrics as a trigger to delve deeper into a poet’s corpus. An appreciation of Seene Mein Jalan won’t stop at listening to the song; it would progress to a reading of Ism-e-Azam, the collection from where the ghazal was taken.

Shahryar: A Life in Poetry; Rakhshanda Jalil, HarperCollins, ₹599.

source: http://www.thehindu.com / The Hindu / Home> Books> Reviews / by Hari Narayan / October 13th, 2018

The palace of delights

Mandu (Dhar District), MADHYA PRADESH :

ManduMPOs13oct2018

No rainy day can be better spent than roaming around Mandu’s Jahaz Mahal, with Jahangir’s words as guide

“What words of mine can describe the beauty of the grass and green flowers? They clothe each hill and dale, each slope and plain. I know of no place so pleasant in climate and so pretty in scenery as Mandu in the rainy season,” wrote Jahangir in his memoirs.

On a misty morning in July, we entered the hilly kingdom of Mandu with these words echoing in my mind.

In 1401, Dilawar Khan, the governor of Malwa who was appointed by the Delhi Sultans, took advantage of the chaos resulting from Mongol attacks and declared his independence. He shifted the capital from Dhar to Mandu (Mandav) and renamed it Shadiabad, or City of Joy. When Ghiyasuddin Shah (1469-1500 AD) came to the throne, he decided that his father, Mahmud Shah I, had expanded the kingdom enough. All he wanted to do was enjoy life. Handing over the affairs of the kingdom to his son and heir, Nasir Shah, Ghiyasuddin Shah gave himself up to a life of delights. He was a connoisseur of food, and his recipes are sealed in an illustrated book, Nimatnama, that is with the British Library and has been translated into English by Norah M. Tiley as The Sultan’s Book of Delights.

A life of pleasure

Ghiyasuddin Shah wasn’t joking when he declared that he wanted to devote himself to a life of pleasure. He filled his harem with women who were trained in various disciplines for which they had an aptitude. While some were singers, dancers, painters and chefs, others were trained to be his guards and personal soldiers. He established a madarsa and educated the women to be proficient in religious as well as secular subjects. There were Qazis, schoolmistresses, hunters, scholars, embroiderers, and accountants among them.

We drove straight to Jahaz Mahal, a stunning building, named as such because its shape, when it fell on the water tanks surrounding it, looked like a ship.

All the guides and stories will tell you that Ghiyasuddin Shah built it to house his harem. A probably exaggerated figure of his harem was given by Jahangir, who wrote it as 15,000. That figure is gleefully quoted by local guides, with perhaps a hint of envy on their faces.

After Dilawar Khan established the Malwa dynasty he got architects and craftsmen from Delhi. The early buildings bear a stamp of the Tughlaq and Khilji architecture of Delhi.

The Jahaz Mahal, however, is a flight of imagination and takes yours along with it. I could see girls dancing and singing in the rain on the rooftop and in the courtyards, their shadows reflecting on the Munj Talao and Kaphur Taloo surrounding it.

The strains of Megh Malhar were flooding my senses, and in my mind’s eye I could see the arcades being lit up by the lanterns and lamps that were floating on the water, glimmering and dipping along with the wind, glowing like fireflies.

I could smell the heavily laden kadhais (woks), with samosas and baras being fried. As the illustrations of the Nimatnama show, the Sultan took a keen interest in, and was perhaps supervising, the correct temperature of the oil, the salt in the filling. How golden was the result?

Who knows? All I know is that I was transported back to the 15th century as soon as I entered the long, double-storied Jahaz Mahal through its main arched, marble entrance. At the back, every arch of the continuous arcaded 360-feet building opens on to Munj Talao. I don’t know how close it was originally to Kaphur (Camphor), now called Kapoor Talao, but now this is quite a distance from it. There are manicured lawns between it.

Initially it was decorated with glazed tiles and colourful friezes. Now we have the unfortunate graffiti that people are wont to inscribe on monuments. The cool corridors and pillared compartments were made for dancing and singing.

Nur Jahan accompanied Jahangir to Mandu in 1617 and the palace complex of Mandu enchanted the royal couple.

A magical bubble

Jahangir sent Abdul Karim in an advance party to repair the buildings. He was so pleased with the result that he rewarded him with the title of Ma’mur Khan (architect Khan). Mandu is a treasure house of water harvesting. There are also bathing tanks. There are two in this palace, on both the floors, shaped like a tortoise with steps going in. Now devoid of water, one can imagine women going to the toilet there, with roses and lotus flowers floating in the perfumed waters.

The roof has a few open pavilions and kiosks on its four corners. While I was there on the wet, open terrace, the mist came and blotted out everything around. We were trapped in our very own magical bubble.

source: http://www.thehindu.com / The Hindu / Home> Opinion – Where Stones Speak / by Rana Safvi / September 03rd, 2017

Mumbaiwale: Four local Islamic landmarks to check out – each with its own colourful history

Mumbai, MAHARASHTRA :

An adult cinema turned mosque, a Muslim home turned film museum, a gorgeous blue masjid & a dargah cops love.

The one that now houses a film museum

National Museum of Indian Cinema, Pedder Road

On Pedder Road, one Muslim-owned mansion has been converted in a someday-to-be-opened museum for the movies. Gulshan Abad, the Victorian-Gothic villa, was built in the mid-1800s (a time when the main entrance itself offered a view of the Arabian sea) and was home to the Gujarati businessman Peerbhoy Khalakdina. The five-acre estate was eventually inherited by a relative Cassamally Jairazbhoy, whose third wife, Khurshid Rajabally, hosted cultural gatherings at the home in the 1920s.

Rajabally’s filming of a Haj pilgrimage makes her one of India’s earliest documentary filmmakers. Her son Nazir Ali made documentaries about Indian classical and folk music.

The home served as a hospital for WWII soldiers and in 1949 was briefly rented out to Jai Hind College before the institution found a permanent campus in Churchgate in 1952. But in 1950, the government confiscated the estate, declaring it an evacuee property after Partition.

The home, now restored, holds artefacts from India’s rich cinematic history. Alas, the launch has been tied up in bureaucratic red tape, and you can only get as far as the entrance.

The one that used to be an adult movie theatre

Deeniyat centre, Mumbai Central

The Deeniyat educational and charitable trust couldn’t be more wholesome. It aims to educate children, men and women in basic Islamic tenets and moral teachings related to the Koran and Sunnah. But the institution and mosque are housed in a building that once screened films of less salubrious taste.

In 1914, Ardeshir Irani and Abdulally Esoofally, both instrumental businessmen in early Indian cinema, bought a theatre near Nagpada junction on Bellasis Road. By 1918, they’d named it Alexandra Cinema and converted it into a movie hall, screening films from India and abroad. The single-screen movie hall screened films through the decades – silent films, new talkies, Technicolor hits, epics, Amitabh’s angry-young-man phase and blockbusters. But by the 80s, it was largely where you’d go to watch a B-grade or adult film.

In 2011, a developer bought the 15,000sqft property, turning it over to the non-profit. Deeniyat has spruced up the interiors, and even added a mosque inside. But the exterior – tiled roofs, wraparound verandahs – stays largely the same.

The one where the cops go to worship

Hazrat Makhdum Fakih Ali Mahimi dargah, Mahim

The scholar-saint who lived between 1372 and 1431, was the first commentator of the Koran in India. His books have focus on the philosophy of time and space. He was the Qazi or judge for the Muslims of Thana district.

But what makes him the patron saint of the Mumbai Police? Because he lived at a time when the Portuguese had possession of Salsette, the islands north of Mahim. A Portuguese sergeant would seek his advice and help on many cases. Many also believe that the site at which the Mahim police station stands is said to have been the saint’s home.

Until today, during the annual urs or fair held in his honour, it’s the policemen who lay the first ornamental sheet over his tomb at the dargah. On the urs days, devotees can also walk into the police station premises to pay their respects.

The blue one that catches the moonlight

Masjid-E-Iranian, Dongri

I first saw what is locally called the Mughal Masjid on a local-history tour of Bhendi Bazaar back in 2005 (Yes, I was a nerd before it was fashionable). I was lucky. It was a cool full-moon night and the blue tiles seemed to glow in the dark. For a minute, this tiny corner of Mumbai seemed like Morocco.

The mosque is 158 years old, built by a wealthy Iranian merchant, Haji Mohammad Hussain Shirazi, in 1860 and is maintained by a trust set up by his descendants. It has no dome, but two minarets, and a mosaic of blue tiles of every hue and pattern.

Inside, if you do get permission to enter is a lawn, a pond, a fountain, crystal chandeliers in the inner sanctum and Koran verses inscribed on the walls.

source: http://www.hindustantimes.com / Hindustan Times / Home> Mumbai / by Rachel Lopes, Hindustan Times / October 05th, 2018