Category Archives: Arts, Culture & Entertainment

Unfading letters on pages of silk

Kalaburagi (old ..Gulbarga) , KARNATAKA :

The library at the Khaja Bandanawaz Dargah in Gulbarga.
The library at the Khaja Bandanawaz Dargah in Gulbarga.

The library of Khaja Bandanawaz Dargah takes you back to the time of the emperors

The city of Gulbarga in Karnataka received much attention when the government decided to rename it as Kalaburagi a few years ago. Tucked away in the corner of freshly-minted Kalaburagi is a library that is seldom mentioned anywhere. Yet, this library, of the Dargah of Khaja Bandanawaz in Gulbarga, is a repository of some of the rarest of books on Tasawwuf (Sufism), Tafsir (Koranic commentary), Fiqh (Islamic jurisprudence), Ilm-e-Kalam (science of discourse), history, linguistics, and biographies of the Sufis of yore.

Operating out of a remote corner in the mausoleum complex, the library is not known to many people, except scholars researching Islam or Sufism. But that is going to change soon, thanks to the current sajjada nashin (custodian) of the Dargah, Syed Shah Khusro Hussaini.

The library is going to be moved to new premises with state-of-the art facilities, which will enable access to its carefully archived resources.

Lac seal

A part of the All India Syed Muhammad Gisudaraz Research Academy, the library has a collection of over 4,000 books and nearly 500 manuscripts. The collection includes about 25 biographies of Khaja Bandanawaz.

Perhaps the most prized item in the collection are three bound volumes of letters titled Khutoot Shahan e Salf (Letters from the Emperors) dating back to 1755. These are 23 letters, each on a page made of cardboard, with a lac seal embedded in a corner. This was the practice followed at that time to authenticate the origin of firmans (decrees) and letters from the imperial court. Some of the letters are from Aurangzeb’s court.

Khaja Bandanawaz Gisudaraz (1321 to 1422 AD), who carried the Chishti order of saints to South India, was a disciple of Hazrat Nasiruddin Chiragh Dehalvi. He moved first to Daulatabad, the capital of India during the Tughlaq era, and then came to Gulbarga in 1400 AD under the reign of Firuzshah Bahamani. Bandanawaz himself wrote a commentary of the Koran titled Tafsir e Multaqit, which ran to two volumes.

One of the volumes was preserved in Kutubkhana-i-Nasiriya, Lucknow. The other ended up in the British Library. An old patron of Gulbarga Library who had migrated to Karachi during Partition noticed it in London and sent a photocopy to the sajjada nashin a few years back. The Dairatul Maarifil Osmania (Institute of Oriental Studies in Hyderabad’s Osmania University) recently published Tafsir e Multaqit.

Sword-patterned decree

The library also preserves the original volume of Awariful Maarif, the famous Persian treatise on Sufism by Shahabuddin Suharwardy, written in the 12th century.

Khaja Bandanawaz wrote its key in Persian and titled it Maariful Awarif. Tafseer e Azeezi, written on silk pages, is yet another marvellous book treasured by the library.

It is a translation of and commentary on the Koran by the 18th-century Delhi scholar, Shah Abdul Aziz. The calligraphy was done about 200 years ago but the text retains the original brightness and beauty. While the Urdu translation runs underneath every line of the original Arabic text, the commentary is on the margins.

An imperial firman that hangs in a glass panel is written in Khat-e-Shikasta (calligraphy mimicking various objects) dating back to the 986th year of the Hijri calendar (corresponding to 1578 AD). Here, the lines of the firman run in the pattern of a sword.

The library is now headed by Dr. Mohamad Qamaruddun, an Arabic and Persian scholar from Bihar. Qamaruddin says the library receives scholars from the Oriental Studies department of universities in the U.S. and the U.K. The library plans to soon prepare a catalogue of the books and microfilms of all manuscripts. It will also digitise some of the more important works.

M.A. Siraj is a Bengaluru-based journalist.

source: http://www.thehindu.com / The Hindu / Home> Books / by M.A. Siraj / October 14th, 2017

AIFW: Nida Mahmood X Milind Soman’s collection launches India’s first running sari

NEW DELHI :

Nida01MPOs15oct2017

The opening night of Amazon India Fashion Week SS 18 was celebrated by the collaboration of designer Nida Mahmood and Milind Soman’s active lifestyle brand. The collection was inspired by the rich culture, colours, textiles in their four distinct lines.
The ageless art of Ikat was also an inspiration for designer Nida. From indigo dyeing, printing techniques and Mughal patterns, the collection was a visual treat on the Day 1 of AIFW.
The silhouettes were inspired by women of India, keeping their comfort in mind for various forms of workout. Be it a dance class or running out in a gym, the outfits will cater to all. This genius collab with the fitness enthusiast Milind Soman brought together body positive image and inclusivity through the collection.

One of the main highlights of the collection was the first ever running sari, suitable for all Indian women of different shapes and sizes. Who would have that of that?

“With the launch of our running sari we now empower more women to get fit with their choice of silhouette”, said Milind Soman in a statement.

The clothes were made keeping in mind every person’s body requirement, empowering women to be fit with their choice of clothes. Made with 100% recycled plastic bottles, the collection is a treat for all fitness buffs.

source: http://www.timesofindia.indiatimes.com / The Times of India / News> Lifestyle> Fashion> Fashion Shows / TNN / October 13th, 2017

Home Cooking – The Syrian refugees who bring Arab cuisine to south Delhi

NEW DELHI :

The wallpaper of Asharq al-Awsat bears images of Beit Jabri, a large, famous restaurant in Damascus. / Photo: Vamika Jain
The wallpaper of Asharq al-Awsat bears images of Beit Jabri, a large, famous restaurant in Damascus. / Photo: Vamika Jain

When I walked into Asharq al-Awsat on a morning in early July, a man named Anas was praising Abdullah, the restaurant’s head chef, for helping him feel like he was back in his native Syria. Anas’s praise was prompted by Abdullah’s kibbeh labaniyeh—a yoghurt-based meat dish that is a staple of Arab cooking.

Like many of the guests who frequent Asharq al-Awsat, Anas was receiving treatment at a medical centre nearby. Over the past several years, Sarita Vihar has become a hub for medical tourists from all over the world, especially West Asia, who come to receive affordable medical treatment at private hospitals in the neighbourhood. While here, many patients from West Asia yearn for a taste of home, particularly because the food they are accustomed to is much less spicy than Indian food. Responding to this need, Asharq al-Awsat—which translates to “the Middle East” in Arabic—serves up Arab food in a setting that almost makes you forget that you are in India.

Asharq al-Awsat is on the fourth floor of Om Palace, a guest house in an area of Sarita Vihar dotted with lodging for medical tourists. The restaurant’s wallpaper bears images of Beit Jabri—a large, iconic restaurant in Damascus. An Arabic news channel plays on a small television. The restaurant’s patrons are typically Arabs wearing off-white thawbs and joking loudly in Arabic. But these jolly surroundings belie the difficulties faced by many of the restaurant’s patrons and staff.

Abdullah used to work as a chef in Damascus, but he and his family fled the ongoing Syrian civil war in 2011, leaving for Delhi. “Other than the war, there’s no other reason I would ever leave Syria,” he said. He lost two brothers in the war.

Two years after leaving Syria, Abdullah began work at Asharq al-Awsat. The restaurant was founded by Sohaib Kamal, an Indian man from Rajasthan, who studied Arabic and Farsi in a madrasa in old Delhi. He was inspired to open the restaurant in 2013, he told me, after he visited Om Palace—which, at the time, had an Indian restaurant on the fourth floor. Kamal spoke to many West Asian medical tourists staying at the hotel who were struggling to stomach the restaurant’s spicy food. “When I met a few Iraqis here once, they complained, ‘Coming to India was such a mistake—there’s nothing to eat here! I can’t even drink tea here, because I’m afraid it could be spicy,’” Kamal recounted, when I met him at Asharq al-Awsat. “They were so distressed and hungry all the time, and would end up eating biscuits and curd for meals.” Kamal spoke to the owners of the Indian restaurant and asked if he could start a restaurant there that served Arab cuisine. The owners agreed to rent out their kitchen, and Kamal opened his restaurant.

One day, about a month after Kamal rented out the fourth-floor space, Abdullah, who was at Om Palace to meet someone, stormed into the restaurant’s kitchen. “Who made this? This is not how you make kabsa!” Kamal remembered him saying. Abdullah then proceeded to show the cook—an Indian, and a personal friend of Kamal—how to make chicken kabsa, a popular Arab dish. Abdullah then, Kamal said, offered to help the restaurant in any way he could. “I was excited, because no other restaurant in Delhi has an Arab chef,” Kamal said. Before Abdullah came along, Kamal added, “We had been learning the cuisine off the internet and through other ad-hoc methods.” The chef at whom Abdullah had snapped on that fateful day became his assistant, and, “to date, he continues to learn from Abdullah,” Kamal said. Even the restaurant’s name bears Abdullah’s stamp—Kamal had not settled on a name for the place until the Syrian cook came along. They eventually decided on “Asharq al-Awsat” because it was the name of the restaurant where Abdullah worked as a chef in Damascus.

For the past few months, however, business has been bad at Asharq al-Awsat. “Sometimes this happens,” Kamal said. “We are mostly dependent on foreign medical patients—not many Indians come here, because we don’t serve any Indian food.” Faced with this downturn, the team decided to open another restaurant, in the more centralised location of New Friends Colony, opposite the Fortis Escort Heart Institute. Called MEC Syrian Food (the MEC stands for “Middle Eastern Cuisine”), this restaurant has been doing much better than Asharq al-Awsat, as it is frequented by Indian students from nearby universities.

I visited MEC Syrian Food a few days after it had opened, in late June. There, I met Abu Tarikh—the restaurant’s manager, who has also been Asharq’s manager for over a year. The walls had just been decorated with tiles inscribed with Arabic lettering. Some tables were draped with Persian rugs.

Tarikh, like Abdullah, is a Syrian refugee. He fled Damascus with his family in 2015, after both his home and the mobile-accessories shop he owned were destroyed in the war. He and his family initially moved to Mumbai, but they only stayed there for 20 days before Tarikh realised it “was not for him.” They moved to Delhi after that, he told me, and he is much happier here; he “understands things” in this city, and thinks that the “people here are good.”

It has not all been smooth sailing for Tarikh, though. He speaks some English but no Hindi at all, except for the few functional words which help him communicate with autorickshaw drivers and customers. This means, he said, that “one day’s work sometimes takes ten days. Nobody here understands me as they do back home.” But “I like India in general,” he added. “I have many Indian friends.”

Abdullah has had more trouble adjusting to life in Delhi. He finds the language barrier even more difficult to deal with than Tarikh does, since he barely knows any English or Hindi. “I left my home in Damascus because the entire country was in dire straits; but even here, I don’t know anybody, and I’m facing just as many troubles,” he said. “I don’t like it here at all. But I’m helpless, what can I do?”

In Abdullah’s ideal world, he would migrate to the United States. In India, he said, “there are no facilities. Even if you work for 24 hours a day, you can’t earn enough to take care of your children—everything is so expensive.” Also, he said, “Indians don’t like my food, because they eat such spicy food. I can make at least 80 types of Arabic food, but unfortunately, I have to limit myself to four, five types of dishes. It’s very frustrating.” He told me he has applied for a US visa, but has not heard back.

Every day, the Palestinian embassy places an order with Asharq al-Awsat for mansaf, an elaborate lamb-based dish
Every day, the Palestinian embassy places an order with Asharq al-Awsat for mansaf, an elaborate lamb-based dish

When I first met Abdullah, it was rush hour at Asharq al-Awsat. Each day, the Palestinian embassy places an order with the restaurant for mansaf—an elaborate dish of lamb cooked on top of a layer of flatbread and rice in a yoghurt-based sauce, decorated with pine nuts and almonds. His enthusiasm was palpable as he spun around the kitchen, grilling meat, assigning tasks to employees, bringing various dishes to boil.

But, shortly after that, during a smoke break outside the restaurant, he confessed, “Honestly, here, I am just going about my days, not even living. I am barely existing, with no end in sight.”

Anisha Sircar is an intern at The Caravan.

source: http://www.caravanmagazine.in / The Caravan / Home> Reporting & Essays> The Lede / by  Anisha Sircar / September 01st, 2017

Meet the Indian girl who made Google doodle on Begum Akhtar

UTTAR PRADESH :

Kolkata:

For connoisseurs of Indian music, Google’s October 7 doodle is special. Today, Google is celebrating the 103rd birth anniversary of Mallika-e-Ghazal Begum Akhtar with a commemorative doodle. Manuja Singh Waldia – a young Indian illustrator and graphic designer who studied in Delhi before she moved to the US – was commissioned to do the doodle art.

Google describes Begum Akhtar — born Aktharibai Faizabadi — as one of India’s most iconic singers. “In spite of early personal tragedies, Begum Akhtar’s mother recognized her daughter’s gift at a young age. With the help of family members, she sent her daughter for vocal training with some of the Ustads (masters) of the time. Though her soulful and melancholic voice was featured in many movies, Begum Akhtar ultimately returned to classical music, where she composed many of her own melodies and steeped herself in the rhythm of ghazals. After marrying, Begum Akhtar gave up singing. However in 1949, deteriorating health drew her back to her calling. Weeping tears of jubilation, she finally returned to a Lucknow studio to record and continued to share her gift with the world until her death in 1974. Her rich voice was comforting, particularly during the years India underwent upheaval caused by partition. With nearly 400 songs to her credit, Begum Akhtar’s legacy shines on in the musical traditions she loved over her lifetime,” Google’s description of the iconic singer states.

The doodle on Begum Akhtar is Waldia’s first for Google. When Penguin Classics decided to publish new editions of Shakespeare’s plays to enliven his work offstage, Waldia was commissioned to do the covers that would give the centuries old texts a contemporary update. “Erich Nagler, art director at Google, San Francisco, had commissioned me to work on it. He had traced contacted me through email,” said Waldia from Oregon. Nagler’s Twitter profile states that he is the art director for the Google doodles team in San Francisco. “The brief was to create on commemorating Begum on her birthday, and celebrate her status as one of the most popular ghazal singers, and one of the first female public ghazal performers,” she added.

The project was wrapped up a few weeks ago. For many in India, it was a pleasant surprise to find Google commemorating the birth anniversary of the legendary singer. “She deserves all the attention in the world. She is a pioneer and early feminist! She is pretty amazing. She overcame a lot of prejudice against female singers, survived sexual abuse as a young girl, escaped a bad marriage, was independent during times where women were either wives or mothers. It is so inspiring! I was reading articles on her today which mentioned her smoking habit, and insinuated that as a character flaw. That’s the kind of sexism that still exists today. So, she probably faced worse during her time,” the doodler said.

Having studied Communication Design at NIFT Delhi, Waldia also insists that she draws a lot of creative inspiration from Kolkata – a city where Begum Akhtar spent many years of her professional life. In 1934, the ‘Koyelia’ singer had the first stage performance in this city. It was here that she acted in films and theatres as well. Her first album – ‘Deewana Banana Hai Toh Deewana Bana De’ – was recorded here as well. She had sung for the megaphone company. The record was such a huge hit that the company had to make a special unit in Dumdum to meet buyers’ demand! “I’ve been to Kolkata thrice in my life, and had some of the happiest times there. The city’s creative energy had a major influence on me while growing up, and when I was contemplating if I should be an artist,” she said.

source: http://www.gadgetsnow.com / Gadgets Now / Home> News> Tech News / by Priyanka Dasgupta / TNN / October 07th, 2017

When the Empress of India Met Her Muslim Teacher

Lalitpur (Jhansi) & Agra (UTTAR PRADESH) / London, GREAT BRITAIN with Empress of India

Queen Victoria at her desk, assisted by her servant Abdul Karim, the munshi.
Queen Victoria at her desk, assisted by her servant Abdul Karim, the munshi.

VICTORIA & ABDUL 

The True Story of the Queen’s Closest Confidant

By Shrabani Basu

Illustrated. 334 pp. Vintage Books. Paper, $16.

I really do wonder if I am qualified to review this remarkable work. I am a nonagenarian, Anglo-Welsh, republican, agnostic liberal, an only half-redeemed British imperialist, sexually complex and incorrigibly romantic. “Victoria & Abdul” is about an aging British queen, her eccentric obsession with an engaging Muslim servant from India and the half-farcical opposition of the British establishment to their relationship. I had never heard of the story until the book reached me for my critique, and I had no idea it was about to be the subject of a much-publicized movie.  Am I qualified to respond to it for The New York Timer? Reader, judge for yourself.

When it first reached me I began, as a republican, by scoffing. The very status of Alexandrina Victoria, Queen of England, at the time of her first encounter with that Indian servant struck me as perfectly ridiculous. She was a woman in her late 60s who was treated with almost religious reverence and responded accordingly. The whole preposterous charade of royalty was performed perpetually in her presence. It was wildly exaggerated, too, because she happened to be the titular head not simply of a small island nation but of the most enormous empire in the history of empires, claiming sovereignty over nearly a quarter of the earth’s surface. Perhaps the least logical of these bizarre circumstances was the fact that among her far-flung territories was one of the proudest and most ancient of all human entities, India. Since 1877, Victoria had been called Queen Empress, and India was the reason.

I scoffed, but then that Indian charmer entered the book, and I was beguiled.

So was Victoria. Abdul Karim was 24 when he arrived in England in 1887, engaged as an orderly for the queen during her Golden Jubilee celebrations and presently also charged with teaching Her Imperial Majesty Hindustani (as the British habitually referred to both Hindi and Urdu). Although of relatively humble stock, he was a born winner, educated, good-looking, clever and ambitious. I soon fell for him myself.

In no time at all, it seems, he became far more than an orderly, but rather an Indian gentleman of the court, more or less self-promoted out of the servants’ quarters and dubbed, by Her Majesty’s command, a “munshi” — which meant, I gather, a sort of more-than-teacher. This in turn seems to have morphed into a vaguely aristocratic honorific, and before long the delightful young orderly had become the Munshi. For the rest of his life he flaunted the title, and “Bravo,” say I!

Victoria02MPOs06oct2017

I find myself genuinely touched by the bond between the empress and the munshi. He was an opportunist, but he was kind, which for my money redeems many faults, and old Victoria had been having a rotten time of it. First she lost her adored husband, Albert, and never got over it, and then John Brown, her beloved Scots gillie, died on her. Victoria’s nine children were scattered across Britain and Europe, and they were a mixed bag anyway. It must have been a lonely time for the old lady, but then along came Abdul Karim, in his virile youth, and he was very soon treating her not only as an empress but as a woman.

There was obviously nothing carnal about the relationship. Heaven forbid! The munshi seems to have regarded Victoria as an affectionate and generous surrogate mother. (She gave Abdul Karim and his wife three cottages, each near one of her own palaces, plus some land in India, and when he traveled on the royal train he had a whole carriage to himself.) In return he gave her his sympathy and understanding, and in particular they both seem to have enjoyed her daily (and very successful) lessons in Hindustani.

The affair, if we can call it that, spilled over into the style of the British court, which became more and more Indianified. Indian colors were everywhere, Indian sounds and even Indian smells (for curries were often served). When the court indulged itself or its visitors with one of its elaborate tableaux vivants, Indian faces were prominent on the stage, and indeed in the tableau of the king of Egypt, pictured in this book, the Pharaonic ruler himself was played by none other than — the munshi!

The generally snobbish and often racist British establishment of the day came to detest the munshi with an almost comical fervor, and, led by Victoria’s son and heir, Bertie, who later reigned as Edward VII, persecuted even Abdul Karim’s memory when he and his love were both long gone. I suspect that the munshi was a sort of dual reincarnation of Victoria’s beloved Albert and her dear, dear John Brown. And if there was something rather excessive — even, to my mind, schoolgirlish — about her attachment to her young servant, it was perhaps only a late and pathetic extension of the maternal instinct.

I grew fond of them both as I read this generous and meticulous book, and I write this review now with a sentimental tear in my eye. So what think you, Reader? Am I qualified for the job?

_____________________

Chowmahalla wins National Tourism Award

Hyderabad, TELANGANA :

The majestic Chowmahalla Palace
The majestic Chowmahalla Palace

Hyderabad :

The city’s magnificent Chowmahalla Palace has added another feather to its cap, bagging the National Tourism Award for being the best maintained monument. The award was among other honours presented by the Government of India, on the occasion of World Tourism Day observed on September 27.Speaking about the recognition, G Kishan Rao, director of the palace said: “It is a matter of great pride. Earlier in 2012, Chowmahalla received the award of merit from UNESCO.”

Pointing out how the palace is among the most sought-after tourist destinations in the city, Rao said the heritage structure is equipped with all the necessary facilities for visitors, including those who are differently-abled.

On an average 800 to 1,000 tourists visit the 250-year-old Chowmahalla Palace in Khilwat every day . Its construction, ordered during the reign of the third Nizam, was completed during the time of his successor. Since, it was used primarily to hold official functions. Over time, the ex panse of the heritage property, once spread over 45 acres complete with 16 palaces, shrunk to a meagre 12 acres. Yet, the impressive collection of artefacts, including crockery, garments, cars and rare photographs from the Nizam’s era – housed within, are in impeccable condition.

“After the death of seventh Nizam of Hyderabad, the palace was in a deplorable state. It was in 2001 when Princess Esra (first wife of Mukarram Jah) took it upon herself to restore it that things changed for the better. In 2006, we opened the place up for public. Today , the palace is also a central place for mega cultural events in the city,” said Rao, sharing how the paraphernalia on display also comprise items brought in from the King Kothi Palace, where they were in the cellar.

source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Hyderabad News / TNN / September 29th, 2017

I enjoy literature and he enjoys a bit of nonsense

Lucknow, UTTAR PRADESH / Mumbai, MAHARASHTRA :

ShaadAliMPOs29sept2017

Shaad Ali hadn’t even heard of field hockey player, former India captain and Arjuna awardee Sandeep Singh, when Sneha Rajani and Chitrangda Singh approached him last year to make a film on his life. “I was shocked and embarrassed and instantly realised that I needed to make this film so everyone gets to know his story,” the filmmaker informs, adding that he started prep exactly a year ago.

By his own admission, it is the strongest, toughest and the best story he has worked on so far. “There is also an additional responsibility as it’s based on a real person who has been on a national duty all his life. But all of it also makes it an exciting challenge to dive into,” Shaad says, adding that he wanted his actors, Diljit Dosanjh in the titular role and Taapsee Pannu as another hockey player and his love interest, to be as true as the characters they took on. “It was important to have a real Sardar and Sardarni. In fact, they have just come back into my lives as Judwaa 2 is releasing and Diljit has finished shooting for a film.

We will now begin prep with hockey trainings, readings and workshops before shooting kicks off in the last week of October.” Besides marking a departure from love stories, the biopic will also be a reunion for the filmmaker with veteran lyricist Gulzar, who has penned lyrics for all his five directorials —from Saathiya to OK Jaanu. “I went for a narration without an appointment and he was moved to tears. It’s not a song-and-dance film so the music had to be woven into it in a certain way. The film belongs to hockey and Punjab.

There is also a love story thrown in, patriotism, pain, so it was important to invent a new language, which is not pure Punjabi or Urdu. We took some time to create that flavour. It will give the songs a universal feel but at the same time is rooted in Punjab,” Shaad explains. The filmmaker vividly remembers his first meeting with Gulzar, which was at the legendary poetlyricist’s Pali Hill office. He had gone there to narrate Mani Ratnam’s Manisha Koirala and Shah Rukh Khan-starrer 1998 film, Dil Se, on which he was an assistant director.

“Gulzar saab was dressed in his signature crisp white kurta pyjama and was very warm to all of us. I remember that he connected with the story more when he learnt that Manisha Koirala’s character had the same name as his daughter, Meghna,” Shaad recalls, adding that he met the veteran for a second time when he took AR Rahman along to meet him. “It led to the creation of “Chaiyya Chaiyya”.” The duo lost touch after that, reconnecting only when Shaad approached Gulzar again, requesting him to write dialogues for his directorial debut, the Rani Mukerji and Vivek Oberoi-starrer 2002 romantic-drama, Saathiya.

“At the time, he wasn’t writing for anybody else but made an exception for me. I have had an unconditional relationship with him ever since,” he says, adding that it’s more like a fatherson equation. “Also, we have a similar sense of humour. He knows that I appreciate language and a little bit of literature, while I know that he appreciates a little bit of nonsense. Toh thodi non-sense baton pe humari bonding ho jaati hai,” he says as he chuckles at the memory of their shared comfort zone. “We also fight but not as much as we used to earlier. He understands me more and knows where I am coming from.

Now, we might fight on nitty-gritty’s but fundamentally we are on the same page. Woh kehte hain ki laadla hai toh mere se jhagdega aur thappad bhi khayega,” says Shaad. On the matter of another reunion, with composer trio Shankar, Ehsaan and Loy for the fourth time after Bunty Aur Babli, Jhoom Barabar Jhoom and Kill Dil, he opines, “They are the Amar Akbar Anthony of my life. Woh toh anhoni ko honi aur honi ko anahoni karne wale log hain,” he signs off on that optimistic note.

source:  http://www.ahmedabadmirror.indiatimes.com / Ahmedabad Mirror / Home> Entertainment> Bollywood / by Avinash Lohana / September 29th, 2017

Acclaimed Assamese film, theatre personality Abdul Majid dead

Guwahati, ASSAM :

Veteran Assamese film and theatre personality Abdul Majid died here on Sunday following protracted illness, his family said.

Majid (86) is survived by his wife and three sons. He was admitted to a local hospital on September 15 due to age-related ailments, where he breathed his last this morning, the family said.

Assam Chief Minister Sarbananda Sonowal condoled Majid’s death, saying he gave a new dimension to Assamese cinema, along with showing his sense of social responsibility. “His death is an irreparable loss to the cultural field of Assam,” Mr. Sonowal added. Former Chief Minister Tarun Gogoi visited the filmmaker’s house to offer his condolences to the bereaved family.

Born at Jorhat in 1931, Majid made his film debut with Ronga Police in 1957 and went on to make the National award winning Chameli Memsahab, for which Bhupen Hazarika also won the best music composer’s award.

Other prominent films that Majid directed include Morom Trishna, Bonohansha, Bonjui, Punakon and Uttarkal. He also acted in several films.

Majid, a theatre director of equal repute, helmed popular plays like Banchit, Dhulimakoti, Sor, Xihat, Ahise and Sur. Majid also acted in several Assamese television serials, and directed the highly-acclaimed serial Namghoria.

Assam government had honoured him with the prestigious ‘Bishnu Prasad Rabha’ award, while several organisations have conferred him with lifetime achievement awards.

source:  http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by PTI / Guwahati / September 24th, 2017

18-year-old ragpicker Bilal becomes example for Kashmiri boys

Laharwarpora (Bandipora District)  , KASHMIR :

Srinagar :

It was a day of 18 year old Bilal Dar alias Billa of Laharwarpora of Bandipora district on Sunday when Prime Minister Narendra Modi mentioned his name in Mann Ki Baat on radio address.

BilalMPOs25sept2017

Bilal Dar was 14 year old when he started earning his living by picking up waste from the Wular Lake in Bandipora district of north Kashmir in 2013.

Bilal’s father Mohammad Ramzan Dar, who also a Ragpicker, died in 2003 due to cancer and he took to collecting plastic trash and other waste material from the Wular lake which would fetch him Rs 150-200 per day, which helped him financially support his mother Mughali Appa and two sisters.

According to Srinagar Municipal commissioner Dr. Shafkat Khan , Bilal used to collect over 12,000 kg trash annually till this day from the Lake which besides offered him livelihood, helped Lake to get rid of pollution caused due to garbage thrown in the lake by the residents living near the Wular Lake, he added.

“I used to take somebody’s boat in the wee hours of every morning and collect the rags from the Lake and which would fetch me some money after selling the same to trash dealers in the market,” Bilal Dar told TOI.

It was basically documentary produced by one Kashmiri film maker Jalal-u-Din Baba which depicted the life of Bilal Dar . The documentary won several awards in Mumbai and in the US at film festivals, according to producer Baba.

“Now we have appointed Dar as brand ambassador of the Srinagar Municipal Corporation. He will be given a special uniform and a vehicle to go and meet people in srinagar’s commercial and residential areas, to tell people the story of his work in Wular. This will help sensitise urban residents to understand value of environmental issues, cleanliness and garbage disposal,” Dr Shafkat Khan said.

Bilal Dar said, “I am very happy today that my work even acknowledged by the no less than the prime minister of India Modi.”

While Tassaduq Mufti, brother CM mehbooba Mufti gave me a boat for collection of garbage from the lake, state government gave Rs.50,000 for construction of house. Though this is meagre amount to build a house yet I am satisfied with whatever, help the government provided me, Bilal Dar said.

The world famous wular lake is on the verge of dying due to dumping of toxic debris, plastic, carcasses and much more.The Lake has reduced from 273 km to just 72 km of water expanse.

Ironically, the present state BJP minister for Forest and environment ministry Lal Singh has stopped the funds allocated by the GOI for its conservation, the forest officials disclosed.

Soon after his father’s death in 2003 Bilal had worked as a mechanic at an auto-repair shop and then as a helping hand at a tea shop but continued unrest in Kashmir valley forced him to take to the job of Rag picking inside the Wullar, Bilal recalled.

Bilal features in a documentary ‘Saving The Savior – Story Of A Kid And Wular Lake’ produced and directed by Jalal-u-Din Baba.

Bilal Dar thanked Prime Minister , who mentioned his name in his Mann ki Baat on Radio.

Dar however, a appealed to PM Modi to provide him a job as his family did not have any regular source of income.

PM Modi on Sunday addressed the nation on the third anniversary of his Mann ki Baat radio programme, saying an ideological movement is needed to make cleanliness a norm across the country. This was the 36th episode of Mann Ki Baat.

During the address, PM also lauded Kashmiri youth Dar’s effort for cleaning up Wular lake in Bandipora district of north Kashmir.

source:  http://www.timesofindia.indiatimes.com / The Times of India / News> India / by M. Saleem Pandit / TNN / September 24th, 2017

Bollywood actress Shakila passes away

Mumbai, MAHARASHTRA :

Actress Shakila passed away on Wednesday evening after a heart attack at the age of 82. The funeral was held on Thursday morning at the Mahim cemetery in Mumbai.

Actress Shakila passes away at the age of 82. (Photo: Express Archive)
Actress Shakila passes away at the age of 82. (Photo: Express Archive)

Yesteryear Bollywood actress Shakila, best known for her roles in ‘Aar Par’ and ‘CID’, passed away on Wednesday evening after a massive heart attack. She was 82.

Shakila’s nephew Nasirr Khan took to Facebook to share the sad news. He wrote, “With a heavy heart I have to inform you all that my maternal aunt (my moms older sister) Shakila Aunty has passed away. She was a star in her own right in the 50s and 60s. Babuji dheere chalna, pyaar mein zara samhalna. Please keep her in your prayers. May Allah grant her Jannat. Aameen.”

Talking to indianexpress.com, Nasirr, who is veteran actor Johnny Walker’s son, said, “Because of her age, she had kidney problems. She was diabetic. Recently, she had some cardiac problems also. All these things led to her demise. She passed away last night. As we can’t wait too long for funeral in Islam, the burial happened today early in the morning.”

He also added, “She was a very jovial person, and because she and my dad worked together in Aar Par, they would talk a lot about cinema. On the film’s set my dad met her younger sister Noorjahan, and the two got married. Shakila aunty was very happy with the work she did, and was a content person. We will miss her much.”

The funeral was held on Thursday morning at the Mahim cemetery in Mumbai.

Some of Shakila’s other popular films include ‘Shriman Satyawadi’, ‘China Town’, ‘Post Box 999’, ‘Dastaan’, ‘Sindbad the Sailor’, ‘Rajrani Damyanti’, ‘Aagosh’, ‘Shahenshah’, ‘Raj Mahal’, ‘Armaan’, ‘Alibaba Aur Chaalis Chor’, ‘Lalpari’, ‘Roop Kumari’, ‘Hatim Tai’ and ‘Al-Hilal’.

She was last seen in 1963 film ‘Ustadon Ke Ustad’.

She is also fondly remembered for performance in hit songs like “Babuji Dheere Chalna”, “Neend Na Mujhko Aaye” and “Ae Mere Dil Hai Nadaan”.

source:  http://www.indianexpress.com / The Indian Express / Home> Entertainment> Bollywood / by Express Web Desk / New Delhi / September 21st, 2017