Category Archives: Arts, Culture & Entertainment

Meet the Poet at the forefront of a movement that highlights the struggles of Assamese Bengali-Muslims

Arts, Culture & Entertainment, Books (incl.Biographies - w.e.f.01 jan 2018 ), Community Involvement / Social Issues, Education, World Opinion, , , , , , ,

ASSAM / NEW DELHI :

Delhi-based poet Shalim M. Hussain’s Miyah poetry provides the metaphorical loudspeaker to the long-ignored voices of the Bengali-Muslim migrants living in the riverine plains of the Brahmaputra by documenting their stories of love, loss, celebration and injustice

Nana I have written attested countersigned
And been verified by a public notary
That I am a Miyah
Now see me rise
From flood waters
Float over landslides
March through sand and marsh and snakes
Break the earth’s will draw trenches with spades
Crawl through fields of rice and diarrhea and sugarcane
And a 10% literacy rate
See me shrug my shoulders curl my hair
Read two lines of poetry one formula of math
Read confusion when the bullies call me Bangladeshi
And tell my revolutionary heart
But I am a Miyah
See me hold by my side the Constitution
Point a finger to Delhi
Walk to my Parliament my Supreme Court my Connaught Place
And tell the MPs the esteemed judges and the lady selling
Trinkets and her charm on Janpath
Well I am Miyah.
Visit me in Kolkatta in Nagpur in the Seemapuri slums
See me suited in Silicon Valley suited at McDonalds
Enslaved in Beerwa bride-trafficked in Mewat
See the stains on my childhood
The gold medals on my PhD certificate
Then call me Salma call me Aman call me Abdul call me Bahaton Nessa
Or call me Gulam.
See me catch a plane get a Visa catch a bullet train
Catch a bullet
Catch your drift
Catch a rocket
Wear a lungi to space
And there where no one can hear you scream,
Thunder
I am Miyah
I am Proud.

Shalim Muktadir Hussain is not an easy man to get a hold of. He belongs to the long tradition of Bengali-Muslims who have been sharing their lived experiences through the genre of Miyah poetry. The genre originates from the Bengal Partition-era migrants residing in Lower Assam, locally known as Char-Chapori. With stories of love, loss, celebration and injustice, it has historically served to lift up the long-ignored voices of the Bengali-Muslim migrants living in the riverine plains of the Brahmaputra and document their interactions with the world outside the region. But Hussain’s activism isn’t limited to the written word – the first time that I’m able to get in touch with him, he is attempting to rescue his fellow Miyah poets, who have been arrested on account of their ‘divisive’ poetry. I try again, and this time, I catch him in the middle of helping the victims of a bus accident. This humanitarian spirit shines through in his poetry, which I was first acquainted with at Godrej Culture Lab’s Migration Museum, a one-day pop-up that shed light on partition-era struggles. Months later, he shares his views on the Miyah genre, the under-representation of Assamese voices, and more.

Tell us about your personal journey as a poet.
My journey with Miyah poetry, or the current phase of assertive Char Chapori poetry, started in 2016. Prior to it, I had been publishing poems for more than a decade. My first book of poems was published in 2017. Poetry as an art form came organically to me; I was looking at the world through a unique lens and had the ability to present this vision through carefully chosen words. Over the past few years, there has been a steady flow of literature from the Chars. This includes a strong collection of poems which depict the lived experiences of residents. Miyah poetry, in my opinion, is a continuation of the genre of Char Chapori poetry and its evolution. When the president of Char Chapori Sahitya Parishad, Hafiz Ahmed published the poem Write Down I am a Miyah on Facebook in April 2016, I responded to it with my composition titled Nana I have Written. Other poems were written in response to our poems and a small body of poetry emerged within a week. I realized that these were written primarily in Assamese and our local dialects which had to be translated to English so I started translating them and sent them out to literary journals and blogs. In the last couple of years, I have been writing poems in both English and the local dialect and translating both my own and works of other poets. Since then more translators have also emerged and by translating their works into other widely read languages such as English and Hindi, we have been able to reach wider audiences.

Do you think stories from Assam are under-represented?
The national media focuses only on certain parts of the country. However, if the maximum potential of social media is harnessed, stories from not just Assam but other states too can find representation. Poetry is very personal for me, when I write about the land I was born and other fiction, the stories come from my personal experiences. The documentary films I have been involved in spotlight the performing arts of the Char Chaporis. According to me, all narratives – creative, journalistic, archival and academic are equally important. Miyah poetry gives a holistic view of life in Assam and the Chars.

How has digital media been helpful in popularising Miyah poetry?
Digital media has aided in increasing reach and accessibility.  For instance, one the offshoots of Miyah poetry is music videos and audio-visual recording of the poems. In August 2016, three poets started Itamugur, a YouTube channel named after a hammer-like instrument used to break hard clumps of earth before preparing the fields for sowing. That it is less aggressive and has a more meaningful purpose than a regular hammer is a telling quality of what they stand for. Their Bhatiyali music videos which have drawn great attention to the stories of the Char-Chaporis.

Do you think spoken word is more powerful to bring attention to the art form?
I am just getting acquainted with spoken word but yes, it has played a huge role in the spread of Miyah poetry. We have read our poems at different venues and received great response from the audience.

Have you been able to change people’s perception about the community through this device?
We have been able to change the perception of many people — even the residents of Assam — who didn’t know much about life in the Chars. Since Miyah poetry talks about lived experiences of love, loss, and celebration, it has been successful in bringing the ordinary life in the Chars to light. Until a couple of months ago, the representation of the Bengal-origin Assamese Muslims in media wasn’t positive; they were portrayed as thieves, dacoits and rapists. Today, we are representing ourselves appropriately through poetry regardless of others’ opinions. The narrative has definitely shifted.

You have explored various fields as a writer, poet, professor and filmmaker. Which one do you prefer?
I like being a professor. One can communicate in real-time with their audience, which puts a lot of responsibility to be careful with the selection of material that should be used in the class and the language of communication. Writing allows me to tell my own stories, so there’s more freedom. As far as film-making is concerned, I wouldn’t call myself as a filmmaker. There are some art forms I think should be documented, and I do my best.

What is the future of Miyah poetry, according to you?
As long as Miyah poems are written, the tradition will remain alive. In the absence of organisational structure, independent poets write poems and share them on social media platforms. There isn’t a formal definition of ‘Miyah Poetry’ which we abide by; poets themselves decide if their work qualifies to be termed in this genre. It is democratic, as no one decides if a work is a ‘real’ poem or critiques it as a good or bad poem. Every Miyah poet is an individual and each voice is precious for us.

*To reproduce the above poem in any form, copyright permission must be sought from Shalim.

source: http://www.vervemagazine.in / Verve / Home> Arts & Culture> Library / by Ojas Kolvankar / August 28th, 2019

Mother’s recipe

Arts, Culture & Entertainment, Books (incl.Biographies - w.e.f.01 jan 2018 ), Community Involvement / Social Issues, Karnataka (under research project), , , , ,

Bengaluru, KARNATAKA :

Be it heirloom dishes or new-age recipes, this cookbook, penned by Badrunissa Irfan –  mother of Uzma Irfan, director, Prestige Group – dishes out something for everyone

Bengaluru :

Ever wondered what makes the food coming from your grandmother’s or mother’s kitchen yummier than even the best chef in the world? 


There’s something comforting in these dishes prepared by seasoned hands sans any sort of measurement.

The recipes in Duniya-e-Ziyafat, a cookbook by Badrunissa Irfan, mother of Uzma Irfan, director, Prestige Group, dishes out some recipes that are sure to give you hunger pangs. The book was launched on Saturday at Sublime Art Galleria.

In the 184-page book, Irfan spills the secrets to some mouth watering dishes like Nalli Ka Salan, Herby Chicken among a host of others. According to Irfan, minimum spices and processes are secrets behind the taste. “The recipes that are shared in the book are simple which even beginners can follow. I always try to keep my recipes minimal so that the flavours are enhanced. With extra garam masala and red chilli powder, you tend to miss out on the delicateness of the dishes,” says Irfan, adding that the other best kept secret is a clean kitchen. “I see many people who make a mayhem in the kitchen even if they just chop a cucumber. A clean kitchen provides clarity of mind,” she adds. 

The book is a compilation of recipes that Irfan had written for her daughter, Uzma, when she was in London. “In uni, there’s not enough time to prepare an elaborate meal, so you need quick ones, which also give you a taste of home,” says 62-year-old Irfan, adding that she hopes the book helps people churn out some delicious recipes even during a busy schedule. 

Although there is no doubt that her meat dishes steal the show, her vegetarian dishes also have an equal number of takers. With options like Stir Fried Tofu, Herb Roasted Potato and more, the book has something for everyone.  “It’s mandatory to have a veggie dish in every meal that is cooked. My husband, Irfan Razack, is man of simple taste, he enjoys any vegetarian dish,” she says, adding that there are enough dessert options too. 

Family ties remain strong in this book since it also contains some recipes Irfan had learnt from her mother. “I started cooking at the age of six. Coming from a joint family, it used to be such nice way to bond,” recalls Irfan, who went on to also learn how to make pickles from her grandmother. Besides some heirloom recipes, Irfan’s cookbook also contains newer recipes which she discovered over time. 
The book can be pre-ordered on sublime.in

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Monika Monalisa / Express News Service / January 19th, 2021

Ustad Ghulam Mustafa Khan (1931-2020): Open to all music forms, teacher to the greats

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Badaun, UTTAR PRADESH / Mumbai, MAHARASHTRA :

He was awarded the Padma Shri in 1991, Sangeet Natak Akademi Award in 2003, Padma Bhushan in 2006 and Padma Vibhushan in 2018.

Ustad Ghulam Mustafa Khan

In Umrao Jaan (1980), filmmaker Muzaffar Ali’s seminal film, a five-minute melody manages to put life’s ebb and flow in perspective. The raagmala Pratham dhar dhyaan dinesh illustrates the induction of the protagonist, Ameeran, into classical music and dance and showcases her metamorphosis into Lucknow’s fanciful courtesan, Umrao Jaan.

Composer Khayyam’s composition is ambitious and arduous—based on seven ragas each of which defines time, mood and colour of varied moments in life. To sing this, Ali chose Ut Ghulam Mustafa Khan—the Hindustani classical giant whose deep and dazzling voice was representative of not just an iconic lineage but also a rigorous riyaaz and years spent teaching some of the greatest musicians of our time.

Opening with an alaap that chimes with the word Allah, the melody merges into Brahma, giving a glimpse into the Awadh of the 19th century, when the syncretic fusion of cultures in music was a norm. But a more remembered piece is perhaps Jhoola kinne daala re amaraiyan in raag Desh, the story of a bedecked swing on which two lovers sway together.

Ut Ghulam Mustafa, one of the finest Hindustani classical vocalists and torchbearer of the Rampur Sahaswan gharana, died at his home in Mumbai on Sunday. He was 89.

Expressing his condolences, PM Narendra Modi tweeted, “The passing away of Ustad Ghulam Mustafa Khan Sahab leaves our cultural world poorer. He was a doyen of music, a stalwart of creativity whose works endeared him to people across generations. I have fond memories of interacting with him. Condolences…”

President Ram Nath Kovind tweeted, “…In his passing, music world has lost not only a doyen but also a mentor for young generation…”.

Ut Ghulam Mustafa was born and raised in Badaun, Uttar Pradesh. His mother was the daughter of the legendary vocalist Ut Inayat Hussain Khan, the court musician in Nawab Wajid Ali Khan’s court. He learned from his father Warish Hussain Khan, followed by tutelage under other family members, including Ut Fida Hussain Khan, court singer of Baroda’s royal durbar and then his cousin, Ut Nissar Hussain Khan.

His first performance was at a Janmashtami concert at the age of eight, where he was hailed as a child prodigy. What was also interesting about Ut Ghulam Mustafa was his openness to all forms of music, a rarity in classical maestros of his time. So when most classical singers were banishing Hindi film music, he found it easier to adapt.

According to Pune-based dhrupad maestro Uday Bhawalkar, Ut Ghulam Mustafa changed the colour and tone of how music in Rampur Sahaswan gharana sounded. “Someone like the great Ut Nissar Hussain had an aggression in the tone. Ut Ghulam Mustafa toned it down and made it softer,” says Bhawalkar.

The musician also sang in Mrinal Sen’s Bhuvan Shome (1969), and Badnam Basti (1969) among others. Another significant performance was a part of Coke Studio @MTV where composer and Ut Ghulam Mustafa’s student AR Rahman presented his guru on stage. The musician sang a composition in raag Yaman alongside guitars and drums.

Ut Ghulam Mustafa, till he died, remained an eminent guru to many leading musicians including Asha Bhosle, Manna Dey, Ut Rashid Khan (also his nephew), Waheeda Rehman, Geeta Dutt, Hariharan, Sonu Nigam, Alisha Chinoy and Shilpa Rao.

He was awarded the Padma Shri in 1991, Sangeet Natak Akademi Award in 2003, Padma Bhushan in 2006 and Padma Vibhushan in 2018.

Once at a concert in Mumbai, Ut Ghulam Mustafa sang a thumri in Pilu, and got Ut Bade Ghulam Ali Khan on his feet. “Iitne dooble patle ho, kahan se gaate ho?” asked the musician. Ut Ghulam Mustafa Khan’s music, his bracing voice, its irrepressible vigour, probably came from his strict training. But also, from the joy he got from the seven notes that represented life for him.

source: http://www.indianexpress.com / The Indian Express / Home> Lifestyle> Art and Culture / by Suanshu Khurana, New Delhi / January 18th, 2021

A 1947 vintage car returns to Salih’s home after 60 years

Arts, Culture & Entertainment, Business & Economy, NRI's / PIO's, Transport, Travel & Tourism, World Opinion, , , , , , , , ,

Valappad (Thrissur District) KERALA :

Thrissur:

Expatriate businessman C P Salih had a happy reunion recently after 60 years — with a gleaming Studebaker car that had left his home in 1960.

Salih’s father Chandanaparambil C P Mohammad had bought this American car from Delhi. It is estimated that the car, manufactured in 1947, arrived in India in 1949.

It was in this car that the wedding party of the mother-in-law of prominent businessman Galfar Mohamed Ali had travelled to the wedding.

C P Mohammad sold the car in the 1960s. After changing several hands, it finally reached Delhi again. What’s more, it had the same old number — DBG 8213. Mohammad had written in his diary that he had bought the car for Rs 2,400. The car was tracked in Delhi with the help of the old number.

Salih purchased the car and brought it to his Valappad home to give it to his son Anhar Salih as a wedding gift. The car was originally red in colour. It has now turned blue. The top was lost due to age. But the engine is still the old one.

C P Salih with his family.

On seeing its return, many elders shared their memories of having seen the car in the past. All this was recorded and kept by Salih’s family. Many were not even allowed to touch the car. But C P Mohammad took everyone in the area in the car.

While the old car has been found, one puzzle related to it remains. CP Mohammad had written in his diary that an Ezhuthachan in Thrissur had helped him buy the car. Salih has not yet been able to find out who that was.

source: http://www.onmanorama.com / OnManorama / Home> News> Business / by OnManorama Correspondent / January 17th, 2021

Prem Nazir is unstoppable in digital age too

Arts, Culture & Entertainment, Leaders, , , , , , ,

KERALA :

Old documentary an instant online hit

A short documentary on Malayalam cinema’s evergreen star Prem Nazir, which surfaced online a couple of days ago, has garnered thousands of views, in testimony to the actor’s enduring popularity, thirty-two years after his passing away. On his death anniversary on Saturday, the video, which was made for Doordarshan back then, was shared across social media platforms, providing a glimpse of the actor to many from the younger generation too.

The documentary titled Nithyavasantham Nithyavismayam, converted from an old VHS tape, was uploaded on Facebook by Orbit Videovision. It was directed by Baiju Chandran, presently head of programmes, Doordarshan, Thiruvananthapuram. The film has interviews with actors, filmmakers, and producers who have worked with him, recollecting their memories.

Actor Mammootty speaks of how he, as a youngster unaware of the technicalities of filmmaking, assumed that Nazir was the same larger-than-life persona in real life as he was shown on screen.

Poignant memories

One of the poignant recollections is made by veteran script-writer Sarangapani about the special relationship the actor shared with Udaya studio, having starred in many a film produced under the banner. “He was not just a cinematic hero for the employees here. He used to enquire after each of the employees here, including the sweepers and the light boys and financially helped them out during difficulties,” he says. Actor Jose Prakash echoes these sentiments and says that Nazir was particular that whatever he is doing to help others should not be known to anyone else.

The documentary looks at how he became the romantic hero of the masses, how he was sometimes limited in his experimentation owing to that image, and of the instances when he successfully broke out of that mould and stunned everyone.

Rare camaradarie

His camaradarie with actor Sathyan, with whom he acted in several films, also becomes a point of discussion. Actors Saradha and Kaviyoor Ponnamma speak of how he was gracious enough to make everyone around comfortable, and treated everyone equally. There are rare interviews with his family members too.

The documentary ends with some rare visuals of his last journey, and of the multitudes waiting on both sides of the road, to catch a last glimpse of the star.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Thiruvananthapuram / by Staff Reporter / Thiruvananthapuram – January 17th, 2021

The learned emperor: ‘Baburnama’

Amazing Feats, Arts, Culture & Entertainment, Books (incl.Biographies - w.e.f.01 jan 2018 ), Leaders, World Opinion, , , , , , , , , , ,

INDIA :

Resplendent: ‘Babur receives a courtier’ (1589) by Farrukh Baig.   | Photo Credit: Wiki Commons

Babur was a sensitive memoirist with the rare ability to distance himself from his writing

Babur’s memoir did not have a name but is referred to as Baburnama or Tuzuk-e-Baburi. It is the first autobiography from the subcontinent and one of the first in the world. Babur came from two different cultures, of which one was literate and aspired to high culture. This was his father’s ancestral family, which was Timurid. His mother came from the nomadic Mongols, who weren’t literate. Babur describes his maternal uncles in his memoir.

The Timurids had a tradition of poetry, hawking, music, and, of course, war. Babur was from a family of minor nobles who had inherited the governorship of Ferghana. His autobiography begins with a description of the geography and tells us that his father, Umar Shaikh Mirza, died in an accident when he was 39 and Babur 12. The young Babur struggled to hold on to his inheritance, losing several battles, including one in Ferghana, which he had to give up to the victor.

Babur describes these decades of his life in an unemotional and direct way: he hardly valorises his own achievements. Like the great Caesar, whose books on his wars in Gaul and against Pompey may as well have been written by a non-partisan observer, Babur has the ability to distance himself from his life.

Keen naturalist

Babur’s life turns when he is found to be the only living heir to the throne of Kabul. He takes it and turns his eyes to India. For 20 years, he campaigns against India, being held back at the borders each time.

Then, as we know, he defeated the Lodi dynasty (introducing firearms to the subcontinent for the first time) and captured north India in 1526 after a decisive battle at Panipat. Babur died four years later, spending much of this time travelling across India and writing his memoir in the afternoons.

These paragraphs show how much of a keen naturalist he was. “The elephant, which the Hindustanis call hathi, is one of the wild animals peculiar to Hindustan. It inhabits the western borders of the Kalpi country… the elephant is an immense animal and very sagacious. If people speak to it, it understands. If they command anything from it, it does it. Its value is according to its size — the larger it is, the higher the price. On some islands an elephant is rumoured to be as tall as 20 or 30 feet, but here it is not more than 10 feet. It eats and drinks entirely with its trunk. If it loses the trunk, it cannot live. It has two great teeth (tusks) in its upper jaw, one on each side of the trunk. By setting these against trees and walls, it is able to bring them down; with these it fights and does whatever hard tasks fall to it. These teeth are called ivory and are highly valued by Hindustanis.’

‘Like a goat, the elephant has no skin hair. It is relied on to accompany every troop of their armies. It crosses rivers with great ease, carrying a mass of baggage, and three or four can drag without trouble a special piece of artillery that takes four or five hundred men to haul. But its stomach is large. One elephant eats as much as a dozen camels.

Elegant and clean

Babur’s book was not freely available till a British amateur linguist named Annette Susannah Beveridge translated it. She taught herself the particular version of Turkish that Babur wrote in (later Mughals wrote in Farsi) and published it in four volumes from 1912 to 1922.

At the time of the first British census a century and a quarter ago, India was 4% literate. Most Indians even today don’t have four generations of literacy: in fact, the proportion of those of us who can claim to have had great-grandparents who could write is tiny. Babur came from a tradition that already had centuries of literacy.

His is elegant and clean writing of the sort that one would expect from a very literate and sensitive person. Babur’s daughter, Gulbadan Begum, sister of Humayun and aunt of Akbar, also wrote a lovely memoir in which she describes her father’s attention to detail which he passed on to his family.

These two works, along with Jahangir’s autobiography, are some of the best material available on the Mughals. It’s a shame that these books are not taught in India’s schools today.

Aakar Patel is a columnist and translator of Urdu and Gujarati non-fiction works.

source: http://www.thehindu.com / The Hindu / Home> Books – Leather Bound / by Aakar Patel / January 16th, 2020

Behind Punjab government’s nod to restore Malerkotla palace, ‘last wish’ of 97-yr-old Begum

Arts, Culture & Entertainment, Community Involvement / Social Issues, Travel & Tourism, World Opinion

PUNJAB :

The Punjab Cabinet had given its nod for the acquisition, conservation and use of the palace for tourism on Monday.

Begum Munawwar-ul-Nisa. (Express Photo)

After decades of neglect, 150-year-old Mubarak Manzil Palace of Malerkotla will soon be a protected monument and restored and renovated by the Punjab government, thanks to Begum Munawwar-ul-Nisa, the wife of last Nawab of Malerkotla, who has handed over the private property to the government.

The Punjab Cabinet had given its nod for the acquisition, conservation and use of the palace for tourism on Monday.

Begum Nisa, a princess, is the successor of Nawab Sher Mohammad Khan of Malerkotla, who holds a special place in Punjab’s history. He had vehemently raised his voice against the execution of the younger Sahibzadas of Guru Gobind Singh, Baba Zorawar Singh and Baba Fateh Singh, in the court of the Subedar of Sirhind, Wazir Khan, in 1705.

The 97-year-old Begum Nisa, speaking to The Indian Express  on a conference phone call through former Aam Aadmi Party (AAP) leader Arshad Dali, said, I have handed over the palace to the government. Meri akhiri ichchha, aap keh sakte ho, yahi hai ke main iss mahal ko pehle ki tarah jagmagata chorr kar jayun. (My last wish, you can say, is to see the palace return to its pristine glory before I die).” Begum Nisa has no child or legal heir.

Dali has become a bridge between the government and the Begum, who wanted the government to acquire the palace. “She was worried that after her the palace would be usurped by private parties. Now it will become a government’s possession. After all, there is the important history of this place. Guru Gobind Singh had presented a sword to Nawab Sher Mohammad Sahib as a mark of honour for his support for his sons.”

Sanjay Kumar, Administrative Secretary, Tourism Government of Punjab, told The Indian Express that the government would soon initiate the process of declaring the palace a protected monument of the state. “We will declare it a protected monument after inviting objections. It will be a protected monument under the state’s Act. After that, we will start conserving and renovating the palace. We have accepted the Begum’s precondition that we should allow her to stay in the palace during her lifetime. After that, none of her successors will be allowed to stake claim on the property. It will be Punjab government’s property.”

He said that the government had offered Rs 3 crore to the Begum, “She had been apprehensive that the palace of such historical importance would be lost if there is no taker.”

About the condition of the palace, Sanjay Kumar said, “I can say it is not good. Roof of several rooms has collapsed and the entrance is also in bad shape.”

Begum Nisa had been living in penury for many years. The valuables in the palace were sold off over the years. Former Cabinet Minister Navjot Singh Sidhu had once visited her and presented her with some pieces of furniture.

Begum Nisa had written to the state government that she is the sole owner, and has absolute rights to alienate the property to any person, including state or Tourism & Cultural Affairs Department.

The palace is spread over an area of 32,400 sq ft. There are several cases involving it going on in several courts.

The expected financial liability involved in purchase of this proposed protected monument and likely financial implications arising out of existing court cases is around Rs 5 crore. The government has got the land price evaluated.

source: http://www.indianexpress.com / The Indian Experss / Home> India / by Kanchan Vasdev, Chandigarh / January 13th, 2021

Amitabh Bachchan reveals Meena Kumari danced around fountains with real rose water in Kamal Amrohi’s Pakeezah

Arts, Culture & Entertainment, Leaders, , , , , ,

UTTAR PRADESH / Mumbai, MAHARASHTRA :

Praising Kamal Amrohi’s iconic film Pakeezah, KBC host Amitabh Bachchan revealed that the filmmaker used rose water for the fountains in a scene that had Meena Kumari’s dance sequence.

Meena Kumari dances in a sequence from Pakeezah.(YouTube)
Meena Kumari dances in a sequence from Pakeezah.(YouTube)

Bollywood actor Amitabh Bacchan has revealed that legendary filmmaker Kamal Amrohi used real rose water in all the fountains installed on the sets of his iconic movie, Pakeezah. Amitabh was speaking on his popular game show, Kaun Banega Crorepati.

Contestant Afseen Naaz, an assistant professor at a Bilaspur university faced a question about the meaning of the Urdu word, Pakeezah. Host Amitabh fondly remembered the iconic film and praised the stars, as well as the filmmaker of the Meena Kumari-Raaj Kumar-starrer.

Talking about a scene that featured Meena’s dance in front of a fountain, similar to the fountain at the Taj Mahal, Amitabh revealed that Kamal wanted the scene in a certain way. And, to ensure it, he used rose water for the fountains.

According to Meghnad Desai’s book Pakeezah, Meena Kumari charged just a token amount of Re 1 for her role in the Kamal Amrohi-classic. It turned out to be her last film. She died battling liver cirrhosis just a few weeks after the film released.

Written, directed and produced by Kamal, Pakeezah released in 1972 and also featured Ashok Kumar and Nadira in lead roles. It took 16 years for the film to complete and remains a cult rromance to date.

Recently, Amitabh hit 45 million followers on Twitter and shared a throwback picture with his father Harivansh Rai Bachchan, thanking his fans. He wrote, “The caption informs of 45 million on Twitter .. thank you Jasmine, but the picture says a lot more… Its the moment I came home surviving death after the ‘Coolie’ accident ..Its the first time ever I saw my Father breaking down! A concerned little Abhishek looks on!”.

source: http://www.hindustantimes.com / Hindustan Times / Home> Entertainment> TV / by HT Entertainment Desk / January 12th, 2021

Playing with Pride

Arts, Culture & Entertainment, Business & Economy, Community Involvement / Social Issues, Karnataka (under research project), Sports, , , , ,

KERALA / Bengaluru, KARNATAKA :

This new card game created by two Bengaluru-based women, who hail from Kerala, celebrates Malayali culture, Mollywood and more.

The game needs at least four players and can be played by anyone aged 18 and above

Bengaluru :

You may take a Malayali out of Kerala but you can’t take the love for Malayalam pop culture out of a Malayali. Or so it seems from this new game developed by two Bengaluru- based women who hail from God’s own country. Called Malayali Aano, the new game by Sona Zainab Harris and Rose Mary Jacob is a cardbased game that draws heavily from Malayali pop culture, popular phrases, movie characters, food, stereotypes and other such trivia.

Those who have played the popular party game Cards Against Humanity need no introduction to the rules of Malayali Aano, whose tagline is: ‘A party game for devil’s own people’. It consists of 500 cards, of which 100 have questions on them while 400 have statements, movie dialogues, or phrases that could work as an answer. One player picks a question card, others throw the quirkiest answers from the 10 they possess into a pile. The player that poses the question reads out each question- answer pair, laughter ensues and the most creative or whackiest answer wins.

A minimum of four players is mandatory, with more being merrily encouraged. “Each statement in the answer card is iconic in its own way but when set to the context of another question, it can incite a laughter riot. Since we’ve picked out trivia from the 1980s to now, the nostalgia factor is high as well.

Any player aged between 18 and 45 will find something to remind them of their childhood, adolescence, first romance, parental relations or their connection to Kerala,” says Harris, the founder and creative director of Backflip Design Studio. But it is not just fun and games.

It also helps bring up important conversations. “When you hear certain dialogues – for example, ‘You are just a woman’ from the film The King – you don’t think much in the context of the plot. But isolating such things and using it in the game makes people see that it could be problematic too. Humour can help break barriers with topics like sexism, classism, misogyny, etc,” says Jacob, who is also the founder and curator of the popup My Cup of Tea.

The two women took a month to develop the content of the game. It makes use of, what Jacob and Harris refer to as, a “Manglish” script. There is also a leaflet with a QR code that can be scanned to understand the translation and reference of the answer cards. The game is meant for those aged 18 and above, with some players even finding it to be an effective ice breaker with their parents.

“One player told us he never thought he would talk to his father about the topics included in the game. But they had a good laugh about it, so it can help different generations bond better too,” says Harris.

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Simran Ahuja / December 29th, 2020

In Kalaburagi, where India recorded its first Covid death: ‘Inshallah, a new life is set to join us… Pray all can be with families’

Arts, Culture & Entertainment, Community Involvement / Social Issues, COVID 19 - Community of Soldiers, ,

Kalaburagi, KARNATAKA :

Hamid Faisal Siddiqui, 49, has taken over as qazi of the mosque after his father’s demise and says they have started to put the dark days behind them.

Hamid recieves his father Muhammad Husain Siddiqui at Hyderabad airport in March, 2020.

Hamid Faisal Siddiqui, 49, still breaks down talking about the death of his father on March 10, becoming India’s first casualty linked to Covid-19, especially because of what followed. “I wish and pray every day that none in this world, not even my enemies, is put through the situation my family had to face. Amidst the grief, we battled blame.”

Muhammad Husain Siddiqui, 76, an Islamic scholar who was the qazi of the biggest mosque in Kalaburagi, had gone for a pilgrimage to Saudi Arabia, followed by a month-long stay with his younger son, a dentist, in Jeddah. On his return on March 6, Hamid recalls, his father was fine. However, by the next night, he had begun feeling unwell. With his fever and cough worsening, the family took him to a hospital in the town on March 9. After 12 hours of observation, he was referred to a private super-specialty hospital in Hyderabad. He was being taken by road in an ambulance to be tested for the coronavirus  when he died.

Muhammad Husain Siddiqui at Saudi Arabia pilgrimage.

Still, the joint family never suspected Covid, as the pandemic  was till then no more than a curiosity, happening in faraway China. It was after Siddiqui passed away that the doctors told the family he had died of the coronavirus. Later, Siddiqui’s 45-year-old daughter and the family doctor also tested positive, but recovered.

“People were scared to meet us, some turned away on seeing us. Such was the stigma attached to the pandemic. Very few visited us to even offer solace,” Hamid, who has eight siblings, sobs.

While the dark days that followed seemed endless, Hamid says they have started to put them behind. As elder son, he has taken over as qazi of the mosque. What helped was the family’s decision to take on their Covid status head-on. “We encouraged others to wear a mask and follow all social distancing norms, saying this was the best way to survive this turbulent period.”

A few days from now, the Siddiquis hope to finally and firmly put the shadow of 2020 behind. “Inshallah, we will be blessed with a new life by the early half of the new year,” Hamid says, adding, “Our solemn request to the Almighty continues to be that the entire world moves out of this phase to become a happy place for all. People should soon get a chance to be with their loved ones whenever and wherever they wish to be.”

source: http://www.indianexpress.com / The Indian Express / Home> Cities> Bangalore / by Ralph Alex Arakal / Bengaluru – January 01st, 2021