Tag Archives: Indian Origin Mulims

Book extract: India’s Muslim Spring and the new Indian Muslim

INDIA / London, U.K:

Indian Muslims are having their own ‘spring’. It may not have the shape of an organised movement, and we may not see people going around waving banners or picketing ‘mullahs’, but it is genuine, widespread, and it looks like it is here to stay.

pic: Amazon

Editor’s note: Firstpost contributor Hassan Suroor has written a book that looks at the Muslim community in India today. He explores and dismantles the stereotypes and holds up a mirror to their reality. Here’s an excerpt from Suroor’s India’s Muslim Spring: Why is Nobody Talking About It?

Let me confess that this is not the book I set out to write. The book I had in mind was about the unchanging face of Muslim fundamentalism in India. But barely a few weeks into research, I discovered I was completely on the wrong track. The big story staring me in the face was quite the opposite— far from flourishing, Muslim fundamentalism was actually dying a slow death. As I travelled across the country and spoke to people, I found that over the past decade there had been a profound change in the Muslim mindset. Today’s Indian Muslim, I discovered, was altogether a different species—educated, aware, wiser, less sectarian and more pragmatic ….

Away from the sensational headlines about Islamic extremism, a quiet revolution is taking place. The Muslim discourse has moved on from an obsessive focus on sectarian demands (does anyone remember the last big debate on Muslim Personal Law, for example?) to the more secular bread-and-butter issues. Where once the dinner table talk in Muslim households was unremittingly negative and pessimistic (it was all about how Muslims were being ‘crushed’ and trampled upon, and had no future in India), today it is about change and looking forward. There is a new optimism abroad that is hard to miss. What is significant is that the change is being urged upon not by the usual suspects—the agnostic left-wing Muslim intellectuals…— but by ‘gold-plated’ practising Muslims, deeply conscious of their Muslim identity and unapologetic about flaunting it.

There is a new generation of Muslims who want to rid the community of its insular and sectarian approach by concentrating on things that affect their everyday lives: education, jobs, housing, security. They despair of mullahs and self-styled Muslim ‘leaders’. And they speak a language that is modern and forward-looking. Their interpretation of Islam stresses inclusion and tolerance. They abhor the use of violence in the name of Islam. They may not be wildly enthusiastic about the western notion of free speech and … some even tend to share the conspiracy theories about Salman Rushdie’s alleged motives [behind writing The Satanic Verses], but they condemn the campaign of intimidation and harassment to which he has been subjected in the name of ‘defending’ Islam and the Prophet. They are embarrassed by such antics which, they say, bring shame to the community and, indeed, Islam itself. There is a feeling of having been let down by previous generations—their parents, grandparents—who they believe were too timid to challenge the fundamentalists. ‘We want to draw a line under all that and move on,’ is a common refrain.

Notably, it is the young women, often in ‘hijab’, who are driving the change. Contrary to the stereotyped image of the ‘Muslim woman’, they are educated, articulate, conscious of their rights and have aspirations that are no different from those of any other modern Indian woman. I found them more progressive in many respects than their male peers. And their struggle is greater as they are engaged, simultaneously, on two fronts—challenging the male Muslim orthodoxy and fighting for a wider change in the community that they hope would alter the prevailing negative perceptions of Muslims.

Paradoxically, at one level this is also perhaps the most religious post-independence generation of Indian Muslims … . More Muslim youth wear beards today than ever before and young Muslim women proudly show off their ‘hijabs’. … Yet, it is also the most open-minded and self-confident generation; and—most importantly—optimistic about its future in India. India is their home and this is where they see their future.

‘It is the best place in the world,’ is a phrase that I heard over again and again. For all the talk of Muslim ‘alienation’, today’s young Muslims are remarkably well-integrated … . Today’s young see no contradiction in being proud practicing Muslims and proud secular Indians. They find it insulting to be asked whether they regard themselves as Muslims first or Indians first. To them the question smacks of the questioner’s own prejudices. On the Muslim street, it is dismissed as a ‘bogus’ debate contrived to force Muslims to choose between their religion and their country—a choice that Hindus are not asked to make.

‘It is a false choice that we are asked to make. Call me an Indian Muslim or a Muslim Indian, it makes no difference. When I’m abroad and people ask me my nationality I simply say I’m an Indian, but when they ask me my religion I say I’m Muslim. It’s as simple as that. There is no question of one taking priority over the other,’ said Ishrat Jahan, a hotel executive.

… Indian Muslims are having their own ‘spring’. It may not have the shape of an organised movement, and we may not see people going around waving banners or picketing ‘mullahs’, but it is genuine, widespread, and it looks like it is here to stay. The media has largely ignored the change that is sweeping India’s Muslim community and continues to play up the extreme voices because they make ‘news’. Yet, five or ten years from now, it might realise that it missed the biggest story of its time unfolding right under its nose.

Living through the worst phase of Indian Muslim fundamentalism from the 1970s through to the 1990s, I never thought I would live to write its obituary. The depressing prospect of having to live the rest of my life in a climate of competitive Muslim-Hindu fundamentalism, feeding on each other in a toxic double act, was one reason why at an age when many migrants contemplate returning ‘home’, I decided to take a break from India and moved to Britain. I simply couldn’t take it anymore.

At one extreme, there was the creeping ‘Hindutva-isation’ of India with a resurgent Hindu Right flexing its muscles, and at the other, a wave of Muslim fundamentalism dragging the whole community into a long dark tunnel of isolation… . With such friends, Muslims didn’t need external enemies. … The Babri Masjid fiasco was as much the doing of chest-thumping Muslim ‘leadership’ as it was a calculated act by the right-wing Hindu middle class, to humiliate Muslims. Arbitrary ‘fatwas’ based on the most regressive of interpretations of Islam were commonplace. I heard of more fatwas in the 1990s than I had in the previous half century. Those who didn’t agree with the fundamentalist view were denounced, portrayed as closet ‘RSS stooge’, and hounded.

That was then. A decade later, there is a sea change, thanks to the coming of age of a new generation of Muslims—less excitable and wiser—having learnt from the follies of their predecessors. And certainly more realistic about their place in a Hindu-majority India. All you need to do is to get out a bit more, talk to people, listen to the voices around you, and you’ll discover how refreshing the air smells today … .

India’s Muslim Spring: Why Is Nobody Talking About It?, by Hasan Suroor (Rupa, Rs 395).

source: http://www.firstpost.com / First Post / Home> Living / by Hassan Suroor / January 24th, 2014

Amin Jaffer’s new chapter in Paris

Kigali, RWANDA / Paris, FRANCE :

Amin Jaffer in his library dining room, standing in front of Yuntao Zhang’s painting of Cellini’s Medusa | Photo Credit: Architectural Digest / Antonio Martinelli

The Rwanda-born Indian curator, who has made the French capital his home, on the Al Thani collection’s first museum, his new book, and the importance of private collections

Writer, curator, collaborator, colonial furniture specialist: Amin Jaffer wears his titles effortlessly. And in the last couple of years, he’s added another one — that of Paris denizen — after he uprooted his English life of 25 years to move into a hôtel particulier (a grand townhouse) on Quai Voltaire along the Seine.

The move made sense. An “éminence grise of the international art world”, as an Architectural Digest article calls him (Jaffer is on the cover of the magazine’s 10th anniversary issue this month), he was “spending a lot of time in Venice, and the commute to London was becoming taxing”. But more importantly, his newest project, a private museum for the Al Thani Collection, is in the city, at Place de la Concorde’s Hôtel de la Marine.

“Sheikh Hamad bin Abdullah Al Thani was looking for a more permanent place to house the treasures of his collection,” says Jaffer, recalling how at the time, the French government body Centre des Monuments Nationaux was thinking of converting the former storage space for royal tapestries at the Hôtel — a four-year, €132 million restoration project. “They proposed that the Al Thani Collection could exhibit its masterpieces there.” With a 20-year agreement in place, acquiring a Parisian pin code thus gave him a twofold advantage, both with work and keeping up his continental way of life. (The last few weeks alone have seen Jaffer travel to Seville and Carmona in Spain and Parma and Venice in Italy.)

The Al Thani Collection at Hôtel de la Marine | Photo Credit: Marc Domage

Polaroid and a passion for art

The view of the Louvre from his third floor flat definitely tipped the scales in its favour. (The photos he shares on his Instagram, @aminjaffer_curator, are proof enough.) And the fact that Vivant Denon, the first director of the museum, had once been a resident in the 17th century building. Moreover, as he explains in an email that he squeezes in between flights, he’s always had a special connection with the Louvre. As a six-year-old, he had visited the museum with his mum, spending an entire day exploring its rooms, a Polaroid camera clutched tightly in his hands. He still has the photographs. “The adrenalin rush of seeing a great work of art inspired me then — as it does now,” he says, adding how by the time he turned 10 he had visited most of the major museums in Europe. “Other seminal moments include an early visit to the Musée des Beaux-Arts in Brussels and a trip to Rome to see the Vatican collections.”

The courtyard at L’Hôtel de Beuvron with its Rococo fountain | Photo Credit: @aminjaffer_curato

But he nearly missed his calling. Born into an Indian business family in Kigali, Rwanda, a career in art wasn’t an option growing up. His subjects in university were economics and commerce! That is, until he chose the history of French opera and French Renaissance châteaux as his first year electives and reignited his love affair with the arts.

Today, Jaffer, who is in his early 50s, is not only the chief curator of the Al Thani Collection, but also works with leading museums around the world in a “curatorial role, focussed on public projects, exhibition programming and producing catalogues”. His resume includes long stints at the V&A Museum in London as curator and as the International Director of Asian Art at Christie’s.

Amin Jaffer in his home office, sitting in front of a triptych by Reza Aramesh | Photo Credit: Architectural Digest / Antonio Martinelli

The perks of a private collection

“Born in central Africa, educated in Europe and America, I do feel something of a hybrid and I am drawn by works of art that are born from the encounter of two — or more — civilisations,” says Jaffer, who has recently “been fascinated by the fusion of Spanish and Amerindian culture, particularly in the domain of painting”. This ties in beautifully with the Al Thani Collection and its catalogue of more than 5,000 works of art drawn from across world civilisations.

It makes us wonder, how important are such private collections in the art world? “Pioneer collectors have vision and resources that compliment the public art offering,” he says, explaining how such collections play a significant role in the programming of national institutions. “Recent examples in Paris [besides the Al Thani Collection] includes the Bourse de Commerce and the Fondation Louis Vuitton. In India, Kiran Nadar has developed a programme of exhibitions around her collection that makes an essential contribution to the art scene,” adds the Indian art expert who played a key part in launching Christie’s first auction in Mumbai in 2013.

At Hôtel de la Marine | Photo Credit: Marc Domage

On board with digital

Jaffer’s personal collection is equally varied. A triptych by Iranian photographer Raza Aramesh, of Afghan refugees sitting in the Versailles’ Hall of Mirrors, takes pride of place in his home office, while a painting of Italian sculptor Benvenuto Cellini’s Medusa by Chinese contemporary artist Yuntao Zhang hangs in the library dining room. Elsewhere, Qing period armchairs, Louis XVI commodes, and Bouke De Vries’ Memory Jars are tucked into corners and under tables. “My most recent passions are French 18th century silver and hardstones from late Antiquity, especially objects in porphyry. I am learning more about Symbolist painting, too,” he says.

His days of confinement (as the French called the lockdown) helped broaden his base. When not watching life on the river, he was visiting digital museums and “researching parallel institutions” around the world. “What’s certain,” he says, “is that technology will play a greater role in the way we enjoy works of art — whether through the presence of more immersive, digitally-led exhibitions [such as the RMN Grand Palais’ immersive Venice show opening in autumn] or the sharing of information about works of art through digital platforms [like the one for the Palazzo Pilotta collection in Parma, which he experienced last weekend].” Does this mean he’s also on board with NFTs? “Of course, the phenomenon interests me,” he says, “but I do not yet have sufficient expertise to comment on anything in this new domain.”

The Al Thani Collection | Photo Credit: Marc Domage

Left Bank to the Concorde

For now, he’s back at his home at L’Hôtel de Beuvron, listening to Wagner and Mahler, and updating his Instagram. V&A’s new exhibition, Fashioning masculinities — on the male dress and its influences — has caught his eye, though he admits his personal wardrobe is rather formulaic. Tailored clothes in a limited palette of colours is the ‘uniform’, accented by pocket squares and ties that reflect the season or his mood. “Cufflinks are a weakness,” he shares, “and the best ones are by [Indian jeweller] Viren Bhagat, without doubt.”

Even as Jaffer immerses himself in life on the Left Bank, work at the museum is keeping up its momentum. “Some substantial pieces have been added to the collection in the past two years, which reflect the diversity of interests [of Sheikh Al Thani]. These will be shared with the public through displays at the Hôtel de la Marine,” he concludes.

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Surya Praphulla Kumar / March 19th, 2022