Rs 1 crore to be provided for Beary community hall in Kodagu: Speaker U T Khader
Madikeri:
Karnataka Legislative Assembly Speaker U T Khader said that Rs 1 crore will be allocated for the construction of a Beary community hall in Kodagu district, and directed officials to identify suitable land for the project.
He was speaking after inaugurating the first Kodagu District Beary Literary Conference organised by the Karnataka Beary Sahitya Academy in association with the Kodagu Bearys Welfare Trust.
The event was presided over by B A Shamshuddin. Khader said the grant of Rs 1 crore would be facilitated with the support of local MLA Mantar Gowda and Virajpet MLA as well as Chief Minister’s legal advisor A S Ponnanna.
Highlighting the cultural importance of the community, he said Beary culture, literature and traditions have a distinct history and called for efforts to preserve and promote them.
He said the literary conference would help encourage discussions, strengthen the Beary language, and guide the community towards development. It would also help educate youth about Beary literature, culture and history, and provide a platform for exchange of ideas.
Khader also stressed the importance of learning and respecting all languages, stating that in a globally connected world, multilingualism promotes harmony.
Speaking on the occasion, MLA Mantar Gowda assured that funds would be released once land is identified for the construction of the community hall.
source: http://www.msn.com / MSN / Home / by Newspoint / April 2026
“Gharara is not just a dress; it is a cultural legacy of my city. The Rampur gharara was once worn by the Nawabs of the state, who adorned it to enhance their regal and graceful appearance. It is, truly, a royal garment.”
This was said by Shehla Khan, widely credited with reviving the Rampur gharara in the modern fashion world, in a special interview with Anjali Ada of Awaz-the Voice. Shehla describes the gharara as an ancient attire that was once on the verge of extinction.
Tracing its origins, she explains that in 1774, Nawab Faizullah Khan brought skilled craftsmen to Rampur, giving rise to this intricate art form. However, over time, the craft began to fade away.
Reflecting on her own journey, Shehla Khan says her entry into fashion was purely accidental. “I am not just a fashion designer; I am also a lawyer and a social worker. I have even contested elections. During my campaign, I travelled extensively and came across artisans engaged in fine embroidery. When I spoke to them about their lives, I realised how difficult it was for them to make ends meet. It deeply moved me.”
Determined to help, she discussed her ideas with her husband. Initially, her family was sceptical, unsure if she was suited for this field. “But I was clear in my mind. I began working with artisans and started selling my creations on Instagram under the name Rampur ke Gharare. Gradually, orders started coming in. Eventually, my family accepted my new role and extended their full support.”
Shehla recalls that when she began her revival efforts in 2017, she was shocked to find that only one artisan remained. “I informed the administration, and they stepped in to support the craft. Even prison inmates were trained in this skill to help them find employment after release. I also worked towards including it in the One District One Product (ODOP) scheme, and efforts are now underway to secure a GI tag for Rampur gharara.”
Traditionally, the gharara was beyond the reach of common people due to the use of gold and silver threads. “Today, we use alternatives like steel and other metals, making it more affordable. We create bridal wear at reasonable prices, bringing this royal attire to the masses.”
Speaking about her growing reach, she says, “I now have clients across the world. Though my Instagram following is modest, my work has reached nearly 15 million people. I receive orders from across India and abroad. My showroom is in Shaheen Bagh, Okhla, Delhi, and I plan to expand further.”
Her initiative has also generated employment for numerous artisans, helping sustain the craft and their livelihoods.
Explaining the distinction, she notes, “The gharara is more traditional and regal compared to the sharara. Since 2018, ghararas have made a strong comeback in fashion. While designs may be copied, the vision behind them cannot be. My goal is not just business, but to create employment and secure a future for artisans and their children.”
Shehla’s clientele includes several well-known personalities. “Among them are Sana Rehman, Zareen Khan, and Abu Azmi. We have also presented a shawl to Uddhav Thackeray. Our creations are worn across the world, with significant demand from Canada, the United States, Dubai, and London. We also have a large number of Sikh clients. After all, clothing has no religion.”
Shehla credits her mother as her greatest inspiration. “She taught me how to cut and stitch ghararas. Today, I understand the finer nuances of this craft. My family, including my children, has been a constant source of support.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Aasha Khosa / April 29th,2026
A non-violent Muslim superhero in a violent world: In conversation with Falah Faisal, creator of Musalman
In an increasingly polarised media landscape, Musalman has emerged as a work that blends satire, journalism, and modern mythology. Created by Bangalore-based comic book writer and stand-up comic Falah Faisal, the series has now taken a definitive step into print with the launch of its Graphic Novel in March 2026. Published by Yoda Press, the book carries forward a project that began in 2017 and has since grown into a sharp form of political commentary, using humour and cinematic visual storytelling to question dominant narratives and imagine a way forward.
The Musalman Universe, as described on its official website, is a satirical superhero world built around a non-violent, skullcape-wearing hero navigating a nation marked by Islamophobia and everyday absurdities. At its center is Musalman, a cricketer-turned-superhero who chooses reason and dialogue over violence, reframing what heroism looks like.
The world around him expands through a range of disruptive characters: Starwoman, an astronaut fused with the spirit of David Bowie after a space accident, whose connection to Musalman is rooted in childhood; Musalman X, emerging from Chicago and inspired by Malcolm X, who imagines a global network of Muslim superheroes; Begum Badass, a burqa-clad vigilante shaped by personal loss who turns to martial skill and deception in pursuit of justice; and Falahdeen, also known as Harami No. 1, a stoner anti-hero who discovers a genie in his bong and operates as a chaotic, irreverent counterforce within the narrative. Presiding over this world is Taana Shah, the dictatorial ruler of Antim Pradesh, driven by a prophecy that foretells his downfall at Musalman’s hands, making him not just an antagonist, but a figure shaped by fear, control, and the inevitability of fate.
To understand when Musalman stopped being just an idea and became a necessity, Falah Faisal traces its origins back to September 11, 2017. “At the time, it was sporadic, something I returned to occasionally. That urgency only emerged later, during the CAA protests, when the political climate sharpened my awareness of who was suffering, who was being oppressed, and what was at stake. When the protests gave way to lockdown and people were confined indoors, the need for expression only intensified. It was then that Musalman became essential.”
The way he approaches comics cannot be separated from his filmmaking background. Musalman, in his mind, was always a film first. Like Martin Scorsese suggests about cinema, learning comes from watching and absorbing how stories are constructed. For him, comics operate similarly. Each narrative plays out as moving images in his head, broken down frame by frame, with transitions that often feel distinctly cinematic. The question of whether Musalman is a political act is, for him, inseparable from another: it is also a form of journalism. Having studied and practiced journalism, he now sees the comic as an alternative to mainstream avenues that feel increasingly closed. Drawing from Hunter S. Thompson, he treats it as Gonzo Journalism, documenting reality through fiction, where truth can sometimes emerge more sharply than through facts alone. Humour, then, becomes more than a tool; it becomes survival. In a climate where one can feel constantly targeted, laughter functions as a form of resistance. Refusing to take oppressive forces seriously and laughing in their faces is, for him, a form of rebellion.
If there is one thing he refuses to do, it is censor himself. “The work must be put out exactly as I see it, without dilution or fear,” he says. At the same time, he is conscious of the conversations the comic might provoke, especially among those who disagree with it. “Art, for me, should function as a bridge.” Falah’s influences remain foundational. He puts it,“If the character’s beginnings lay in satire or something closer to irreverent humour, they were shaped early on by influences like South Park. Over time, however, the work evolved into something more pointed, a form of political commentary that reacts to the world in real time. It became a way of interpreting reality and imagining a way forward through it. It remains satire, but also, in his words, a vision for a better world. Alan Moore’s Watchmen and V for Vendetta shaped my understanding of flawed heroes and enduring ideas. Early works borrowed from these influences before evolving into something more personal. Drawing on Grant Morrison’s idea that there is no “us and them,” only “us,” I hope readers begin to question what they have been told, particularly by mass media. The contradictions are already there in everyday life; the work simply brings them into focus.”
But can satire still function when reality itself feels absurd? He acknowledges the difficulty. He observes,“Sometimes the fictionalised versions of real figures behave more sensibly in his comics than their real-world counterparts, such as his character Arnab Cowswamy, drawn from the TV anchor whose on-screen histrionics are legendary. In that sense, the comic becomes a way of restoring coherence to an increasingly chaotic reality.” Humour remains central, not just for commentary, but for connection. It softens difficult truths, makes them easier to engage with, and, at a personal level, “helps stay sane”, he says. Yet he is aware that humour can also be risky. Anything that speaks truth to power, especially in a political context, carries consequences. And still, he insists, that risk is necessary.
The Musalman character itself is designed to challenge expectations. He explains, “Musalman is non-violent, choosing humour and dialogue over confrontation. Even his origin complicates identity, as he is revealed to be a descendant of Ram, embodying both Hindu and Muslim lineages. In doing so, the character questions the idea of fixed identities and counters narratives that frame communities as outsiders.” When it comes to building characters, especially in a genre as saturated as superhero fiction, he sees limitations as well as possibilities. Most powers, he believes, have already been explored over the past century, which is why many of his characters are amalgamations of existing archetypes. “Musalman himself carries shades of Superman, but the real innovation lies elsewhere. The villains are not just individuals but representations of systems and ideas. Drawing from mythology and real life ensures they remain complex rather than caricatured. Figures like Taana Shah embody authoritarian ideologies, while characters like Chairman Maose critique corporate entities such as The Walt Disney Company and Marvel Cinematic Universe. Together, they map a world shaped by both political and corporate power,” he adds.
Is Musalman a person or a symbol? “For me, Musalman is an idea, and ideas are bulletproof. Even if the creator were silenced, the character could endure. I imagine him as a beacon, a lighthouse for those who feel alienated, offering a sense of belonging”, says Falah. For Musalman himself, the greatest fear is not defeat but ineffectiveness, the inability to intervene in real-world crises. Falahexplains, “This tension feeds into a larger ambition: the creation of a modern mythology. Influenced by Joseph Campbell and The Hero with a Thousand Faces, I seek to bring together elements from multiple traditions, Hinduism, Islam, Christianity, and Judaism, into a shared narrative. The aim is not to erase differences but to reveal the common ground that already exists between them.” His storytelling process reflects this approach. To him each story is part of a jigsaw puzzle he’s putting together piece by piece, and only he sees the larger picture. Once finished, you’d have to step back to marvel at how it all came together.
Despite its possibilities, he observes that comics are undervalued in India. Yet their strengths, he argues, are unique. As he puts it, “unlike film, comics allow the reader to control time, to linger, revisit, and interpret at their own pace. They also enable expansive storytelling without the constraints of budget.” Even without financial limitations, he would continue working in comics, seeing them as the foundation of visual storytelling.
That visual freedom is realised through his collaboration with his illustrator. The collaboration with his illustrator, Spud, began in November 2019 at a meetup for illustrators and comic writers in Bangalore organised by Sumit Kumar from Bakermax. As introductions went around, he mentioned that he created Musalman, prompting a loud laugh from across the room. Curious, he later sought Spud out and, after seeing his sketchbooks filled with detailed drawings, felt an immediate fit. What followed has been a close collaboration, with Spud’s visual interpretations not only shaping the comic but also pushing the writing to evolve. Over time, the partnership became one of mutual growth.
In the world of Musalman, there’s a character who carries the creator’s name, Falahdeen. For Falah Faisal, Falahdeen operates as a counterpoint to Musalman. If Musalman represents the superego, Falahdeen embodies the id—the space of impulse, desire, and immediate gratification. He draws from his own inner world, shaping the character out of his deepest anxieties and desires, but allowing those instincts to play out more freely. “In the story, he finds a genie and wastes his first two wishes on Everlasting Joints. For the third, he’s given a trial period where he can wish for anything and undo it if he wants. But the genie always gives him the worst possible version of whatever he wishes for. If he becomes a rockstar, his music antagonises the right wing and they come after him. If he legalises weed, it leads to corporate control and manipulation. It’s always the worst version of the desire,” he says, describing the character as one that exists in the tension between impulse and consequence. Over time, however, he adds that he has begun to approach Falahdeen with a certain softness, allowing the character a more compassionate arc.
Audience responses have continually reshaped his understanding of the work. From a nine-year-old who painted a Musalman’s Meem symbol on his T-shirt to meet him, to older readers who have followed the series from the beginning, the range has been unexpected. His work has resonated across generations. This also raises the question of responsibility. “In a deeply polarised world, I hope Musalman can reflect a more inclusive past, one where communities coexisted more fluidly, and offer that vision to younger readers,” he says.
Musalman, for Falah Faisal, remains an ongoing inquiry. When asked about his idea of success, he moves away from conventional metrics. “It is not measured in likes, shares, or sales, but in those rare moments when fiction seems to echo reality, when ideas spill beyond the page and into the world. Success might also take the form of a feature film adaptation or the possibility of influencing real political change. Ultimately, it lies in endurance, in the idea continuing to exist, resonate, and shape the world in small, unexpected ways,” he concludes.
source: http://www.maktoobmedia.com / Maktoob Media / Home> Literature> Bookshelf> Features / by Ashika N / April 09th, 2026
At its core, Muslim History Month is about building an archive, one that reflects the richness and diversity of Muslim experiences across time, space and geography. For me, as an Indian Muslim woman, this work is inseparable from the present moment.
A calligraphic panel installation. Photo courtesy: Karim Jabbar
As an Indian Muslim woman, I had long felt the dissonance of being spoken about rather than being listened to as an equal. In my experience, even in spaces that claimed to centre Muslim issues, Muslim voices, especially those of women, are often sidelined. The authority to narrate our own histories has routinely been denied. This experience is not mine alone.
When I began conversations with my friend and colleague Dr Ashwini K.P., a Dalit woman human rights advocate, and now UN Special Rapporteur on Racism, we quickly recognised the parallels in our experiences. Caste and religion operate differently, but both structure exclusion in similar ways, by determining whose knowledge counts, whose histories are archived, and whose voices are amplified.
Muslim History Month, launched in 2020 by our co-founded organisation, Zariya, emerged from this shared understanding and we celebrate it during the month of Ramadan/Ramzan. It is a community-led initiative that creates space to document, explore, and celebrate the diverse histories, cultures, and contributions of Muslim communities across the world. Through essays, articles and storytelling, it seeks to reclaim narrative authority by centring Muslim voices and highlighting perspectives that are frequently overlooked or misrepresented in mainstream discourse. In recent years, Islamophobia in India has shifted from the margins to the mainstream. It is visible not only in policy debates or organised hate, but also in everyday language, media representation, and cultural production. The repetition of distorted narratives, whether through films like Kerala Story 2 or everyday hate crimes, begin to replace reality. Against this backdrop, the absence of self-represented Muslim narratives becomes more than a gap, it becomes a form of erasure.
Muslim History Month was an attempt to counter this, by shifting the focus from what is said about Muslims to what Muslims say about their own histories, cultures, and lives, globally. The idea of dedicating a month to Muslim histories was inspired by earlier initiatives like Black History Month and Dalit History Month, movements that have long demonstrated the importance of reclaiming histories from erasure and distortion. These efforts remind us that history is not neutral. It is shaped by power, by who gets to record, interpret, and disseminate it. Muslim History Month builds on this legacy by creating a platform where Muslims, alongside allies, reflect on the diversity and complexity of Muslim histories and cultural practices.
One of the most meaningful aspects of this journey has been witnessing how contributors engage with the platform, not just as writers, but as individuals seeking space to reflect. One of our contributors this year, Mai Zarkawi, a Palestinian jewellery designer and visual storyteller, tells me she was inspired to contribute to Muslim History Month because “it creates space to reflect on the depth and diversity of Muslim cultural practices, beyond dominant or simplified narratives.”
The urgency of this work is evident in the dedication of its contributors. Writing from Beirut, Islamic art historian Rima Barakat chose to participate despite being the middle of the ongoing conflict. She reflects that war compels cultural action, noting that, like artists in past world wars, creative expression becomes a way to endure, sustain community, and measure survival through artistic resilience.
Across its three editions, the initiative has evolved in both scope and depth. The first edition brought together reflections on everyday practices and overlooked communities, challenging narrow understandings of what constitutes “history.” Contributions from authors who identified as Pasmanda, Roma, Uyghur and Tsakhur all featured in this edition. The second focused on Muslim women whose contributions have been marginalised or forgotten, seeking to address the gendered erasures that shape historical memory, from Haleema Beevi to Fatima Al-Fihri.
The third edition, which is currently underway, turns to Muslim art and architecture, but in a way that deliberately expands these categories beyond monumental structures or common artistic traditions. Performative arts, art as a means to resistance, light calligraphy, geometry and varied Quranic scripts all form part of this series. Academics, experts and activists in this edition have written about subjects varying from Roghan Art and Islamic Geometry to the importance of Amulets and devotional performative traditions.
The three editions have had contributions from authors from over 15 countries. From Sudan, Egypt and Palestine to India, Nepal, Tunisia and Canada. This global participation is central to the project. Muslims are often treated as a monolithic group in public discourse. Muslim History Month actively resists this by foregrounding differences in language, culture, geography, and lived experience. In the age of AI and tools such as Chat GPT, referencing and footnoting form an important part of these pieces.
This initiative tries to disrupt the idea that history belongs only to grand events or celebrated figures alone. It insists that culture, whether in the form of calligraphy, craft, food, identity, ritual, or storytelling, is central to understanding how communities endure and evolve. For me, this work is inseparable from the present moment. It is shaped by the realities of Islamophobia globally, by the distortions of media and popular culture, and by the urgent need to create alternative spaces of knowledge and expression. But it is also shaped by hope, the belief that by telling our own stories, we can begin to shift how we are seen, understood, and remembered.
As Karim Jabbari, a world renowned Tunisian light and calligraphy artist tells us in his interview, for him, “Calligraphy is the anchor of our history. It is the way our ancestors transmitted knowledge into written form, and it is the link that keeps us grounded. If we understand it, stay faithful to it, and keep our connection with it alive, we are essentially maintaining a living connection with our own history.’
At its core, Muslim History Month is about building an archive, one that reflects the richness and diversity of Muslim experiences across time, space and geography. For me, as an Indian Muslim woman, this work is inseparable from the present moment. It is shaped by the urgency of ensuring that future generations inherit something more than stereotypes about Muslims. We are more than the vengeful, violent, anti national beasts that we are shown to be by the media.
Because beyond the noise of headlines and the weight of propaganda, there exists another set of stories that need to be documented and preserved and this is a humble attempt towards this direction.
Mariya Salim is co-founder of Zariya. She is a human rights activist and an international sexual- and gender-based violence expert based in Delhi.
source: http://www.thewire.in / The Wire / Home> LiveWire / by Mariya Salim / March 19th, 2026
In an innovative educational endeavour that takes place in Chennai, Aalimah students gain exposure to the study of comparative religion through a disciplined approach.
Chennai: A momentous academic occasion took place at Hidhaaya Islamic College for Girls, as third year Aalimah students plunged themselves into researching world religions. As a part of their course curriculum for the fifth semester, the students conducted research about world religions, which culminated in the submission of research papers in the sixth semester.
To begin with, the session started off on a tranquil note with recitation from the Holy Qur’an done by third year Aalimah student Hameera. The session was chaired by Burooj Association President and third year Aalimah student Arshiya. She addressed the participants and Guests with an opening welcome speech.
The presentations were evaluated by distinguished guests including, Dr. K.V.S. Habib Mohammad, eminent scholar of Islam, writer and Shura member of Jamaat-e-Islami Hind (Tamil Nadu) and Mr. Jalaluddin, Correspondent of Good Word Public School and Vice President of JIH Tamil Nadu and chairman Nazeer Ataullah of Hidhaaya Islamic College for girls.
With regard to the study of Sikhism, Judaism, Christianity, Buddhism, and Hinduism, five of the students made a commendable effort to understand the beliefs, holy books, and rituals of each religion. Their understanding showed in their thoughtfully prepared PowerPoint presentations. The analysis was enriched by yet another five students who compared the five religions mentioned above with Islam.
The whole exercise was an exemplar in both research and intellectual engagement. The evaluation panel acknowledged the effort of the students and suggested ways to improve the academic methodology and presentation style.
Pointing out the importance of such exercises, Dr. Habib Mohammad described it as a groundbreaking initiative by Hidhaaya Islamic College for Girls. This is truly a commendable and progressive initiative. Stating the necessity of comparative study of religions, he commented:
“Comparative study of various religions is very important to develop a better understanding. It is just the beginning of a long academic journey which needs to be taken further with sincerity and respect.”
He also recommended that students take up specialisation in one religion for greater knowledge and suggested that they should refer to the primary source of any religion to acquire true knowledge. He exhorted students to adopt an open mind with respect and regard for all religious beliefs.
This project represents a milestone effort towards the creation of enlightened and thoughtful women who have a proper understanding of the complexities of a pluralistic world.
In acknowledging the significance of this endeavour, Dr. Habib Mohammad mentioned how much the participants seemed to know about their disciplines, which was evident from their active involvement with the literary and intellectual aspect of religion. He also commented on how this programme reflects the institution’s academic excellence and hints at the future success of graduates.
Likewise, Mr. Jalaluddin appreciated the high calibre of performances and gave useful advice regarding improvements in terms of language skills and presentation techniques.
The event concluded with a warm vote of thanks offered by student Ashiqua, one of the 3rd Aalimah students.
“When knowledge is guided by understanding and compassion, it becomes a force that not only enlightens minds but also unites humanity.”
[Dr. Rabia Basri is Correspondent and Principal of Hidhaaya Islamic College for Girls, Chennai]
source: http://www.radiancenews.com / Radiance News / Home> Latest News> Report / by Dr Rabia Basri / April 29th, 2026
Shahzada Husain Burhanuddin, the youngest son of His Holiness Syedna Mufaddal Saifuddin.
Mumbai :
The Dawoodi Bohra community has launched a new online initiative aimed at expanding access to the sacred sciences of the Quran. The newly launched Sawt al-Quran al-Karim YouTube channel presents the recitation of the entire Quran in the voice of Shahzada Husain Burhanuddin, the youngest son of His Holiness Syedna Mufaddal Saifuddin. This project forms part of the work of Mahad al-Zahra, an institution dedicated to the study, memorisation and recitation of al-Quran al-Karim.
The channel presents the complete Quran according to the Khalaf ‘an Hamza narration, one of the ten canonical traditions of Quranic recitation preserved through continuous scholarly transmission over centuries. Known for its demanding precision and distinctive phonetic characteristics, this narration remains less widely available in full digital recordings. Its publication online offers students of the Quran a rare opportunity to study and listen to this recitational tradition in its entirety.
Mahad al-Zahra leads the Dawoodi Bohra community’s efforts in Quranic education. The institute was established in 1976 by the late Syedna Mohammed Burhanuddin to cultivate excellence in the memorisation and recitation of the Quran. Since 1998, Shahzada Husain Burhanuddin has guided the institution’s development, overseeing programmes that train students in the disciplines of tilawah (recitation) and hifz (memorisation) while maintaining rigorous scholarly standards.
In his role as provost of Aljamea-tus-Saifiyah, the community’s premier educational institute, Shahzada Husain Burhanuddin personally supervises examinations for huffaz (plural of hafiz, are individuals who have memorized the entire Quran), ensuring accuracy and mastery in Quranic memorisation. A distinguished qari himself, he also holds honorary membership in the Naqabat Qurra al-Quran al-Karim in Cairo, regarded as one of the world’s most respected guilds of Quran reciters.
His scholarship in the field of Quranic recitation includes the three-volume work Qiraat Zahira li Kitab Allah, which presents the principles of Quranic readings through structured tables and visual guides. Each page of the publication includes QR codes that connect readers directly to his recitation of the Qiraat ‘Ashr (the ten recognised schools of Quranic recitation, each preserving a unique phonetic tradition from a renowned reciter), allowing students to hear the precise rendering of the recitation rules they study. The work has received certification from Al-Azhar University, widely recognised as a leading authority in the teaching and transmission of Quranic sciences.
The launch of the Sawt al-Quran al-Karim channel reflects the vision of His Holiness Syedna Mufaddal Saifuddin to strengthen engagement with the Quran across generations. He has consistently encouraged families within the community to nurture the study of the Quran at home, expressing the hope that every household will include at least one hafiz and that the community will cultivate 100,000 huffaz worldwide.
By presenting authentic recitation through digital platforms, the initiative extends access to students and listeners across continents. Families, scholars and learners can now listen to and study these recitations regardless of location, strengthening their connection with the Quran in daily life.
Murtaza Jafar, a senior member of Mahad al-Zahra, described the initiative as an important step in sharing Quranic knowledge with a wider audience.
“The launch of this channel marks an important moment in our efforts to preserve and share the sacred sciences of the Quran. By publishing the complete Quran in the Khalaf ‘an Hamza narration, we are providing students and listeners around the world with access to a recitational tradition that requires great care and precision.”
He added that the project will continue to expand.
“We plan to add further recordings representing other recognised narrations of Quranic recitation. Work has already begun on recordings in the transmissions of Hafs ‘an Asim, Warsh ‘an Nafi and al-Susi ‘an Abi Amr. Our hope is that these resources will support students of the Quran for generations to come.”
The Sawt al-Quran al-Karim YouTube channel is now available online and offers listeners direct access to the complete recitation.
The media is considered a tough profession, and naturally, till few decades ago, very few women were part of it. However, the pioneers, especially among Muslims, whose journeys span television studios, radio booths, conflict zones, and digital platforms, helped turn the narrative on national and local issues. With a growing presence of Muslim women in newsrooms, on TV screens conducting prime-time news debates, as Radio Jockeys, and covering conflicts on the ground, they have empowered the community and made media space more inclusive.
Under its series Parvaz, Awaz-the Voice brings you the stories of ten women from the Indian media who have left a mark in the field. They represent a generation of women who refused to remain confined by convention and instead built identities rooted in excellence and purpose. Here are the top Muslim women media persons:
Yana Mir
Yana Mir has emerged as one of the strongest voices from Kashmir, challenging Pakistan-backed propaganda through journalism, entrepreneurship and advocacy. Educated in Mumbai and rooted in Kashmir, she returned to the Valley in 2020 to report stories often ignored, including the families of policemen killed by terrorists and the silence created by fear.
As CEO of the Real Kashmir Group, she has continued to document change despite threats and pressure.
Her speech at the UK Parliament in 2024 brought international attention when she spoke of feeling free and safe in India. Through her enterprise NourZuw, she also supports Kashmiri artisans and promotes economic self-reliance.
Seema Mustafa
Seema Mustafa stands among India’s most fearless journalists, with a career spanning nearly five decades. Beginning at The Pioneer at just nineteen, she went on to work with leading publications such as The Indian Express, The Telegraph and The Asian Age.
She reported from war zones, including Beirut and Kargil, earning the Prem Bhatia Award. Founder of the digital platform The Citizen, she remains a powerful advocate for independent journalism and women’s voices. As the first elected President of the Editors Guild of India, she reinforced the principle that journalism must question power, not flatter it.
Saima Rahman
Saima Rahman, fondly known as RJ Saima, is one of India’s most loved radio voices.
Raised in Delhi after being born in Nigeria, she developed a passion for language, music and public speaking early in life. Her journey began with All India Radio’s Yuv Vani and blossomed through the iconic show Purani Jeans, where songs, poetry and nostalgia created an emotional bond with listeners.
Through Urdu Ki Paathshala, she has also brought audiences closer to the beauty of the Urdu language and literature. Her voice continues to blend memory, music and social awareness.
Rubika Liyaquat
Rubika Liyaquat has built a strong identity in Indian television journalism through discipline, sharp reporting and composed primetime anchoring. Beginning with field reporting, she worked with networks such as Live India, News24, Zee News and ABP News, steadily rising to national prominence.
Beyond the newsroom, she is recognised for affirming India’s plural social fabric through messages of mutual respect and Hindu-Muslim harmony. Her journey highlights resilience, merit and the importance of coexistence in a polarised age.
Rana Siddiqui Zaman
Rana Siddiqui Zaman broke barriers to become a respected voice in journalism, particularly in cinema, culture and the performing arts. Educated at Aligarh Muslim University, she chose journalism when it was still considered unconventional for women.
Her defining years at The Hindu earned her acclaim for insightful columns and interviews with major artists. After professional setbacks and economic challenges, she reinvented herself and now works with the Children’s Book Trust. Her story is one of courage, reinvention and quiet determination.
Nagma Sahar
Nagma Sahar is widely regarded as one of the most balanced and socially committed voices in television journalism. Born in Patna and educated in Delhi, including studies at JNU, she brought academic depth to her reporting. At NDTV India, she covered major events from the tsunami in Tamil Nadu to elections in Kashmir.
Her show Salaam Zindagi brought issues such as addiction, discrimination and transgender rights into mainstream conversation with empathy and dignity. Her career reflects integrity and meaningful journalism.
Heena Kausar Khan
Heena Kausar Khan has become an important journalistic and literary voice by bringing the inner realities of the Muslim community into mainstream Marathi discourse. Raised in Pune, she started her career with Lokmat before turning to feature writing.
Through platforms like Sadhana Weekly and Loksatta, she explored identity, reform and changing social consciousness. Her books, including Itranama and Ijtihad, have earned acclaim and honours. She continues to advocate humanity, coexistence and nuanced understanding.
Atika Farooqui
Atika Farooqui has enjoyed a distinguished media career spanning more than two decades. Known as a thoughtful host and interviewer, she built her reputation through consistency rather than instant fame.
Working across news and entertainment, she became known for warm, intelligent conversations that focused on creativity and personal journeys rather than sensationalism. A poet and writer fluent in multiple languages, she remains relevant by adapting gracefully from television to the digital era.
Dr. Firdous Khan
Dr Firdous Khan, celebrated as “The Princess of the Isle of Words,” is a scholar, poet, journalist and translator whose work bridges spirituality, literature and media. Associated with the Sufi tradition, she has authored books such as Fahm al-Qur’an and Pioneers of Ganga–Jamuni Culture.
Her career spans Doordarshan, All India Radio and numerous print platforms. Writing in Urdu, Hindi, Punjabi and English, she has earned honours for journalism and literature while promoting harmony, service and the enduring power of words.
Shah Taj Khan
Shah Taj Khan, professionally known as Sheh Taz Begum Khan, is a distinguished Urdu author, journalist, and educator whose career spans more than twenty-five years across print media, broadcasting, literature, and academia.
Based in Pune, she has earned respect in Urdu journalism through roles as reporter, editor, producer, and creative director with organisations such as ETV News, where she helped shape the special bulletin Khas Baat, as well as publications like Nai Duniya Urdu Weekly and Media Star News Feature Agency
She has also made a notable contribution to children’s literature through science-based Urdu books such as Seen se Science and Picnic, praised for making scientific ideas engaging for young readers and supported by the National Council for Promotion of Urdu Language.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Aasha Khosa / April 26th, 2026
The two-day exhibition brought together artists from several countries; Momin was selected for the upcoming international exhibition in Norway
Bhiwandi :
A young calligrapher from Bhiwandi has brought pride to his city after gaining special recognition at an international Qur’anic calligraphy exhibition in Delhi held recently.
The two-day (March 28-29) exhibition aimed to connect the younger generation with the art of calligraphy and spread the universal message of the Holy Qur’an in a beautiful and meaningful way. The event saw participation from artists and representatives from countries including Switzerland, France, Turkey, Saudi Arabia and the United Arab Emirates, making it a truly global platform.
Among the selected participants from across India, only ten prominent calligraphers were chosen to showcase their work. Mansab Momin, also known as Mansab Art, was one of them. His inclusion in the exhibition was seen as a recognition of his skill and dedication to the art.
Momin’s Qur’anic designs and calligraphy pieces drew strong attention from visitors. People who attended the exhibition closely observed his work and appreciated the detail and balance in his writing.
During the event, Momin also conducted a live workshop which became a major attraction. He created calligraphy on canvas in front of the audience and wrote names and phrases on the spot for hundreds of visitors.
Speaking about his experience, Momin said, “Calligraphy is part of our rich cultural and religious heritage. It is important that we pass this art on to the next generation.” He added, “I will continue my efforts to teach and promote this art, and I plan to restart calligraphy training classes soon.”
Organisers of the exhibition were also impressed by his performance. Due to his strong command over the art, Momin has been selected to participate in an upcoming international calligraphy exhibition in Norway.
One of the organisers said, “His work reflects deep understanding and control. The response from the audience shows how powerful this art form can be.”
The exhibition was held under the supervision of noted calligrapher Gauri Yusuf Hussain from Gujarat. It was seen as an important step in promoting calligraphy and introducing it to a wider global audience.
Momin’s achievement is being seen as a matter of pride not only for him but also for the people of Bhiwandi, as his work continues to carry forward a meaningful artistic and spiritual tradition.
source: http://www.clarionindia.net / Clarion India / Home> Editor’s Pick>India>Indian Muslims / by Team Clarion / April 16th, 2026
Despite the challenges, 74-year-old Mohammed has carried out this responsibility with unmatched expertise year after year, ensuring smooth continuation of this important tradition.
The chariot of Sri Polali Rajarajeshwari temple is getting prepared ahead of temple annual fair on April 10 / Photo | EPS
Mangaluru :
AH Mohammed, fondly known as Monakka from Ammunje, has been serving at the renowned Polali Sri Raja Rajeshwari Temple for the past 48 years. His primary responsibility, which is managing and steering the temple chariot using traditional wooden stoppers and preparing the chariot during the annual fair, is both demanding and highly skilled.
Handling the massive temple chariot is no simple task. It requires precision, coordination, and deep understanding to guide it safely along its route. Despite the challenges, 74-year-old Mohammed has carried out this responsibility with unmatched expertise year after year, ensuring smooth continuation of this important tradition.
A resident of Ammunje Kalai, Mohammed is retired, and had previously worked as sales manager at the cooperative society within the temple premises. Over time, he developed a strong rapport with the temple administration. Nearly five decades ago, when the temple authorities were planning to build a chariot, they sought his advice, recognising his background in the wood industry. Impressed by his knowledge, they entrusted him with the responsibility of managing the chariot during the annual fair.
Mohammed fondly recalls the support he received during the initial days from former temple administrators who stood by him throughout his journey.
Traditionally, the chariot is required to complete one full circle of the temple. In earlier days, this was particularly challenging due to muddy roads, which made navigation slow and difficult. Using wooden stoppers and his technical skills, Mohammed mastered the art of steering the chariot with remarkable ease and precision.
“We faced several challenges while moving the chariot, but I always had alternative solutions ready. It’s not as easy as it looks. Even preparing the chariot during the annual fair is a difficult task; installing ropes, wooden planks, sticks, and ensuring everything is in place for the fair requires careful supervision,” said Mohammed.
He says trust and teamwork have been key to his long service. “It’s the mutual trust between me and the temple administration that has helped us manage the chariot successfully all these years,” he says.
With the temple’s annual fair scheduled for April 10, preparations are already in full swing, and Mohammed is once again actively involved in decorating and readying the chariot. His daughter, Fathima Nusaiba, shares how deeply this service is woven into their family life. “Visiting the temple during the fair is as important to us as Eid. My father spends more time at Polali than at home. Even during Eid, he would be working at the temple. Despite having BP and diabetes, he becomes energetic when it comes to his work at Polali,” Fathima shared.
She also highlights the respect he has earned over the years, saying, “His friends from other communities often step forward to help even before family members do. Our family is always treated with great warmth and respect when we visit the temple.”
source: http://www.newindianexpress.com / The New Indian Express / Home> Karnataka / by Abhijith N Kolpe / April 02nd, 2026
(O Kashmiri language! I swear by you, you are my awareness, my vision too, the radiant ray of my perception, the whirling violin of my conscience.) — ‘Hymn to Language’, Rehman Rahi
Kashmir — where conflict and political upheaval always dominate headlines — is witnessing a quieter but equally pressing struggle, wages by a young girl, against the fading of the Kashmiri language, Koshur.
Seerat Hafiz, 22, a writer and peacemaker, has founded Yikvot — a reading club that means “together”. Her mission is to preserve and revive the beauty, rhythm and soul of Koshur, especially among the youth.
“For me, this language, which is now endangered, has been the voice of my grandparents. With English and Urdu-speaking parents, we often reserved our last bit of Kashmiri for the elderly, trying to converse only to bite back our tongue. This stands as a testament of resilience and faith,” she says.
She adds, “Kashmiri has a beautiful ring to it. I often say that it is impossible to translate any language without it missing its essence, its love and its sweetness. Kashmiri is one such language that not only is soulful and sweet but all kinds of emotions get expressed in it. I believe what was interesting to our readers was the quirky touch of Kashmiri added to the translation of the world-famous Russian author Dostoevsky’s Crime and Punishment.”
What began as a scribbled idea on a coffee shop napkin in 2024 has since blossomed into a vibrant literary movement, now boasting over 300 students. Through weekly meetups, social media outreach and intergenerational storytelling sessions, Seerat is not just preserving Koshur — she is giving it new life.
A revival
“The most exciting aspect of attending this class is the chance to get deeply involved with Kashmiri literature. The guest lectures, most of all, have been wonderfully insightful, making us get more intimately attached to our mother tongue. It was through Yikvot that I actually realised the richness of my own emotional attachment to the Kashmiri language,” says Fabiha (18), a student at Yikvot.
“Finding Yikvot marked a turning point for me. It made me want to be a part of a movement that not only preserves our language but also brings us back to our cultural heritage,” she adds.
For Noha (18), it is “how each of the members helps one another in learning new words and sentences, decoding the language” that makes Yikvot special. “I believe I have built a sense of connection and belonging at Yikvot. I joined the club because I wanted to meet people who do not have a prejudice against the language,” she says.
Unseen yet unshaken
But Seerat’s journey has not been without its obstacles. As a young woman wearing the veil, she is constantly met with judgment from within her own community. Her success and visibility have been tainted by criticism that targets not her work, but her appearance and gender.
“If my life were to be chronicled,” she says, “it would be marked by constant remarks like ‘itni padhayi karke niqab hi pehn’na tha aur reading club hi chalana tha?’” (After all that education, you chose to wear a veil and start just a reading club?) — a refrain meant to belittle her ambition and dim her spark.
Poster of Yikvot, the reading club
“For a year, I kept on pushing through and handling every aspect of Yikvot. I was not only a woman but a veiled one at that. Suddenly, my reading club fell into expectations of a religious entity, which was not my goal at all. People were joining my personal lifestyle with my work, causing distress. I believe the biggest setback of it all was to see different people coming up not to call me out or find any faults in the club, but to shame me for being an outspoken veiled woman and debating my hijab, perpetrating the same ideals that a woman who chooses to veil should not be in a public sphere,” Seerat says.
Despite these trials, Seerat stands resolute with form determination and a clear vision. Her dream is to transform Yikvot into a permanent, offline space — a cultural sanctuary where the young can learn and the old can guide, where Kashmiri literature, stories and emotions live on.
Valley’s lingering silence
Koshur, one of the oldest living languages in South Asia, belongs to the Dardic subgroup of the Indo-Aryan family. Despite its richness and resilience, the language has long faced systemic neglect.
In 1953, Kashmiri was officially removed from the school curriculum to “lighten the academic burden” on students. It was not until 2001 that it was reintroduced up to Grade 8 — yet even then, instruction remained patchy and symbolic at best.
By 2017, the then Jammu and Kashmir government made teaching regional languages, including Kashmiri, compulsory for grades 9 and 10 in areas where they are still spoken. But implementation has remained a major hurdle, with schools often ignoring the directive.
Dominant languages like Urdu, Hindi and English have taken center stage, pushing Kashmiri into the margins. This erosion is not merely linguistic — it is cultural, with each passing generation growing more detached from traditional poetry, storytelling and heritage.
Dr. Wahid Raza, a noted Kashmiri writer and columnist, highlights social media and unemployment as culprits. “People go abroad to earn a living, adopt the culture there, learn the local language and slowly start forgetting Kashmiri,” he tells TwoCircle.net.
Still, he believes there is hope. “As long as our dreams, our songs, our thoughts and our way of thinking live in our language, our language will stay alive.”
source: htttp://www.twocircles.net / TwoCircles.net / Home> News / by Sidra Fatima / April 30th, 2025
