City author Salil Gewali received Dr. APJ Abdul Kamal award recently during the release of Urdu edition of his book — ‘Great Minds on INDIA’.
The book was released by the Governor of Assam Gulab Chand Kataria at Raj Bhavan, Guwahati.
The function was attended by scholars and guests from Assam, Kolkata, Meghalaya and Manipur.
During the programme, Gewali was awarded “Dr. APJ Abdul Kalam Rashtra Gaurav Samman” by a Muslim organisation, Dr. APJ Abdul Kalam Foundation of Howrah, West Bengal for Gewali’s contribution to the nation.
The governor formally presented the award to the author and lauded him for his contribution to the country through his research-based book highlighting the profound impact of ancient Indian literature on Western luminaries.
Great Minds on India” was translated into Urdu by Dr. Syed Hussain of Hyderabad and edited by Abdul Khalique of Kolkata.
The book published by Dr. APJ Abdul Kalam Foundation, Howrah, has so far been translated into thirteen languages, including German.
The secretary of the organisation Abdul Khalique has also promised to distribute the Urdu edition to a minimum of sixty countries worldwide, ensuring its global reach and impact.
Gewali extended his appreciation to each member of the organisation for their support in translating and publishing his book in Urdu. He acknowledged the organisation’s dedication and commitment to its cause.
Gewali was honoured with multiple Ananda Sammelan Puraskars and Bhanu awards. In 2011, his contribution was further acknowledged with the prestigious Thomas Jones Award from the United Christian Writers’ Association.
Also having been prescribed as a study textbook in several academic institutes in India and Virginia in the USA, ‘Great Minds on INDIA’ stands as a testament to the rich cultural heritage and intellectual contributions of India to the world. It is an inspiring read that bridges the ancient wisdom of India with modern scientific and philosophical discourse, Gewali said.
“Know Your India” is Gewali’s another patriotic book, released by the Chief Minister of Sikkim in 2022. This title has recently been approved for higher classes in one of the prestigious schools in Kolkata. Gewali is also credited with a series of school textbooks prescribed by the Meghalaya Board of School Education (MBOSE).
source: http://www.meghalayamonitor.com / Meghalaya / Home> State / by Reporter (headline spell corrected) / June 25th, 2023
This is just not another memoir of a politician happily or unhappily bounds to look back; the author, instead, talks like a grandmother narrating a story of post-independent India somewhat interlinked with the Congress.
Mohsina Kidwai, author of the book ‘My Life in Indian Politics’
Book Review: Non-fiction (Memoir)/2022; My Life in Indian Politics by Mohsina Kidwai (As told to Rasheed Kidwai); HarperCollins, 300pp (Hardback)
Indian politics is a sort of ‘wonder’ and its unique existential positioning can’t be imagined without people behind its ups and downs. Reading the memoirs, especially of those who served in public life for long, is amongst the rewarding pastimes of a reader. I read Mohsina Kidwai’s memoir as a manuscript, and of course, I reread it even more carefully in its print version. Here is a candid account of a prominent political figure of India who dispels the stereotyped traditional notions that are usually expected to be self-centred and being extra boastful in the first person narrative.
Mohsina Kidwai has been in public life as a member of the Indian National Congress for over six decades. A cabinet minister in several successive central governments and a senior office-holder in the Congress, she has had a ringside view of Indian politics for almost the entire span of independent India’s existence. She has witnessed, and been a participant in, the tenures of prime ministers from Jawaharlal Nehru to Indira Gandhi and Rajiv Gandhi, and was a member of parliament until 2016, one of only twenty Muslim women to have been elected to the Lok Sabha since 1951. She has had a prolific track record that can’t be compared with her fellow women politicians, more so, from the Muslim community.
My Life in Indian Politics by Mohsina Kidwai
The book reflects well on her long and eventful life in politics and covers quite skilfully her contributions to public life, and also succeeds in providing an honest appraisal of the turn in fortunes of the political party she has remained a loyal member of over the decades. The author along with co-author and senior journalist Rasheed Kidwai, endow the readers with rare glimpses to homes, lives and hurly-burly of election campaigns from bygone era when Congress dominated the political landscape at centre and in the states.
One such memorable one was the Azamgarh bypoll in 1978, which Mohsina Kidwai won as Uttar Pradesh Congress Chief, and which signalled a revival of the Congress’s fortune after its spectacular defeat in the post-Emergency general elections of 1977. The book’s cover informs you and inside, the details and rich and beautifully presented.
We get to see little known facts about India’s Prime Ministers Pandit Jawaharlal Nehru, Lal Bahadur Shastri, Indira Gandhi, Rajiv Gandhi and P V Narsimha Rao. Similarly, she is forthright in accepting that her move to join the breakaway Tiwari Congress in 1995 was a mistake.
Here is a quick recap of a few of them:
Mohsina Kidwai talks about an incident which happened when Lal Bahadur Shastri had visited Barabanki sometime in the early 1950s. “A few years after marriage, I saw Shastriji, who had come to meet my father-in-law. Jameel ur Rahman Kidwai Saab had stood for elections and Shastriji was canvassing for him. Shastriji was a simple man. Our domestic help, who did not recognize him, asked him where he was from. Shastriji, by then already a Union minister, replied that he had come in connection with the election and wished to meet Jameel Saab.
“He will return home in the evening,” the domestic help told Shastriji and asked him to wait. Shastriji waited. The servant served him tea.
In the evening, when my father-in-law returned, he saw Shastriji waiting.
A little embarrassed, my father-in-law scolded the servant for not informing him about the guest. After that Shastriji became a member of our extended family.” Some rarest accounts on Indira Gandhi:
“Indiraji was extremely caring and attentive. I can go on talking about many instances. Sometime after the 1977 Lok Sabha polls when Indira ji was in opposition, she planned to visit Badrinath for puja. I and Narayan Dutt Tiwari and I accompanied her. It was an October month. We were told that puja starts at 4 am. Asking us to wait, she went to the temple for Puja. We were to start at 6 am on the return journey to New Delhi. At 5 am, Indiraji returned from the temple and checked whether all the vehicles of our convoy were ready. The pundit of the temple offered us breakfast. When we were having breakfast, the drivers were heating the engines of their respective vehicles. I told Indiraji, we had breakfast but poor drivers must be hungry. They have not even had tea as they were busy heating vehicle engines. I suggested we stop at the first tea shop in return for the drivers to have tea. She agreed.
Indiraji had the habit of carrying some snacks with her in a basket during travel. After a while I saw her taking out some biscuits from the basket kept beneath her seat. She tore the biscuits in four pieces and asked the driver to pick the pieces one by one from her hand while driving. She extended her hand carrying biscuit pieces and the driver did what he was told to do. Indiraji used to enjoy such affection and spontaneous display of it that it often stunned me and used to fill my heart with admiration and pride for my leader.”
“Indiraji could also sense what people around her were feeling. Once we were traveling by an overnight train to Gorakhpur and I suddenly realised I was alone with the Prime Minister in the first-class coupe. She sensed that I was a little uncomfortable and directed me to turn my face towards the wall and go off to sleep,” adds the author.
Undeniably, the book is written with honesty and simplicity, and should be better known as a work to assess an entire era in Indian politics. This is just not another memoir of a politician happily or unhappily bound to look back. She, instead, talks like a grandmother narrating a story of post-independent India somewhat interlinked with the Congress. The book is essential reading for anyone interested in knowing India, its democracy and the foundational stories of a remarkable journey.
(The author is a policy professional, columnist and writer with a special focus on South Asia. Views expressed are personal.)
source: http://www.outlook.com / Outlookindia.com / Home> Culture & Society> Book Review / by Atul K Thakur / January 07th, 2023
The development of Urdu prose and journalism and the parallel agenda of social reform in 19th-century Hyderabad played a vital role in setting the ground for the emergence of the Progressive Writers’ Movement a few decades later. The aims and objectives of the Progressive Writers’ Movement (PWM), which began in the 1930s in North India, resonated with students, poets, writers and scholars in Hyderabad. The PWM urged writers and poets to organise and break away from the hackneyed tropes, themes and genres of classical, romantic poetry that had dominated the literary milieu of Hyderabad and were associated with great cultural capital. Instead, the PWM wanted to create a new, more meaningful aesthetic that would represent changing political and social conditions and confront the material realities and experiences of everyday life. Apart from class struggle and class injustice, which was a major concern for the PWM, progressive writers also stressed the need to fight for political freedoms, resist political repression, and forge grassroots connections with the people 1.
The Hyderabad chapter of the Progressive Writers’ Association (PWA) was established by Makhdoom Mohiuddin along with Akhtar Hussain Raipuri and Sibt-e-Hasan in 1936. Sarojini Naidu offered her home, The Golden Threshold, as a venue for PWA gatherings and, later, for meetings of the banned Communist Party of India (CPI) 2. Among the women writers, journalists, intellectuals and activists associated with the PWA in the 1940s and 1950s were Jahanbano Naqvi, Zeenath Sajida, Rafia Sultana, Azeezunnisa Habibi, Brij Rani, Jamalunnisa Baji, her sisters Razia Begum and Zakia Begum, and Najma Nikhat. Amena Tahseen emphasises that the period after 1936 was critical for the history of women’s writing in Hyderabad because although women had been publishing their work, forming associations, and leading and participating in social, educational and literary initiatives for decades before the formation of the PWA, these endeavours were limited largely to women’s gatherings alone 3. The PWA changed this forever, and women began to attend and participate in literary and intellectual gatherings which had previously been restricted to men only.
Sarojini Naidu’s first collection of poems, named The Golden Threshold was published in 1905. (Photo: Getty Images)
The most vivid example and description of this shift comes from Jamalunnisa Baji’s autobiography, Bikhri Yaadein (Scattered Memories; 2008), which not only documents and assesses the political and literary events that took place in Hyderabad over the span of almost a century, but also furnishes information and reflection on what these events meant to women like Baji. Pardah is an important preoccupation in this account. Baji had long considered it her bane but had been unable to give it up. She describes how her younger sisters—who had had more freedom than her, were better educated, and were allowed greater choice in choosing their partners—had discarded the pardah at a young age. Literary gatherings with the leading Progressive figures of the day began to take place in Baji’s house in the 1940s on her and her brother Akhtar’s initiative. She had always been interested in literature and politics and was supported by parents and siblings who had an apparently insatiable appetite for education and literature. This drew her all the more to discussions that were happening beyond the curtain that separated her from gatherings where her sisters and other women who did not observe pardah, listened and spoke 4. Such gatherings offered her the opportunity to gradually emerge out of pardah.
The Telangana people’s armed struggle. (Photo: People’s Democracy)
The Progressive writers and the Telangana People’s Struggle
Between 1946 and 1951, the rural districts of Telangana had risen against the feudal structure of the Hyderabad state and the oppression it had wreaked on peasants and agricultural labourers for generations. The struggle began organically, with a tenant cultivator named Chityala Ailamma refusing to hand over her harvest to the landlord’s men. Within a few months, however, the Communist Party entered the fray and began to operate under the aegis of the Andhra Mahasabha, which had been formed in 1930 to champion the cultural and social rights of Telugu-speaking people. At its height, the Telangana People’s Struggle involved three million people from 3,000 villages 5. The struggle also made its way to the cities, as factory workers and students protested and went on strike. Many Progressive writers also identified as communists and were active members of the CPI. As the people’s struggle intensified in Telangana, the CPI was banned in Hyderabad and many PWA members had to go underground. So,
PWA meetings began to take place at Baji’s house at night, which was less conspicuous than the Golden Threshold, Sarojini Naidu’s house, and offered better cover to the likes of Makhdoom, who was well-known and easily recognised.
Baji formally discarded the pardah during the All-India Progressive Writers’ Conference in 1945, which was held in Hyderabad. She, her sisters, and one other woman were the only women to sit in the open with the men 6. What enabled the participation of a large number of Hyderabadis, especially women, in the Progressive movement was the PWA’s approach right from the start to not limit their membership to committed socialists 7. To be sure, there was always a core group of socialist writers at its centre, but the only expectation from all member writers—irrespective of ideological persuasions—consisted of them sharing the basic agenda of the manifesto, i.e. to build a sturdy organisation of writers who opposed reactionary social tendencies and stood for a literature rooted in reality. Indeed, so successful was this broadly defined manifesto that there were many writers who would not fall easily into this category if it had been ideologically restricted, but who nonetheless identified as Progressive and were closely connected with the PWM.
Dr. Zeenath Sajida on the cover of Poonam, Urdu monthly magazine in Hyderabad. (Photo: archive.org)
Zeenath Sajida (1924-2009) and a thriving culture of women writers
Zeenath Sajida was one such figure who dominated the literary and cultural circles of Hyderabad. She is a good example of a Progressive writer who not only wrote works criticising social injustices and exposing the hollowness of middle-class values, but also those that were less political and consisted of humorous essays as well as classic, romantic short stories. Sajida was most prolific in the decades spanning the 1940s to the 1960s, publishing an anthology of short stories in 1947 and several academic manuscripts on literatures of the Deccan. But the most fascinating literary writings she produced consisted of her essays in the genres of tanz-o-mizah (humour and satire) and khaake (pen-portraits), which were published in different newspapers and literary magazines and compiled only after her death in 2009. They cover subjects as varied as the gendered perspectives and lived experiences of women from different walks of life, critiques of social manners and everyday human folly, and nuanced documentation of the history and heritage of her beloved Hyderabad.
In the most political and radical of these texts, Sajida artfully and rigorously debates provocative social questions and taboos while disguising them in the genre of inshaiye or light sketches.
In these, she shows herself to be far ahead of her time, writing about things that we know today as gender fluidity, gender privilege, the mental load of women in relation to household management, the invisibility of domestic labour, and the unfair and unrealistic demands made of middle-class women professionals.
These essays also reveal the narrator’s most disarmingly vulnerable thoughts, feelings, and frailties; in the process, Sajida emerges as a writer who knows how to use emotion to extract both empathy as well as laughs from her readers.
There was a thriving culture of women writers of humour, satire and pen-portraits in Hyderabad right from the 1940s, which both received individual and institutional support from male writers and scholars and was also subjected to ridicule by them 8. Sajida’s work marks the best of this tradition of women’s non-fiction and is important to read and know also because non-fiction is generally neglected in favour of fiction and poetry, which have greater cultural capital; have come to form well-defined and durable stereotypes of Urdu literature; and, thus, capture the attention of translators, scholars and publishers alike.
Among Sajida’s younger contemporaries were Jeelani Bano (b. 1936), Najma Nikhat (1936–1997), and Wajida Tabassum (1935–2011). Nikhat was a writer of short stories whose loyalty and commitment to the PWM exceeded the heyday of this organisation. Like Sajida, although Nikhat produced a relatively modest number of short stories, her oeuvre demonstrates skill and is important for its sustained engagement with her lifelong preoccupations and concerns. Her stories about life in the feudal deodis of Hyderabad are insightful and instructive in establishing how women of both working as well as upper classes lived and negotiated feudal patriarchy and the conservative social world of princely Hyderabad. She also wrote hopeful stories about the revolution and depicted the lives of the poor in the rural districts of Telangana and Andhra, where she lived for many years.
A rare picture of R-L Qurratulain Hyder, Ismat Chughtai and Wajida Tabassum – known names in Urdu Literature. Twitter- FaseehBariKhan
Wajida Tabassum is understood today to be more of a feminist than an avowed Progressive. This is because she writes defiantly and unselfconsciously about female sexuality, caste patriarchy and sexual violence against women in feudal homes.
Although her many novels and short stories were successful and popular and the latter, in particular, are enjoying a resurgence of interest among youth after the Me Too movement, many Hyderabadis, including scholars, look down on her work as “obscene” and “unjust” towards the feudal aristocracy 9.
The “shock value” of Tabassum’s approach often belies her profound and nuanced understanding of the precise workings of culture and society towards concentrating and maintaining power in a few hands. Until recently, only a couple of Tabassum’s stories were available in English translation.
Other continuities
Over time, the PWM—its ideology and aesthetic—acquired a hegemony that ensured the marginalisation of writers who did not consider themselves Progressives. This became a big problem when in the tension between the “creative section” and the “political section” of the PWA (Progressive Writers’ Association), the latter prevailed, and this often resulted in didactic writing dominated by socialist themes and motivations 10. The ambivalence and even disenchantment of writers in other places towards the PWA, which increasingly adopted a rigid, even conservative stance towards the choice and treatment of themes employed by its members, is well known 11. But given that it had such a compelling social message, an influential platform, and an overarching visibility and influence, it is understandable that many women writers would continue to operate under the aegis of the PWA and utilise its many resources.
Other writers who did not subscribe to Progressive writing often represented literary and cultural continuities that were desirable and significant in other ways. After 1948, Urdu had been relegated to a secondary place in Hyderabad, and its resources and institutions were severely undermined by the minoritisation imposed by the new regime. Despite this, nuha, marsiya, azadari and salaam, traditional poetic genres that belong to the Shia practice of Muharram, continued to be regularly published in magazines and newspapers and also performed in ashurkhanas. Other religious or mystical genres, such as hamd and naat, and ghazals, nazms, and qasidas that did not represent Progressive thought or aesthetics persisted too. Many women poets wrote and published in these genres. Additionally, nazms for children were very popular in Hyderabad, and women were enthusiastic proponents of this genre as well 12. Often, these engagements revealed completely different ways of engaging with social and political discourses from Progressive writing, as can be seen in the way the poet Syeda Bano “Hijab”/Hijab Bilgrami juxtaposed the battle of Karbala with the struggle for freedom from colonial rule 13.
New woman, new writing
The next major shift in Urdu literature came with jadeediyat or modernism in the 1960s, which turned the subject of literature inwards and focused on the psyche of the individual, allowing for much experimentation in genre, mode and language. Some of the short stories and novels of Jeelani Bano and Rafia Manzoor ul-Ameen are good examples of jadeediyat from Hyderabad. Both wrote short stories and novels about contemporary protagonists struggling with the human condition as well as a variety of issues associated with the modern state and society. They also produced scripts and screenplays for successful TV serials, documentaries and films.
Jeelani Bano
Rafia Manzoor ul-Ameen
Rafia Manzoor ul-Ameen is best known today for her novels, especially Alam Panaah (Refuge of the World; 1983) and Yeh Raaste (These Paths; 1995), and the immensely popular TV series that was based on the former text and whose screenplay she wrote too. Both novels fall in the genre of romantic fiction and testify to her craft with language, narration, plot, and pace. The most attractive feature of this writer’s work is her psychologically and emotionally complex heroines, who represent a new world after the transfer of power in Hyderabad, in which young women were stepping out of the ostensible “protection” of the zenana, seeking education, professional employment and financial independence, and negotiating a society that did not appear to be prepared for their entry and often openly expressed its disapproval. These novels also offer multifaceted commentary on the social culture and ethnography of groups associated with Hyderabad and the Nilgiris respectively.
The significance of Jeelani Bano’s modernist writing can be appreciated from PWA co-founder Sajjad Zaheer’s comment in a letter to Sulaiman Areeb, editor of Saba (Hyderabad), that as long as Jeelani Bano is in Hyderabad, they need not worry about the Naya Afsana (New Short Story), a genre that had picked up pace in Urdu-Hindi literature in the 1950s and focused more on the inner state of the individual subject than on the external world or its ideological preoccupations 14. Over more than 50 years of writing, Bano’s nationally and internationally acclaimed short stories span three identifiable schools of Urdu literature: taraqqi-pasand adab (Progressive writing), jadeediyat (modernism), and tajreediyat (abstractism), although she has consistently refused to declare her affiliation or identification with any of these schools, explaining that there are many influences in her work and that she seeks only to represent the world around her and does not adhere to any particular ideological position.
Although some of Bano’s work has been admirably translated into English by Zakia Mashhadi, her two novels have not been given their due by English-language readers and scholars. Aiwan-e-Ghazal and Baarish-e-Sang represent the most serious and rigorous engagement with the history of princely and post-princely Hyderabad in creative writing. While the former narrates the lives of four generations of an aristocratic family against the backdrop of transformative change during and after the transfer of power, the latter represents the lives of landless tillers and labourers tottering under the weight of crushing debts in the rural districts of Telangana. Both texts offer rich and sombre insight into urgent questions of class and gender and offer a remarkable degree of depth where class, in particular, is concerned.
Radio continued to be an important medium for women’s voices in Hyderabad after the transfer of power, and the work of most Progressive writers in Hyderabad (and elsewhere) as well as those who did not subscribe to this category remained in demand. Among the many women who wrote for All India Radio (AIR) and read out their stories and essays were Zeenath Sajida, Najma Nikhat, Fatima Alam Ali and Badrunnisa Begum. Another vital development for women’s literary culture was the establishment of the Mehfil-e-Khawateen (Women’s Gathering) in 1971 at Urdu Hall (f. 1955), which became a flourishing platform for Hyderabadi women writers. Women poets of Progressive and other persuasions, such as Azmat Abdul Qayyum, Azizunnisa Saba, Ashraf Rafi and Muzaffarunnisa Naz, were instrumental in founding and running the Mehfil over the years. Monthly meetings and annual events are conducted and are well attended. The association also publishes an annual magazine.
Life-writing and auto/biography
Another important feature of Hyderabadi women’s writing in Urdu is an enduring affinity for different forms of life-writing. While Jamalunnisa Baji’s autobiography is the richest example, meaningful deployments of auto/biography emerge also in other genres that demonstrate a strong element of self-construction and self-performance, usually through first-person narration. The travelogues of Sughra Humayun Mirza and the humorous essays and pen-portraits of Fatima Alam Ali (1923-2020) are a good example of this trend. Fatima Begum grew up in an environment suffused with literary, political and intellectual discussions in the 1930s and 1940s, for her father was Qazi Abdul Ghaffar (1889-1956), the immensely popular and admired Progressive editor of Payaam. Her humorous essays were published in Siasat from the 1960s to the 2000s and also read on AIR. Some of them were compiled into a book called Yaadash Bakhaer (May God Preserve Them; 1989), which also furnishes a selection of her pen-portraits of the poets and scholars she knew. These portraits animate in words the rich and potent milieu of the mid-20th century and vividly perform and re-create the development of Fatima Begum’s own subjectivity.
Fatima Alam Ali (Photo: Scroll.in)
Finally, scholar and translator Oudesh Rani Bawa (b. 1941) writes a weekly column, titled Mujhe Yaad Hai Sab Zara Zara Sa (My Blurred Memories of Yesteryear), in the Urdu daily Munsif, where she engages with popular and historiographical narratives of the past, filtered usually through her memories and research on the material and linguistic heritage of Hyderabad. She also uses this column as a platform for her political and social critique, and has, most recently, begun to actively criticise local and national events, with respect to government policies, heritage and development, and growing right-wing intolerance and violence.
Hyderabad continues to have a thriving culture of humorous writing among women in both prose and poetry, besides other modes of writing, such as the short story, novel, novelette, plays and ghazals.
Stree Shakti Sanghatana, We Were Making History: Life Stories of Women in the Telangana People’s Struggle, New Delhi: Kali for Women, 1989, 3.
Jamalunnisa 2008: 103. Op. cit.
Ordinary Hyderabadis were suspicious of communists because they were all thought to be atheists. Ibid. 121).
Habeeb Ziya, who is a humourist herself and has compiled and edited a collection of Hyderabadi women’s humorous writings, reveals that Mujtaba Hussain, the most prominent and celebrated humourist from Hyderabad, had criticised her article on Hyderabadi women’s humour in the Siasat newspaper. He had wondered if men are supposed to sweep and mop, while women write humour in large numbers. Ziya Hyderabad ki Tanz-o-Mizah Nigar Khawateen. Hyderabad: Shagoofa Publications, 2005, 7.
See e.g. Ashraf Rafi, “Hyderabad ki Afsana-Nigar Khawateen,” in Tahseen 2017: 173.
Mir and Mir 2006: 28. Op. cit.
See Ayesha Jalal, The Pity of Partition: Manto’s Life, Times and Work across the India-Pakistan Divide, Noida: Harper Collins, 2013, 162–72; Jalil 2014: chapter 7; Mir and Mir 2006: 33.
Tahseen 2017: 136. Op. cit.
Riyaz Fatima Tashhir, “Hyderabad mein Khawateen ki Rasaai Shayari,” in Tahseen 2017: 219.
Mosharraf Ali, Jeelani Bano ki Novel Nigari ka Tanqeedi Mutala, Delhi: Educational Publishing House, 2003, 21.
Nazia Akhtar is an Assistant Professor (Human Sciences Research Group) at the International Institute of Information Technology (IIIT), Hyderabad (India). In 2017, she was awarded a New India Foundation fellowship to write a book on Urdu prose by Hyderabadi women. Bibi’s Room: Hyderabadi Women and Twentieth-Century Urdu Prose went into print in July 2022.
source: http://www.thethirdeyeportal.in / The Third Eye / Home> Praxis / by Nazia Akhtar / January 19th, 2023
Insiyah Vahanvaty on revisiting the life of the formidable ‘Muslim’ judge who was her grandfather.
Being a Muslim judge in India is not easy. It has never been.
The Indian judiciary has long struggled with a lack of Muslim representation, with only four Muslim Chief Justices in the history of the republic. Currently, there is just one Muslim judge on the Supreme Court – another proof of this lack of diversity. It also indicates that another Muslim Chief Justice may be a long way off.
For me, the difficulties faced by Muslim judges have been witnessed through the life of my grandfather, Justice Aziz Mushabber Ahmadi, who served as Chief Justice of India from 1994 to 1997. That he was only the third Muslim to occupy this role is made starker by the fact that there has been only one more that succeeded him in the thirty years since.
When Aziz Ahmadi was appointed as a judge to the City Civil Court of Ahmedabad, he was 32 years old. Young and inexperienced, he knew that this appointment would make him the only Muslim judge on the bench; yet it had simply not occurred to him that his faith would suddenly become a matter of contention. When news of his elevation broke, it stirred up an unsettling, religiously charged atmosphere within legal and administrative circles. Bar Associations across the state of Gujarat united and called for a strike against his appointment, boycotting Ahmadi’s court. Communally charged allegations flew thick and fast with his appointment questioned in the legislative assembly. Concerns about his young age and fitness for the role were voiced. In the end, however, his appointment held – and Aziz Ahmadi began an extraordinary judicial career that would span three decades, culminating in the highest office of the Indian judiciary.
Yet, it would never be free of challenges.
Twenty-four years later, when his name was proposed for elevation to the Supreme Court of India in a closed-door meeting, a prominent member of the Bench hesitated, saying, “But he is a Muslim. Can we trust him?” And when he retired, Justice Ahmadi faced allegations of favouring the appointment of Muslim judges to High Courts and the Supreme Court. Unperturbed, he responded to these saying, “Such an allegation every Muslim Chief Justice, I suppose, has to face.” Although he did not voice it then, he felt a deep disappointment in witnessing such prejudice even in the highest offices of the country.
And yet, he wore his life with a remarkable lightness, with his easy laugh and mischievous wit. It was almost as if he was determined not to allow these experiences to make him bitter or dampen his natural optimism. Ironically, it was perhaps these very experiences that fuelled his commitment to secularism and tireless advocacy for the separation of religion and state.
My first memory of these values was during a particularly turbulent chapter in Indian history when I was just ten years old.
The year was 1992. The Babri Mosque had just fallen. A word which I had never heard before was now coming up every day at our dinner table. Kar seva. The television at home stayed locked on the news channel all day. My grandfather’s disappearance from family life, his secretaries rushing to and from the office with pens and notepads in hand, and worried family conversations about the future of the Indian Muslim marked those days.
But despite his inner turmoil, my grandfather maintained an outward calm, his composed demeanour never betraying the storm within. As ever, Justice Ahmadi, when distressed, would retire to his haven, his work. I knew the enormity of his mental anguish only because of the extent to which he did this. Those days, he emerged only for meals and slept for less than five hours a day. Pacing on the carpeted floor, he fought the numbness in his legs from hours spent hunched over his files, fuelled by endless cups of black tea.
It was only later that I learnt of his dissent in Ismail Faruqui vs Union of India – a challenge to the Acquisition of Certain Area at Ayodhya Act 1993 which was an attempt by the Central Government to gain control of administration and maintenance of the Ram Janma Bhumi-Babri Masjid structure along with its premises. In his view, validating the Ayodhya Act would effectively condone the trespass and destruction that occurred, with no consequences for those involved – especially as the effect of the Act would require pujas to continue at the site while failing to address the right of Muslims to offer namaaz.
It was while writing The Fearless Judge and going through his draft memoirs that I learnt of the immense strain my grandfather was under at the time to accept the majority judgement. But he would not succumb. Risking the ire of both, the incumbent Chief Justice as well as the executive, he knew that such a stand could come at great personal cost. Yet, he stood firm in this test of integrity, refusing to give in. Ultimately, he and Justice Bharucha dissented from the majority view.
Citing the Act to be unsecular and constitutionally unfit, the dissenting judgement authored by Justice Bharucha stated, “When…adherents of the religion of the majority of Indian citizens make a claim upon and assail the place of worship of another religion and, by dint of numbers, create conditions that are conducive to public disorder, it is the Constitutional obligation of the State to protect that place of worship and to preserve public order…To condone the acquisition of a place of worship in such circumstances is to efface the principle of secularism from the Constitution.” Once retired and therefore released from the bounds of propriety and decorum, my grandfather would speak freely about the regrettable and unlawful demolition of a place of worship – and the subsequent erosion of secularism in India.
The demolition of the mosque sent shockwaves throughout the country, prompting the Union government to dismiss state governments in a panic. This led to the landmark case SR Bommai vs. UOI, which addressed the limits of central authority over states. Because these dismissals were in response to the violence following the Babri Masjid demolition, the court also examined secularism as a key element of the Constitution’s basic structure. Justice Ahmadi wrote a separate 37-page judgment emphasizing the need for accommodation and tolerance toward vulnerable groups. Quoting Mahatma Gandhi to highlight the importance of the separation of religion and state, he wrote, “I swear by my religion. I will die for it. But it is my personal affair. The State has nothing to do with it. The State will look after your secular welfare, health, communication, foreign relations, currency and so on, but not my religion. That is everybody’s personal concern.”
Despite his deep understanding of the discriminations that Indian Muslims face in every sphere of life, he encouraged the community to resist the temptation to view itself from the lens of victims of prejudice; rather to focus on empowerment through education. Addressing the Muslim community, he said, “It is high time that we stop living in the past and start living in the present and work for a brighter future. We have to mould our own destiny – mustaqbil, no one else can do it for you. The only sure way is through education.”
A firm and vocal advocate for equality of opportunity until the end of his days, Justice Ahmadi remained troubled by the lack of diversity in the judiciary at all levels. With Muslims making up nearly 15 per cent of the population yet holding alarmingly few judicial positions, this lack of representation remains concerning to this day, raising questions about fairness and inclusivity. The implications of this imbalance are significant: Judges from diverse backgrounds ensure the judiciary mirrors the society it serves, bringing different perspectives and more fair-minded decisions. In turn, this shores up public trust in the legal system.
And as Justice Ahmadi put it so succinctly, “The judiciary has neither the purse nor the sword; its only shield is the trust of the people in the judicial process.”
source: http://www.scroll.in / Scroll.in / Home> Talking Books / by Insiyah Vahanvaty / September 30th, 2024
Hyderabad, known for its grandeur and the unique confluence of Hindu-Muslim culture, found itself at a crossroads of political and religious tensions. Afsar Mohammad sheds light on the brutal military campaign, where the ordinary citizens of Hyderabad became casualties in a political power play between the Nizam and the Indian government. The book emphasizes that…
Book: Remaking History: 1948 Police Action and the Muslims of Hyderabad
Author: Afsar Mohammad / Publisher: Cambridge University Press / Published:June 2023 /Hardcover: 320 pages
Afsar Mohammad, a renowned poet, scholar, and expert on South Asian literary cultures, brings forth a deeply researched and compelling narrative in his book Remaking History: 1948 Police Action and the Muslims of Hyderabad. As a professor of South Asian Studies at the University of Pennsylvania, Afsar has extensively studied the intersection of politics, religion, and literature in the Indian subcontinent. His previous works have explored themes of religious identity and cultural expression in the context of Hyderabad. With Remaking History, he delves into one of the most tragic and often overlooked episodes in India’s postcolonial history – the 1948 police action in Hyderabad.
The book addresses the military operation launched by the Indian government from September 14 to 18, 1948, to forcibly integrate the princely state of Hyderabad into the Indian Union. As India was celebrating its newfound independence, the state of Hyderabad was caught in a violent struggle. The operation, commonly referred to as the “police action,” resulted in immense bloodshed, with the Muslim population of Hyderabad suffering disproportionately.
Hyderabad, known for its grandeur and the unique confluence of Hindu-Muslim culture, found itself at a crossroads of political and religious tensions. Afsar Mohammad sheds light on the brutal military campaign, where the ordinary citizens of Hyderabad became casualties in a political power play between the Nizam and the Indian government. The book emphasizes that while the Razakars, a military group loyal to the Nizam, escaped across borders, it was the common Muslims of Hyderabad who bore the brunt of the violence that followed the military intervention. Thousands of lives were lost, and many more were displaced during the five days of turmoil.
One of the pivotal aspects of the book is its reliance on the Sunderlal Committee Report, an investigation commissioned by Prime Minister Jawaharlal Nehru in the immediate aftermath of the operation. This committee traveled across Hyderabad and the Deccan region, gathering firsthand testimonies from survivors. The report revealed shocking truths: thousands of Muslims were massacred during the police action, and the violence forced many others to flee to Pakistan and other countries. However, the report was suppressed for decades under the guise of “national security,” only surfacing in recent years thanks to the persistent efforts of historians. This suppression of critical historical evidence is a central theme of the book, as Afsar Mohammad argues that official narratives have long ignored or downplayed the extent of the violence.
In addition to exposing the atrocities committed, Remaking History explores how this dark period shaped the literary and cultural landscapes of postcolonial Hyderabad. The traumatic events of 1948 found their way into novels, poems, memoirs, and personal narratives written by survivors and their descendants. Afsar Mohammad highlights how literature became a means for the people of Hyderabad to process their grief, remember their dead, and make sense of the immense suffering they endured. The book documents the ways in which Hyderabad’s writers and poets used their work to preserve the memory of the police action, even as the official narrative sought to erase or obscure these painful truths.
Afsar Mohammad also critically examines the political reframing of the police action in later years. In 1998, L.K. Advani, a key figure in India’s Hindutva movement, proclaimed the police action as a “liberation” of Hyderabad, casting it as a moment of triumph rather than tragedy. This reinterpretation of history, the book argues, was part of a larger effort to further a communal agenda, obscuring the fact that the violence was largely directed at Muslims. Afsar Mohammad challenges readers to question whether the police action was truly a moment of liberation, or if it was a tool used to suppress the region’s Muslim population and further political interests.
One of the most striking aspects of Remaking History is the emphasis on the role of personal stories in reconstructing the past. Afsar Mohammad stresses that official documents and reports can only go so far in revealing the full picture. The true history, he argues, is often found in the personal memoirs, oral histories, and forgotten novels of those who lived through these events. Many of the eyewitnesses and survivors of the 1948 police action are no longer alive, their stories lost to time. However, the book insists that these personal accounts are essential to understanding the true scope of the violence and its lasting impact on Hyderabad.
The book also highlights the lasting cultural and social shifts that emerged from the violence. Despite the bloodshed, Hyderabad’s centuries-old legacy of Hindu-Muslim unity endured, and the city’s cultural landscape continued to evolve. In the years following the police action, a wave of literary and artistic movements arose, particularly in the Telangana region, shaping the social and cultural identity of Hyderabad for generations to come.
Afsar Mohammad’s Remaking History is a crucial work that brings much-needed attention to a neglected chapter in India’s postcolonial history. It challenges the sanitized narratives of Indian nationalism and raises important questions about the consequences of political violence. By combining rigorous historical research with a deep understanding of Hyderabad’s literary cultures, Afsar Mohammad presents a nuanced and powerful account of the 1948 police action and its aftermath. The book serves as both a historical investigation and a tribute to the resilience of Hyderabad’s people and culture in the face of adversity.
In conclusion, Remaking History is an essential contribution to the historiography of postcolonial India. It calls on readers to confront the uncomfortable truths of the past and reflects on how history is often manipulated to serve political agendas. Afsar Mohammad’s work is a timely reminder that the trauma of violence and suppression should not be forgotten, but instead, recognized and remembered in its entirety, for the sake of future generations.
source: http://www.radianceweekly.com / Radiance Viewsweekly / Home> Book Review / by Ayesha Sultana / September 24th, 2024
“Karkhandari” as per Professor Gopi Chand Narang (1931-2022), a noted Urdu scholar, literary theorist, and linguist, “is a social dialect spoken mainly by the artisans, traders, craftsmen and labourers of old Delhi.”
Representational image of a book. Photo: Pavan Trikutam/Unsplash
Dehli, not Delhi. Yes, you read that right. For this is how it is spelt in Urdu, the language whose birth and development is often attributed to purani Dehli or Shahjahanabad. But, it is not the only language to be spoken in the walled city. In fact, people from old Delhi can often be found to be speaking in a language which is closer to the Karkhandari dialect. It is not very uncommon to hear sentences like vai, itte din ka the? instead of “bhai, itne dinon tak kahan the?” (Bro, where were you for so long?), while passing through the kuchas (lanes/small streets) of the walled city.
“Karkhandari” as per Professor Gopi Chand Narang (1931-2022), a noted Urdu scholar, literary theorist, and linguist, “is a social dialect spoken mainly by the artisans, traders, craftsmen and labourers of old Delhi.” In his monograph (1961) titled “Karkhandari Dialect of Delhi Urdu,” he lists out the names of the locales of old Delhi where the dialect is spoken. “The Karkhandari areas outside the walls of the old city,” adds Narang, “include Mohalla Kishan Ganj, Shish Mahal, Qasṣāb Pura, Beri Wälä Bagh and a few lanes in Bära Hindu Rao.”
Abu Sufiyan, a resident of old Delhi and founder of Purani Dilli Walo Ki Baatein, says that it is not a dialect of the yesteryear. “Karkhandari is still spoken by the working class of the old city and their family members,” adds Sufiyan. Earlier this year, a book titled Nirali Urdu by M.A. Mughni Dehlavi was republished in India, nearly after a century of its publication, and it is believed to be the first and the only book in the Karkhandari dialect of Delhi Urdu.
New book cover of Nirali Urdu. Photo: Arranged by the author
In fact, there is a difference of opinion on the year of publication of Nirali Urdu. According to Shan-ul-Haq Haqqee (1917-2005), a researcher, linguist and lexicographer, the book was first published in 1927, while Dost Mohammad Nabi Khan, a compiler and editor of the latest version of the book, on the other hand, argues that it was first published in 1932.
To substantiate his claim, Khan notes that in one of the stories in the book, the narrator talks about watching the second talkie film of India, ‘Shirin Farhad,’ which was only released in May 1931. He also notes that as per Google Books as well, it was published in 1932 by Daftar Nirali Urdu. Notably, the copy of the book available on the Rekhta website does mention Daftar Nirali Urdu as its publisher, but the year of publication is missing. However, where both Haqqee and Khan seem to agree is that after its initial publication, it became nayaab (rare/scarce) and was hardly available in the market.
Khan, who was born and brought up in Dehli and who loves collecting books on the city, narrates an engrossing story about his ‘discovery’ of Nirali Urdu in its muqaddama (introduction) to the book. Khan came to know about this book when, several years ago, he was surfing through the booklists of various Pakistani publications online.
“Both Nirali Urdu and its author M.A. Mughni were new and unfamiliar to me. Topics included in the book and its writing style were literally Nirale (unique) and offbeat. It was nothing short of a discovery for me,” he writes. With the help of a friend in Lahore, he procured the book and occasionally started posting excerpts from it on Facebook. The book was eventually re-published in January 2024. However, it is not just a re-publication of what was originally published in 1932 and reprinted in 2017 (in Pakistan), for there are useful additions to the current version. Khan has added a short Glossary (Farhang), a few explanatory notes (Wazahati Note) and some proverbs and idioms of Kharkhandari to it.
Old book cover of Nirali Urdu. Photo: Arranged by the author
Apparently, unlike most of the books around Delhi, the book does not contain stories about monuments or history. Rather they are about the people, society and scenes of everyday life of ordinary people of Delhi in the 1920s. In other words, in Nirali Urdu, the people of Delhi don’t go for Lal Qile Ki Sair or Qutub Minar Ki Sair, they go for Baiskop Kee Sail (Biscope Ki Sair/ outing to a bioscope show) and Jaloos Kee Sail (Juloos Ki Sair/excursion to a procession). However, in some stories, there are references of excursions to monuments as well. For example, sample this excerpt :
“Aaj subo mein zari aawere utha tha. is liye apne aap kuchh aisi khud bar khud ghabri hui ki mein hadbada ke bistare pe se khada hoke baith gaya aur is fikhar mein pad gaya ki kain sail ko chalna chaieeye. Magar akele jana to theek nai tha. Isliye apni jigri yaar ke makkaan pe ponch kar vise aawaz di. “Abey muntiyaaz, o muntiyaaz”. muntiyaaz wabsurrti shakl bana kar bahar aakar kaine laga, abey kyun cheekhe peete ja riya hai. Meine kaha pyaare khafa kyun hota hai ya shikal hi aisi hai. Dekhta nai kis zor se ghata chha rahi hai. chal mandarsa (Safdar Jang) todi chalein. Bada lufat aa riya hoga…”
The above text can be translated as :
This morning, I woke up a little early. That’s why I woke up with a start and started thinking about going for an excursion somewhere. But it didn’t feel okay to go alone. So I landed at my best friend’s place and called out to him. “Aye Muntiyaz, O Muntiyaz.” Muntiyaz appeared with an agitated face and said, “Oye, why are you shouting?”
“Why are you getting angry dear, or is your face like this only?, I replied, adding Don’t you see how lovely the weather is? Let’s go to Safdar Jang’s tomb. It must be a great fun there…”
While the text does not read totally distinct from standard Urdu, but certain words are spelled and pronounced differently. For example, in Karkhandari dialect, Subah is Subo, Sawere is Aawere, Makaan is Makkaan, Fikr is Fikhar, Shakal is Shikal, Madarsa is Mandarsa and Lutf is Lufat.
There are a total of 31 short stories in the book. It also has stories titled Dilli Ke Panjabi Musalman (Delhi’s Punjabi Muslim), Eeed Ka Pologram (Eid Ka Program/the program for Eid), Kishmishi Din Kee Sail (Krismas Din Ki Sair/outing on Christmas day) and Mushahare Kee Sail (Mushaire Ki Sair/ outing for a mushaira).
In short, Nirali Urdu is full of unique and offbeat stories from Delhi. If you can read Urdu script and are interested in Delhi, it becomes an essential read.
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Although there is no shayari in the book, even in the story about a Mushaira, one finds the same in the Balraj Sahni and Farooq Sheikh starrer Garm Hava that was released after four decades in 1974. The tongawala who drives Salim Mirza (the protagonist of the film played by Sahni) to his Karkhana (factory) can be seen reciting a couplet in Karkhandari Urdu. While commenting on the tragedy of partition and its impact on Indian Muslims, the tongawala, in the opening sequence of the film, recites the following verses:
Wafaon ke badle jafa kar riyae
Mein kya kar riyaun tu kya kar riyae
This is a couplet from a Ghazal in Karkhandari Urdu written by Majeed Lahori (1913-1957), a noted poet-satirist, humorist and journalist. The full ghazal reads as follows :
Wafaon ke badle jafa kar riyae
Mein kya kar riyaun tu kya kar riyae
Mein jo kar riyaun bhala kar riyaun
Tu jo kar riyae bura kar riyae
Abey todta kyun hai tun vis ke dil ko
Jo dil apna tujh par fida kar riyae
Sanbhal kar qadam vis ke kooche mein rakhiyo
Suna hai wo fitne bapa kar riyae
Udu se bhi waade mujhe bhi dilase
Mein hiryaan hoon tun ye kya kar riyae
Kiya hai ata darde dil jis ne mujhko
Wahi darde dil ki dawa kar riyae
Majeed aaj bhi shaad wa aabad hoon mein
Karam mujh pe mera khuda kar riyae
source: http://www.thewire.in / The Wire / Home> Books / by Mahtab Alam / July 29th, 2024
Rakhshanda Jalil’s latest work examines Urdu poetry’s role in promoting secularism and resisting communal division in contemporary India.
Rakshanda Jalil at India International Centre in New Delhi on September 06, 2004. | Photo Credit: Photo: R. V. Moorthy
Phir roshan kar zehar ka pyaala, chamka nayi saleebain,
Jhuthon ki duniya mein sach ko taabaani de Maula!
(Light up the poison cup again, make new crosses shine,
In this world of lies, illuminate truth, O Lord!)
-A ghazal by Urdu poet Nida Fazli
Noted literary historian Rakhshanda Jalil’s latest book, Love in the Time of Hate: In the Mirror of Urdu, recently released in New Delhi, delves into the rich history of Urdu poetry. It demonstrates how the language and its poets are mounting a robust resistance against the spread of right-wing-sponsored hatred and the rising climate of polarisation in India. Divided into sections such as essays, politics, people, and passions and places, the book features insightful Urdu poetry. Anchored in the theme of love for one’s country, the work illustrates how India’s social fabric is fraying and how Urdu verses, with their secular themes, challenge the push for Hindu supremacy.
“Unlike publicists and propagandists, a shayar (poet) rarely falls victim to bigotry, prejudice, and narrow-mindedness,” Rakhshanda told the audience at a book discussion event held by Karvaan India, a multimedia platform promoting pluralism and inclusion, in Delhi on July 7. “Urdu poets have always been known for their liberalism and eclecticism. They have championed the mingling of cultures and communal harmony.”
According to Rakhshanda, in recent years, Urdu has been stigmatised as a language of Muslims. Political representatives have been barred from taking oaths in Urdu, and artists have often been prohibited from creating Urdu graffiti. Also, many everyday Urdu terms are being removed from school textbooks and official communications.
“Urdu is antithetical to what Hindutva preaches. Unlike Hindutva’s obsession with homogeneity, Urdu embodies the essence of a pluralistic India, mirroring a multitude of worldviews,” she told Frontline. Citing the example of Syed Fazl-ul-Hasan (1875-1951), better known as Hasrat Mohani, she noted that the communist freedom fighter performed Hajj 11 times in his life while maintaining devotion to Lord Krishna. Mohani, who wrote the famous ghazal “Chupke-chupke” (later sung by Ghulam Ali), coined the slogan “Inquilab Zindabad” which changed the course of India’s independence movement.
Rakhshanda discussed Nadir Shah’s invasion of India (1739), the Battle of Plassey (1757), and events surrounding 1857 as defining moments in Urdu poetry. “During the Independence movement, as the political climate shifted, Urdu poetry chronicled anti-colonialism, anti-fascism, anti-imperialism, nationalism, feminism, and land reforms,” she said, noting that the recent anti-CAA movement revived public resistance poetry.
While reading from her book, she shared poems about Tipu Sultan (1782-99), the anti-colonial ruler who died fighting the British. She also mentioned dedicating an essay to Urdu poetry about Jawaharlal Nehru, who is currently a pet target of right-wing misinformation campaigns.
In her new book Love in the Time of Hate: In the Mirror of Urdu, Rakshanda Jalil invokes the power of love, inclusivity, and harmony that is the trademark of poetry and literature. | Photo Credit: By Special Arrangement
Rakhshanda discussed the Progressive Writers Movement’s impact on post-independence Indian cinema. “India and Pakistan became independent simultaneously, but their paths diverged. In post-independence India, cinema, literature, and intellectuals effectively interpreted the zeitgeist,” she said, discussing the Nehruvian vision of India. “Nehru’s death marked the end of an age of innocence”.
As Hindutva “hate politics” increases attacks on symbols of Muslim rule in parts of India, some Hindu extremists claim the Taj Mahal was originally “Tejo Mahal, a Shiva temple”.” Rakhshanda mentioned including poets’ descriptions of the Taj Mahal in her book.
Highlighting contradictions between India’s founding vision and Hindutva ideology, she said, “We’ve reached a point where a family can be attacked for storing meat in their fridge. Your name now defines your identity, regardless of economic or educational status.”
Sharing her personal experience as a Muslim, Rakhshanda described difficulty finding decent rental accommodation: “It’s been months. It feels like a Sisyphean task.”
She characterised her book as an expression of depression and fear, adding, “We didn’t learn from the COVID pandemic. Even then, we raised the “Corona-Jihad” issue and called for boycotts of Muslim food vendors.”
Among various poems by notable Urdu poets on Gautam Buddha, Ali Sardar Jafri’s iconic work on communal riots, “Awadh Ki Khaak-e-Hasin” (The Beautiful Land of Awadh), is featured. Two key verses read:
Ram-o-Gautam ki zameen hurmat-e-insaan ki ameen
Baanjh ho jaaegi kya khoon ki barsaat ke baad
Ai watan khak-e-watan woh bhi tujhe de denge
Bach raha hai jo lahu abke fasaddat ke baad
(This land of Ram and Gautam, guardian of human dignity,
Will it turn barren after the rain of blood?
O homeland, we’ll give you what remains,
The blood left after this carnage of riots.)
source: http://www.frontline.thehindu.com / Frontline / Home> Books> Poetry / by Ashutosh Sharma / July 12th, 2024
In a unique session, extraordinary individuals from different domains came together for a rare confluence at the Mysuru Literature Festival last evening. They introduced the audience to new perspectives and showcased their talent beautifully.
Abdul Rasheed, Programme Executive, Akashvani, Mysuru, delivered an engaging speech and introduced the audience to the world of new ideas. He explained his journey through various phases of life and how he embraced several individuals from different social strata as his mentors. He expressed his excitement about presenting his distinctive insights, which will provide a more representative portrayal of himself.
Jabbar Samo, a talented Yakshagana artiste from Uttara Kannada district, shared his experiences and motivations. He shed light on the significance of his performances in different aspects of life, both at the societal and personal levels. He also acknowledged the numerous individuals he considers his gurus and how they have influenced him.
He expressed how art flourishes without a specific reason and shared the dedication of Yakshagana artistes, who work without any external motivation. Despite facing difficulties as a member of the Muslim community, Jabbar Samo fearlessly pursued his passion. “Due to the prevailing circumstances, pursuing formal education was not possible, but I found solace in Kannada poems sung at the school, which fuelled my interest in the language,” he recalled.
Mohammed Kaleemulla, a retired teacher from Nagamangala taluk, dedicated his life to the preservation of historical temples, monoliths and hero stones in Mandya district. He explained the architectural aspects of these stones, their current conditions and the ongoing efforts to safeguard them with the support of Shri Kshetra Dharmasthala. “Many hero stones are being used for mundane purposes like drying clothes. I took it upon myself to inform the villagers and engage in the preservation work,” he said.
Syed Isaq narrated how he had built the library with zinc sheet roof at the corner of a playground in Rajivnagar and has been running it for the benefit of the public for 12 years. He also told the audience how the library was burnt down and his efforts to rebuild it.
“I have never been to school but my love for books gave wings to my dream of setting up a library. I built the library with 85 percent of books in Kannada and newspapers of various languages. My Kannada library is located in an area where there is a majority of the Urdu-speaking population and Kannada language must be propagated in areas like these,” he added.
source: http://www.starofmysore.com / Star of Mysore / Home> News / July 03rd, 2024
Syed Iqbal Zaheer was born in 1944 in India. He is an Indian Islamic scholar, writer, and engineer. He received his Islamic training from traditional scholars and has proficiency in English, Arabic, and Urdu.
As a polymath and prolific writer, Zaheer has a wide range of interests and writes journalistically on advanced scientific topics such as cellular biology, quantum physics, and astrophysics. He adopts a new writing style in each of his books, making his works unique and engaging.
Zaheer has been editing the monthly magazine “Young Muslim Digest” for 35 years, which is issued from Bangalore. His editorials and answers to readers’ letters are widely followed in several countries.
Books
Zaheer is the author of several books, including “Islam: The Religion You Can No Longer Ignore,” “Fake Pearls,” “A Short History of Israel,” “Bilal, the Abyssinian Out runner,” “Muhammad the Unlettered Prophet Who Changed the World in 23 Years,” “An Educational Encyclopedia of Islam,” “Abul Hasan Ali Nadwi,” “Fundamentals of the Islamic Creed,” “A Voice to Hear,” and “Tafsir Ishraq al-Maani.”
In addition to his writing, Zaheer is known for his weekly Quranic Dars and lectures, which are well attended by the educated class. However, he follows the fatwa of classical Deoband scholars and does not allow filming of his talks, does not believe in globe-trotting, and strongly objects to any praise directed at him.
Zaheer runs an Islamic Institute for Girls, in the town of Hassan near Bangalore, that emphasises the Arabic language. The institute’s syllabus is designed for teenage girls and older.
Overall, Syed Iqbal Zaheer is a well-respected Islamic scholar and writer who has made significant contributions to the Islamic community through his works, lectures, and social work.
source: http://www.thecognate.com / The Cognate / Home> Business / by The Cognate News Desk / February 02nd, 2003
Book: Baa Izzat Bari / Written by Manisha Bhalla and Dr. Aleemullah Khan. Published by: Bharat Pustak Bhandar
“Baa Izzat Bari” by Manisha Bhalla and Dr. Aleemullah Khan is a compelling non-fiction account that explores real-life stories of individuals falsely accused in terror related cases in India, only to be acquitted after long legal battles. The title, which translates to “Honorably Acquitted,” captures the essence of the work—justice being served after a grueling fight, though often at the cost of the individuals’ dignity, time, and peace of mind.
This book sheds light on the flaws within the Indian legal system, particularly highlighting cases of wrongful accusations and the traumatic experiences of the innocent individuals who are caught up in these legal nightmares. Through detailed case studies, the authors offer an insightful look into the personal struggles of those who have been falsely implicated and their journey toward proving their innocence.
Judicial Delays and Systemic Flaws:
The delves into the chronic delays that plague the Indian judiciary. The individuals portrayed in the book endure years, sometimes decades, of legal proceedings before their names are cleared. This is a strong commentary on the systemic inefficiencies that prolong suffering for those falsely accused.
Emotional and Social Impact:
One of the most powerful aspects of “Ba Izzat Bari” is how it focuses on the emotional toll these accusations take. The accused face not only the trauma of legal battles but also the stigma of being labeled criminals in the eyes of society. The book captures how families are torn apart, careers destroyed, and reputations permanently damaged, even after an acquittal.
Resilience and Perseverance:
Amidst the grim reality of these stories, it highlights the resilience of those who continue to fight for justice. Their perseverance, often in the face of hopelessness, serves as a testament to human strength and the will to restore one’s dignity.
Questioning Legal and Ethical Norms:
Through these cases, it raises critical questions about the functioning of the police, judiciary, and society at large. How can the system be reformed to prevent such wrongful accusations? What mechanisms should be put in place to compensate those who are falsely accused? Bhalla leaves these questions open for debate, encouraging readers to think critically about justice in a democratic society.
The is journalistic yet empathetic, balancing factual accuracy with emotional depth. Writers provide meticulous details about each case, using interviews and official records to paint a full picture of the victims’ plight. The narrative style is engaging, keeping readers invested in the personal stories while also provoking thought on larger legal and societal issues.
While the book does an excellent job of bringing attention to the individuals who have suffered, it sometimes lacks a more in-depth exploration of potential legal reforms. The authors could have dedicated more space to discussing solutions or outlining actionable steps that could help prevent future cases of wrongful accusations.
However “Ba Izzat Bari” is a poignant and necessary examination of the human cost of wrongful accusations in India’s justice system. It is both a critique of the systemic flaws and a tribute to the individuals who have suffered under its weight. For readers interested in law, social justice, or human rights, this book offers an eye-opening look at the harsh realities faced by those who are wrongfully accused and ultimately “honorably acquitted.”
source: http://www.muslimmirror.com / Muslim Mirror / Home> Books> Human Rights> Indian Muslims / September 18th,2024
