Category Archives: Books (incl.Biographies – w.e.f.01 jan 2018 )

Khassa brings alive the century-old legacy of the Royals

Hyderabad, TELANGANA :

Shahmnoor Jahan with her family
Shahmnoor Jahan with her family

Whether it is a hundred-year-old dish Kuzi or Fish Salad or Badam Ka Kund or the Noorani Seviyaan, Shahnoor Jehan, the descendent of a Sultan of Yemen, dishes out these mystic 100-year old cuisines for the connoisseurs and the gourmands.   

Even as the erstwhile nawabs of India deal with the loss of their titular legacy, tables laden with succulent meats, and the foods flavoured with freshly ground spices and their untranslatable code of tehzeeb- their last standing bastions of power, wealth, and heritage – Shahnoor Jehan, whose grandmother Muzaffar Unissa Begum hailed from the family of the Sultan of Yemen, has kept it alive.

Meeting this soft-spoken lady was a quiet grounding experience given her repertoire of knowledge on food. 

Shahnoor Jehan with her daughter

Daughter of an IAS officer and wife of a very supportive businessman Adil Mirza, Shahnoor Jehan was also encouraged by her adorable children Shohrab Mirza and Nimrah Mirza to use her knowledge and the knowhow inherited from her blue-blooded family and preserve the 100-year-old recipes for posterity. Khassa, a food brand, is a reality because of the support Shahnoor Jehan got from her family.

Shahnoor Jehan says, “There’s a certain etiquette that embraces all nawabi culture. It’s not so much about the commonality of ingredients or dishes but the way the food is prepared and served and the way we host our guests. And for these families, it’s comforting if you understand that,” she says. “Khassa is just that.”

In earlier days people never said “food is ready’ while inviting guests to the table,; they would say but said “Khassa Taiyaar Hain.” Shahnoor Jehan has preserved her well-guarded recipes dating back to several generations.

A dish from Shahnoor Jahan’s cook book

Her cookbook which she has preserved to date from her school days takes on a narrative beyond food; it’s about legends, anecdotes, and antiquities that comprise heritage. It is this inherited legacy that has made her take up cooking as a passion and make it her business. “I think cooking was a hidden talent in me. Most of the time friends appreciating my cooking made me ponder over the possibility of taking it up as my profession and when my kids and family support came, I converted my culinary skills into a startup.”

“Till I got married, I never had any experience of cooking; it was only an interest. It was my grandmother and mother who inspired me initially and the realization and confidence that I can cook well came with the appreciation I got from my friends and family who eagerly awaited the indulgence. The original cuisine is slowly fading away. I kept up the tradition of preparing dishes on charcoal and grounding spices made by hand..”   

Begum Shahnoor Jehan the granddaughter of Nawab Ahmed Baig and her Grandmother Muzaffar Unissa Begum shares a princely legacy of the Sultan of Yemen and her food is an amalgamation of Mughal, Turkish and Arabic and influences of Hyderabadi cuisine.

She has infused local foods like rice, wheat, and meat dishes and the skilled use of spices herbs, and natural edibles in Khassa,

Owner of brand Khassa, Shahnoor Jehan serves cuisines like mutton haleem, mutton Shikamaru, dum ka murgh, or whether it is her signature dish a hundred-year-old dish called the Kuzi- leg of mutton cooked in pure almonds, saffron, and spices like black pepper enriched further with dry fruits, sugar candy ( Rock Mishri ) saffron, and silver foil are steeped in history.

Shahnoor Jahan’s recipies

While Khassa has been in the limelight for its iconic Kuzi, mutton roast or the kebabs like Shikampoor Shahnoor has also drool-worthy desserts to her credit that you can never say ever! Whether they are the innovative desserts like the Noorani Seviyan or the most rich ones like the Badam ka Kund– a traditional Hyderabadi dessert rich in almonds infused with saffron and cooked for hours together to get that creamy finish.   

Says Shahnoor Jehan some of the recipes are native but they have been prepared and perfected down the generations at Shah Manzil, which is the present-day Raj Bhavan (the official residence of the State Governor). They have been part of Shahnoors family legacy for generations over a hundred years of age Adds Shahnoor my maternal Grandmother Muzzafar Unissa Begum, the daughter of the Sultan of erstwhile Yemen, and her grandfather Nawab Ahmed Baig, the son of late Shehzoor Jung, was influenced prominently by the flavours of Yemen, where she was from. I picked up most of her techniques and recipes which were well guarded and preserved by Shahnoor Jehan’s mother Faiq Jehan Till date Shahnoor continues to preserve the diaries and books belonging to her royal family. She adds that while her mother has been an inspiration for her she did pick up a few techniques from her mother-in-law Shaheda Begum she adds. 

Today this luxury dining has come alive with her cuisine “Khassa” which is offered to her customers by way of food based on orders from her customers. It is indeed a luxe dining experience as nothing is too extravagant at her end whether it is the use of the saffron or the almonds, or whether it is the use of gold and silver foil, they season most of her meals. Only the finest cuts of meat make it to your orders. Whether it is ordering the mutton roast -chunks of meat soaked in sauces, ginger garlic paste, pepper, and roasted or whether it is Kairi Ka Do Pyaaza chunks of meat cooked alongside with raw mangoes spices and silky onion gravy a seasonal specialty. 

Shahnoor says some of her dishes are cooked languorously , sometimes for entire day-the dum (where food is cooked for hours over low heat in lagan and smoked with the piece of burning coals placed on top to flavor the food , and these remain her techniques of choice.

Shahnoor Jahan with Khassa

In the earlier days, the chefs or the bawarchis at her Shah Manzil sometimes specialized in just one dish. Kitchens were considered laboratories, and chefs artists were encouraged to experiment innovate and create. Today we are preserving this past heritage as an agenda. She recalls the Nawabs of yore were patrons of food, helping the food to evolve Now dining With The Khassa brings back some of the grandeur and is a beautiful reminder of the lavish brilliance of nawabi food.

Says Shahnoor Jehan we want to bring a culinary slice of Yemen and the Nawabs of Hyderabad at Khassa with dishes that resonate with our philosophy of cooking with the choicest of ingredients.

Her spread in her menu looks fit for a king. There are Shammi Kebab-succulent pieces of tender lamb cooked with spices a melt-in-the-mouth experience and the Mutton Shikampur, the iconic kebabs from the royal kitchens of Hyderabad. The main course consists of Tamatar ka Kut a classic Hyderabadi dish and a rich tomato gravy topped with mild temperate spices and boiled eggs. Mutton Dalcha, is an age-old recipe of mutton cooked with lentils and bottlegourd. There are classic dishes such as Chicken or Mutton Korma cooked in rich gravy sauce or the traditional Kairi Do Pyaza a tangy lamb preparation. Her signature dishes include Haleem, Kuzi, Fish Salad Mutton Roast, Dum Ka Murgh, or the Dum Ka Raan all slow-cooked in mild spices.

Also, there are desserts to die for whether it is the Zafrani Badami Kheer, Sheer Khorma, or the Qubani ka Meetha.

Khassa indeed brings the hidden treasures of food that is heavy on aroma and boasts of rich flavours that will hit the spot if you’re looking for a feast.

www.khassabyshahnoorjehan.com

source: http://www.awazthevoice.in / Awaz, The Voice / Home> Culture / by Ratna G. Chotrani, Hyderabad / April 17th, 2022

‘The Greatest Telugu Stories Ever Told’ provide an insight into Telugu short fiction realm

TELANGANA / ANDHRA PRADESH :

Anthologist and translator Dasu Krishnamoorty’s ebook ‘The Greatest Telugu Stories Ever Told’ gives a tapestry of Telugu experiences for readers.

The Greatest Telugu Stories Ever Told (Aleph Book Company) provides us a glimpse into the huge Telugu literary realm. Spanning virtually a century of literary works by a number of the most interesting writers of short tales, the gathering mirrors the Telugu-speaking individuals’s perspective of the world.

Co-authored by anthologist and translator Dasu Krishnamoorty along with his daughter Tamraparni Dasu, the anthology incorporates works of 21 writers, proper from Chalam and Kanuparthi Varalakshmamma to Vempalli Gangadhar and Vempalle Shareef.

The anthology

Influence on society

Elaborating on the factors in choosing the tales, the writers say they seemed for brokers of change. “Vempalle Shariff’s ‘Curtain’, for example, is a diatribe against the norms that keep Muslim women behind a curtain of patriarchy and prevent them from participating in the wider society. Sometimes, the story is so compelling in its cathartic message that it requires no other reason than its merit to be included.

‘Mother’s Debt’ (Mohammed Khadeer Babu) and ‘Predators’ (Syed Saleem) both highlight the wretched lives of those compelled to live in poverty at the edges of society,” says 93-year-old Krishnamoorty, connecting with us from New Jersey.

On selecting works of writers like Kanuparthi, Illindala Saraswati Devi, Achanta Sarada Devi and Chalam — who wrote about social inequity — Krishnamoorty says the brand new technology of writers continues to push that battle ahead in new instructions and develop into energetic devices of social change, as evidenced by Boya Jangiah, Jajula Gowri and others. “Writers alone cannot cause a change but are certainly a big part of the process,” he says.

 On being requested if some writers are both overrated or underrated, Tamraparni responds, “All the writers in the anthology, and many more that could not be included, deserve their reputation and accolades. The younger ones are perhaps underrated simply because the world doesn’t know of them yet. We hope that our anthology helps them gain the recognition they deserve.”

Diverse works

The anthology consists of works by six Muslims, 5 ladies and 5 Dalits. Krishnamoorthy says their goal was to provide a platform for the varied assortment of expertise significantly in underrepresented communities. “Telugu Muslims have always been a beacon of literary excellence. Only they can write with such passion and knowledge about their lived experience that comes through with such heart-wrenching intensity in ‘Adieu, Ba’ and ‘A Mother’s Debt’,” he provides.

Speaking of the challenges in translating, Tamraparni says, “Translation is inherently tricky; matching the idiom of the original with an equivalent one in English, rather than a literal translation; finding the equivalent of unique words, for example a word like ‘ thaayilam’ (a special treat, typically sweet, for a child) in Dada Hayat’s ‘The Truant’; retaining the voice of the original writer intact; avoiding the temptation to editorialise or tamp down unorthodox content as in Chalam’s ‘Madiga Girl’; how to preserve the musicality of the original language, as in ‘Molakala Punnami’.”

Describing working together with her father as a excessive octane expertise, Tamraparni says story choice was a degree of rivalry. “Some of the differences were generational, and some were temperamental. We agreed on most stories but there were four or five that needed energetic debate,” she provides.

Support system

Krishnamoorty had moved to the US to dwell along with his daughter’s household after he misplaced his spouse and there, he discovered translation a solution to keep engaged to tide over the powerful interval. “He brought an amazing level of intensity and enthusiasm to it even though he was almost 80 at that time,” says Tamraparni who alongside together with her father, launched a literary non-profit organisation, IndiaWrites Publishers, to assist the interpretation of up to date Indian short fiction into English. Together additionally they revealed a month-to-month on-line literary journal, Literary Voices of India, for a number of years. And 15 years later, the father-daughter duo revealed their second anthology The Greatest Telugu Stories Ever Told.


”I’m grateful that translation has given me such a stimulating and rewarding expertise to share with my father,” says Tamraparni. 

Source hyperlink

source: http://www.dksnewsonline.com / DKS News / Home> Entertainment> Art / by devanandsingh9199 / April 08th, 2022

A new book looks at the rehabilitation of Muzaffarnagar riot victims

Muzaffarnagar, UTTAR PRADESH :

Making amends for wrongs done requires compassion and a human touch, says Sandeep Virmani of Hunnarshala Foundation

In 2013, Muzaffarnagar in Uttar Pradesh experienced one of the worst communal riots in recent history. Some 62 people died and more than 50,000 were displaced.

Hunnarshala Foundation helped resettle about 250 families who could not return to their original villages. It was a challenging project for the not-for-profit organisation, which has been working with communities in the area of housing and infrastructure for over 20 years now. 

Muzaffarnagar Diaries: A Post-Riot Resettlement Story talks of how the project fell in place. Sandeep Virmani, Executive Vice-Chairman of Hunnarshala, spoke about the importance of empathetic resettlement in the context of this project. Excerpts from the interview:

What is the magnitude of the problem of internally displaced persons (IDPs) in India?

IDPs are people displaced from their homes and communities due to natural disasters, conflicts or development projects. In India, at any given point, we have between 40 lakh and 80 lakh people living in camps, away from home. Of these, about 20,000 are displaced due to conflicts — ethnic, armed, communal, or even targeted violence. India consistently features in the 10 worst affected countries in the world. Conflict victims are the worst hit since invariably, the state is involved in abetting violence or allowing it to happen. For this reason, unlike after natural disasters, very few people come forward to help.

How does Indian law fall short when it comes to reparative justice, especially for victims of incidents such as the 2002 Gujarat riots or the 2013 Muzaffarnagar riots?

Unlike cross-border refugees, IDPs don’t have any rights. Even though the Constitution requires the state to take responsibility for the safety of its citizens, there are no laws, policies, or statutory frameworks for reparative justice. The UN has ‘The Guiding Principles on Internal Displacement’ but these are not binding. Consequently, almost every such event requires the intervention of the courts to provide justice.

Ruins of a house in Kutba, Muzaffarnagar, after the riots.

The government grants compensation; ₹15 lakh was given per family after the Muzaffarnagar riots. But you call this the ‘compensation trap’?

Invariably, governments directed by the courts want to weigh the losses of IDPs financially and get away with compensation. While compensation for families who lost a member was raised to ₹15 lakh, displaced families who will never be able to return to their villages got ₹5 lakh. But making amends for wrongs done, so that the scars of displacement and loss are healed, requires compassion and a human touch. It requires apology, handholding until they are physically settled, integrated into a new society, so that they and their children can let go of fear. The shock and betrayal, sometimes even unfounded guilt, never leaves one.

When you took up this project, you went to Kutba to see the ruins of the destroyed homes. Can you talk a bit about the ‘culture of spaces’?

The design and skills used in building homes is the collective cultural expression of a community’s values. When you lose everything, you look for hope in two places: community and expression. The process of rebuilding provides both. However, after incidents like the Muzaffarnagar and Shamli riots, most families were scattered in unfamiliar places. It became difficult for them to get new homes. Most used the compensation to rebuild livelihoods and get some land but could not build homes. We helped the community procure land together, so that they were reunited. Giving a house is charity; one is grateful, but it doesn’t rebuild lost confidence. And, invariably, donors and governments give ‘modern’ houses, disregarding cultural moorings.

We wanted to understand their histories, ways of living, skills, aesthetic expressions, identities, before we facilitated the rehabilitation. So, we went to their old village in Kutba. It was difficult; there was fear of the dominant Hindu community, at whose hands they had experienced betrayal, violence, death. People with whom they had lived over generations, people who had convinced them not to migrate to Pakistan in 1947. A mason named Nawab finally agreed to take us there with police escort.

The central stairway in a new house built in Kairana, Shamli district (the ‘chulha’ or stove keeps changing places).

We found a unique lifestyle. For example, the khat (bed) determines the width of the veranda and even the staircase (it is carried to the first floor). The chulha (stove) shifts through the year from kitchen to veranda to courtyard. The old men sit at the juncture of street and house in a unique space called the ‘gallery’. The mother-in-law sits at the other end of the gallery, at a spot from where she can see every part of the house. The sitting room must be accessed straight from the street through a separate door. The houses always have potential for expansion to make room for newly-weds. Families make intricate patterns on coloured cement oxide floors with stencils made from newspapers. They mould concrete into aesthetic forms. The more elaborate the gate, the more the prestige… we found many such features.

A new house in Arya Puri, Muzaffarnagar district, for a rehabilitated family. The house incorporates the classic archways and verandah and makes room for the all-important ‘khats’ (cots).

Your book speaks of how the villagers rejected open-brick facades for painted concrete. Is it a challenge to promote low-cost or green building in the hinterland?

On the contrary, villages are familiar with the advantages of, say, earthen walls or mud mortar for putting bricks together. It is possible to have an informed conversation with them, unlike urban people who reject such technologies based on bias or get fixated on a technology even when not appropriate. In rural homes, many parts of the house are left unplastered due to lack of funds, so exposed material has a different connotation — it means poverty. That is why they wanted to plaster and colour their walls.

Western UP is a seismic zone, but existing building practices are poor due to lack of resources; there is hardly any foundation, very thin mud mortar walls hold up heavy roofs. One shudders to think of earthquakes. We insisted on increasing costs by 15-20% to ensure safe housing. The villagers are extremely proud of this; they say they have the strongest homes in the city now.

Sandeep Virmani of Hunnarshala Foundation.

What is the nature of the partnership you entered into with the community?

In Shamli, we signed an agreement with each family articulating the roles of the family, the rehabilitation committee, and our organisations. We financed one room, the staircase, and the sanitation. The families paid for the rest.

Misereor Germany gave funding and HT Parekh Foundation supported all sanitation work. It was the government’s responsibility to provide roads, water and electricity, but finally we had to raise money for that too. The villagers were extremely resourceful. They got cheap material and support from former employers. Many local people helped, including a supplier who not just gave extensive credit, but also cash when funding was delayed.

NGOs Sadbhavana and Vanangna supported the rehabilitation committee to ensure that children gave their board exams in their old exam centres and didn’t lose a year. We helped with enrolments into schools, new identity papers, and resuming pensions. We also conducted psycho-social counselling with the children to help them overcome the trauma of loss and separation.

You insisted, for instance, that women be part of the Rehabilitation Committee. Do you think such interventions can have a lasting impact on social mores?

When a big social upheaval happens, it provides opportunities for making paradigm shifts in social norms such as patriarchy. Women are ready to change their roles in a new location where everyone has to contribute; men are ready to turn a blind eye to women in unconventional roles. This provides women the opportunity to not only demonstrate their abilities but also assure men that it doesn’t threaten them. For instance, women are very good at bringing consensus on difficult decisions. It particularly helps the girl child, as they see what is happening and adopt the changes permanently.

And what did you in turn learn from these families?

Perhaps the biggest contribution from the IDPs of Muzaffarnagar has been the building of the daat chat or shallow domes. When we visited the old homes in Kutba, we saw an array of beautifully crafted roofs made with bricks. These roofs look flat but are in fact very shallow domes, where all the bricks are in compression. It allows for flattening the top of the roof and building another storey on top. The masons who build these roofs are expert craftsmen. The importance of the shallow dome roof is that it can reduce the use of cement and steel by 70-75%. This is important; these two contribute most to carbon emissions from the building industry. The roof is cheaper than RCC and more durable. We saw homes with roofs that are 300-400 years old!

We researched and tested the roofs for seismic safety and invited the artisans to share their knowledge at a national conference in Delhi. Since then, many architects are adopting the shallow dome. Artisans are invited to architecture schools to demonstrate and teach the next generation.

Perhaps this is a befitting recognition of a culture and a people who did not deserve to be violently removed from their ancestral homes.

vaishna.r@thehindu.co.in

source: http://www.thehindu.com / The Hindu / Home> Society – In Conversation / by Vaishna Roy / April 16th, 2022

How India’s birdman, Sálim Ali, showed us the interconnectedness of life

Mumbai, MAHARASHTRA :

A recent collection of his radio talks point to the stellar role birds play in preserving our environment

Sálim Ali could reach out to a cross-section of society, telling them about birds and the stellar role they play in preserving our environment. (Source: Black Kite)

From busting myths about fireflies lighting up the homes of weaver birds to explaining the whys and hows of the spectacular phenomenon of bird migrations, there has been, perhaps, no one better than Sálim Ali, India’s best-known ornithologist, to demystify the avian world. To Ali’s already formidable list of works, comes another: a collection of his radio talks. Edited by Tara Gandhi, Words for Birds (Black Kite), the book shows him doing what he did best — reaching out to a cross-section of society on birds and the stellar role they play in preserving our environment.

“He was an excellent communicator. He gave a number of lectures and he communicated to people of different professions. For instance, while speaking to mountaineers, he would say — ‘since you go to great heights, to places that ornithologists are not able to go to, look out for nesting sites, for Lammergeiers, the big vultures that are seen in high altitudes. Look around and if you see any birds, let us know, take down notes’. He would talk to people to get out of their own turf or specialisation and become interested in the wider picture,” says Gandhi, who was guided by Ali for her MSc. in field ornithology  shortly before he passed away in 1987, at the age of 90.

India’s birdman, Sálim Ali. (Source: Black Kite)

He was, as she says, ahead of his times in understanding the importance of involving people in conservation. “You will come across one of his talks where he tells his listeners that if you see any unusual birds on the seashore, write to us. This struck me. Nowadays, we talk about citizen science, lay people’s involvement in scientific documentation. A number of bird watchers are specially involved in citizen science — doctors, teachers and people from many other disciplines are making bird lists and sending them to be compiled. A lot of important material comes out of analysing this data . Those days, nearly 60 to 70 years ago, Sálim Ali would urge his readers and listeners to write to the Bombay Natural History Society (BNHS) to record the information.”

Ali who took over the BNHS after Independence and remained with it for decades, was key in keeping the organisation going and in initiating a systematic study of birds. “He had a vision, which was much ahead of his time and very contemporary,” says Gandhi, who has previously edited A Bird’s Eye View: The Collected Essays and Shorter Writings of Sálim Ali (II Volumes, Permanent Black, 2018) and is the author of Birds, Wild Animals and Agriculture: Conflict and Coexistence in India (The Orient Blackswan; 2015).

Tara Gandhi, who has edited ‘Words for Birds’.(Source: Black Kite)

Delivered between 1941 and 1985, Ali’s talks were recorded mainly at the All India Radio (AIR) station in Mumbai and range from one on trends in bird study to talking about bird life for a school broadcast, in conversational Hindustani titled Chand Hairat Angez Parandon aur Janwaron ke Ghar, speaking to children who didn’t speak English. In his autobiography, The Fall of a Sparrow (Oxford University Press, 1985), he recounts his days as a guide lecturer in the Natural History Section of the Prince of Wales Museum in Mumbai, where he remembers particularly enjoying “talking to pupils from the School for the Blind, because of the lively interest they showed.” Gandhi says, “He made an effort to reach out to children to make them understand more about birds and nature in an easy way.”

After his stint at the Museum, Ali spent a year in Germany, training under Erwin Stresemann at the Berlin University Zoological Museum, returning to India in 1930 and launching on a series of bird surveys across the country. Beginning at a time when ornithology, in his own words, was the “Cinderella of Indian Zoology”, Ali can be credited for taking the discipline outside museums and collections and out in the natural habitat and widening its scope. “The kind of projects he undertook later on from the ’60s onwards were extremely important and absolutely pragmatic. He took on a project on birds in the aviation sector, that is bird hazards in aviation. It was a huge project and it was entirely for saving human lives, for preventing huge losses. The study tried to find methods to avoid bird hits on aircraft — observing the time of the day, the trajectory of the birds, which species were involved and how to prevent them from congregating in the airports. Earlier, his surveys were about collections which became a valuable and permanent resource , but later, he moved away completely from the whole idea of merely collecting specimens when he became the head of BNHS,” says Gandhi.

But being dubbed India’ birdman sometimes shadowed his role as a conservationist. “He would say repeatedly that everything is interlinked in nature. It is not just the birds themselves, it is the habitat of the birds and different ecosystems in India he wanted conserved for the sake of all the flora and fauna within them. He spoke about conservation of endangered species and regretted that so many species had died out. Ali was instrumental in getting a number of national parks and protected areas established. Through his communication skills he was even able to persuade royal families to set aside their hunting reserves for conserving the species within them,” says Gandhi.

source: http://www.indianexpress.com / Indian Express / Home> Books and Literature / by Devyani Onial, New Delhi / April 03rd, 2022

Real and unruly: Saikat Majumdar reviews Of Dry Tongues and Brave Hearts

Agra, UTTAR PRADESH / NEW DELHI :

The women’s writings and paintings collected here pose fundamental questions about the relation between art and marginality

When tongues run dry but hearts remain fearless — can there be a plight direr than this tearing apart of body and mind? The drought on the tongue is the silence of fear, hiding a heart that rails against terror, pledging to shatter the quiet. Reema Ahmad and Semeen Ali have come up with a dream title for their edited collection of poetry, prose and painting by women, many of them newer voices, some unheard before, published by a daring and often-experimental publisher of poetry, Red River.

This jagged collection poses fundamental questions about the relation between art, passion, marginality, and the vagaries of everyday life. With close to 150 contributions combining verse, narrative, reflections and images, the heart of this book is filled with courage, and tongues remain dry no more — they spill rivulets of passion, anger, love, protest, and triumphant celebrations of the quotidian.

Hope is a lie

The sheer range reimagines the relation between creativity and passionate selfhood through a spectrum where the accomplishments of craft are uneven. But the honesty never is, and since in the end, honesty occupies the true heart of artistic craft, it also invites us to broaden our understanding of technical finesse beyond the usual and the expected.

Early in the collection, Debolina Dey confesses that “These poets have taught me/ to be a ruthless hunter of metaphors/ as if your body/ could be something else.” The body returns in its quotidian oppression in Sukla Singha’s story, ‘That ‘90’s Show: Blood, Shit and Other Things’, chronicling the daily humiliation, of body and labour, of a mother, experienced and narrated by a young daughter, but ending with the strange billowing of the heart: “A storm of jet-black hair in the air. A Meitei woman’s boisterous laughter. Nobody had the guts to ruin that magic.”

The vernacular is not only the name of reality here, but also of synergy between languages. Namita Bhatia’s Hindi poem, ‘Cactus’, opening with the eloquent grunt, “Mai cactus hun — cactus”, ends, in Reema Ahmad’s translation, with the “chaste hope” “That if my skin be peeled off/ I may bleed only milk”. But in her engrossing short story, ‘An Obscure Life’, Ketaki Datta reminds us that often hope is a lie — that her friend Swapna who claimed to a hotel singer had died without ever becoming one, after a life of prostitution known only to her mother.

In this dry-tongued world, poetry, as Sneha Roy knows, is a forever transgression: “Like a pillar of ‘shameless poetry’ standing tall/ in Plato’s failed and banished world.” Poetry lies in the humble and the mundane, not in flamboyance, as in Aratrika Das’s dream that her son grows up to cook in a kitchen of daily, soiled labour, not in the TV kitchen with glamorous aprons and hi-tech gadgets.

Haunted by sensation

Bodies are real and unruly in this collection. In her poem, ‘On Carving a Watermelon’, Yashasvi Vachhani voices a woman whose lover tells her: “you have a pretty face, if only you lost some of it/ some of the meat that calls your bones home”. As that “piece of art inedible”, she watches as “you hand me a knife/ and say begin”. Zehra Naqvi, in a poem of visual experimentation, reclaims the female body away from male desire and maternal nourishment: “Because our breasts belong to us. Not to the men who desire us. Not to the children who feed on us.” Dipali Taneja writes about the ageing body haunted by memories of sensation: “You hear that your uterus is senile!/ It may well be, but your skin is not.”

The lines face Teena Gill’s painting, Dancing Woman, and the meditative trance on her face strangely intensifies the bodily sensation in Taneja’s poem. Ikilily of Pink Lips, in Neha Chaturvedi’s ominous fairy tale of that name, nurses a curse — she can have sex, but if “so much as a thought of love entered her mind about the man or the woman she was with, the person would die.”

The myth contrasts sharply with the sculpted realism of Shamayita Sen’s poem, ‘Consent’, which states: “The birdcage in your chest/ will have to ask for consent/ for mine to respond.” Till the very end, the ineluctable violence of desire shapes the paradox of Khushk Zubaan, Bebaak Jigar.

Of Dry Tongues and Brave Hearts; Edited by Reema Ahmad & Semeen Ali, Red River,₹599

The reviewer’s most recent book is The Middle Finger, a campus novel about poetry, performance, and mentorship.

source: http://www.thehindu.com / The Hindu / Home> Books> Mixed Collection / by Saikar Majumdar / April 02nd, 2022

Justice Syed Mahmood: An Icon of Judicial Resistance to British Colonialism

BRITISH INDIA :

Appointed to the High Court at the remarkably young age of 32, Justice Syed Mahmood displayed during a tenure of just six years that law without conscience was merely a facade for the perpetration of injustice

New Delhi: 

In the late 19th century, Justice Syed Mahmood, son of the great social reformer Sir Syed Ahmad Khan , and the first Indian judge of the Allahabad High Court, became an icon of judicial resistance to British colonialism at the apex of British power across the world.

Appointed to the High Court at the remarkably young age of 32, he displayed during a tenure of just six years that law without conscience was merely a facade for the perpetration of injustice.

A number of his dissenting judgments became a template for reference by future generations, Mohammad Nasir and Samreen Ahmed write in “Syed Mahmood: Colonial India’s Dissenting Judge” (Bloomsbury).

Outside of law, his largely invisible but wide-ranging intellectual corpus engages with questions related to colonial transformation of education and its reconciliation with Muslim identity, national integration and religious tolerance.

His role in the making of Aligarh Muslim University (AMU), presently celebrating its centenary, was notable, but survives only as a footnote in history.

This book chronicles the triumphs and tragedies of Syed Mahmood’s life, and his contribution to shaping the consciousness of modern India. It succeeds in exhuming a seminal figure from the dust of history and demonstrates how the past continues to speak in the present.

Mohammad Nasir is Assistant Professor in the Department of Law, Aligarh Muslim University (AMU). He has written on legal and socio-political issues for Hindustan Times, Indian Express, The Wire and OPEN. He co-edited the Special Centenary Issue of the Aligarh Institute Gazette, a periodical started by AMU founder Sir Syed in 1866.

Samreen Ahmed is a legal researcher and writer based at the Aligarh Muslim University. Her academic writings have been published in the Economic & Political Weekly.

source: http://www.ummid.com / Ummid.com / Home> India / by IANS / March 29th, 2022

Amin Jaffer’s new chapter in Paris

Kigali, RWANDA / Paris, FRANCE :

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

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

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

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

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

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

Polaroid and a passion for art

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

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

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

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

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

The perks of a private collection

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

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

At Hôtel de la Marine | Photo Credit: Marc Domage

On board with digital

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

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

The Al Thani Collection | Photo Credit: Marc Domage

Left Bank to the Concorde

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

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

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

Beloved Delhi — A Mughal City and Her Greatest Poets review: The city of verse

NEW DELHI :

Eight poets of the past capture Delhi’s joys and sorrows

Saif Mahmood’s Beloved Delhi: A Mughal City and Her Greatest Poets offers offers a window into the life, times, and poetry of Delhi’s greatest Urdu poets from the 18th and 19th centuries, with witty and critical insight, in a conversational style that has become Saif’s hallmark in many a literary gathering.

Focusing on eight poets, he allows us to touch Delhi’s past and rethink its present through Urdu. Each chapter on a poet is divided into two sections — the first is biographical and provides the reader with insight into Delhi’s material conditions through the vicissitudes of the poet’s life. Thus, the 18th century poets are nomadic because of the post-Nadir Shah instabilities of Delhi.

The 19th century poets lead more sedentary lives, as the British Residency of Delhi provides the military support, at least until the cleavage of 1857. This upsets the tradition of the classical Urdu ghazal, and so the last poet analysed is Daagh Dehlvi, already writing in 1857, and a step-grandson of the last Mughal King, Bahadur Shah Zafar. The book also records this decline visually through Anant Raina’s photographs of the current gravesites of these poets, exhibiting the absolute lack of public or state support toward heritage maintenance.

The second part gives an excellent commentary on their poetry.

Saif’s familiarity with the tradition and his capacities for literary criticism shine through, as the raconteur in him narrates the stories of these poets’ poetry with coherence, complexity, and lucidity. The book highlights Urdu poets who are well known to Urdu readers, but not to listeners of ghazals or those interested in the literature from the outside.

Apart from Ghalib (described by Saif as ‘Master of Masters’), and Mir Taqi Mir (‘the Incurable Romancer of Delhi’), poets such as Sauda (‘the Great Satirist’), Mir Dard (‘Urdu’s Dancing Dervish’), Ustad Ibrahim Zauq (‘The Poet Laureate’), Bahadur Shah Zafar (the ‘Emperor’ who has an ‘Affair with Urdu’), and Daagh (‘the Last Casanova of Delhi’) get the attention they deserve.

The collection also brings out the specificities of their poetry including the great licence, often through satire, that many of these commanded with the ruling powers as dissenters. Tolerance for such criticism today rests uneasy with the crown. The poets extol the city of Delhi as picturesque, showing colours unimaginable, but also to be lamented after each violent tragedy, with a sense of loss, sometimes in a dedicated genre, the shahr-ashob or city-lament.

Beloved Delhi is for keeps and must be read by all with the remotest of interests in Urdu, Delhi, or poetry and poets.

Beloved Delhi: A Mughal City and Her Greatest Poets ; Saif Mahmood, Speaking Tiger, ₹599.

source: http://www.thehindu.com / The Hindu / Home> Books> Reviews / by Maaz Bin Bilal / November 03rd, 2018

Blast from a pen’s past

Hyderabad, TELANGANA :

As Urdu Day approaches, Hyderabad-based author Jeelani Bano speaks about her bond with the language.

Jeelani Bano(Photo | R Satish Babu)

Jeelani Bano, 80, looks frail in her sea green sari with that mop of pepper-and-salt hair. Her demeanour is genteel, but only a talk about her stories on bonded labour, her aapa Ismat Chughtai and Progressive Writers’ Movement lights up her eyes. The decades pass on her soft wrinkled face as she turns pages of her autobiographical book Main Kaun Hoon and takes you back to an era gone by that’s still alive in her Banjara Hills house in Hyderabad, serenely tucked in another time-frame. 

As Urdu Day approaches on November 9, she speaks about her association with the language. Many of her stories appear to be of our time. Jagirdari may have gone but capitalistic clutches don’t let go of the bonded slavery. Her story Paththaron ki Barish is heart-wrenching. Bano, who has authored 22 books, says, “A lot of writers of our time revolted against this inhuman system. Something also sparked in me and I wrote such stories. But today also, the situation of daily labourers is the same.” 

Her book Aiwan-e-Ghazal, which tells the tales of feudal landlords in Hyderabad, has been translated into 14 languages. She then talks about her dear aapa—Ismat Chughtai—the firebrand writer. 

“She was also from Badayun in Hyderabad, where I was born. She was friends with my mother and supported me a lot in writing,” says the 2016 NTR National Literary Award winner showing the letters Chughtai sent to her. Ismat wrote to her, “After marriage, respect your writing as much as you would respect your husband and in-laws.” In ’70s, when Jeelani Bano and her husband Anwar Moazzam, poet and writer, went to Pakistan, famous poets and scholars came to meet them at the border. She shares, “Nobody wants to understand what people of both the nations want. Sarhadein dilon ko nahin baant saktin (Borders can’t divide hearts).” 

When once she went to the US, a scholar asked her, “You’re a Muslim woman. How did you get permission to write?” To this, she replied, “Nobody has stopped me from writing. Perhaps you haven’t been to India or else you wouldn’t have asked me this.” 

Renowned poets and scholars such as Shakeel Badayuni, Makhdoom Mohiuddin, Jigar Muradabadi and Kaifi Azmi were hosted at her Mallepally home. But, she along with other children weren’t allowed to go to the baithaks. The young Bano would watch these poets, while playing in the courtyard. 

source: http://www.newindianexpress.com / The New Indian Express / Home> Magazine / by Saima Afreen / November 05t, 2016

This book breaks new ground in history by bringing together Mughal politics and Sufi spiritualism

NEW DELHI / Chicago, U.S.A :

Muzaffar Alam’s ‘The Mughals and the Sufis’ is a remarkable and original work of scholarship.

Mughal emperor Jahangir chooses the Sufis. | Public Domain

The literature on the precepts of Sufism and the chronicles of its saints across various orders has a deep and prodigious lineage: from the great Kashf al-Mahjub of al-Hujwiri and the Risala of al-Qushayri, through Abdul Rahman Jaami’s Nufahat-ul-Uns, the wonderfully lucid Sakinat ul Auliya and Safinat ul Auliya, written by the 17th century Mughal Crown Prince Dara Shukoh, to the monumental compendium, A History of Sufism, by Saiyid Athar Abbas Rizvi, in our own times. The examination of the subtle and complicated interplay between religious doctrine, political influence, legitimacy and kingship throughout the Islamic period in India, though, is more recent.

Muzaffar Alam’s earlier book, The Languages of Political Islam in India c 1200-1800, published in 2004, was an important contribution to this discourse. It offered a fresh perspective by decoding the political vocabulary of those times to reveal the calibrations in theology, injunction and juridical practice, as Islam gradually became more “Indianised”.

In his new book, The Mughals and the Sufis – Islam and Political Imagination in India: 1500–1750, Alam once again breaks new ground, this time by harmonising two major domains of scholarship – Mughal History and Indian Islam – honed with painstaking care over a lifetime of study. What emerges is a highly nuanced and complex examination of the relationship between Mughal political culture and the two dominant strains of Islam’s Sufi traditions in South Asia: one centred around orthodoxy, the other focusing on a more inclusive and mystical spirituality.

The Sufi trajectory

The constituent chapters in the book, which can also be studied as stand-alone essays, chart the trajectory of the various Sufi silsilas and their principal actors, from the early, tenuous days of Babur and Humayun, through the 16th and 17th centuries, as the imperial position shifted from the more liberal outlook of Emperor Akbar (r 1556–1605) to the rigid attitudes of his great-grandson, Aurangzeb ’Alamgir (r 1658–1701).

Alam premises his critical study on a large number of contemporary Persian texts, court chronicles, epistolary collections, and biographies of Sufi mystics. Interestingly, the Maktubat-i Khwaja Muhammad Saif al-Din, compiled by Muhammad A’zam, Khwaja Muhammad Nasib Andalib’s Nala-i’ Andalib, and Muhammad Akram bin Shaikh Muhammad Ali’s Sawati‘al-Anwar are accorded no less importance than the staple Akbarnama or Badauni’s Muntakhab al-Tawarikh, known to every student of Mughal history.

This particular approach to Alam’s programme of study for his latest book serves two functions. First, his focus on relatively lesser-known figures and their writings, as well as many rare manuscripts, automatically inducts these long-underutilised texts into the bibliographical repertoire of mainstream historical research. Second, his own investigations enable Alam to challenge popular notions about the Sufis, upend unitonal hagiographic narratives of Sufi silsilas, and provide an alternate system of coordinates through which to view our cultural and religious history, in the process, reorienting our understanding of political Islam during the Mughal period.

A fundamental aspect of reappraisal is the relationship of a Sufi leader with the Mughal emperor. The usual perception is that the sole function of a Sufi saint was to be a spiritual pir (preceptor) for his murids (disciples), including those of royal blood. Alam cites numerous instances to the contrary, following a tradition that harked back to the Naqshbandi Sufis of Timurid times.

One of the key figures to emerge in this context is Khwaja ’Ubaid-Allah Ahrar, whose disciples included Timurid rulers and a number of their vassals throughout Central Asia. He and several of his descendants claimed they were not spiritual masters alone, but also the source of strength and assistance in the dispensation of politics as well as power struggles.

Although Khwaja Ahrar had died several years before Babur appeared at the threshold of Hindustan, the latter nevertheless ascribed many of his military achievements to the benediction of the pir. Most famously, at the Battle of Panipat against Ibrahim Lodhi in 1526, Babur, facing an enemy force that vastly outnumbered his own, is said to have meditated upon the image of the Khwaja, who then appeared as a horseman dressed in white, routing the Afghans.

Breaking myths

The Mughals and the Sufis also dispels some lingering stereotypes around the positions of the pirs in the Chishti and Naqshbandi orders. For instance, the Chishti pirs didn’t necessarily find ready disciples in the early Mughals and winning their allegiance was no trivial matter. A case in point is Shaikh ’Abd al-Quddus Gangohi, a member of the Sabiri branch of the Chishti order.

Khwaja Gangohi was a prominent preceptor of the Afghan elite at the Lodhi court, in fact, very nearly – the official royal pir. But as Babur established his supremacy in northern India through a series of brilliant, swift military campaigns, it took all of the Khwaja’s wisdom, tact and diplomacy, to reconcile himself to the rapidly changing realities. For his very vocal support of the Afghans, he had to suffer humiliation at the hands of the Mughals.

A similar stereotype concerns the perception of the non-inclusive, intransigent position of the Naqshandis throughout their history, as something of a monolith. Alam shows that the fervour of orthodoxy did sustain itself, from the pirs who were contemporaries of Amir Timur, to the Ahraris in the 15th and 16th centuries, through to the strident conservatism of Shaikh Ahmad Sirhindi and his followers in the 17th century. Aurangzeb’s unwavering support of the Naqshbandis ensured that the family of Shaikh Sirhindi enjoyed a favoured position at the imperial court.

Not only did this influence continue well after Alamgir’s reign, evidence is sighted of its influence outside the court in Delhi, for instance in literary circles, and beyond the capital, making inroads among sections of the civil society in Awadh, hitherto firmly entrenched in the Chishti-Sabiri tradition.

Through the following two centuries, however, Alam explains how a more muted and inclusive tenor of discourse developed within the Naqshbandi order, their change in position underscored by the triple forces of reformism, revivalism and modernism or Westernisation. Certainly, challenges from the West played a material role in changing the approach of modern Muslim intellectuals to Sufism.

Underlying many of the discussions are themes of influence, rivalry and conflict. Documentary evidence points to Sufis playing a role in informing and modulating imperial policy. Likewise, it is shown how the struggle for supremacy among rival princes (and princesses) was mirrored in the rise and fall of imperial allegiance to various silsilas.

Thus, when Akbar, at the peak of his religious innovations, is confronted by the outraged Naqshabandis, it is the latter who have to recant. And not long after Aurangzeb ascends the throne as the emperor Alamgir, Dara Shukoh’s Qadiri pir, Mullah Shah, is summoned to the imperial court and interrogated by the ’ulama. When it comes to a deeply critical and iconoclastic element of the Sufis, such as Sarmad Kashani, nothing less than execution would satisfy the emperor and conservative clergy. Viewed through this prism, the narrative of political Islam appears as a glazed mirror of the vicissitudes of princely wars of succession, and the leanings and idiosyncrasies of successive emperors.

What the women did

One of the criticisms that is often levelled against the academic patriarchy of medieval history is its scant attention to the women of the imperial household, their role and influence in contemporary politics and decisions that morphed and changed the empire. In this regard, the chapter-essay, “Piety, Poetry, and the Contested Loyalties of Mughal Princesses, c 1635-1700”, is a welcome inclusion in the present volume.

The legend of Jahanara, as the other-worldly princess who eschewed imperial titles in favour of the sobriquet of al Fakira, is well known. What is less well-known, though, are her allegiances to specific Sufi pirs and silsilas, and those of her sister, Roshanara, and her niece, Aurangzeb’s daughter, Zebunissa. This essay juxtaposes the contrasting religious beliefs and mystical leanings of these three ladies of the imperial household, despite their common upbringing.

Jahanara, even though she was initiated into the Qadiri sect, continued to retain a close spiritual affinity for the Chishti saints, in particular, Nizamuddin Auliya. Her choice is both a continuation of the pluralistic ethos instituted as imperial policy by Akbar, and a reflection of the deeply syncretic views of her favourite brother, Dara Shukoh – views that she wholeheartedly shared with him.

Roshanara played a far less public role than her sister, although she was a shrewd political observer, and increasingly, a key player in the filial strife that led to the War of Succession in 1657, ending with Aurangzeb’s ascendancy to the throne. Her close connection with the Naqshbandi-Mujaddidi order saw her acting as a mediator, during the attempts made by the sect to expand their influence over the entire imperial zenana.

Their sustained efforts to maintain dealings with the princess Zebunissa notwithstanding, the latter was far more inclined towards the practice and patronage of literary pursuits, than to the encouragement of the Mujaddidi brand of Islamic revival.

In a volume that offers much new perspective, the most insightful and striking essay is the penultimate chapter, “In Search of a Sacred King, Dara Shukoh and the Yogavsisthas of Mughal India”. In the author’s estimate, the Mughal Empire finds its intellectual and spiritual apotheosis not in the figure of Akbar, but Dara Shukoh, who, he boldly asserts, “is a step ahead of his great grandfather, Akbar”.

With this, Alam breaks with an unbroken line of rather uncritical adulation as regards Akbar that has stretched across generations of historians. For all his astute matrimonial alliances with Rajput chieftains, within the pecking order of the Hindu caste system, Akbar could only aspire to the status of a Kshatriya, Alam points out. Dara’s quest was far loftier – like Visvamitra, he sought to synthesise and embody the dual powers of the Kshatriya Raja and the Brahmin Rishi.

Akbar’s interest in Hindu scriptures, mythology and epics such as the Mahabharata reflect his curiosity about India’s political culture, but there was no great imperative for him to imbibe Indic norms of governance. In contrast, Dara’s project of translating the Yogavasistha goes well beyond intellectual curiosity or the inclination to recognise alternative formulations of spirituality. He becomes deeply immersed in the text, to the point of inhabiting it.

For Dara, the book is not only a philosophical treatise, worthy of study for a syncretic practicing Sufi – but a political manifesto – as the Crown Prince grapples with the eternal conflict between spiritual truth and temporal power. Rama Chandra is not the indigenous god from a hoary past but, in Dara’s dream, Lord Rama is a fellow-seeker of Truth, an elder brother.

In his quest for mystical and spiritual learning, Dara had perused the texts of several religious cultures, including his own. But it is only in the Yogavasistha, Alam proposes, that Dara finally found his model for the saint-king, one on which he wished to build the moral foundations of his own reign.

In a refracted light, The Mughals and the Sufis can perhaps be seen as an intellectual self-portrait, painted in the hues of scholarship, investigation and analysis. Now approaching his mid-70s, Alam remains as indefatigable as ever, poring over forgotten texts and rare manuscripts, to reveal the haqa’iq wa ma’arif (realities and truths) hidden within them.

The Mughals and the Sufis – Islam and Political Imagination in India: 1500-1750, Muzaffar Alam, Permanent Black.

source: http://www.scroll.in / Scroll.in / Home> Book Review / by Avik Chanda / April 28th, 2021