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

Ahmad Abbas: The man who gave us Amitabh Bachchan

Panipat, HARYANA / Mumbai, MAHARASHTRA :

Mr. Khwaja Ahmad Abbas, well-known film critic, script writer and producer. | Photo Credit: THE HINDU ARCHIVES
Mr. Khwaja Ahmad Abbas, well-known film critic, script writer and producer. | Photo Credit: THE HINDU ARCHIVES

On the occasion of writer-filmmaker Khwaja Ahmad Abbas’s 102nd birth anniversary that fell earlier this week, some reflections on his first movie Dharti Ke Lal, a film that was not available for public viewing until about a year back…

The name Khwaja Ahmad Abbas, whose 102nd birth anniversary passed by this week with nary a mention of him in mainstream media, rings a bell in the mind of an average cinephile primarily for two reasons. The first is as the story/screenplay writer for Raj Kapoor’s cinema; and the second is as the filmmaker who introduced the star of the millennium, Amitabh Bachchan, to Hindi films. His directorial output, comprising 14 feature films and numerous short films and documentaries, is either ignored or overlooked.

This year is special for someone who wants to get introduced to Abbas’s cinema — heavily influenced by the art of Soviet filmmakers like Sergei Eisenstein and Vsevolod Pudovkin — as it marks seven decades since his first film, Dharti Ke Lal (Sons of the Soil) was released. It was a unique experiment by the Indian People’s Theatre Association (IPTA), co-founded by Abbas, at film-making and an early example of Indian film industry’s tryst with social realism. This was the realism of the kind that would be seen later in the films of Satyajit Ray, Bimal Roy and Mrinal Sen.

The tale of a peasant family’s struggles during the British-authored Bengal famine of 1943 during World War-II, the film was a combined adaptation of three literary works — Bijon Bhattacharya’s Bengali play Nabanna; a Hindustani play Antim Abhilasha; and Krishan Chander’s short story Annadata.

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Dharti Ke Lal can also be considered a part of an Abbas trilogy (emphasis mine) of 1946. The three films — the other two being Dr. Kotnis Ki Amar Kahani and Neecha Nagar, both written by him — presented three different ways in which he expressed the idealism of a common man in pre-Independence India. Dr. Kotnis Ki Amar Kahani, a biopic on Dr. Dwarkanath Kotnis, was based on Abbas’s story, And One Did Not Come Back. It showed a young doctor, inspired by Pandit Jawaharlal Nehru’s call to serve the wounded Chinese during the Sino-Japanese War, staking his career to serve the dispossessed masses in a distant country. This was a primer into Abbas’s early-day internationalism.

Neecha Nagar by Chetan Anand, about a nonviolent rebellion by residents from a decrepit shantytown, shows an educated youngster Balraj (Rafiq Tanwar) motivating and organising the masses to speak up against Sarkar (Rafi Peer), the municipality head. Abbas’s desire to lift the urban subaltern to a state of peaceful revolution found expression through the screenplay of the movie.

https://www.youtube.com/watch?v=VLv5Nb4M534&feature=player_embedded

Neecha Nagar – Part 1 of 10 – Cannes Awarded Indian Classical Movie 

source: http://www.youtube.com

Dharti Ke Lal, with a young peasant Niranjan (played by Balraj Sahni) in the lead role, was much more explicit than Neecha Nagar in advocating for independence and self-rule. It is set in Ameenpur, a village in pre-Partition Bengal, is slowly coming to grips with India’s struggle for independence. Through references to Saare Jahan Se Achcha, with Ravi Shankar’s music playing in the background, Abbas introduces a nationalist tenor into the film.

The first half, where the family of Samaddar, the village pradhan (head) and his son, Niranjan, tries to live a happy, agrarian life within their means, is an early-day attempt at realistically portraying the village life. This is celluloid portrayal of the kind of society people got introduced to through Munshi Premchand’s novels like Godan and short stories like Panch Parameshwar. Tropes like the affinity of the villagers toward their land and the affection they show toward their cattle and cow are straight out of a Premchand short story.

The second half, where Samaddar’s family is forced to migrate to Calcutta is Abbas’s attempt to see the city through the prism of a humble peasant. The scarcity created by the famine; the apathy of the rich in the city; and the simmering Hindu-Muslim animosity combine to create absolute misery in the lives of the economic migrants. They further encounter indifference as they are forced to beg. Finally, following the end of famine, they are forced to return to their village where they mobilise themselves into a group and practise saajhe ki kheti (collective farming).

Coming back to the Abbas trilogy part, while Dr. Kotnis Ki Amar Kahaani and Neecha Nagar were inspired by Nehru’s vision of an enlightened urban India, Dharti Ke Lal seeks to emphasise Gandhian ethos of seeking comfort in the village life.

In terms of aesthetic merits, Dharti Ke Lal ranks equal to the likes of Do Bigha Zameen made in the next decade. The affection with which the camera views the villagers as it takes their close-ups makes the characters and their situations relatable. Just notice the sense of wonder on the faces of the family members in the 10th minute as they welcome the clouds, emphasising the love-hate relationship a farmer enjoys with the monsoons. The poignancy of the moment is accentuated by an alaap, with a flute playing in the background. This surely reminded me of joy in the face of villagers of Champaren in Lagaan as they anticipate the rains on seeing the clouds, expressed through the ghanan-ghanan song.

source: http://www.youtube.com

In a radio interview quoted in an audio tribute, Abbas expressed a sense of pride when he says that Dharti Ke Lal is the only film that was ‘socialist’ when it comes to the production process. He says none of the members was paid less than Rs.200 or more than Rs.400. His socialist ideals and life-long belief in upliftment of the downtrodden — his commitment to idealism made journalist Vinod Mehta compare him to historian Eric Hobsbawm — kept informing his writing and his film-making.

source: http://www.youtube.com

His production company, named ‘Naya Sansaar’ (A New World) was his way of voicing his message of empowerment as he made films like Shahar Aur Sapna, Do Boond Paani and Saat Hindustani. Most of them were commercial disasters and some of them look didactic from a 2016 viewpoint. However, if there is one film that has remained relevant, both in terms of its art and its content, it is Dharti Ke Lal.

source: http://www.thehindu.com / The Hindu / Home> Cinema / by Hari Narayan / June 11th, 2016

From cooking tips to charity: Meet the ‘vlogger family’ from Malappuram

Mallapuram, KERALA :

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Vlogging or video-blogging is nothing new in this modern age of technology. But there is an interesting vlogger family worth knowing about. Let’s meet four women from a family in Malappuram, who have established their paths in successful vlogging – Shamseera, Femina, Sabeena and Shabna.

Moyin KP and Khadeeja EC belong to the village of Munduparamb in Malappuram. They have four children – a daughter and three sons. Their daughter Shabna and the three daughters-in-law are into vlogging now. It all began with Shamseera, their eldest daughter-in-law. She grew up in Kerala and Qatar and lived with her husband and kids in Dubai where she too worked for a while. But when they moved to Saudi Arabia in 2014, she found it so different from the places she had been till then – it was hard to go out alone, she couldn’t work as job opportunities were very less for foreign women back then.

Her only solace then lay in her cooking experiments, reading and crafts etc. She even joined her kids’ school as an art teacher but soon realised that ‘teaching itself was art I (she) lacked’. In between, she was also watching videos on YouTube, which gradually brought her to the idea of starting a channel of her own. Shamseera began a YouTube channel in 2016 but had to drop it due to some technical issues. She then began another one in 2017 and uploaded the videos of the previous one in it and thus started the journey again. Since then, she hasn’t turned back from her ‘Momtastic’ channel. (https://m.youtube.com/channel/UCL-LW86fWpQejgKbsoWrQqw#menu). She now has 2.98 lakh subscribers from different parts of the world.

 

Shamseera Sherin and family
Shamseera Sherin and family

The other three were inspired by Shamseera. Shabna Hasker was the second to enter the field. She began her channel ‘Taste Tours’ (https://www.youtube.com/channel/UCwXXEk9v87KS57cFkpoTgIQ) in May 2018, and soon Sabeena Shemin joined with ‘Sabeena’s Spice Diary’ (https://www.youtube.com/channel/UChiazvVDnNGssDgqshIKGAA) in June 2018. And now, Femina couldn’t stay back. She joined the YouTube journey along with her husband Shajin in October 2018 – ‘Femina & Shajin’ (https://www.youtube.com/channel/UCzfIuOwn17TYHnt9NygsWKg) The topics they have selected are all similar – cooking, cleaning, organizing, gardening, crafts, travel, daily house chores etc. Shamseera chose English as the medium for her vlogs, though she has done one in English, Malayalam and Hindi together. Sabeena and Femina began in English and switched to Malayalam owing to the request of viewers. Shabna uses only Malayalam in her videos.

Femina Shejin and family
Femina Shejin and family

All the four ladies manage their YouTube channels along with taking care of their respective families and running their houses. Shamseera, a graduate in commerce, lives in Riyadh with husband and two kids. Femina, an MBA graduate, is in Calicut with her husband and two kids. Sabeena, a Statistical Investigator on leave from government service, lives with husband and a kid in Sharjah. Shabna, a graduate in commerce, lives in Malappuram with husband, three kids and parents-in-law. Speaking to TwoCircles.Net, they said that they wished to upload videos twice or thrice a week in a fixed time but were not able to do so always. Shamseera, Femina and Sabeena shoot their videos and do the related works when their kids are away in school, while Shabna has her youngest child always with her at home and so has to do her works at night after the kids go to sleep. All mentioned the support of their families. Shabna’s channel has more than 1.5 lakh subscribers, while Sabeena’s has 1.01 lakh and Femina’s more than 31,000.

Shabna Hasker and family
Shabna Hasker and family

Shabna now has a cookbook to her credit – ‘Janapriya Ruchikal’ by leading publisher DC Books, expected to be released soon. It was her husband Dr Hasker who suggested the idea and pushed her into writing it when she was reluctant. Shamseera has even starred in an advertisement for the famous Lulu Supermarket.

When asked how they managed their private life and public vlog with the camera inside their homes, all four said they were extremely particular that their vlogging shouldn’t affect their private lives. Shabna said, “We do capture our daily life at home but only for a short time. For example, we capture the first few moments of having food and then turn it off. So we have our time too.” Femina owes the lag between her videos to the priority she has kept.

shabna hasker
shabna hasker

While the other three vlog on their own, Femina does it along with her husband. “It is good. We can spend some more time together,” she said. In addition to the usual topics dealt with by all, they also do comedy videos along with their kids. However, there are times when Femina has to do the vlogs alone as Shajin gets busy with work. The daughter of an Army Major, Femina was born in Kerala and grew up in different parts of the country. After completing her graduation in Commerce, she did MBA in HR and worked for a while when they were in Dubai and back in Kerala. Now she is also running a home décor-related business online.

Sabeena Shemin and family
Sabeena Shemin and family

They also try to keep regular contact with their viewers–replying to messages on social media and trying to do videos on request. “Editing and uploading a video is a big task. My eyes get tired, my energy levels fall. But once I publish a video, the comments from my loving viewers are just enough to make my battery level go 100% in a few seconds,” said Shamseera. She recalled an experience she had last month on a trip to Kochi when a lady rode 6-7 kilometers on a scooter with two kids just to meet her.

So, how has YouTube affected their lives? Shamseera confesses she was reserved and shy earlier, but vlogging has made her a more confident person. Life has become busier and more hectic, but now that they are used to it, Femina says it is a beautiful mix. The women are doing their bit for charity too, the latest being during the floods in Kerala. Life has changed for all the four – getting recognized is indeed a matter, but it makes them more responsible too.

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source: http://www.twocircles.net / TwoCircles.net / Home> TCN Positive> Indian Muslim> Lead Story> Women / by Najiya O – TwoCircles.net / September 16th, 2019

Jannat Mari is Shah Rukh Khan’s brainchild: Bilal Siddiqi on ‘Bard of Blood’

Mumbai, MAHARASHTRA :

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Ahead of its release this Friday, Bard of Blood writers Bilal Siddiqi and Mayank Tewari discuss the challenges involved in adapting a book into a seven-episode TV format

In 2015, at the book launch of The Bard of Blood, author Bilal Siddiqi and novelist, Hussain Zaidi, made jokes on Emraan Hashmi as to how he is the right candidate to essay RAW agent Kabir Anand, without considering the eventuality that would transpire four years later. Bilal agrees that he did not put an image to the character while writing, and that the casting of Emraan Hashmi happened organically. “When you have a star like Emraan on board, it will obviously elevate the viewership of the show. He embodied the character and brought in lots of nuances to Kabir Anand,” says Bilal Siddiqi, who has written the screenplay of Bard of Blood along with writer Mayank Tewari, known for writing Newton and The Accidental Prime Minister.

Inside the writer’s world

The biggest selling point of The Bard of Blood was Bilal’s age (he was 20) — too young to be dealing with guns, agents and weapons of mass destruction (read: third world politics). But his fascination for the espionage genre stems from his mentor Hussain Zaidi, with whom he assisted in books like Byculla to BangkokMumbai Avengers and My Name Is Abu Salem. Bilal wrote a brief outline of Kabir Singh, the protagonist of The Bard of Blood, and says he never had the intention to make it into a novel. “He [Zaidi] liked whatever I had written and sent it to my publisher. They called me one day, asking to finish the book so that they can take a call. I somehow managed to fulfil my dream of writing,” he says.

He was “subconsciously influenced” by Zaidi, who had one advice for him: ‘Make it visceral and graphic’. That he did when he sat with Mayank Tewari in the writer’s room, having discussions back and forth on how to better the book. “Bilal was very proactive in saying, ‘let us use this material as a springboard to take it to the next level’. Since it was written five years back, we had to spend more time on the screenplay to make it relevant and real,” says Mayank Tewari, adding that the duo has taken the “best chunk from the book”.

Unlike The Accidental Prime Minister, which was non-fiction, the challenge for Mayank was to construct scenes that drives the characters throughout the season, in a satisfying way for the audience. “The one good advantage is that, all characters were sharply etched out. There were some really good lines in the book, which we have retained,” he adds. Mayank did have heated exchanges with Bilal on how to interpret Balochistan. He quips, “But that’s what makes the collaboration rewarding, right? Disagreements lead to fruitful agreements. And everything was in the spirit of making a good show.”

Writing a novel has its own perks. For instance, Bilal had the luxury to use The Bard of Blood as a device to get into the character’s psyche, exploring his inner voice and go overboard with the descriptions — a counter to the film format, where you need to show these things on screen rather than tell. He admits that they had to tone down the details, adding, “Screenplay is like a manual for filmmakers to shoot. So, it is a different ball game and Mayank has given some valuable inputs.”

Bilal acknowledges the timely suggestions of Shah Rukh Khan, who has produced it along with Netflix. In fact, Jannat Mari, the character played by Kirti Kulhari, is Shah Rukh Khan’s brainchild and was not there in the book. “He [SRK] saw the pitch before it went to Netflix. The series has several characters that were not part of the book. In that sense, you can say that Bard of Blood is the best version of my book.”

(The writer was in Mandawa at the invitation of Netflix)

source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by Srivatsan S / September 24th, 2019

“Tipu Sultan – Patre, Hukum Name aani Itihasache Sadhne” (Tipu Sultan – Letters, Orders and History materials).

Solapur, MAHARASHTRA :

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In an attempt to highlight Tipu Sultan’s personality, diplomacy, relationships with other rulers, foreign policies and other facets of his rule, two youths from Solapur city, Sarfaraz Ahmed and Wayez Sayed are bringing out a Marathi book named “Tipu Sultan – Patre, Hukum Name aani Itihasache Sadhne” (Tipu Sultan – Letters, Orders and History materials).

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About 415 letters and 10 orders (Hukm name) of Tipu Sultan have been collected by these two youths and translated into Marathi.

The book containing Tipu’s written material is ready for release and will be published by Adv. Gaziuddin Research Center, Solapur, Maharashtra. This research centre has released five books on Tipu Sultan.

Speaking with Twocircles.net, Sarfaraz Ahmed informed that they worked for nearly six years to translate this 300-page book.They had to travel across India to collect these 415 letters written by Tipu which have been preserved  in different libraries of the country, he added.

“These letters show that he had very good relations with Maratha Sardars of Maharashtra, Nizam II of Hyderabad and other Indian kings. He also contacted foreign rulers, including Napoleon Bonaparte and British rulers as a part of foreign policy, ” Ahmad added.

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Come author Sayed Shah Wayez said they had to work hard to translate these letters because they were written in seven languages since Tipu Sultan used to communicate with other rulers in their mother tongue only.

Renowned activist Ram Punyani, who has written the introduction for this book, lauded the efforts and the hardwork of Sarfaraz and Wayez.

source: http://www.twocircles.net / TwoCircles.net / Home> Historical Facts> Indian Muslims> Lead Story / by Imran Inamdar, Twocirlces.net / September 22nd, 2019

Feroz Shah Kotla or Firozabad – The 5th city of Delhi

NEW DELHI :

Feroz Shah Tughlaq (Reign 1351 – 88), the third ruler of the Tughlaq Dynasty  was embarked on a vigorous campaign of construction activity, consisting mainly of public buildings of utilitarian nature.

Gate of the citadel of Feroz Shah Kotla or Firozabad, Delhi
Gate of the citadel of Feroz Shah Kotla or Firozabad, Delhi

He made 1200 garden around Delhi and is credited with the erection of 200 towns, 40 mosque, 30 villages, 30 reserviors, 50 dams, 100 hospitals, 100 public baths and 150 bridges

Passageway leading to the interiors of Feroz Shah Kotla or Firozabad, Delhi
Passageway leading to the interiors of Feroz Shah Kotla or Firozabad, Delhi

In 1354 Feroze Shah Tughlaq built Feroz Shah Kotla or Firozabad, the fifth citadel of Delhi. His predecessors Ghiyasuddin Tughlaq (Reign: 1321 -25) and Muhammad bin Tughluq (Reign: 1324 – 51) has the credit of erecting the third and fourth citadel of Delhi.

Plan of Feroz Shah Kotla or Firozabad (Source: http://www.pixels-memories.blogspot.in)
Plan of Feroz Shah Kotla or Firozabad (Source: http://www.pixels-memories.blogspot.in)

Tughlaqbad, the third citadel of Delhi, along with Jahanpanah, the fourth citadel of Delhi were abandoned  because of acute water shortage. This lead Feroze Shah Tughlaq to move further north and to construct its citadel along the west bank of Yamuna River.

Panoramic view of the ruins of Feroz Shah Kotla or Firozabad, Delhi
Panoramic view of the ruins of Feroz Shah Kotla or Firozabad, Delhi

Unlike Tuglaqabad, Feroz Shah Kotla lacked the defensive construction and after the collapse of the Tuglaq empire the Mongol invader Timur found it an easy target. In 1398 Timur gladly carried out all the riches of the citadel leaving behind the ruined rubble structures, which was again plundered and reused by Shahjahan (Reign AD 1627-57) for the construction of Shahjanabad, the seventh and last ancient citadel of Delhi.

An arched gateway, Feroz Shah Kotla, Delhi
An arched gateway, Feroz Shah Kotla, Delhi

Despite being plundered by several rulers in the past and with centuries of neglect Feroz Shah Kotla still houses several interesting ruins, although minimalistic in nature, they still reveal the former glory and splendor of the ancient citadel.

Today the ruins of Feroz Shah Kotla nestles between the cricket stadium, of the same name, and the Ring Road. Every Thursday thousand of visitors visit the ruins of the ancient citadel.

Strangely these visitors are not history or heritage enthusiasts but are devotees looking for the blessings of Djinns, who according to legend are residents of the ruins of Feroz Shah Kotla. No wonder Delhi has always been a “City of Djinns.

Djinns live in the heart of Delhi: they are spirits tending to the faithful seeking help. On Thursdays, they are busy when thousands turn up with letters for them.

A kid makes his way through the arched gateways of Feroz Shah Kotla, Delhi
A kid makes his way through the arched gateways of Feroz Shah Kotla, Delhi

Every Thursday hordes of devotees, irrespective of religion, visit the ruins of Feroz Shah Kotla with photocopies of letters, citing there problems. They stick the letters on different strategic spots of the citadel and offer prayers to the Djinns.

Strangely the concept of letters to the Djinns has only been an recent concept in the ancient citadel, which dates back to the 14th century.

The first records of people coming to Firoz Shah Kotla in large numbers began shortly after the emergency of 1977.

It was only in 1977, a few months after the end of the Emergency, that we have the first record of people starting to come to Firoz Shah Kotla in large numbers. This seems significant, given how destructive the Emergency was for the Old City and how many poor and working class people were displaced from the Old City to resettlement colonies across the river

Anand Vivek Taneja, Anthropologist

Ruined structures of Feroz Shah Kotla, Delhi
Ruined structures of Feroz Shah Kotla, Delhi

Even on other days large groups of Muslim devotes visit Feroz Shah Kotla to offer their Namaz at the Jami Masjid, one of the few structures of the citadel that have remained, more or less, intact to this day.

Designed by Feroz Shah Tughlaq’s state architects Malik Ghazi Samana and Abdul Haq the citadel of Feroz Shah Kotla follows a rectangular plan with dimensions 800 m by 400 m, with the longer side along the north – south axis.

The entire citadel is encased  within a high stone wall. Although the walls look solid but it lacks the massive bastions of Tuglaqabad. The entrance is through a small and simple gateway on the eastern side and a broad passageway leads to the scattered ruins of Feroz Shah Kotla or Ferozabad

Circular Baoli (Stepwell) at Feroz Shah Kotla
Circular Baoli (Stepwell) at Feroz Shah Kotla

Most of the buildings within the citadel are made of rubble masonry covered with heavy plaster and without any surface ornamentation.

The passages leads to series of scattered ruins, which was once part of the citadel’s garden.

It leads further to the Diwan – i – Am (hall of audience) and Diwan – i – Khas (hall of private audience).

A few pavilions and archways are all that remains today of the famed halls of audience of Feroz Shah Tughlaq. The Royal Palace located at the far end of the citadel lies in similar ruined condition.

Stepped pyramidal structure, crowned with the Ashokan Pillar, Feroz Shah Kotla, Delhi
Stepped pyramidal structure, crowned with the Ashokan Pillar, Feroz Shah Kotla, Delhi

The more intact and interesting structures of Feroz Shah Kotla are located on its northern side. Towering above the lawns is the massive Jami Masjid and towards its left is the stepped pyramidal structure, known as the Hawa Mahal or Kushk-i-Shikar. It is crowned with the Ashokan Pillar, also referred as the Minar-e-Zarreen.

Ashokan Pillar, Feroz Shah Kotla
Ashokan Pillar, Feroz Shah Kotla

Just in front of the stepped pyramidal structure is a baoli (stepwell).

Delhi is no stranger to Baolis and even a century ago more than a hundred of them existed in Delhi.

Inscription on Ashokan Pillar
Inscription on Ashokan Pillar

Today more than a dozen remains (Also see: Baolis of Delhi) but what makes the Feroz Shah Kotla baoli unique is its circular shape. It is the only circular baoli in Delhi. Sadly the baoli is kept under lock and key and the interiors are out of reach for the common tourist. But the baoli is best viewed from the differnt levels of the nearby stepped pyramid.

Domed Pavilion at the entrance of Jami Masjid
Domed Pavilion at the entrance of Jami Masjid

The Hawa Mahal is a three tired stepped pyramid with diminishing floors. Built with a central solid core and vaulted cells around it. Stairs at the comers lead to the uppermost terrace where the Ashokan pillar is planted.

The Ashokan Pillar was shifted from Topar in Ambala by Feroz Shah Tughlaq and placed atop the Hawa Mahal.

The 13 m high 27 ton pillar was shifted on a custom built 42 wheel carriage operated by 8400 men, which transported it to the banks of Yamuna River. From where it was transported by boat to Feroz Shah Kotla in Delhi

Incidentally Delhi contains another Ashokan Pillar, which was also shifted by Feroz Shah Tughlaq and placed near his hunting lodge on Delhi’s North Ridge, also known as the Kamala Nehru Ridge. (Also see: Historical Trail along Delhi’s North Ridge)

Tanks, along Jami Masjid, for ritual wash
Tanks, along Jami Masjid, for ritual wash

The structure is open to public and one can take the stairs all the way to the base of the pillar. The pillar still maintains its shining police and the inscriptions in Prakrit are clearly visible.

According to popular belief  Laat (pillar) Waale Baba, the chief of the Kotla djinns, dwells in the Ashokan Pillar, which is also referred to as the Minar-e-Zarreen. Every Thursdaay devotees ties up their wish letters on the railing surmounting the Ashokan Pillar.

The top story of the Hawa Mahal offers grand bird eye view of the circular baoli (stepwell) and also the Jami Masjid, which lies on its southern side.

Namaz being offered at the Jami Masjid, Feroz Shah Kotla, Delhi
Namaz being offered at the Jami Masjid, Feroz Shah Kotla, Delhi

South of the Hawa Mahal lies the gigantic mosqque of Feroz Shah Kotla, the Jami Masjid. Built of Delhi quartzite stone. During the time of its construction it was the largest mosque in India.

The mosque rests on a series of cells on the ground floor and is approachable by a long flight of stairs leading to a domed pavilion gateway on the northern side. The grand dome pavilion, which once stood at the centre of courtyard has long vanished.

Even Taimur, who plundered Feroz  Shah Kotla, was so impressed with the mosque that he commissioned a similar one in his capital Samarkhand. Even Shah Jahan constructed a underground tunnel connecting the Jami Masjid to his newly constructed citadel of Shahjanabad. The tunnel still exist but is sealed for obvious reasons.

Grand view of the Jami Masjid, from Hawa Mahal, Feroz Shah Kotla or Firozabad, Delhi
Grand view of the Jami Masjid, from Hawa Mahal, Feroz Shah Kotla or Firozabad, Delhi

Strangely the Jami Masjid is still an active mosque and attracts thousand of devotees during the time of eid. Even on normal days large groups of local Muslims along with Muslim office staff from nearby offices drop in for there daily namaz.

Panoramic view of Stepped Pyramid Structure and Jami Masjid, Feroz Shah Kotla or Firozabad
Panoramic view of Stepped Pyramid Structure and Jami Masjid, Feroz Shah Kotla or Firozabad

Colourfull plastic tanks, along the eastern wall of the ancient mosque, serve as a makeshift ritual wash (wudu) area for the devotees, who drop in to offer namaz.

Just outside the citadel of Firozabad or Feroz Shah Kotla, on a road divider lies the notorious gateway of Khooni Darwaza.

source: http://www.rangandatta.wordpress.com / Rangan Datta – Travel Writer & Photographer / September 30th, 2017

‘Undaunted: Lt. Ummer Fayaz of Kashmir’: A tribute in words to an officer from Shopian

Shopian District (South Kashmir) , JAMMU & KASHMIR :

When the author asked Ummer’s schoolmates whether they would want to be like Lt. Ummer Fayaz, they said no. ‘’Ma’am he joined the army, the society here does not accept him and some who don’t even consider him a Kashmiri.’’

‘Undaunted: Lt. Ummer Fayaz of Kashmir’: A tribute in words to an officer from ShopianBhawan Arora with her book at Chandigarh Press club

“Musrat is my sister, mama. If I don’t come for her wedding, what sort of brother am I? And for how long will I run, Mama? Kashmir is my home. With all of you there, can I stay away forever?” These were the words of Lt. Ummer Fayaz, when his family, fearful for his life, was urging him not to come home, weeks before he was killed by militants on 9 May 2017.

‘Undaunted: Lt. Ummer Fayaz of Kashmir’ by Bhaavna Arora, chronicles his life. The 232-page book took the author two years during which she visited Ummer’s family and met a large number of people who knew him.

Lt. Ummer was born on 8 June 1994, to an apple  orchardist of South Kashmir’s Shopian district. He was abducted by veiled gunmen at 8.00 pm from his maternal uncle’s house on 8 May 2017 where he was attending the wedding of his cousin sister Musrat. His body drenched in blood was found at Herman Chowk of Shopian the next morning.

“Three men with scarves covering their face and shawls around their bodies swiftly entered through the front door of the house. They climbed the stairs and threw open the door of the room that Ummer was sitting in and asked, Are you Ummer Fayaz? Yes, I am, Ummer replied. Come with us, one of the veiled man commanded,” writes the book.
The book brings to life the high-spirited youngster, right from his childhood days. ‘’One day, a child from the Ummer’s class lost his geometry box. The teacher called all the students and asked them to swear by the holy Quran that they had not stolen it. One by one the students did and when it was Ummer’s turn, he took one look at the book and said, ‘Sir, this this is a dictionary, not the Quran.’ After that the teacher informed his father of his son’s cheekiness. His father gave him a dressing down, but was secretly pleased that his son had spotted what the entire class had missed.’’

Bhaavna Arora said he was also a very wam-hearted and friendly young man .

‘Undaunted: Lt. Ummer Fayaz of Kashmir’: A tribute in words to an officer from ShopianBhawan Arora with Ummer’s famil

“At the National Defence Academy (NDA), he was the first to seek permission from instructors for offering Friday prayers; from then on every Friday Muslim soldiers are allowed to pray even during trainings,” she said.

Piecing together the life of the young officer turned out to be an emotionally charged journey. Bhaavna said, ‘’It is not easy to meet a family that has lost a son. When I first met his sister Asmat, we cried for half an hour. She asked me what does your brother do, and I had no answer.’’

Ummer was 11 when he joined Jawahar Navodaya Vidyalaya (JNV) in Anantnag district. The author recounts in the book how she was bombarded by questions from his schoolmates at JNV Anantnag. ‘’Students were eager to know if I was on their side. They asked me why I was there. When I told them whether they knew Lt. Ummer Fayaz, they said, ‘Yes, ma’am, he was our senior’.’’

When she asked them whether they would want to be like Lt. Ummer Fayaz, they said no. ‘’Ma’am he joined the army, the society here does not accept him and some who don’t even consider him a Kashmiri.’’

Once on his way home from Khodwani to Kulgam he was stopped by Army soldiers near Kulgam. They wanted to inspect his bag but he refused to let them do so. Ummer was trying to free himself from the grip of the soldier but failed. When the soldier could not control him anymore, he slapped Ummer, and he cried. Later, Ummer asked him whether he would let him go if he did not find anything in the bag. The soldier said, of course, and asked him what he wanted to become when he grew up. ‘’Someone like you. How can I become like you?’’, Ummer asked the soldier. When the soldier asked him what was so special about him, Ummer said, ‘’You are not like other soldiers who beat and torture my friends.’’

Before Ummer left the camp, the officer said to him, if you want to be an officer like me, join the National Defence Academy when you complete your Class XII.

Ummer reported at National Defence Academy, Pune, on December 30. Bhaavna Arora, who comes from an Army family, says it was Lt Fayaz’s coursemate who asked her to wrote the book. ‘’They wanted him to be immortalised in words.’’

Arora has in the past written three works of fiction. Her first book ‘The Deliberate Sinner’ revolves around infidelity.

source: http://www.indianexpress.com / The Indian Express / Home> India / by Dar Ovais / Chandigarh – March 29th, 2019

Reflections on a time and space

KARNATAKA :

BookRahamathTarikereMPOs13sept2019

Nettara Sootaka by Rahmath Tarikere is a collection of articles written for different occasions in the last five to six years on contemporary writers and issues

What it means to write in Kannada at present as an intellectual or, to be more specific, as a literary and cultural critic? Keeping this question in mind, I would like to introduce Rahamath Tarikere’s Nettara Soothaka: Dharma, Rajakarana, Samskriti, Sahitya (Spectre of Bloodshed: Religion, Politics, Culture, Literature), a collection of articles written for different occasions in the last five to six years on contemporary writers and issues.

Rahamath Tarikere, one of the makers of cultural criticism in Kannada, has been a prolific writer. His research into the culture of Sufis, Nathapantha, Shakthapantha and Moharum of Karnataka is an exemplary field-work investigation in Kannada scholarship. Apart from travelogues, his scholarly engagements encompass writings on literary texts and cultural issues, literary criticism, research methods, edited volumes on Kannada literature, and interviews of intellectuals among others. He works largely in the field where literary and cultural studies intersect.

Tarikere has kept his writerly life alive by contributing pieces to journals and periodicals, and the present book, the sixth of his collected writings, consists twenty-two articles. Six articles in the early part of the book are reminisces of writers after their death.

Among these, Tarikere’s observations on the life and works of U. R. Ananthamurthy, Gauri Lankesh, Vasu Malali and M.M. Kalburgi are worth reading.

“Ananthamurthy: Kashtakalada Naitika Dani” (Moral Voice of Hard Times) — one of the best tributes to Murthy I have ever read in Kannada — delves deep into his intellectual and political complexities. Tarikere is at his best in identifying the archaeology of Ananthamurthy’s thought as ‘resistance’ (to structures of power and fascism), ‘dialectical mode of analysis’ (Right-Left, Kannada-English, Brahmin-Shudra, etc.), ‘dialogic’ and ‘transgressive’ (going beyond). Similarly, “M.M. Kalburgi: Kalakelagini Agnikunda (Fire-Pot beneath Feet)”, written in academic style, explores the philosophical underpinnings of Kalburgi’s research work against the larger backdrop of violence and intellectual life today.

This is a major point of departure for those interested not just in Kalburgi’s work but in Kannada research in general. Further, the portraits of writers and other eminent personalities including Dr. Rajkumar, celebrated Kannada film actor, Jawaharlal Nehru, N. K. Hanumanthaiah, B. M. Rasheed, Ramadas, H. S. Raghavendra Rao and A. K. Ramanujan have been sketched informatively in plain and clear prose.

The articles on Muslim and Sufi culture give a detailed account of the Muslim way of life in India. “Muslimarigobba Ambedkar Agatya” (Muslims Need an Ambedkar) and “Muslim Samudayada Sankathanada Tathvika Nelegalu” (Philosophical Foundations of Discourse on Muslim Community) and “Muslim Samskrutikalokada Swarup”(The Nature of Muslim Cultural World) unfold the dynamics of Muslim identity politics, socio-historical problems of Islamic culture and the formation of different discourses on Muslims. Those interested in understanding the nuances of Sufism and Islam will find these articles enormously useful.

One more article which deserves our attention in the collection is “Hyderabad Karnataka Sahitya: Chaharegalu” (Literature of Hyderabad Karnataka: Traces). It raises an important question about literary culture: what is the relationship between literary expression and its geo-political conditions? While sketching the uniqueness of literary culture in the region of Hyderabad Karnataka, Tarikere shows how it is unique and different from literary cultures in Dharwad and Mysuru regions. His insights in this article open up further scope for in-depth investigations into Kannada Literary Studies.

Overall, the articles in the book try to diagnose what ails our times, particularly how writing and intellectual life have become vulnerable. As the title of the book suggests Tarikere grasps it with the metaphor of bloodshed, modelled on how Sharanas problematized the interconnectedness of experience, acts and speech in ‘Nudi Soothaka’ (Spectre of Speech). The practice of Fearless Speech, according to Tarikere, has become the target of violence in the 21st century. In tune with this perspective, the book is dedicated to Dabholkar, Pansare, M.M. Kalburgi and Gauri. Throughout the book the reader can experience the author’s anxieties, concerns and aspirations about our socio-intellectual life in India. The book certainly contains some insightful articles which Kannada readers should not miss. However, some articles could have been left out from the selection. What is the rationale behind bringing out a collection of articles written for different occasions? A careful selection of articles, rewriting some of them when they go as part of a book and a long introduction that connects these articles on different themes would make the anthology more useful than merely compiling hitherto published articles.

Rahmath Tarikere’s prose, though wanting in liveliness, does not fail to convey what it intends to. However, his mode of analysis still remains largely ‘ideology criticism’, the modernist reasoning scrutinizing all types of issues. We need to go beyond the Marxist- ideology-critique and explore different forms of analytics as the nature of evil we are confronting today does not reveal itself easily to worn-out tools of analysis. It might be useful to examine cognitive structures of contemporary society, instead of resorting to ideology criticism. In this respect, a scholar like Tarikere can bank upon his own studies on Indian intellectual traditions such as Sufism, Nathapantha, Shakthapantha, etc. to develop new tools of analysis and grasp the reality differently, if not from the informed understanding of the western scholarship available in English.

If this project, further, calls for thinking how to shape the Kannada critical thought, I could not help but invoke the writings of, just to mention two critically important forerunners among several others, D. R. Nagaraj and Keerthinath Kurthkoti. The present Kannada literary and cultural criticism can fruitfully learn from their art of thinking, making powerful narratives and analysis.

Rahamath Tarikere also belongs to this tribe, and his individual talent certainly promises new modes of thinking and renewing this tradition.

source:  http://www.thehindu.com / The Hindu / Home> Books> Reviews / by N. S. Gundur / September 05th, 2019

A literary salon by the wayside: Shukoor Pedayangode’s teashop in Kerala is a literary hub

Pedayangode Village , KERALA :

Symposium: Shukoor Pedayangode (centre) has been holding literary gatherings at his tea shop for four years. | Photo Credit: S.K. MOHAN
Symposium: Shukoor Pedayangode (centre) has been holding literary gatherings at his tea shop for four years. | Photo Credit: S.K. MOHAN

Welcome to Veranda, a teashop in a Kerala village, where ideas flow as liberally as the tea, run by school dropout-turned-littérateur Shukoor Pedayangode

At first glance, the roadside tea shack with a blue poly tarp stretched on wooden poles seems nondescript. Shukoor Pedayangode, its 50-something owner, looks equally unassuming as he tosses the sweet milk tea back and forth from saucepan to glass before serving it to his customers. But don’t be fooled: both this chayappeedika (teashop) in Pedayangode village, about 35 km from Kannur, and the tea-seller are as special as it gets. Over the years, this teashop called Veranda has become a literary hub, with celebrity authors not just from Kerala but also from neighbouring Karnataka and Tamil Nadu gracing it with their presence.

When I meet Pedayangode, it is late August and he has just reopened Veranda after a longish break when his shop was submerged under the waters of River Bavali when it breached its banks earlier in the month. But Pedayangode’s spirit hasn’t been dampened: he is all cheer as he talks about the next literary gathering at his teashop, scheduled for September 29. The special guest at the event? Tamil author Perumal Murugan — copies of the Malayalam translation of Murugan’s Poonachi are displayed at the teashop.

Free for all

The school dropout Pedayangode began to organise informal monthly literary gatherings at his teashop some four years ago. And he has so far hosted 34 discussions. Among the Malayalam writers and poets who have visited are Paul Zacharia, M. Mukundan, Khadeeja Mumtaz, P.F. Mathews, Kalpetta Narayanan, Rafeeq Ahmed and N. Prabhakaran, a veritable who’s who. Kannada writer Vivek Shanbhag and Tamil writer B. Jeyamohan have also been there.

“I announce every event in advance on my Facebook page,” says Pedayangode. The events generally last three hours and the audience is free to express views on the book under discussion and interact with the author. For non-Malayalam writers, Pedayangode gets friends who speak the language to act as moderators.

A bookworm from childhood, Pedayangode used to devour anything he found in print. “I read Vaikom Muhammad Basheer’s Mucheettukalikkarante Makal (Card Sharper’s Daughter) when I was in Class V,” he says. He hated Maths, and after Class V, he started skipping classes since he dreaded his teacher’s wrath. Eventually, he stopped school altogether.

One of 12 siblings, Pedayangode started odd jobs to help the family along. He worked in quarries, sold fish. “I earned some money selling fish; that’s when I started buying books both to read and to sell,” says Pedayangode.

In fact, even as a teenager he used to write poems for richer friends who would buy him books in exchange. His published poetry collections are quite a few: Onpathu Pennungal (Nine Women), Nilavilikalude Bhasha (Language of Screams), Mazhappollal (Rain Burn) Azhangalile Jeevitham (Life in the Depths).

Novel idea

He even wrote a novel called Veranda, which would later become the name of his teashop. It’s apt, given the idea of open space it connotes. Pedayangode envisaged his shop as a free space for discussions. “I wanted to encourage the reading habit and create an ambience for healthy discussions devoid of restrictions or posturing,” he says.

The monthly gatherings are open to all. “Around 30 to 50 people usually attend,” says Ashraf Macheri, Pedayangode’s neighbour and close friend. Macheri, who used to run a printing press before moving to the Gulf, recalls how Pedayangode would visit his press to collect waste paper to write poems on.

Publishing houses give copies of their books for sale at the teashop; books of the author under discussion are sold on the day. Pedayangode funds the literary meets from the commissions he gets from book sales.

He also organises book fests in Kannur schools to promote reading among students. Pedayangode misses no literary event in the area. These days, he is regularly invited to local colleges to inaugurate literary events. And he does all this while reworking a novel he had finished and left unpublished four years ago.

mohamed.nazeer@thehindu.co.in

source: http://www.thehindu.com / The Hindu / Home> Books> Tea Time / by Mohamed Nazeer / September 07th, 2019

How the British Empire abandoned its most vocal Muslim supporter

Surat , GUJARAT / Bombay (now Mumbai) MAHARASHTRA / London, ENGLAND :

AbdullahYusufAli01MPOs05sept2019

Abdullah Yusuf Ali wrote perhaps the most famous translation of the Quran but he also supported the British against the Ottomans and died a lonely man.

On a frigid December morning in 1953, a policeman found a half-conscious old man slumped on a street bench in the Westminster area of London. He was in a delirious state and died a day later on December 10. Ali

That man was Abdullah Yusuf Ali, the famous 20th-century translator of the Quran. He died alone, homeless, and with no one by his side. When the news reached Pakistan’s embassy in London, it dispatched someone to pay for his last rites.

“It pains me to think that so able and eminent a gentleman should have met with so pathetic an end,” Mirza Abul Hassan Ispahani, Pakistan’s High Commissioner in London, wrote in a letter to his prime minister two days later.

Generations of Muslims in English-speaking countries have grown up reading Yusuf Ali’s interpretation of the Quran. More than 200 editions of it have been published so far, making it perhaps the most read commentary in any non-Arabic language.

“Ask any English-speaking Muslim what translation and commentary of the Quran they originally studied, and the chances are that it was the one by Abdullah Yusuf Ali,” writes a commentator.

Yusuf Ali’s work and affiliations solidify his place as a giant of his time. He was one of the most senior Muslim civil servants during the British Raj, rubbed shoulders with the likes of Mohammad Ali Jinnah and the Aga Khan, inaugurated the first mosque in Canada, represented India at the Paris Peace Talks in 1919, was a trustee of London’s oldest mosque, and a known educationist. He was also a prolific writer on Islam.

But how did a prominent Muslim like him meet such a terrible end? Why was he forgotten so quickly?

A child of his time 

In 1915, during World War I, the British faced a dilemma. Nearly half a million soldiers were Muslims from the Indian Subcontinent — modern-day India, Pakistan and Bangladesh — which was then under colonial rule. Some refused to fight the Turkish Ottoman soldiers who had joined the war against the allied army.

A mutiny broke out in November of that year in Singapore where Indian Muslim soldiers turned their guns on officers and took control of the island. The uprising was quickly crushed and 70 Muslim men were lined up against a wall and executed.

The events shook British officials. Many Muslims considered the Ottoman Sultan Mehmed Reshad as their Caliph. Their personal affinity and strong connection led to the Khilafat Movement in India that called for boycotting the British.

Abdullah Yusuf Ali thought otherwise.

“Fight ye glorious soldiers, Gurkha, Sikh or Muslim, Rajput or Brahman!” he said in a November 1914 speech at a London event in front of top British military officials. “You have comrades in the British army whose fellowship and lead are a priceless possession to you.”

In his talks and articles throughout the war, he urged fellow Muslims to side with the British, at times doing it so effusively that his rhetoric appeared jingoistic.

“The Ottoman Caliph announces Jihad against the British and what does Yusuf Ali do? He goes around European countries asking Muslims to fight for the British,” Humayun Ansari, a professor of Islam at the University of London, told TRT World.

“He was consistently loyal to the British and considered the British Empire to be a blessing. In his understanding of Islam he was very liberal. He wanted a reconciliation between the Muslim and Western philosophy.”

Abdullah Yusuf Ali attended the all-important Paris Peace Conference in 1919. (Getty Images)
Abdullah Yusuf Ali attended the all-important Paris Peace Conference in 1919. (Getty Images)

Yusuf Ali was born in 1871 in Surat, western India, during a period of great introspection for the Muslims of India as their rule over the region for centuries came to an end and they were at the mercy of the English and a more politically organised Hindu majority.

Among the Muslims there was a realisation that they would have to study English, attain a modern education and learn British ways to get government jobs and regain their lost social status.

Yusuf Ali, who came from a middle-class family, proved to be an exceptional student throughout his school years and after matriculating from a missionary school, he won a scholarship to study at Cambridge University in London. The scholarship was given to only nine Indian students each year.

“We have to look at him in the context of his times. That was a generation when the British claimed superiority over the natives. And then you have somebody who can emerge and beat them at their own game,” says Jamil Sherif, who wrote Yusuf Ali’s biography titled Searching for Solace.

“Yusuf Ali’s approach was to show through his writing that Islam had made major contributions through the ages. But I think his compromise was that he saw religion mainly in spiritual terms and he saw socio-political dimensions of Islam as not really relevant in the days of empire,” he told TRT World.

At Cambridge, Yusuf Ali excelled in English composition, Arabic and other subjects. He also cleared the intensely competitive exam for the elite Indian Civil Service (ICS). In subsequent years, he rose to become perhaps the highest-ranking Muslim civil servant in India when he worked under Cabinet’s member of finance.

He was a devout Muslim, making sure he offered daily prayers, attended religious congregations and led prayers at the Shah Jahan Mosque in Woking, a town near London.

At the same time, he was against political Islam and insisted that Muslims could do better under British rule and that they should focus on educating themselves as opposed to agitating for independence.

Over the years, he remained affiliated with different institutions and also served as the principal of Lahore’s Islamia College – he was invited to take the position by the venerated poet Allama Muhammad Iqbal.

But behind the veneer of his intellect, busy schedule and scholarly importance, he was a man suffering from internal conflicts.

When the east meets west 

Yusuf Ali was a troubled man. He married twice and both relationships ended bitterly.

In 1900, just a few years into his role as a civil servant, he married Teresa Mary Shalders, in a ceremony at the St. Peter’s Church in England.

“It was a bold and uninhibited act by the young couple, who may have looked at the dawn of the new century and thought everything possible – including the harmony of races, religions, and continents,” Sherif, who uses M.A. Sherif as his pen name, writes in his book.

But any hope of making a statement with this marriage of two different cultures faded in a few short years. They had four kids over the years but Yusuf Ali spent most of this time in India as a government officer while Shalders, who was in England, fell in love with another man.

Their divorce in 1911 was particularly painful for Yusuf Ali and he might have hinted at that period in the preface of his Quranic commentary when he wrote: “A man’s life is subject to inner storms…which nearly unseated my reason and made life meaningless.”

He won custody of their children but became estranged from them over time.

“These children by their continued ill-will towards me have alienated my affection for them, so much that I confer no benefit on them by this will,” Yusuf Ali later wrote in his will.

As an ICS officer, he rose swiftly from an assistant magistrate to more important positions, and the British government increasingly relied on him as its key propagandist.

Yusuf Ali was not entirely oblivious to the systematic discrimination that Muslims faced under British rule.

“He wrote about how Britain was using Indian revenue in the Great War. That’s a very subtle way of criticism. He also made references to discrimination suffered [by locals] on the basis of colour,” says Sherif.

In the early 1920s, Yusuf Ali married Gertrude Anne Mawbey, who he liked to call Masuma (innocent). That marriage didn’t work out either.

(TRTWorld)
(TRTWorld)

It was during this personal crisis that Ali began the monumental work of writing an English translation of the Quran, often working on solitary ocean liner journeys which he took at the behest of the British government.

“Yusuf Ali’s bond with the Quran was forged in these times of anguish when searching for solace,” writes Sherif.

Prominent scholars such as Marmaduke Picktall and others had already done a lot to introduce the West to Islam’s holiest book but Yusuf Ali did it with humility and open-mindedness which set his work apart.

“His interpretation is very balanced. It doesn’t force you to any particular corner, it can be read by all the schools of thought. It’s a very broadminded, compassionate approach to studying religion,” Sherif tells TRT World.

Yusuf Ali was a Dawoodi Bohra, a strain of Shia Islam, but he garnered enough respect across the spectrum to lead congregations at Sunni mosques.

“In his translation of the Quran, published between 1934 and 1937, Yusuf Ali expounded the spiritual side of Islam more than its worldly view,” writes A R Kidwai, a prominent researcher.

His excellent command over the English language lends a poetic touch to the thousands of footnotes and he didn’t shy away from using English poets such as Longfellow and Milton to explain the word of God.

Besides dealing with his matrimonial failures, he had a hard time coming to terms with what happened to Arab Muslims after World War I.

“Unlike many of his contemporaries, he did not criticise the League of Nations when it dismembered the Ottoman empire,” says Sherif. “But what really shook him was the proposal to partition Palestine.”

Hundreds of thousands of Palestinians were forced to live in camps in neighboring countries after Israel pushed them out of their homes. (TRTWorld)
Hundreds of thousands of Palestinians were forced to live in camps in neighboring countries after Israel pushed them out of their homes. (TRTWorld)

For someone groomed to believe that the English people were true to their word, the haphazard division of the Ottoman Empire and the creation of Israel was unsettling for Yusuf Ali.

In 1937 he attended many meetings and conferences fighting the case of Palestinians and warned Western powers about creation of a Jewish state on Muslim land.

“One way alone can bring thee peace: 

That ancient rights be not suppressed, 

That aliens from encroachments cease, 

And Quds be given its rightful rest,” he wrote in the poem Palestine published in January 1938.

However, Palestine’s tragedy wasn’t enough to deter his loyalty to the British as he travelled to India at the urging of England’s Ministry of Information to rally Muslim support after it declared war on Germany in 1939.

In Delhi, he met Sir Sikandar Hayat Khan and spoke to students about the need for India’s support for the British. That was a time of turmoil in India as both Muslims and Hindus had begun rallying for independence.

Upon his return, he wrote articles and gave speeches, asking Indians to unite in defence of the empire and drop their demand for political reforms. But his appearance as an important player in international events quickly faded after the war ended in 1944.

We might never know what broke him in the end. But as the British pulled out of the subcontinent in the days of its waning global status, so did Yusuf Ali slowly recede from the newspapers, his powerful friends no longer found a use for him.

Yusuf Ali spent his last years living in the National Liberal Club on a monthly pension that he received against his government job.

“How did the British treat him? There’s certainly a question mark there. They didn’t recognise his contribution as much as he probably expected,” says Humayun Ansari.

His powerful friends in the Muslim community including Pakistan’s then ambassador Ispahani had also lost track of Ali’s whereabouts, not bothering to check on him.

“That is an indictment of the Muslim society that we were not able to honour and care for someone of his stature,” says Jamil Sherif.

Source: TRT World
source: http://www.trtworld.com / TRT World / Home> News> Magazine / by Saad Hasan / September 04th, 2019

100 to get Kempegowda award

KARNATAKA :

Despite a self-imposed limit on the Nadaprabhu Kempegowda Award 2019 to only 70 people, the BBMP announced 100 recipients of the same on Tuesday.

Senior Kannada writers Chandrashekhar Patil, Keshavareddy Handrala, Abdul Rasheed, Pratibha Nandakumar, actor-politician Mukhyamantri Chandru, singer Manjula Gururaj, educationist Gururaj Karjagi, Dalit activist Mavalli Shankar and senior advocate Ravi Verma Kumar are among the awardees.

IPS officer M.N. Anucheth, the chief investigation officer in the Gauri Lankesh murder case, and six members of his team, have also been given the award for the successful probe that eventually led to breakthroughs in three other murder cases.

Another IPS officer D. Roopa is also on the list of awardees.

While 10 women, including social activist and JD(S) leader Leeladevi R. Prasad, have been awarded the Nadaprabhu Kempegowda Sose Mahatyagi Lakshmidevi award, five organisations including Bosco Mane, that helps children, have been awarded the Paramapoojya Dr. Shivakumara Swamiji award.

Chief Minister B.S. Yediyurappa will present the awards on Wednesday, observed as the 508th Nadaprabhu Kempegowda Jayanti.

source: http://www.thehindu.com / The Hindu / Home> News> States> Karnataka / by Staff Reporter / Bengaluru – September 04th, 2019