Category Archives: World Opinion

‘Resistance is a form of justice’

NEW DELHI :

Drawn into the struggle and trauma of families in conflict-torn Sri Lanka and Kashmir, filmmaker Iffat Fatima says she became a part of it through a process of osmosis

Iffat Fatima an independent filmmaker from Delhi, went to Sri Lanka in 2000 to research a fellowship project on Education and Identity. In the years that followed, she worked at a television channel, Young Asian Television. In 2005, Iffat made a documentary film on conflict in Sri Lanka and what it had done to the lives of people – The Other Side of War and Peace. When she met Parveena Ahanger, the chairperson of the Association of the Parents of Disappeared Persons (APDP) in 2006, the urge to make a film on Kashmir’s disappeared was strong. After nine years of travel and research, Iffat made Khoon Diy Bharav, which has moved viewers in all its screenings.

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A guest at The Hindu’s festival of literature, Lit for Life, in Chennai in January 2017, Iffat answers a few questions:

Can you please tell us about the Association of Parents of Disappeared Persons (APDP)?

In 1994, with the support of legal professionals and human rights activists, the families of the victims of Enforced Involuntary Disappearances (EID) in Jammu and Kashmir organised themselves into a collective: The Association of Parents of Disappeared Persons (APDP). Over the years APDP has become a movement – an important space for a continuous engagement on issues of justice and accountability. Drawing attention to the trauma of the families engaged in a gruelling struggle against the Indian security establishment, APDP has succeeded not only in breaking the silence over the issue of enforced disappearances in Kashmir, but has also sustained and kept alive a public discourse on resistance and what it means to resist against all odds. APDP, in the very act of its being, poses a challenge to the official discourse of erasure that is being systematically imposed in the public domain in Kashmir.

Your film Khoon Diy Bharav was made over a period of nine years? Can you speak about the work that went into the film? It must have been extremely traumatic for you — living the horrific stories all over again. How did you manage to sail through it? Can you narrate some of these incidents?

I was, in a sense, introduced to the trauma and the grief of the families of the disappeared through the making of my film, Lanka – the other Side of War and Peace. In 2006, almost a year after I finished the film I began working on the issue of enforced disappearances in Kashmir. I had been in touch with Parveena Ahangar whose son became a victim of enforced disappearance in 1990. Parveena had been largely instrumental in bringing the families together under the banner of APDP. She became my constant companion and I travelled all over the valley with her, meeting the families. I was drawn into the struggle, the continuous trauma, the continuous torture the families were going through. Through a process of osmosis, I internalised their struggle and became part of it. I cried and laughed with them, carrying a camera and recording their struggle became an organic process. I was not thinking of the end product.

Through these many years, 2006 to 2010, the movement for azaadi in Kashmir was also going through a tumultuous period. People were coming out into the streets in thousands, young boys were being killed. Resistance was acquiring a new form and people were expressing their agency, reclaiming the movement, so to say ‘snatching it away from the gun’. The affected families kept using the term “Khoon Diy Baarav” which eventually became the title of the film. What they were implying is that blood has flown, it has congealed and sedimented into memory and transformed into resistance. So resistance is a form of justice, while there is no hope of justice from the Indian state. After 2010, I felt I had to come to grips with my material and give it a tangible form. I had more than a 100 hours of material. The editing process was long and agonizing, I made several cuts. Friends were very supportive and their suggestions and feedback was very valuable in shaping the final film.

Army, in Kashmir, is above law so to say. How did they react to your film? I have read of the demonstrations held in certain campuses during the screening of your film.

“If there is a rule of law, why are the armed forces exempt from it?” is a question that Parveena poses in the film several times. This is a challenge that many people find difficult to confront, especially in the current atmosphere of hyper-nationalism in India. They would rather not see it. But I must say that I have extensively screened the film in India and most audiences have been moved by the film and have responded in a very humane way. I get a sense that it reaches out to people rather than raising their hackles.

You have been arrested several times. Can you speak about it?

I haven’t been seriously arrested but have been apprehended several times. Majority of people in Kashmir have experienced that and most certainly anybody roaming around the streets with a camera has to be prepared for it. It is very disconcerting and rather scary, I must admit. But maybe part of being a filmmaker or a journalist is to learn to negotiate and work around these difficult situations. As a director there is also the added responsibility of the crew and the expensive equipment. I think being a woman might have some advantages as you are seen to be less of a threat. It is important to be cautious and to create a certain safety network.

Over 8000 men have disappeared in Kashmir. How are the women coping? Have they reshaped their lives?

The disappeared are all men and the women are left behind to cope. They don’t have a choice, many of them have children, they have to survive and carry on with their lives and are doing that very courageously. They have brought up their children, done their best for them. The women and the families are supportive of each other and APDP is there for them. However, it has taken a big toll, most of them have health problems — physical as well as psychological. There are some women who have remarried and moved on with their lives, but those with children largely have chosen to stay single. Keeping alive the memory of the disappeared is very important, in fact it keeps them going.

Your film about Sri Lanka also explores memory and violence. Do these two experiences – Sri Lanka and Kashmir — have any similarity?

In both cases- Sri Lanka and Kashmir- the conflict has been protracted and the state has used brute military power to repress people’s aspirations and political demands leading to a cycle of violence.

It is inevitable; brute military power can only lead to a shattered social fabric with deep wounds and scars. The state seems to be impervious to that. It doesn’t care.

source:  http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by Deepa Ganesh / December 29th, 2016

Discoverers worry for the ‘ World’s Longest Cannon ’

KARNATAKA :

Researchers hope the government will act to protect the cannon at Gulbarga Fort

Mohammed Ayazuddin Patel, Dr Rehaman Patel and Mohammed Ismail measuring the Bara Gazi Toph
Mohammed Ayazuddin Patel, Dr Rehaman Patel and Mohammed Ismail measuring the Bara Gazi Toph

The three researchers, Mohammed Ayazuddin Patel, the national award winner, artist and photographer, Dr Rehaman Patel, artist and researcher at Indo-Islamic Art, Kalaburagi, and Mohammed Ismail, Bahmani researcher and coin collector who recently discovered a cannon in a fort in Kalaburagi, which they say is the longest in the world, are worried over its preservation.

It was their visit to Gulbarga Fort in search of the name of the first Bahmani sultan, Alauddin Hasan Bahaman Shah among the Persian inscriptions on the Jama Masjid that led to its discovery. Speaking of the cannon to Bangalore Mirror, Mohammed Ayazuddin Patel said, “Since 2010, I have been researching on the subject. The existing world record is in the name of Tsar Cannon that is 17.5 feet long and was built in the 15th century in Russia. The cannon has been named in Guinness Book of World Records, when the fact remains that the top three longest cannons exist in India. It is a matter of pride for the people of Kalaburagi and the Hyderabad-Karnataka region that the longest cannon in the world is located in Bahmani Fort and was manufactured during the reign of Bahmani Empire in the 14th century. It is made of the alloy Panch dhatu.”

The cannon is known as Bara Gazi Toph and measures about 29 feet in length. Its circumference is 7.6 feet and diameter 2 feet. The barrel is 7-inch thick. In India, the largest recorded cannon is about 23 feet long and is located in Koulas Fort in Nizamabad district of Andhra Pradesh. Asaf Jah-1 (first Nizam) granted the Koulas Fort to the Rajput king Raja Kunwar Gopal Singh Gaur in 1724 AD for his bravery in the battle of Balapur and Shakkar Keda. The biggest cannon on wheels, built by Raja Mansingh, is in Jaipur and measures 20.6 feet in length.

“The Jaipur cannon weighs about 50 tonnes. We assume that the weight of the Kalaburagi cannon could be around 70-75 tonnes. While, the firing range of the Jaipur cannon is about 35 kilometres, that of Bara Gazi Toph could be 50-55 kilometres,” Ayazuddin Patel said.

The Bahmani monarchs, who ruled from the present Kalaburagi (Ahasnabad), stand out among other rulers for their contribution to the city. The founder Alauddin Hasan Bahaman Shah (1347-1422) made Gulbarga the capital and before his death he became the master of a vast empire. Even as they extended their territory, the rulers made significant contribution to the fields of art, architecture and literature.

The Bahmani sultanate was the first independent Islamic state of the Deccan in South India and one of the larger medieval Indian kingdoms. They ruled for 191 years (1347-1538 AD). Their other capital was Bidar.

The Gulbarga Fort was significantly expanded in 1347 by Alauddin Hasan Bahmani after he cut off ties with the Delhi sultanate. Islamic monuments such as mosques,
palaces, tombs, and other structures were also built later within the refurbished fort. The Jama Masjid built within the fort in 1367, is a unique structure of Persian architectural. It is fully enclosed, and has elegant domes and arched columns, which is unlike any other mosque in India.

The biggest challenge about historic monuments in the state is their protection, a fact not going to be any easy with the region being a backward area. “The Archaeologi-cal Survey of India and state archaeology department should take steps to protect the cannon at the Bahmani Fort and it should be included in the world record list. It should be fenced. The cannon is filled with sand and pebbles, so should be properly cleaned. Also, a signboard stating its details as the longest cannon in the world is a must. The fort and Jama Masjid must be declared heritage centres,” added Ayazuddin.

The team submitted a memorandum with their pleas to the district in-charge minister Sharan-prakash Patil, the deputy commissioner, regional commissioner, as well as the departments concerned.

 

GIGANTIC CANNONS OF THE WORLD

Jagadamba Bhavani Tope: Located at the historic Koulas Fort in Andhra Pradesh is believed to be the largest cannon in the world. The cannon (left), which is 23 feet in length and weighs 70 tonnes, is predominantly made of iron. It has a 16-inch calibre with an explosive head of 150 kg.

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Jaivana: Recorded as the world’s largest cannon on wheels, Jaivana was manufactured during the reign of Maharaja Sawai Jai Singh II (1699–1743) at a foundry in Jaipur, Rajasthan. Jaivana’s barrel measures 20.19 feet in length and 11 inches in diameter. The 50-tonne cannon is mounted on four wheels. The rear wheels are mounted on roller pin bearings, to turn it 360° and fire in any direction. It was designed to fire a 50 kg cannon ball to a distance of 35 km. This cannon was never used in any battle as the Rajput rulers of Amber had friendly relations with the Mughals.

source: http://www.bangaloremirror.indiatimes.com / Bangalore Mirror / Home> News> State / by Deepthi Sanjiv, Bangalore Mirror Bureau / December 28th, 2016

The road less taken

GUJARAT / SINGAPORE :

Away from its cookie-cutter malls, Singapore’s Kampong Glam district is a different universe – a delightful cultural mix.

Melting pot: The streets of Kampong Glam
Melting pot: The streets of Kampong Glam

At Haji Lane, in Kampong Glam, one of Singapore’s most atmospheric districts, vibrant graffiti art — African tribal figures, surreal motifs, arresting visages — stares back at me. The psychedelic surfaces on the walls appear gilded in the afternoon sun. Embedded within the walls are colourful windows of pre-war shop houses that occasionally fling open to reveal the owner’s face. The picturesque lane is a photographer’s delight and I click a dozen photos a minute. Nobody seems to mind. People stand and talk in doorways of shops brimming with cult labels and vintage clothing. Hookah bars and cafes spill on to the sidewalk. This is a universe away from Singapore’s crowded, cookie-cutter malls.

“Haji Lane is named after the Haj, the pilgrimage undertaken by Muslims to Mecca and Medina,” says my guide Naseem Huseini, a second-generation Gujarati-Singaporean, as I move around, entranced by my new geography. “It provided accommodation for poor Malay families and lodging for pilgrims.” Today, reasonable rents and a prime location have turned the lane into a hub for upcoming designers and artists, the concept very similar to Delhi’s Hauz Khas Village. I peer through the shops’ doorways and spot artists at work — sculpting, etching, painting and tailoring. The narrowness of the shops’ facades is beguiling though. For as I peep in, I find them stretching way, way beyond. Naseem explains that the shops were built so because in the ’60s and ’70s, the government taxed property owners on the number of windows the houses had!

 

The graffiti-laden walls at Haji Lane
The graffiti-laden walls at Haji Lane

At the end of Haji Lane, we are swamped by the cheerful chaos of central Kampong Glam dominated by shops catering to the Malay/Muslim community: frame makers, tombstone carvers, textile wholesalers, spice traders, perfumers, Muslim food caterers, and retailers of gemstones, and religious paraphernalia. The Indonesian batik textiles and Muslim prayer carpet shops have been here for almost a century.

Kampong Glam, or KG, as it’s popularly called, is named after the gelam tree whose bark was used by the Orang Laut Malays (the indigenous sea nomads and gypsies of Singapore) to make awnings and sails. “The tree’s timber went into making boats or was used as firewood. Its fruit was ground and used as a spice and its leaves boiled to relieve rheumatism and cramps,” says Naseem.

History whispers from every corner of KG. And its streets have evocative monikers — Bussorah, Baghdad, Kandahar. Earlier, many of them were synonymous with specific trades. For instance, North Bridge Road housed tailors and Chinese-run goldsmith shops, Sultan Gate was dominated by stone masons and blacksmiths, while Bussorah Street hosted centres for pilgrimage services.

The exterior of Alaturka restaurant.
The exterior of Alaturka restaurant.

“In the early days,” elaborates Naseem, “KG was the exclusive preserve of Sultan Hussein and his family, and the rich Malay and Arab merchants. Later, the Bugis, Javanese and the Chinese also arrived. These people set up kampongs or villages, and built shop houses to expand their businesses.” The kampongs were row wooden houses with steep roofs of corrugated iron or thatch, gathered around a communal centre. Today, these structures stand demolished in the quest for modernisation.

While trying to negotiate KG’s uneven sidewalks, my eyes are constantly drawn to its architectural wonders. The Istana Kampong Glam, the Sultan’s palace, impresses with its exquisiteness. The golden dome and exquisite minarets of the Sultan Mosque — Singapore’s most important mosque and the pivot around which KG seems to flow — seem to scrape the sky.

KG’s street life unspools more engaging sights. We bump into Muslim men in lungis and white skull caps and abaya-clad women, who appear incongruous in Singapore’s landscape, where fashion-forward men in dapper suits and ladies in skyscraper-heels rule. In Bussorah Street, we’re engulfed by shops selling Indonesian batiks, leather bags, Persian carpets, kebaya dresses and handmade perfumes. A cluster of old stores in the shadow of Sultan Mosque sell traditional textiles, carpets and perfumes.

Partially to escape the catatonic heat, we stride into a cool, inviting wood-panelled shop chock-full of hundreds of glittering vials of custom-made perfumes. This is the iconic Jamal Kazura Aromatics, one of Singapore’s oldest perfumeries. A family-run business since 1933, the shop stocks readymade scents as well as fragrances customised from pure essential oils. There are massage oils, scented body soaps and shower creams too. The shop’s cut-glass perfume bottles are as intriguing as the scents. Kazura, the store owner, explains that his shop does double duty as his workshop. Like a modern-day alchemist, he creates scents from hundreds of ingredients sourced from around the world. We spot bits of sandalwood from India jostling for space with frankincense from Africa, myrrh from the Middle East, patchouli from Indonesia and lavender from France.

Kazura adds that when his grandfather, an Indian Muslim, arrived in Singapore in 1933, he started the business and expanded it later to Malaysia and India. “Blending perfumes is as much an art as a science,” he says. “Perfumers have to rigorously train their noses to distinguish between different scents. The provenance of perfumes is in ancient Egypt and Mesopotamia, and they still play a vital role in the Arab world. A good fragrance takes one closer to Allah,” he adds philosophically.

From Arab Street, we amble into Baghdad Street. “Would you like to try teh?” Naseem asks me, two hours into our walk. What’s that? I ask her. In response, the lady steers me to a hole-in-the-wall kiosk located at the junction of Bussorah and Baghdad Street. Here, an elderly white bearded gentleman is making tea at a stall ironically named “No Name Teh Sarabat” stall! Ahmed (65) has been selling Malaysian “pulled tea” for 40-odd years at this very spot and is quite a cult figure. His shop is abuzz with old Malay men sipping fragrant tea available in two flavours — teh tarik infused with rose essence and teh alia (ginger tea). The beverage is cheap. For a Singapore dollar and five cents, we’re soon cupping our hands around a mug full of a brew of black tea, milk and sugar. Ahmed explains that the technique of “tariking” (the process of ‘pulling’ tea from one cup to another) isn’t just a show, but actually makes the tea (teh) taste more delicious.

Food is an omnipresent motif in KG. Hip gelaterias, bistros and cafes pepper its warren landscape. Street after street resonates with the bustle of chairs and conversation, and the clatter of plates and glasses. Iranian, Lebanese, Turkish, Middle-eastern, Indonesian, Thai and Chinese, the repertoire is eclectic. There’s nasi padang (steamed rice served with various dishes) and Malay kuih (cakes), Middle Eastern falafels, sushi/sashimi, Lebanese meats and even quesadillas. At Alaturka, an award-winning Turkish restaurant, our taste buds are tantalised by succulent kebabs, soft pita bread and piquant dips glistening with unctuous olive oil. There’s mint-cinnamon tea to wash it all down with. As I stride out of KG, I feel I’ve learnt a thing or two about Singapore’s rich cultural heritage as well as the vital message it delivers — that plurality and diversity can thrive only in the soil of tolerance and inclusiveness.

source: http://www.indianexpress.com / The Indian Express / Home> Lifestyle> Destinations of the Week / by Neeta Lal / December 18th, 2016

Scientists name new spider after Harry Potter character

Shivamogga, KARNATAKA :

Bengaluru :

For any hardcore Harry Potter fan, the Sorting Hat, and the medieval wizard Godric Gryffindor is basic knowledge. Three entomologists, who stumbled upon a new species of spider have decided to pay tribute to the character by naming it after him. Though the arachnid bears resemblance to the ‘Sorting Hat’ of Hogwarts School of Witchcraft and Wizardry, it would be hard to spot it if you are trekking in the Western Ghats.

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Eriovixia gryffindori, is the new spider species discovered, details of which was published in the recent edition of Indian Journal of Arachnology.
The discovery of the arachnid was made at ‘Kans’ forestland of Central Western Ghats at Hosanagara taluk of Shivamogga district, by Javed Ahmed, Rajashree Khalap and Sumukha J N.

While Javed and Rajashree hail from Mumbai, Sumukha is from Shivamogga.

Describing the etymology of the spider, the scientists write that naming it after Gryffindor – after whom one of the four houses in Hogwarts School of Witchcraft and Wizardry is named and who once owned the Sorting Hat – was, “An ode from the authors, for magic lost, and found, in an effort to draw attention to the fascinating, but oft overlooked world of invertebrates, and their secret lives.”
Prior to it, they express their fondness of J K Rowling, author of the Harry Potter series as a ‘wordsmith extraordinaire’.
“This uniquely shaped spider derives its name from the fabulous, sentient magical artifact, the sorting hat, owned by the (fictitious) medieval wizard Godric Gryffindor, one of the four founders of Hogwarts School of Witchcraft and Wizardry, and stemming from the powerful imagination of Ms. J K Rowling….” they wrote.

While the team found a female specimen of the Gryffindor spider, they are yet to describe the holotype of a typical male of the species. The paper notes that the particular species of spider is known to be distributed only from Shivamogga district, as of now.
The spider mimics dry foliage, making it ideal for it to reside almost undetected on the forest floor.

source: http://www.newindianexpress.com / The New Indian Express / Home> Cities> Bengaluru / by Express News Service / December 13th, 2016

Realtor Razack to open Bengaluru’s first Museum of Indian Paper Money

Bengaluru, KARNATAKA :

In 1913, Maharaja Krishna Raja Wadiyar IV appointed William Clarence Rose as the first chief manager of the Bank of Mysore. Whilst in office, Rose collected all British India banknotes of denominations five, ten, fifty and one hundred in a series. When he retired in 1925, he received a wax-paper scroll rolled into a carved silver sheath, mounted on a teak base. Everything was made from melted silver coinage issued by the Raj.

Rose passed all this onto his daughter Vera Katherine Maud Collins, who bequeathed it to her grandson Simon Collins.The latter remembers how the “gift was kept in a 1937 coronation stamp album“ and was passed on two months before his grandmother’s death in 1982. This legacy -along with other historical nuggets -is finding its way back to the city .

The collection will be housed in a museum of Indian currency, expected to come up in Bengaluru next year.

The project is the brainchild of realtor and currency collector Rezwan Razack, who has been collecting Indian paper money since 1971. Spread across 4,000 square feet and located off Brunton Road, the museum is expected to be open to the public in the latter half of 2017. “The intention of setting up the Museum of Indian Paper Money is to display all that there is in my collection. It is to create awareness about our history and our journey so far as a nation, through our currency ,“ says Razack,  who is the managing director of city-based Prestige Estates Projects and chairman of the International Banknotes Society’s India chapter.

Among the world’s most prolific collectors of rare currencies, Razack has preserved bills dating back to early 1770s.These include the uni-face (onesided) notes first launched by the government of India, portrait notes of King George V & VI, cash coupons of princely states, Indian notes issued in Pakistan and Burma, special issues made for the Persian Gulf and Haj Pilgrims and all variants of Indian notes -from the Independence era till the latest demonetisation exercise.

E a ch n o t e links us to the way of life in the past and unearths lesser-known stories of our city and country, believes Razack. For instance, on display will be 100-odd Prisoner of War coupons issued by the British. “There were eight camps across India, including Bengaluru, which issued bills from one anna to ten rupees,“ he says.

The museum will comprise of interactive displays, historic facts and trivia, along with stories and essays written by Razack from his own journey and experience as a collector.Architects are working on the blueprint of the museum and estimates should be drawn up by the end of the year, Razack informs.

source:  http://www.economictimes.indiatimes.com / The Economic Times / Home> ET Home> Magazines> Panache / by Divya Shekhar, ET Bureau / November 24th, 2016

Digital Jalebi eyes Rs 50 crore turnover in 2 years

Bengaluru, KARNATAKA :

digitaljalebimpos12dec2016

Soon after graduating from the National Institute of Design (NID), Syed Fawaz Ahmed and Nikhil Joshi started Digital Jalebi. One will wonder what the second name Jalebi is doing.

“It was Nikhil’s idea to name the company ‘Digital Jalebi’. Nikhil hails from Delhi where Jalebi is a famous sweet dish, and whenever Jalebi is prepared, it represents a joyful occasion like a festival, marriage or any other celebration. So, Jalebi represents a joy factor and whatever projects we do, it has a factor of joy in it. Hence, we thought the name would be appropriate. And also, the name was quite Indian. Hence, we kept the name as Digital Jalebi,” Ahmed tells DH.

The company, which embarked on its journey in September 2012, is engaged in designing interactive installations and software for spaces like museums, exhibitions and planetariums. With varied background of design, software engineering, electronics and multimedia, Digital Jalebi offers end-to-end delivery starting from research, conceptualisation and story-boarding; to content generation, graphic design, animation, 3D modelling; to development, fabrication and installation.

“The first project that we did was for Visvesvaraya Industrial and Technological Museum Bangalore. It was an exhibition based on the life of the great mathematician Srinivas Ramanujan. Digital Jalebi designed and developed the entire exhibition. That was our starting point,” Ahmed says.

“The journey has been exciting. We have learnt a lot of things. With every project we realise importance and need of good technology-aided design in India. Setting benchmark for quality has been a core pillar of Digital Jalebi’s belief, hence most of the clients who work with us, come back to us with more projects. We have made a place for ourselves in industry as a leading interactive studio,” he adds.

Till date, the firm has completed over 60 projects and its repeated customer base is around 20. In the next two years, Digital Jalebi plans to have an annual turnover of Rs 50 crore.

“Last year, our revenues were Rs 2 crore, and this year, we are touching around Rs 5 crore, and in the next two years, we are planning to scale up our operations and we are starting VRchef to get volume work from outside India, especially from the US and the UK. We are planning to start outsourcing model for VR (virtual reality) and AR (augmented reality). Hence, we are trying to scale up operations in terms of space and the number of people,” Ahmed added.

When asked as to how different the firm is from others, Ahmed explains, “We describe ourselves as a new media installation company. We are neither a core game development company, nor a traditional software development company. We aren’t bound to a single stream like virtual reality or augmented reality. We try to tag ourselves to the bigger umbrella which is new media, and that covers all these things. Hence, we feel that our services are quite diverse.”

source: http://www.deccanherald.com / Deccan Herald / Home> Supplements> Economy & Business / by Umesh M Avvannavar / DHNS – December 12th, 2016

Nature-inspired

Silchar – ASSAM / PUDUCHERRY :

Healing works

akmalhussainmpos08dec2016

Interpreting nature can be tricky. So is painting it. As an artist, one can try to focus on its essence, but lose out on its detail and form. Otherwise, one can try to get a grip on the instantaneous, but miss out on its fluid dynamics. Rare is the work of art that manages to portray all of this together. Both Akmal Husain and Keiko Mima manage to do exactly this, in their own unique ways.

This hugely talented and successful artist-couple are enigmatic in more ways than one. Husain is from rural Assam, Mima from Japan, and they have now made Puducherry their home, where they live with their three young daughters. The works of both Husain, who had his art education at Shantiniketan, and Mima, who studied art at Kyoto Seika University, Japan, are much sought after.

Mima and Husain are both drawn to nature but interpret it in their own way. Husain’s visualisation of nature is unique and in a sense, simplistic. It radiates positivity, bliss and beauty. His paintings reflect an oasis of tranquility in this chaotic life, taking you into the beautiful village life that once existed everywhere. Mima’s paintings, on the other hand, radiate etherealness, fragility, transience and the timelessness of nature — in a sense, alluding to the spiritual concept of ‘Maya’.


Journey decoded

Mima has been painting since she was a child. “My mother is an artist too and teaches painting to children at our home in Japan. When I was young, I was her student too. She always made us paint flowers and fruits with watercolours, which I tried to render as realistically as I could,” she says.

We learn that she began studying painting more seriously in high school. It was there that she learnt charcoal drawing and oil painting. After that, she studied oil painting in an art college, where she tried experimenting with various new materials also. Then, she was using mixed mediums to make several abstract images. The mediums she now favours are pencil and watercolours. She has a fascination for traditional Indian mural art, which she hopes to learn some day.

“When I started painting with watercolours again in India in 1997, there had been a large gap of about 20 years since I had last painted flowers. When I started to observe and study flowers more deeply, I was fascinated. Their beauty is not limited to their form and colour, but they have feelings like human beings, or one might even say that they are more sensitive,” she explains.

Husain lets us in on his entry into the fascinating world of art. “I started painting with oil paints only in my third year at Kalabhavan. It took me a year to understand the medium. I discovered that it allowed me to erase and repaint portions unlike watercolours. I was fascinated by the rural settings around Kalabhavan, especially the atmosphere created by the light of the setting sun, or dawn. I sketched whatever I could, and the rest I absorbed. I was not very skilled at drawing, so when I returned to the studio, I painted, erased and painted again, trying to bring out what I had absorbed,” he shares.

It was during his fourth year at Shantiniketan, in the Kolkata Book Fair, that he discovered a book called Modern Primitive Painting, which gave him a lot of confidence to draw. “Over a period of six months, I made two large oil paintings. And one more by the end of my final year, which took me almost six months to complete with all the erasing and repainting. That painting won me the National Academy Award by Lalit Kala Academy in 1985. Eventually, erasing and reworking became my personal technique,” Husain beams.

In 2015, he started a series of experimental watercolours based on the theme of leaves. “An oil painting takes me two to three months to complete. While at it, I see around me the changing nature. Simply fallen leaves of various kinds, and their many colours, sometimes wet, at others dry, have inspired me. That is how I began my experiments with composing layers of semi-abstract watercolours.” Husain’s many awards include the Sovana Banik Memorial Scholarship and the National Academy Award of Lalit Kala Academy.

Since the medium of inspiration and the mode of work is the same, do Husain and Mima discuss their ideas with each other? Husain explains, “It is true that both of us paint from nature, but we see it with different eyes. Hence, our techniques are different. It is in my nature to discuss my work with her before, during and after creating it. She is the opposite; she likes to work but does not like to talk about it very much. Her discipline inspires me very much.” Mima adds, “There is an exchange, and his techniques are sometimes helpful in my work.”

In 2003, they moved to Puducherry for the education of their eldest daughter. Now, all their daughters are studying there. Talking about the transition of the town, Mima says, “The first time I visited Puducherry was in 2000. It wasn’t crowded then and the atmosphere was more peaceful, even spiritual, and the people were very good-natured.” But she hastens to add that they do enjoy the town’s coastal scenery and sea breeze, and find Puducherry’s ayurveda and homeopathy very useful.

Influenced by their lands

Nevertheless, the lands that spawned them rules large in their hearts. For instance, Husain shares that whenever he does oil paintings, he subconsciously draws inspiration from his early childhood and Shantiniketan days. Born in Silchar in Assam, Husain grew up surrounded by nature. “My home was at a little distance away from the main town and our home was surrounded by greenery. My father was very fond of gardens, and my mother had a passion for betel nut trees and vegetable plants. I used to accompany her to the garden to plant betel nut trees, vegetable seeds, etc. There was always a milch cow at home, which remains to be one of my favourite subjects,” he says. This trend continued even when he went to Shantiniketan to learn painting.

It’s the same case with Mima. She carries Japan in her soul. “I do not miss the nature or colours of Japan since they are within me,” she says. She mentions that while she is not directly inspired by traditional Japanese art, it has shaped her in a way because her sense of beauty was cultivated in Japan. She says, “I mostly draw flowers and landscapes in situ. But influences from my early experiences of nature in Japan are at work too, in the background. I continue to draw and paint from nature and I hope to heal people’s hearts through my work.

source: http://www.deccanherald.com / Deccan Herald / Home> Supplements> Sunday Herald – Arts & Culture / by Hema Vijay / November 27th, 2016

Indian businessman gives Rs 10 lakh to compatriot living on terrace in UAE

KERALA / GCC  / Muscat, SULTANATE OF OMAN :

 

Dr K T Mohammed Rabeeh Rabeeullah
Dr K T Mohammed Rabeeh Rabeeullah

Dubai :

An Indian philanthropist from Oman has given Rs 10 lakh to a jobless compatriot who has been living on the terrace of a building in the UAE for more than eight months without proper food, media report said on Friday.

Sajeev Rajan, an electrician in his early forties, belongs to Kollam in Kerala where his wife, two children and ageing parents live.

Indian philanthropist from Kerala Dr K T Mohammed Rabeeh Rabeeullah, chairman and managing director of a healthcare conglomerate, came from Muscat and handed over 5,000 dirham (Rs 93,272) to Rajan for immediate relief. He also promised to transfer Rs 10 lakh to his bank account in India, Khaleej Times quoted Rajan’s friend Biju as saying.

He was left with no other option but to live on the terrace of a building in Ajman city because his employer had refused to return his passport after settling his dues, the paper said.

His company officials visited the Indian consulate and agreed to return his passport at the earliest.

The Indian mission in the UAE and social workers have come forward with moral and material support for the man.

“It is a big relief for me because my pocket is empty. I have not received any money for the past eight months and my travel back home seemed impossible,” Rajan said.

He spent 236 days on the terrace because he does not have a job or money to get a bed space, the report said.
He has been surviving with the generosity of some construction workers and shop owners, it said.

“My contract ended on March 11 and I wanted to go home. Working for 900 dirham (Rs 16,761) per month did not meet my expectations,” he said.

Ranjan alleged that his employer was not ready to relieve him from work and send him back home after clearing his gratuity and leave salary.

On March 21, Ranjan was forced to vacate the company accommodation in Ajman.

“The employer from Punjab, India, promises to return my passport in front of officials who mediate for my release, but once he leaves their office, he refuses to hand it over to me,” he was quoted as saying by the paper.

After his plight was highlighted by the paper, several people came forward with offers to buy air tickets, give him a job among others, the report added.

source: http://www.timesofindia.indiatimes.com / The Times of India / News> NRI> Middle East News / by PTI / November 25th, 2016

7-yr-old B’pora boy wins Asian youth Karate championship

JAMMU & KASHMIR :

Governor, Naeem Akther congratulate Mansoor

GK Photo
GK Photo

After seven-year-old girl it’s now seven year old boy from north Kashmir’s Bandipora district who has brought laurels not only to the state but India as well by winning gold in Asian Youth Karate Championship in New Delhi.

Hashim Mansoor, 7 son of Mansoor Ahmad Shah resident of Nadihal area of Bandipora has won gold in Asian Youth Karate Championship by beating his Sri Lankan rival on Tuesday.

Earlier, a seven year old, Tajamul Islam from the district had won a gold medal in world Kick-boxing championship held in Italy early this month.

Hashim Mansoor, who represented India in Sub-Junior below 25 kg weight category in the championship, won a gold medal by beating a Sri Lankan in finals at Talkatora stadium in New Delhi.

Hashim a second standard student of Symbiosis School in Plan Bandipora got selected for the championship during trials that were held in Indoor Stadium Srinagar early this month.

The championship was organized by the All India Youth Karate Federation at Talkatora stadium in New Delhi in which 19 countries participated.

“Earlier, Mansoor defeated his Bhutanese and Malaysian rivals,” Ghulam Nabi Tantray, President J&K Youth Karate Federation told Greater Kashmir. “This was possible due to hard work of Mansoor’s coach Fasil Ali Dar,” added Tantray.

He also said that Hashim has qualified for World Youth Karate Championship to be held in Europe next year, where he is going to represent India. “He can only participate in the world championship after he gets sponsorship. I hope he gets a sponsorship so that he could make whole country proud like Tajamul did,” he said.

Pertinently, both Tajamul and Hashim have been trained in Ali’s academy-local Martial Arts training school run by Faisal Ali Dar in Bandipora.

Meanwhile, Hashim’s coach Faisal Ali Dar also received Dr. B.R. Ambedkar National Award on Monday in “Sport and Peace” category for his contribution in “Peace Building Activities” through Jammu and Kashmir Kick-boxing Association. Faisal Ali who hails from Bandipora was presented the award by Dr. B.R. Ambedkar Sports Foundation.

source: http://www.greaterkashmir.com / Greater Kashmir / Home> Sports / by Ejaz-ul-Haq Bhat / Bandipora – November 30th, 2016

Hockey: Affan Yousuf scores twice in India’s 3-2 win over Australia

Bhopal,  MADHYA PRADESH :

_________________________________________________________

HIGHLIGHTS

  • Affan Yousuf slotted two goals as the Indian men’s hockey team claimed a 3-2 win over Australia
  • Skipper VR Raghunath struck the winner just seconds after Australia equalised in the third quarter
  • Overall, this was the 22nd time an Indian men’s hockey team beat Australia, in 117 head-to-head matches
  • ____________________________________________________

affanyousufmpos29nov2016

New Delhi  :

Talented youngster Affan Yousuf slotted two huge goals during the first half and skipper VR Raghunath struck just seconds after Australia equalised in the third quarter, as the Indian men’s hockey team claimed a 3-2 win over the world No 1 in the first of two Tests in Bendigo, Victoria on Tuesday.

The win came just days after the tourists claimed bronze in the Four Nations Invitational Tournament, and helped Raghunath’s team extract revenge on hosts Australia who beat them 3-2 during that tournament. Overall, this was the 22nd time an Indian men’s hockey team beat Australia, in 117 head-to-head matches.

Australia’s goals came from shots from the field by Matthew Willis and Trent Mitton in the 36th and 43rd minutes, but Raghunath’s penalty corner in the 44th minute put India ahead for good.

This was Affan’s second stand-out performance this month, following on from his late goal during the nail-biting victory over Pakistan which won India the Men’s Asian Champions Trophy in Malaysia. The 22-year-old struck twice in the 21st minute with two excellent field goals after the first quarter ended with the teams yet to score.

In the second half, Australia hit back through Willis and Mitton but Raghunath’s goal ensured the deadlock was snapped quickly. The final quarter was a tense period in which defenders on both ends were made to scurry but India did enough to shut the door on Australia.

After scoring four goals during the ACT, Tuesday’s performance against Australia was another feather in the car of Yousuf, who was born into hockey. His father Mohammed Yousuf, grandfather Khuda Dad and uncle Sameer Dad have each represented India.

The Kangaroos are the No 1 ranked hockey team in the world. In the span of ten days, they beat New Zealand to lift the Trans-Tasman Trophy in Auckland and the Four Nations in Melbourne. India are ranked sixth.

The second Test is on December 1.