In a heartfelt tribute to Missile Man and former President of India, Dr. APJ Abdul Kalam, the Maulana Azad Manav Seva Sansthan (MAMSS) organized a ceremony at Madrasa Anjuman Islamia to honour 15 outstanding Muslim girls for their academic excellence.
The girls, who secured top marks, were awarded mementos, certificates, and flower garlands as part of the event, which marked Kalam’s birth anniversary.
Chief guest, Kailash Sharma, a senior leader from the state Congress committee, along with other distinguished guests, shed light on Dr. Kalam’s inspirational life journey. Born on October 15, 1931, into a modest Muslim Ansari family in Rameswaram, Tamil Nadu, Dr. Kalam rose from humble beginnings to become one of India’s most revered scientists and leaders. His immense contributions to India’s space and nuclear programmes were praised during the event.
Notable figures, including Madrasa Anjuman Islamia President Majid Salim, Trade Federation General Secretary Kanhaiya Lal Chittoda, District Congress Committee Vice President Zakir Mansoori, Councillor Mohammad Sharif Rangrez, and Madrasa Board Deputy Chairman Shahid Iqbal Bhati, also addressed the gathering, emphasizing Dr. Kalam’s enduring legacy.
The event saw enthusiastic participation from Dr. Nasir Hussain Yunani, Abdul Wahid, Munna Master, Nasir Khan Bunty, Mohammad Irfan Mansuri, and other community members.
source: http://www.radiancenews.com / Radiance News / Home> Latest News / by Raheem Khan, Radiance News Bureau / October 17th, 2024
Rainbow Peacock Marbled Paper (source: The Whimsical Marbler)
Fatima Alam Ali (1923-2020) was a writer of pen portraits (khaake) and humorous essays (tanz-o-mizah) from Hyderabad. Her work offers an untapped and intimate glimpse into the literary personalities and gatherings that flourished in mid-twentieth century Hyderabad.
Fatima Alam Ali (Source: Asma Burney)
Surprisingly, her writing has not received the proper attention it deserves. This can be attributed to the general neglect of the pen-portrait and non-fiction writing in general in the study of Urdu literature. Most scholarly work and translation has focused on poetry and fiction. However, her work is also neglected, in part due to the triple marginalization that women writers from Hyderabad face—as women, as citizens of a former princely state, and as Urdu writers from the Deccan.
Yaadash Bakhaer by Fatima Alam Ali (Source: Archive.org)
Fatima first began writing at school in Lucknow at the behest of Urdu teacher and writer Razia Sajjad Zaheer. She was later encouraged to continue by Jahanbano Naqvi, another Urdu teacher and writer, when she was at Women’s College (Osmania University) in Hyderabad in the 1940s. Nurtured by a network of women writers, Fatima published widely in newspapers, magazines, and books while also reading her work on All-India Radio and at literary gatherings. In 1989, a collection of her pen-portraits and humorous essays were compiled in a book called Yaadash Bakhaer (“May God Preserve Them”). This text is a rich storehouse of information and insight into contemporary figures living in Hyderabad as well as the reflections of a woman writer coming into her own.
Fatima was the daughter of one of the great Urdu luminaries of the mid-twentieth century, Progressive writer and journalist Qazi Abdul Ghaffar (1889-1956). He began the influential left-wing newspaper Payaam in Hyderabad. Her cheerful and lively personality notwithstanding, Fatima mentions how she felt not only gratitude but also a sense of anxiety about this connection.
Interactions with her father’s peers and members of the Progressive Writers movement were always burdened by the awareness that she was Qazi Sahab’s daughter. She believed that she was respected because of her relationship to Qazi Sahab and not the merit of her own achievements. This left Fatima’s writing dotted with self-deprecating and apologetic comments that gesture towards a certain “anxiety of authorship.” The gendered aspect of this anxiety has been explored by Sandra Gilbert and Susan Gubar in the context of Victorian Women’s writing.
One place this anxiety of authorship appears in Fatima’s work is a long disclaimer she gives about her perceived inability to write about her father. She appeals to her readers that if they do not like her pen-portrait of him, they should forgive her, and if they do like it, then they should attribute it to the “noorani faiz” (luminous grace) of her father. Such prefacing apologies are part of established convention in Urdu and Persianate prose genres (such as the biographical tazkira). However, with women writers, they can be additionally tinged with gendered anxieties stemming from durable patriarchal norms and values.
Fatima’s pen-portraits draw attention to many contemporary Hyderabadi authors. Her portraits bring to life luminaries such as the writer and scholar Agha Hyder Hasan, an old Aligarh connection and dear friend of her father’s, and the scholar Habib ur-Rehman. We also see through her eyes her childhood playmate Ainee, who met her unchanged and with the same affection after a meteoric rise in the literary firmament as Qurratulain Hyder. She remembers Razia Sajjad Zaheer – “a woman in a man’s world” – as a mesmerizing teacher, hardworking mother, talented writer, and maternal figure. Fatima, whose own mother had died soon after her birth, remembers Razia with great emotion and is unable to find the words to describe the love she had given her.
Fatima grew up being mothered by the father figures in her life, an analogy she frequently draws. She describes her unusual and lively relationships with these men, who included, besides her father, her maternal uncles, Agha (whom she called “Chacha”), Habib ur-Rehman (“Baba”), and even Makhdoom Mohiuddin. With Qazi Sahab and Agha, the teenaged Fatima had relationships that were akin to friendships, marked by banter that was strangely grown-up. This was frowned upon in a conservative society that still believed in upholding a certain image of older men as abstract figures demanding veneration and formal distance. Fatima’s banter included teasing her father about the women who would fall for his dashing good looks and jokes with Agha Chacha about her future marriage.
It is not surprising, then, to locate the sense of ease with which Fatima writes and remembers the towering male literary figures of her youth. She writes fluidly and eloquently about them and with the same comfort and affection as she does about Razia Sajjad Zaheer or Zeenath Sajida.
Of particular interest and value in this regard is a memorable essay called “Adabi Mehfil” (“Literary Gathering”) that Fatima wrote – decades later – about an all-male mushaira that was hosted at Qazi Sahab’s home when the Progressive Writers’ Conference took place in 1945. Those who attended included Agha, Makhdoom, Jigar Moradabadi, Fazlur Rehman, Sikandar Ali Wajd, Hosh Bilgrami, Kaifi Azmi, Majrooh Sultanpuri, Ali Sardar Jafri, Ghulam Rabbani Taabaan, Sahir Ludhianvi, and Srinivas Lahoti.
Qazi Sahab could not afford the arrangements that were made in aristocratic homes, so they had only a buffet table under the open night-sky. There were no huqqas, only cigarettes, and the sole accessory demonstrating any continuity from an older tradition of mushaira was the paan that was arranged carefully and offered from a khaasdaan.
Fatima Alam Ali (Source: Asma Burney)
In engaging detail, Fatima introduces us to the august personalities of poets, writers, and intellectuals, as they dine with friends and peers before the mushaira begins. It is in her astute, sympathetic observations of these quintessential performers over dinner that we see their human dimensions, somewhat stripped of the dazzle of celebrity. Indeed, small aspects of their personalities often form the most attractive and compelling features of Fatima’s writing. She explains how they spoke more than they ate, how Srinivas Lahoti took over as host and led people to the table, and how Agha Hyder Hasan, who was unaccustomed to the new culture of buffet dining, sat by himself on a chair and balanced his plate on his lap.
Yet, Fatima writes as much as a fan as the host of such a gathering. She tells us, for example, how she held her breath while Makhdoom recited, afraid to disturb even the air around him. In vivid, engrossing detail, she recreates the charged atmosphere of the mushaira, where “in the Lakhnavi style,” everyone gives way to the others until Qazi Sahab intervenes and directs one of the younger poets to begin.
The euphoria when a striking verse is skillfully recited, the enthusiastic requests for certain well-known compositions, the restlessness when a particularly fraught verse is delivered, the unspoken code of hierarchy and ceremony, and even the specific verses that were produced – all these are represented in sparkling prose and bring the mushaira alive for the reader. What adds to the immediacy and vividness of her writing is that she addresses the reader periodically, saying “just look at this!” or “did you see that?,” transporting the reader to the time of imaginative reconstruction.
At the same time, Fatima does not shrink from criticizing these great men, telling us regretfully that the gifted ghazal proponent Majrooh Sultanpuri is now but a “filmi” poet or that Sahir Ludhianvi was already full of himself before he became famous. Through her sensitive, discerning descriptions of their appearance, temperament, and individual style of recitation, we get an intimate glimpse into their personalities: Majaaz, who was always shy when sober; sleepy, languid, dishevelled Kaifi, who always had a strange glitter in his eyes at mushairas; Jigar’s jaunty self and the errant wisp of hair that peeped flirtatiously from his cap; Sulaiman Areeb, who would cadge cigarettes from an indulgent Qazi Sahab, who in turn would sway in pleasure when Makhdoom sang his best verses; Makhdoom, the people’s poet, who would ask for achaar with his qorma and later be inundated with requests for his verses; and the evergreen wit and flamboyance of Agha, the quintessential Mughal from old Delhi.
Fatima Alam Ali (Artist and Source: Asma Burney)
In engaging detail, Fatima introduces us to the august personalities of poets, writers, and intellectuals, as they dine with friends and peers before the mushaira begins. It is in her astute, sympathetic observations of these quintessential performers over dinner that we see their human dimensions, somewhat stripped of the dazzle of celebrity. Indeed, small aspects of their personalities often form the most attractive and compelling features of Fatima’s writing. She explains how they spoke more than they ate, how Srinivas Lahoti took over as host and led people to the table, and how Agha Hyder Hasan, who was unaccustomed to the new culture of buffet dining, sat by himself on a chair and balanced his plate on his lap.
Yet, Fatima writes as much as a fan as the host of such a gathering. She tells us, for example, how she held her breath while Makhdoom recited, afraid to disturb even the air around him. In vivid, engrossing detail, she recreates the charged atmosphere of the mushaira, where “in the Lakhnavi style,” everyone gives way to the others until Qazi Sahab intervenes and directs one of the younger poets to begin.
The euphoria when a striking verse is skillfully recited, the enthusiastic requests for certain well-known compositions, the restlessness when a particularly fraught verse is delivered, the unspoken code of hierarchy and ceremony, and even the specific verses that were produced – all these are represented in sparkling prose and bring the mushaira alive for the reader. What adds to the immediacy and vividness of her writing is that she addresses the reader periodically, saying “just look at this!” or “did you see that?,” transporting the reader to the time of imaginative reconstruction.
At the same time, Fatima does not shrink from criticizing these great men, telling us regretfully that the gifted ghazal proponent Majrooh Sultanpuri is now but a “filmi” poet or that Sahir Ludhianvi was already full of himself before he became famous. Through her sensitive, discerning descriptions of their appearance, temperament, and individual style of recitation, we get an intimate glimpse into their personalities: Majaaz, who was always shy when sober; sleepy, languid, dishevelled Kaifi, who always had a strange glitter in his eyes at mushairas; Jigar’s jaunty self and the errant wisp of hair that peeped flirtatiously from his cap; Sulaiman Areeb, who would cadge cigarettes from an indulgent Qazi Sahab, who in turn would sway in pleasure when Makhdoom sang his best verses; Makhdoom, the people’s poet, who would ask for achaar with his qorma and later be inundated with requests for his verses; and the evergreen wit and flamboyance of Agha, the quintessential Mughal from old Delhi.
At the same time, she comments on the unreliability and instability of memory, cautioning us that time, place, and people are likely to get mixed up in her writing. And yet, she reveals an astonishing ability to reproduce verbatim specific verses or entire ghazals or nazms that were recited at literary gatherings. This signals how our memories operate, focusing on the enduring impression that certain events and experiences make on us, rather than external or superficial contexts.
Fatima’s pen-portraits are always coloured with expressions of nostalgia and loss and an urgency to record these figures, their work, and their milieu for posterity to ensure that they are not forgotten. In the process, she creates an important “memorative” collection that provides unique information, insight, and perspective upon a particularly important period in the history of Urdu literature.
source: http://www.maidaanam.com / Maidaanam.com / Home / by Nazia Akhtar / October 11th, 2011
By Nazia Akhtar. Nazia is Assistant Professor of Literature at the International Institute of Information Technology, Gachibowli-Hyderabad. Her research interests include the literature and history of Hyderabad, Partition Studies, women’s writing, and comparative literature.
That culinary addition is attributed to Chef Manzilat Fatima’s great-great grandfather Wajid Ali Shah, the Nawab of Awadh.
Chef Manzilat Fatima, April 22, 2024. (image courtesy: Umang Sharma)
Manzilat’s great-grandfather did
On most evenings, Manzilat Fatima’s rooftop restaurant in South Kolkata, aptly named Manzilat’s, is packed with food connoisseurs waiting to taste the incredible dishes she prepares for them. But there is another reason foodies climb four flights of stairs to her quaint little eatery.
An engraving of Nawab Wajid Ali Shah. Pic Courtesy/ Wikimedia Commmons
What Manzilat does, is nothing short of remarkable. Not only does she tantalize the tastebuds of food lovers with exceptional dishes such as Chicken Lazeez Shami Kebab, Lakhnavi Murgh Biryani, or the famed Lakhnawi Mutton Yakhni Pulav – but she also evocatively creates a bridge between the present and the royal past of Wajid Ali Shah, the last Nawab of Awadh.
Manzilat Fatima is the great-great granddaughter of the Nawab who made his home in Kolkata after the British East India Company annexed his kingdom. He gave the culinary world the famed aloo in Biryani.
A descendant of Awadh
“I am a direct descendent of Wajid Ali Shah and Begum Hazrat Mahal ,” Manzilat reveals.
After the annexation, her great, great grandmother Begum Hazrat Mahal who took charge of Awadh, put her son Birjis Qadr on the throne in 1857. Birjis Qudr was the son of Jaan e Alam Wajid Ali Shah and Begum Hazrat Mahal.
Manzilat is the daughter of Dr. Kaukub Qudr Meerza, the grandson of Birjis Qudr, she explains.
Like her pantry, stocked with delectable food, Manzilat is a storehouse of stories and fascinating history.
A conspiracy at play
According to Manzilat, despite having no inheritance, Birjs was still the legal heir of Wajid Ali Shah and Begum Hazrat Mahal.
“Birjs Qadr had a son Mehr Qadr who was my grandfather,” adds Manzilat. “He did not have any siblings growing up. He did have a family, but they were assassinated in cold blood on August 14, 1893.”
Manzilat says that the British invited Mehr Quadr from Kathmandu to Calcutta under a false pretext. “The other descendants of the Awadh royal family wanted to snuff out the last crown king, even though there was nothing to inherit by then.”
There was a deeper conspiracy at play.
A dish of Awadhi biryani (image courtesy: Manzilat Fatima restaurant)
A poisoned dinner
“In order to snuff out this branch they cooked up a conspiracy along with the British and invited him and his family over for dinner where they laced the food with poison. In that tragedy, he, along with a son and daughter as well as his guards and dogs were murdered.”
Only Mehr Quadr’s wife, Mehtab Ara Begum, survived. She was pregnant with Manzilat’s grandfather and did not attend the dinner. “Had she gone for the dinner, the entire course of history would perhaps have been different,” says Manzilat.
Her grandmother, Mehtab Ara Begum, survived along with an unborn child – Manzilat’s father- and a daughter who was four years old at that time. The little girl grew up and married, but died childless. But the lineage of Wajid Ali Shah continued through Mehr Qadr and Manzilat’s father Kaukub Qudr Meerza.
“My lineage shaped me into a very loyal Indian,” she says. “We grew up hearing stories of valor of Begum Hazrat Mahal and Birjs Qadr and how, after 1857, (she) chose to live free in Kathmandu, Nepal. Our history helped us be grounded and honest. We learned the art of sacrifice.”
From lawyer to chef
Growing up, Manzilat heard stories about the tragedy and the conspiracy that destroyed her family – from their time in Lucknow until Birjs Qadr’s assassination, and how her grandfather was protected and grew up very sheltered because of the constant threat to his life.
Being a chef was not always the game plan. Manzilat studied at Aligarh Public School and graduated with an English (Hons) degree from Women’s College, Aligarh Muslim University. She enrolled at Calcutta University for her Master’s in English and a few years after her marriage, even completed a five-year LL.B course in 2002.
Chef Manzilat Fatima (image courtesy: (Umang Sharma)
Manzilat opened the doors to her kitchen to food lovers from all over the world. As the smoke rises from her tender Mutton Awadhi Galwtii Kebab, or tear-drop-shaped condensation rolls down her chilled Khus ka sherbet, or even as patrons savor the pillowy soft aloo in their biryani, Manzilat knows that she has not only served some delectable dishes but offered her guests a panoramic view into the world of her ancestors and what they stood for – the mighty Wajid Ali Shah, the indomitable Begum Hazrat Mahal.
In the fragrant aroma of her kitchen, Manzilat Fatima is the custodian of the legacy of the last Nawab of Awadh. Her guests experience more than just culinary delights; they immerse themselves in a narrative of courage, tradition, and the enduring spirit of Awadh.
source: http://www.indiacurrents.org / India Currents / Home> Food> India> Lifestyle / by Umang Sharma / April 26th, 2024
The last conversation between Kargil hero Naik Abid Khan and his wife Firdaus Begum was a poignant one.
“It was the morning of June 30, 1999, when my telephone rang .
I received the call, and on the other side, my husband Naik Abid Khan said, ‘Apna aur bachchon ka dhyan rakhna, mera wapas aana mushkil hai. Maine poochha aisa kyu bol rahe hain to wo bole mushkil hai aur duaa karna mere liye aur meri battalion ke liye’ (Take care of yourself and the children, it is difficult for me to come back.
When I asked why are you saying this, he replied it would be difficult to return and asked me to pray for his battalion).”
On July 5, 1999, two soldiers arrived at Firdaus Begum’s house and spoke to her father and father-in-law. Her father informed her that Abid’s leg was fractured, but she intuited that had it been merely a fracture, the army soldiers would not have come to inform them personally. Her worst fears came true when she was informed that her husband had been killed in action.
Sena Medal awardee Naik Abid Khan, a native of Moh-Kazi Sarai in Hardoi, was born on May 6, 1972.
After completing his early education, he joined the army on Aug 4, 988, at the tender age of 17. He was inducted into the 22 Grenadiers Battalion of the illustrious Grenadiers Regiment.
“Three months before Operation Vijay, he had come home on leave for 8-10 days during Bakrid. When he was leaving, he asked me to accompany him to the railway station to see him off, but I refused saying that I always feel very sad when he leaves and that I would have to return home from the station alone. I regret I didn’t go to see him off.”
“I was pregnant and had the responsibility of two daughters and a son. At that time, my elder daughter was seven, my son was five, and the youngest daughter was just two. Abid’s posting was in Hyderabad, but he was sent to Kargil. Twenty- five years have passed, but his uniform and one of his diaries still provides me the strength to live. On the last page of his diary, there are names of the soldiers from his battalion and all of them were killed in action,” she said.
During Kargil War, Abid was first shot in the leg, but he climbed the hill and fired indiscriminately at Pakistani bunkers, killing 17 enemy soldiers before succumbing to a second bullet that struck his neck.
In June-July 1999, Naik Abid’s unit was deployed in Batalik sector of Ladakh as part of Operation Vijay. The unit was functioning under the command of the 70 Infantry Brigade, with overall control being exercised by the 3 Infantry Division. The attack began on the night of June 30. Abid and his comrades led by Major Ajit Singh Shekhawat, managed to reach the objective but were counter-attacked by the enemy.
Heavily outnumbered, the Grenadiers fought continuously for three nights, inching forward, unmindful of the losses. The Pakistanis became impatient over Naik Abid Khan and his comrades’ resilience and asked their artillery to redouble the barrage. The fighting continued at an elevation of thousands of feet, amidst heavily fortified bunkers equipped with artillery and automatic weapons. The battle of Khalubar culminated in its capture.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> News> India News / by Fazal Khan, TNN / July 31st, 2024
Articles 29 & 30; Dr Sarfaraz Ahmed Khan highlights lesser-known articles protecting minority rights
NUJS’ Dr Sarfaraz Ahmed speaks on World Minorities Rights Day | eNewsroom
Kolkata:
December 18, holds great significance, as it marks the World Minorities Rights Day. The day serves as a reminder to those in power of their pledge to safeguard the rights of religious, racial, linguistic and ethnic minorities residing in their country.
In Kolkata, the day extended beyond Chief Minister Mamata Banerjee’s tweet and was celebrated across the city.
So, if a section of Jan Bazar had been cordoned off to allow the Congress Party to address the rights of minorities in India, then a little away from their location, Kolkata’s Mayor Firhad Hakim was addressing another group of people at a symposium on the ‘Inclusion of minorities is vital for sustainable democracy’ and little further away in Central Kolkata, All India Milli Council’s Kolkata chapter called for a yet another discussion on the road ahead for the minorities in India.
The panelists comprising Dr Sarfaraz Ahmed Khan, Associate Professor, National University of Juridical Science, Kolkata; Maulana Shafique Qashmish, VP AIMC, West Bengal, Rafay Siddique, convenor AIMC, Kolkata and Amaan Ahmed of AIMC.
The two-hour-long session aimed to raise awareness about December 18 and its significance. “The event is to raise awareness, promote understanding, and actively champion the rights of minority communities in India,” informed Maulana Qashmish.
Adding to that Dr Khan, spoke at length about the significance, evolution and the need for ‘The World Minority Rights Day’. “The whole idea of safeguarding the minority rights stems from the fact that no society can progress, if it is not inclusive,” Dr Khan.
“Our constitution was being drafted around the time the Universal Declaration of Human Rights was declared,so those drafting it took care of incorporating clauses to safeguard minority rights. It was to create an inclusive India,” he said.
Speaking about the Indian Constitution and its safeguards, he made the audience aware of two lesser-used but vital articles that protect minority rights. “Article 29 of the Constitution states that any section of Indian citizen having a distinct language, script or culture of its own shall have the right to conserve the same. Also, no citizen shall be denied admission into any educational institution maintained by the State or receiving aid out of State funds on grounds only of religion, race, caste, language or any of them.”
He elaborated on Article 30 of the Indian Constitution, which grants all minorities, whether based on religion or language, the right to establish and administer educational institutions of their choice. And the second clause of this article states that the State shall not, in granting aid to educational institutions, discriminate against any educational institution on the ground that it is under the management of a minority, whether based on religion or language.” However, he lamented over the fact that Muslims till date have been unable to use these two articles for their best.
“We the people of India, is a right given to the people of India by those drafting the Constitution. No government is going to put your rights on a platter before you. It’s upon the citizens on how they make sure that their rights and provisions are given to them,” said Maulana Qashmish.
Siddiqui mentioned, “Creating awareness about minority rights has become even more important today. Today, minority communities are facing a lot of issues right from the arrest of activists spearheading the CAA-NRC movement, the houses of those speaking against the government being bulldozed, drafting laws that are discriminatory among many other issues.” He added, “Hence, we have reached a point when we need to be aware of our rights and also the legal recourse to get them.”
On being asked what the panelists had to say about Umar Khalid and Khalid Saifi being behind bars even today, Dr Khan said, ‘What has happened is unjust. The prosecution team may struggle to present substantial evidence and in the end, they are likely to be acquitted. Sadly, by the time they are released their prime years will have been spent behind the bar.”
source: http://www.enewsroom.in / eNewsRoom / Home> Bengal> Inclusive India / by Staff Reporter / December 20th, 2023
Their work focused on Muslim women writers and their contributions to magazines in Kerala during the period.
Reading Rumours curators Haneena P A and Jazeela Basheer
Kozhikode :
Victorian-era English novelist and poet Mary Ann Evans famously adopted the pseudonym George Eliot to escape the constraints of social norms and patriarchy.
As times changed, female writers increasingly gained the courage to publish under their own names. However, in Kerala – a region still grappling with significant gender disparities – women defied the odds and entered the publishing industry as early as the 1900s. Yet, tracing the contributions of some, particularly Mappila women, proves challenging.
The exhibition titled Reading Rumours, held at Silk Street in Kozhikode, shed light on the hidden history of women’s involvement in Kerala’s print culture between 1900 and the 1950s. Curated by research scholar Haneena P A and exhibition designer Jazeela Basheer, the event is the result of two years of research by the collective Around The Sufrah. Their work focused on Muslim women writers and their contributions to magazines in Kerala during the period.
“Print culture flourished in Kerala from 1900 to 1950, and readership grew. But the contributions of women writers from this era have largely been overlooked,” Haneena told TNIE.
“Reading Rumours brings together the micro-histories of these women writers, encouraging visitors to engage with their stories and legacies.” The title, Reading Rumours, symbolises women’s quest for knowledge and their fight for recognition.
“Rumours are often seen as statements without a reliable source of truth, frequently associated with women. Much of women’s knowledge, history, and experiences are dismissed as mere gossip. The title is also a play on the traditional vayanashaala, or reading rooms, where men would gather to read and discuss,” Haneena explained.
The idea for Reading Rumours originated from a desire to present Haseena’s postgraduate thesis in a more accessible, popular format.
“This exhibition is an extension of my thesis, which focused on Mappila women in print. We are generally aware of only a handful of female writers from the early 1900s, but my research uncovered around 25 Muslim women who were actively involved in writing for magazines and other publications,” she said.
The three-day exhibition, which began on October 4, received enthusiastic support from the public. “The response has been overwhelming,” Haneena noted.
“Many visitors expressed surprise at discovering the significant role Muslim women played in Kerala’s early print culture,” she said.
source: http://www.newindianexpress.com / The New Indian Express / Home> Kerala / by Lakshmi Athira / October 07th, 2024
Udupi district Muslim Okkoota (R) will host an award ceremony to recognize individuals who have made significant contribution to society and various communities meeting at Basel Missionaries Memorial auditorium on November 10.
Mohammed Idrees, general secretary Udupi district Muslim Okkoota, addressing the media in the press meet held on October 14 said, “The awards include the ‘Manava Ratna’ for those who have upheld human values and the ‘Seva Ratna’ for social service, and also introduced a new award this year the ‘Souharda Ratna,’ aimed at honouring those who work towards communal harmony.”
Sasikanth Senthil, a former deputy commissioner of Dakshina Kannada and current member ofparliament, has been selected for the ‘Manava Ratna’ award. The ‘Seva Ratna’ will be awarded to K S Nisar Ahmed, a businessman originally from Karkala who has made his mark in Dubai. Additionally, Fr William Martis, a Christian clergyman and social activist from Udupi, will be the first-ever recipient of the ‘Souharda Ratna’ award.
In addition to the awards, six individuals who have made outstanding contributions in various fields such as education, literature, folklore, organization, and social service will be honored. Among them are a distinguished writer and speaker Dr Gananath Ekkar, political leaders Saraswati D Bangera and Sarala Kanchan, a Dalit leader and social activist Annappa Nakre, and social workers Nityananda Olakadu and Haseenaru Kodi Kundapura, who have dedicated their lives to serving the marginalized.
The awards will be presented by Karnataka’s minister for women and child development and Udupi district in-charge minister Lakshmi Hebbalkar. The keynote address will be delivered by a folk scholar and chairman of the Kannada Development Authority Dr Purushotham Bilimale. The event will be inaugurated by chancellor of Yenepoya University Abdulla Kunhi, president of the Udupi District Muslim Federation Yaseen Malpe will deliver a vote of thanks. Principal of Baraka International School and College B S Sharafuddin, will preside over the ceremony. The event will be coordinated by S K Iqbal Katapadi, with Iqbal Manna as co-coordinator and Ismail Hussain overseeing the programme.
Notable guests include former ministers Vinay Kumar Sorake and Jayaprakash Hegde, alongside other dignitaries such as honorary president Udupi district Muslim Okkoota Haji Abdulla Parkala, president Karnataka Allied Health Council Dr U T Iftikhar, businessman Prasad Raj Kanchan, Afroze Assadi Dubai, president Sahabalve K Phaniraj, organization secretary Karnataka state Dalith Sangharsh Committee Sundar Master, president Sugamya district women’s federation Gracy Coellho, and principal of Kodi BEd College Dr Firdose.
Treasurer Udupi district Muslim Okkoota Sayyad Farid, secretary Ismail Sheik, vice president Salauddin Abdula, member Daffrulla, event coordinator Iqbal Manna and zilla panchayath member Abdul hajid Udyavara, were present in the press meet.
source: http://www.daijiworld.com / Daijiworld.com / Home>Karnataka / by Daijiworld Media Network – Udupi (TP) / October 14th, 2024
The deadline to submit applications for entry into the post-matriculation boys’ and girls’ hostels under the Minority Welfare Department for the current academic year (2024-25) has been extended to November 11.
Pre-university (PUC), parallel course, professional course, graduation and post-graduation students may apply for accommodation at the hostels, under the State Scholarship Programme, the authorities have said in a press release, adding that the applications are provided on the State Hostel Portal (SHP) site.
Additional information on applying for accommodation at the hostels is available on the SHP site. The applicants may also approach the government personnel at the district and taluk offices of the Minority Welfare Department, the press release has stated.
source: http://www.english.varthabharati.in / Vartha Bharati / Home> Karnataka / by Vartha Bharati / October 15th, 2024
Prestige International School & PU College has been recognized for its excellence in education, winning the Most Promising Implementation of Learning Tools award at the India’s Top Prestigious School Jury Awards 2024.
The award was presented during the educators’ summit organised by Education Today on 4th October 2024 at The Lalit, Mumbai.
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Oral historian Sohail Hashmi into a new wave of dissent in Urdu poetry at a Delhi workshop earlier this month. ‘It’s asking important questions, raising serious issues.’
Heritage conservationist Sohail Hashmi reading out poems by contemporary Muslim writers at his Urdu poetry workshop earlier this month | Photo: Heena Fatima | ThePrint
New Delhi:
In a quiet corner of Delhi’s Neb Sarai, a small band of Urdu poetry lovers gathered for an evening of verse. But this time, it wasn’t love or heartbreak in the air—it was words of protest, identity, and defiance.
At his Urdu poetry workshop at the NIV Art Centre on a September Sunday, oral historian and heritage conservationist Sohail Hashmi skipped nostalgic classics by the likes of Rahat Indori, Parveen Shakir, and Munawwar Rana. Instead, he chose hard-hitting political poems by contemporary Muslim poets to demonstrate how modern Urdu poetry is changing.
“After the 1992 Babri Masjid incident, there was a major shift in Urdu poems. Urdu poets are now questioning the dominant narrative constructed in the society about minority communities,” Hashmi told ThePrint.
Seated on a plush blue chair placed on a Persian rug, Hashmi explained to the audience that Urdu nazms (poems) have become a space for protest. He said there are two broad streams of Urdu poetry.
The first category includes poetry with beautiful rhymes and words, making it easy for readers to remember. Its main themes revolve around love and the pain of separation.
The second category, which he called “poetry of thought”, tackles deeper, more serious issues.
“This poetry is asking important questions, raising serious issues,” Hashmi said. “And it’s the kind of poetry that the mainstream does not acknowledge.”
Throughout the workshop, Hashmi let the poetry speak for itself by reciting works from several contemporary poets, including Ibn-e-Insha, Gauhar Raza, Nomaan Shauque, and Ikram Khawar.
‘Blunt and merciless’
New Urdu poetry is more about thought than pure emotion. This poetry, said Hashmi, is both a political commentary and a snapshot of “new India” through Muslim eyes. And many poems address the “Muslim identity crisis”.
One such poem, by Ikram Khawar, is titled Haan Main Musalmaan Hoon (Yes, I am a Muslim). Hashmi picked up a volume from the table and read aloud:
Haan main musalmaan hoon
Nahi kahoonga main, jaise tum insaan ho
Bagair kisi sharm ya duhai ke,
Bagair kisi safai ke
Main khud ko dekhne se inkaar karta hoon, tumhari aankh se
(Yes, I am a Muslim
I won’t say, like you, that I am human
Without shame or plea,
Without any justification,
I refuse to see myself through your eyes).
After finishing the poem, Hashmi explained that it rejects the imposed, stereotypical image of Muslims and challenges the dominant narrative. The refusal to see oneself through the lens of others, he said, is an act of defiance.
One woman in the audience expressed concern: “That’s the protest in the poem, but this kind of poetry is being pushed out of the mainstream.”
Hashmi, however, countered that while this poetry may not be amplified in popular culture, it has become the dominant voice in contemporary Urdu literature.
“Genuine poetry rarely reaches mainstream platforms—it doesn’t appear on news or TV channels. Instead, it finds its place in literary magazines and circles, and thrives in poet gatherings,” he said.
He added that much of what gets wider exposure is often confined to superficial themes, while deeper, uncomfortable subjects in Urdu and Hindi are pushed into niches where they are appreciated only by a few.
Hashmi then recited Nomaan Shauque’s Lakshman Rekha, a poem that asserts free will in a time when even personal choices—like diet—are policed. It strikes a rebellious note:
Nahi, aap nahi samjha sakte mujhe jeene ka maqsad
Nahi bata sakte, kitni door tehelna
Kitni der kasrat karna zaroori hai, tandrust rehne ke liye
Khane ke liye, gosht munasib hai,
Ya saag, sabziyan
Rone ke liye munasib jagah, daftar hai ya bathroom,
Mujhe samjhana mushkil hai
(No, you cannot explain the purpose of my life to me.
You cannot tell me how far to wander
Or how long to exercise to stay healthy.
Whether meat is suitable for eating,
Or if vegetables are better.
Where it’s appropriate to cry, whether an office or a bathroom.
It’s difficult to explain these things to me).
Hashmi pointed out that poems on victimhood and oppression are becoming less common in Urdu. While these performed a cathartic role for those feeling helpless due to the “government’s marginalisation of minorities”, there’s a new trend now.
“Urdu poetry is moving away from generality toward specificity,” he said. “These questions (in poems) are very direct, addressing the issue bluntly and absolutely mercilessly.”
Shrinking spaces, empty chairs
The COVID-19 lockdown, the Citizenship Amendment Act (CAA), and the rise of religion-based politics have given poets new urgency. Across languages, from Urdu and Hindi to Oriya, poetry has become a space for asking hard questions, according to Hashmi.
Hashmi recited Darsgah (Academy), a poem by scientist Gauhar Raza, which addresses the 2020 attack on JNU students during the anti-CAA protests:
Darsgahon pe hamle naye to nahin
In kitabon pe hamle naye to nahin
In sawaalon pe hamle naye to nahin
In khayalon pe hamle naye to nahin
Gar, naya hai kahin kuch, to itna hi hai
tum mere des mein laut kar aaye ho
par hai surat wahi, aur seerat wahi
sari vehshat wahi, sari nafrat wahi
kis tarha chupaoge pehchan ko?
gerue rang mein chup nahi paoge
(Attacks on colleges are not new, Attacks on books are not new, Attacks on questions are not new, Attacks on ideas are not new. If something is new, it is only this:
You have returned to my country, But the appearance and character remain the same, The same savagery, the same hatred. How will you hide your identity? You cannot conceal it in the colour saffron).
Hashmi then criticised Hindi kavi sammelans (poetry conventions), for promoting misogyny. He said many of these events focus more on storytelling than actual poetry.
“They mock overweight, bald, and dark-skinned people. The audience claps along claps and enjoys it without questioning,” he said.
He also weighed in on the erosion of literary spaces— Hindi and Urdu poets are emerging and voicing dissent but they struggle to find a platform. Because many publishing houses are shutting down or playing it safe, and demand for books is low, many new writers have to pay to get their work published.
Ironically, Hashmi’s event had a low turnout, with only five attendees—something that surprised the organisers. Aruna Anand, co-founder of the NIV Art Centre, told ThePrint that their monthly art sessions are usually full, attributing the empty chairs to the wider crisis confronting the Urdu language.
But Hashmi was not overly perturbed. He argued that poetry that addresses deep social questions will ultimately prevail and even revive the language.
“The poetry of thought is the poetry that eventually survives,” he said.
(Edited by Asavari Singh)
source: http://www.theprint.in / The Print / Home> Features> Around Town / by Heena Fatima / September 28th, 2024
