Fondly called ‘Mammukka’ by his fans and those close to him, the 74-year-old actor described the award as ‘unexpected’.
Malayalam superstar Mammootty, who was conferred the Padma Bhushan on Sunday, said he was “very happy” and that there was “nothing greater than the country honouring one”.
Fondly called ‘Mammukka’ by his fans and those close to him, the 74-year-old actor described the award as “unexpected” while speaking to a TV channel.
Wishes poured in on social media as news spread about the honour, which was conferred on Mammootty for his contributions to the field of art. “My friend Mammootty has now become Padma Bhushan Mammootty. Congratulations to my friend,” actor-politician Kamal Haasan wrote on X.
“Congratulations, Mammukka! And thank you for showing us how boundaries are broken, and challenges are taken up with a smile! You’re our pride and one of a kind,” actress Manju Warrier wrote in a Facebook post.
Later, at the Kerala State Film Awards ceremony, Mammootty was congratulated by Chief Minister Pinarayi Vijayan and Culture Minister Saji Cherian. In his address at the event, Vijayan said Mammootty had been honoured by the country with the Padma Bhushan.
“The Kerala cabinet is happy it could take part in this joyous development, as we have been recommending him for the award for the past several years. Everything has its time. Heartfelt congratulations to him. No one in the history of Indian cinema has performed such diverse characters as he has,” the Chief Minister said.
Mammootty has acted in over 400 films across languages including Malayalam, Tamil, Telugu, Kannada, Hindi and English, in a career spanning more than five decades.
He is a recipient of three National Awards, several state awards, and two honorary doctorates, apart from Padma Shri.
Mammootty made his film debut in 1971 with Anubhavangal Paalichakal. His most recent big-screen outing was Kalamkaval.
source: http://www.telegraphindia.com / The Telegraph Online / Home / by The Telegraph, Entertainment Web Desk / January 26th, 2026
My joy is like that of a labourer who goes to work in the morning and receives his wages the same evening,” said Ghafruddin Jogi Mewati, a traditional singer, who has been selected for this year’s Padam Shri award by the government of India.
Ghaffaruddin, 68, has showcased his art for more than half a century, from the rugged lanes of Mewat to the seven seas. As soon as the announcement of the coveted award poured in, Ghafruddin, a resident of Alwar, was overwhelmed with emotion.
Memories of him wandering barefoot through the villages of Mewat, playing the bhapang (A traditional string instrument) and begging for flour, flashed in his mind. Today, he feels that he has received the wages for all that hard work he did to keep a traditional art form alive.
He feels the Padam Shri is not just an honour for an individual, but for the centuries-old Mewati culture, the legacy of the Jogi community, and the rhythm of the bhapang, which is on the verge of extinction.
The Mewat region, which straddles the borders of Haryana and Rajasthan, possesses a unique identity as a syncretic culture.
Here, the Jogi community, who are Muslims, has, for generations, sung episodes from the Mahabharata and other folk tales.
#WATCH | Folk artist Gafruddin Mewati Jogi, awarded the Padma Shri in the field of art, said the honour marks the culmination of a lifelong struggle.
He recalled learning and preserving the art by travelling with his father, passing it on to others, and continuing the… pic.twitter.com/xiYDWTOqSQ— DD News (@DDNewslive) January 26, 2026
Ghafruddin is one of the strongest exponents of this tradition. He says, “Stay connected to your language, culture, and folk art; that is our true identity.” For him, this honour is a debt he owes to the soil of Mewat, which nurtured him during his days of struggle.
Born in Kaithwara village in the Deeg district of Rajasthan, Ghafruddin’s childhood was no less dramatic than a film script. His father, the late Budh Singh Jogi, was an accomplished artist. At the tender age of four, when children usually play with toys, his father placed a ‘bhapang’ in Ghaffaruddin’s hands.
The Bhapang, which resembles a small drum but has a single string, is considered an evolved form of Lord Shiva’s damru (a small hourglass-shaped drum). Playing it requires an extraordinary coordination of abdominal muscles, fingers, and vocal rhythm.
As a child, he learned by travelling from village to village with his father, sitting in village squares, and listening to folk tales.
They had to beg for grain and flour in villages to support the family. Those were difficult days, but the rhythm of the Bhapang never let him lose hope.
The most significant aspect of Gafruddin Jogi’s art is his rendition of the Mahabharata. Remarkably, a Muslim artist sings the epic of Lord Krishna and the Pandavas with such devotion and purity that the listener is completely captivated. Alwar and the surrounding areas are historically linked to ‘Viratnagar,’ where the Pandavas spent their period of exile.
When Gaffaruddin narrates these folk tales in the Mewati dialect, history comes alive. His art has proven that music and culture know no religious boundaries.
The year1992 marked a major turning point in his life. He travelled abroad and performed for the first time. There has been no looking back since then.
He carried the sound of Bhapang to over 60 countries, including England, Australia, Canada, France, and Dubai. When he played Mewati folk tunes at an event celebrating Queen Elizabeth’s birthday in London, even the foreign audience was captivated by the magical rhythm.
When the call on his mobile came, he initially thought someone was playing a prank on him, but when the news was confirmed, he was emotional. He dedicated the award to the Mewat region and the Jogi community.
#WATCH | Alwar, Rajasthan: On being conferred with the Padma Shri 2026 in the field of art, folk artist Gafruddin Mewati Jogi says, “I am very happy that the struggle of my life has finally yielded results, and I have received this recognition… For seven years, I went from… pic.twitter.com/66UQBRb4W5
Today, the eighth generation of his family is carrying on this art form. His son, Dr Shahrukh Khan Mewati Jogi, has not only learned music but also earned a PhD on the culture of Mewat. While many traditional art forms are fading away, Ghaffaruddin’s family is keeping this flame alive.
Ghafruddin Jogi Mewati wants to open a school for folk arts. He wants the government to provide him with land where he can teach the new generation the art of playing the Bhapang, Mewati folk singing, and their traditional stories.
He says that if the younger generation does not stay connected to its roots, we will lose our identity. He says receiving the Padma Shri is not the destination for him, but the beginning of a journey that he wants to continue until his last breath.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Younus Ali, Alwar / January 28th, 2026
The new Mumbai Municipal Corporation (Brihanmumbai Municipal Corporation 2026 or BMC 2026) to have 01 more Muslim corporator as compared to the community’s tally last time.
[Imran Pratapgarhi, Member of Rajya Sabha from Maharashtra and National Chairman Congress Minority Department, leading a rally in support of Congress candidates in Mumbai]
BMC 2026 Final Result:
The new Mumbai Municipal Corporation (Brihanmumbai Municipal Corporation 2026 or BMC 2026) to have 01 more Muslim corporator as compared to the community’s tally last time.
A total of 29 Muslims from different parties had won the 2017 BMC elections. As against this, number of Muslims in the Mumbai Mahanagar Palika 2026 is 30, as per the final election result announced by the Maharashtra State Election Commission Saturday.
Of the total 30 Muslim Corporators who have won the 2026 Mumbai Municipal Corporation Elections the maximum 13 are from Congress, 07 are from Asaduddin Owaisi’s All India Majlis e Ittehadul Muslimeen (AIMIM), 03 each are from NCP (Ajit Pawar) and Shiv Sena (UBT), 02 are from Samajwadi Party (SP) and 02 each from Shiv Sena (Eknath Shinde) and NCP (Sharad Pawar).
List of Muslim Corporators in Mumbai Corporation
Following is the party-wise full list of Muslim corporators in Mumbai.
Muslim Corporators of Nationalist Congress Party (NCP Sharad Pawar)
30. Bushra Nadeem Captain Malik (Ward No. 170)
What is important is that the Muslim candidates have won the BMC 2026 elections from all parties – including Congress, AIMIM, Samajwadi Party, NCP (Ajit Pawar), NCP (Sharad Pawar) and also from Shiv Sena (Eknath Shinde) and Shiv Sena (Uddhav Thackeray or UBT).
This is a clear message to the BJP, which because of its communal agenda and hate for Muslims does not give the party tickets to Muslims, and gives an excuse that the community does not vote for it.
Along with the Mumbai Municipal Corporation (BMC), civic body elections were also held in 28 other corporations of Maharashtra.
As per the final result announced by the state election commission, out of the total 2,869 seats, the BJP has won 1,420 seats, Shiv Sena (Eknath Shinde) 375, Congress 329, NCP (Ajit Pawar) 175, Shiv Sena (UBT) 160, AIMIM 125, NCP (Sharad Pawar) 40 and MNS just 13 seats. (The result of some seats have not been announced.)
source: http://www.ummid.com / Ummid.com / Home> Maharashtra / by ummid.com news network / January 18th, 2026
Chief Minister Siddaramaiah paid his last respects to Hazrat Maulana Sagheerr Ahmed Khan Rashadi, Amir-e-Shariat of Karnataka and rector of Darul Uloom Sabilur Rashad, expressing deep grief over his passing. He conveyed condolences to the bereaved family and prayed for strength and patience during the period of mourning.
Recalling the life and work of the late scholar, the Chief Minister said Maulana Rashadi devoted his entire life to Islamic education, moral guidance, and the cause of communal harmony. He described him as a respected religious scholar and social leader whose influence reached far beyond classrooms and institutions. According to Siddaramaiah, the Maulana’s scholarship and counsel shaped generations of students and earned respect across religious and social communities.
Several senior leaders and officials attended the prayers, including Ministers K J George and Zameer Ahmed, Chief Minister’s Political Secretary Naseer Ahmed, and Additional Chief Secretary Anjum Pervez. Their presence underlined the regard held for the late Maulana within the administration and public life.
Community leaders also joined the gathering. Among them were Dr Belgami Mohammed Sa’ad, state president of Jamaat-e-Islami Hind Karnataka, Maulana Ifteqar Qasmi, president of Jamiat ul Ulema Karnataka, along with scholars and representatives from different walks of life.
The mortal remains of Maulana Sagheerr Ahmed Khan Rashadi were laid to rest at the burial ground within the Darul Uloom Sabilur Rashad campus.
The funeral prayer drew thousands of students from across Karnataka, fellow scholars, and members of the public.
His son, Maulana Zubair Ahmed Khan, led the prayer in an atmosphere marked by grief and reverence.
Speakers described the late Maulana as a symbol of knowledge, humility, and lifelong service whose legacy will guide future generations.
source: http://www.radiancenews.com / Radiance News / Home> Latest News> Report / by Radiance News Bureau / January 14th, 2026
A meeting of the Pharmacy Wing of All India Unani Tibbi Congress (AIUTC), New Delhi, was held under the chairmanship of Hakim Arbabuddin (Sadar Dawakhana), at the clinic of Hakim Uzair Baqai in Daryaganj here.
Addressing the meeting, the Secretary General of All India Unani Tibbi Congress, Dr. Syed Ahmad Khan, emphasised that classical medicines should be used as much as possible in clinical practice. He also stressed that Unani pharmaceutical institutions must ensure that Urdu is printed on the packaging of medicines, as Urdu and Unani medicine are inseparable. He said that Urdu is the identity of Unani medicine and a matter of pride for India. He further stated that Urdu originated and flourished in India, and therefore there is a need to remain sensitive towards the language. He added that Unani medicine is in its best condition in India, and today India is the global leader in this field.
On the occasion, preparations for the World Unani Medicine Day programme scheduled to be held in Lucknow on February 12 were reviewed.
Prominent participants in the meeting included Dr. Zakiuddin, Dr. Shakeel Ahmad Meerathi, Dr. Ghiyasuddin Siddiqui, Dr. Mufti Javed Anwar, Dr. Mirza Asif Beg, Dr. Faheem Malik, Hakim Naeem Raza, Hakim Mohammad Murtaza Dehlvi, Israr Ahmad Ujjaini, and Mohammad Imran Qanooji, among others.
The vote of thanks was presented by Hakim Uzair Baqai, National General Secretary of the Pharmacy Wing of the All India Unani Tibbi Congress.
source: http://www.radiancenews.com / Radiance News / Home> Latest News> Report / by Radiance News Bureau / January 14th, 2026
Coming from a small town and making a mark on the national scene, writer-journalist Tasneem Khan brings women’s concerns to the forefront through her journalism and literature. Her narratives are sensitive, clear, and attempt to offer solutions. Her writing and television programmes do more than narrate women’s struggles; they challenge social mindsets and inspire change.
Here are excerpts from an exclusive conversation with her:
Let’s begin with Bwalistan. What is it about?
Bwalistan is a collection of stories rooted in Rajasthan, particularly its desert life. These stories belong to a distinct literary tradition that deeply portrays the complexities and struggles of life in the Thar Desert. Rajasthan’s desert is not just a physical landscape—it is defined by its people, culture, traditions, and way of life, all of which give it a unique identity.
Coming from a small town, it isn’t easy to make a mark in journalism and literature. How did your journey begin?
A: It’s true that paths have never been easy for women. I come from Didwana tehsil in Rajasthan’s Nagaur district. Though I grew up in a small town, my parents were educated, and our home had a culture of reading and learning. My mother’s love for books shaped me deeply. Growing up among books sharpened my ability to think, debate, and reason. I also won several awards during my school and college years.
When did you choose journalism as a career?
I formally entered journalism in 2005. From the very beginning, I was drawn to women-centric issues. I consistently wrote on gender sensitivity, domestic violence, and women’s social rights. For me, journalism is not just about reporting news; it is about engaging in dialogue with society.
Your television programmes gained special recognition. Could you tell us about them?
A: I hosted a programme called Samar Shesh Hai, which discussed women’s social and political concerns. Later, my regular show on Patrika TV, Aadhi Duniya, Poori Baat – with Tasneem Khan, became quite popular. The aim was to present women not merely as victims, but as thinking, reasoning individuals.
For which report did you recently receive the Ladli Media Award?
I received the award for my show “When Will Domestic Violence Go into Lockdown?”, presented by Population First and UNFPA. The jury felt the report exposed a harsh truththat during lockdown, women faced another terrifying pandemic inside their homes: domestic violence.
Your writing focuses less on complaints and more on solutions. How did this approach develop?
I don’t want to merely describe women’s pain. I believe writing should point toward solutions. If even one woman finds a way forward through my work, I would consider my life meaningful.
You began novel writing in 2015. How special is Mere Rehnuma to you?
A: Mere Rehnuma is extremely close to my heart. Published by the Jnanpith Trust, it was selected in a young writers’ competition. I became the second woman writer from Rajasthan whose debut novel was published by Jnanpith. Through this novel, I tried to establish that women’s empowerment cannot come through financial independence alone without a change in social mindset, empowerment remains incomplete.
Research has been conducted on this novel. How did that feel?
A: It was a matter of great pride that Mere Rehnuma became the subject of PhD and MPhil research. It reaffirmed my belief that my writing has connected at both academic and social levels.
Could you tell us about your other works and awards?
A: My short story collection Dastaan-e-Hazrat Mahal was published in 2019 and earned me the Chandrabai Award. In 2021, I received the Shakuntalam Award from the Rajasthan Progressive Writers’ Association. My stories have been translated into several languages. Rukh-e-Gulzar was translated by the Indian Translation Council, while The Blue of Silence was published in a Pakistani Urdu magazine and won the Mirror Award. My story My Share of Moonlight will soon appear in a collection by Oxford University Press.
What is your writing process like?
I observe people around me very closely their characters, pain, and struggles shake me from within. Until that restlessness finds words, I find no peace. That unrest gives birth to my stories.
What role did your parents play in your life?
My parents have been my greatest support. At difficult turns, they always encouraged me. I firmly believe parents’ education plays a decisive role in shaping a child’s future. I have seen many girls unable to move ahead simply because their parents did not value education.
The heroine of Mere Rehnuma is in search of liberation. How do you view this liberation?
A: For me, liberation is not just personal; it is social. Until society learns to accept strong women, their freedom will remain incomplete. If my writing can guide even one woman in this direction, that will be my greatest achievement.
You recently interacted with readers during the ‘Chaturang #LockdownLive’ session on Facebook. How was that experience?
The Rajasthan Forum organised the session. I spoke openly about my education, career, and literary journey. I emphasised that becoming a writer requires years of preparation, deep reading, and psychological analysis of society. I also read excerpts from my novel Ai Mere Rehnuma. The interaction was deeply personal and immensely inspiring for me.
Tasneem Khan’s journey shows how words, when driven by empathy and purpose, can challenge patriarchy, reshape thought, and quietly spark a revolution, one story at a time.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Onika Maheshwari, New Delhi / January 19th, 2026
Manjit Thakur, Director of the Kayamkhani Bravehearts
New Delhi :
“There is no Kayamkhani who has been hit with bullets in his back,” says a veteran of the Indian Army, who like many others of his community have dedicated his life to uniform, discipline, and service to the nation.
This documentary, Kayamkhani Bravehearts is the saga of the Kayamkhani, a Muslim community from Rajasthan, whose first preference for a career is military or Police and who consider service to the nation as a matter of pride and responsibility. For them, patriotism is not just a slogan, but a tradition passed down through generations. The documentary is documentation of the story of these valiant sons of the soil who defended the country at the border, faced enemy bullets head-on, and who consider martyrdom an honour.
The first glimpse of the documentary, a 33-second teaser, is enough to send shivers down the spines of viewers. The teaser suggests that this film will not merely be a presentation of facts but an experience steeped in emotion, sacrifice, and patriotism. Watching it, viewers will not only be filled with pride but will also be compelled to understand that in defending the nation, only duty matters, not religion.
The history of the Kayamkhani Muslim community of Rajasthan is replete with valour, discipline, and service to the nation. Almost every family in this community has been connected to the armed forces in some way. The dream of the youth here is not to become a big businessman or an officer in a high-ranking government position, but to serve their motherland by joining the Indian Army, paramilitary forces, or the police.
Watch the teaser here:
Manjit Thakur, director and screenwriter of the documentary, states that soldiers from the Kayamkhani community have so far earned four Shaurya Chakras, 18 Sena Medals, and five Vishisht Seva Medals.These figures would be a source of pride for any community, but for the Kayamkhanis, they represent not just honour, but a symbol of responsibility.When it comes to sacrifice, this community has not lagged.
In Danduri village, which is now known as the “village of soldiers,” 18 Kayamkhani Muslims were martyred for the country. Similarly, 10 martyrs each from Jhajhot and Nua villages also laid down their lives for their motherland. These figures are not just numbers, but represent the tears of those mothers, the pride of those families, and the essence of the soil that gave birth to such brave sons.
The documentary presents the stories of these martyrs in a deeply sensitive and impactful manner. The camerawork, editing, and graphics are of a high standard, emotionally connecting the viewers to the narrative. Research, hard work, and authenticity are evident in every frame.
Before making this documentary, the Awaz-The Voice team conducted comprehensive research. Under the leadership of Editor-in-Chief Atir Khan, the team spent a long time researching, delving into history, and understanding the ground realities. The documentary was shot over several days in different villages of Rajasthan. The filming continued late into the night to present the true lifestyle, struggles, and pride of this community to the world.
The documentary also reveals several surprising facts. For example, Kayamkhani Muslims consider cows their most valuable asset and cannot even imagine harming them. This fact shatters the stereotypes that are often formed in society without proper understanding.
Manjit Thakur recounts that when the team arrived in the Kaimkhani villages, they were welcomed with a sense of pride and warmth. The villagers not only welcomed them wholeheartedly but also openly shared their stories, pain, and pride. This trust became the soul of the documentary.
Speaking about the documentary’s objective, Atir Khan sais that in today’s world, negativity has become the unique selling proposition of news. In this environment, Awaz-The Voice is the sole platform which brings forth positive stories of cooperation, and peaceful coexistence from India and around the world.
Awaz team with locals in a Rajasthan Village
He believes that beyond the walls of faith, caste, region, and language, Indians have many shared concerns, challenges, and dreams for the future that have the potential to bring people and communities together. Awaz-The Voice’s content promotes progressive, positive, and nation-building ideas not only in India but also among Muslim communities abroad.
This documentary is an extension of that very idea—an attempt to amplify the voice of true patriotism, a voice often drowned out by the noise of hatred. This film reminds us that the uniform has no religion, and every drop of blood shed for the country is purely Indian.
On release, this documentary will undoubtedly not only move viewers but also make them think, feel proud and energise them to serve the nation. This is not just the story of the Kayamkhani community, but the story of an India where the country comes first.
source: http://www.awazthevoice.in / Awaz, The Voice / Home> Stories / by Manjit Thakur / posted by Aasha Khosa, ATV / January 17th, 2026
Muslim Mirror’s 100 Most Influential Muslims of 2025
New Delhi:
Muslim Mirror has released its much-anticipated annual list of the “100 Most Influential Indian Muslims of 2025,” spotlighting individuals who have made significant contributions to India’s public life across a wide spectrum of fields including politics, culture, education, business, media, religion, sports, and social service. Now in its second edition, the list aims to document influence not merely as power or popularity, but as sustained impact, leadership, and the ability to shape public discourse.
A defining feature of the 2025 edition is the growing prominence of younger achievers, signalling a visible generational shift within Indian Muslim leadership. Alongside established national figures, the list includes emerging voices who have built influence through grassroots activism, professional excellence, digital platforms, legal advocacy, education, and community engagement. Editors associated with the project said this was a deliberate attempt to recognise new centres of influence beyond traditional hierarchies.
The list reflects the diversity and plural character of Indian Muslim society, cutting across geography, ideology, profession, and language. From seasoned politicians and religious scholars to artists, entrepreneurs, academics, and social reformers, the compilation offers a broad snapshot of leadership trends at a time when issues of representation, constitutional values, and social justice remain central to national debate.
Representation Across Sectors
The 2025 list features several eminent academicians and intellectuals who have shaped higher education, policy discourse, and social research. Among them are Abul Qasim Nomani, Ameerullah Khan, Furqan Qamar, Shahid Jamil, and Ubaid-ur-Rahman, recognised for their contributions to education, public policy, and academic leadership.
In the business and entrepreneurship category, the list includes influential names such as Azad Moopan, Azim Hashim Premji, Farah Malik, Irfan Razack, M. P. Ahammed, Mecca Rafiq Ahmed, Meraj Manal, Syed Mohamed Beary, P. Mohammed Ali, Shahnaz Hussain, Tausif Ahmad Mirza, Yusuff Ali, and Ziaullah Sharif. Their inclusion underlines the growing economic footprint of Indian Muslim entrepreneurs, both domestically and globally, spanning sectors from retail and healthcare to infrastructure and consumer goods.
Community leadership remains a strong pillar of the list, with figures such as Arshad Madani, Mahmood Madani, Malik Motasim Khan, Mehmood Pracha, Syedna Mufaddal Saifuddin, Navaid Hamid, Pirzada Md Abbas Siddiqui, Qasim Rasool Ilyas, Sadatullah Husaini, Umer Ahmed Ilyasi, and Yusuf Mohamed Abrahani recognised for their roles in religious guidance, legal advocacy, social mobilisation, and institutional leadership.
Culture, Media, and Public Discourse
In arts and entertainment, globally recognised names such as A. R. Rahman, Aamir Khan, Mammootty, Munawar Faruqui, and Shah Rukh Khan continue to command immense cultural influence, shaping narratives that extend well beyond cinema and music into social consciousness.
The list also acknowledges the growing importance of media and journalism in shaping opinion and challenging dominant narratives. Journalists and commentators such as Arfa Khanam, Irfan Meraj, and Seema Mustafa are recognised for their consistent engagement with issues of democracy, minority rights, and constitutional values.
Religious and Intellectual Scholarship
A significant section of the list is devoted to Islamic scholars and religious thinkers, reflecting their continued influence on moral leadership and intellectual discourse. Names such as A. P. Aboobacker Musliyar, Qasim Nomani, Prof. Akhtarul Wase, Asghar Ali Imam Mahdi Salafi, Asjad Raza Khan, Ibraheem Khaleel Al-Bukhari, Javed Jamil, Khalid Saifullah Rahmani, Khaleelur Rahman Sajjad Nomani, Qamaruzzaman Azmi, Rashid Shaz, Shakir Ali Noori, Shamail Nadvi, and Yasoob Abbas find place for their scholarly work, writings, and public engagement.
Politics and Governance
The political category features leaders cutting across party lines and regions, including Asaduddin Owaisi, Ghulam Nabi Azad, Hamid Ansari, Mehbooba Mufti, Omar Abdullah, Salman Khurshid, Najeeb Jung, Syed Naseer Hussain, Engineer Rashid, Akhtarul Iman, Iqra Hasan, Zameer Ahmed Khan, Rakibul Hasan, K. Rahman Khan, Kadir Mohideen, Mohibullah Nadvi, Md Shafi, Agha Mahadi, Asim Waqar, and Sadiq Ali Shihab Thangal. Their inclusion reflects influence exercised through electoral politics, governance, diplomacy, and legislative advocacy.
Changemakers and Social Reformers
One of the most dynamic sections of the 2025 list is that of changemakers and social reformers, featuring individuals such as Safeena Husain, Shahabuddin Yaqoob Quraishi, Syeda Hameed, Zameer Uddin Shah, Mahbubul Hoque, Sabahat S. Azim, Mehmood Pracha, Faiz Syed, and Zahir Ishaq Kazi, among others. Many of these figures have earned recognition through long-term grassroots work rather than formal authority.
International Booker Prize 2025 winner Banu Mushtaq for Heart Lamp, along with renowned poet Wasim Barelvi, has been placed in the category of Literary Figures.
In sports, iconic names Sania Mirza and Irfan Pathan continue to inspire younger generations through excellence and public engagement beyond the playing field.
Beyond Rankings
The editors emphasised that the list does not claim to be exhaustive, nor does it measure influence solely through fame, wealth, or official position. Instead, it seeks to capture real-world impact, moral authority, intellectual contribution, and the ability to shape conversations within and outside the community.
The annual list has increasingly become a reference point for understanding evolving leadership patterns among Indian Muslims. By foregrounding both established figures and rising talents, the 2025 edition reflects continuity as well as change, underscoring how Indian Muslims continue to contribute meaningfully to India’s democratic, cultural, and social field.
source: http://www.muslimmirror.com / Muslim Mirror / Home> Indian Muslim / by Muslim Mirror / January 15th, 2026
From a small-town reporter in Sathupally to a voice of conscience in the city, Mohammad Mujahid’s journey is a lyrical testament to the power of the written word in an age of discord.
Hyderabad:
In a world increasingly divided by invisible walls, Mohammad Mujahid is a man busy building bridges. His tools aren’t mortar and stone, but the elegant curves of the Telugu script and an unwavering belief in the human spirit.
What began two decades ago as a young man’s quest for truth in the dusty lanes of Khammam district has today blossomed into a significant literary movement – one that seeks to replace prejudice with poetry and fear with understanding.
The Genesis of a Vision
The spark for Mujahid’s odyssey was a profound spiritual mandate. Inspired by the Prophet Muhammad’s ﷺ exhortation – “Convey from me, even if it is a single word” – Mujahid didn’t just find a career; he found a calling.
Starting in 2000 as a contributor for the Eenadu daily, he realised early on that the greatest distance between two communities is often a lack of shared language. He chose to bridge this gap by bringing the essence of Islamic thought to the Telugu masses, stripping away the dense layers of Urdu and Arabic to reveal universal truths in a tongue that felt like home to millions.
Mujahid’s writing is characterised by a rare “soul-to-soul” connection. He doesn’t just inform; he heals.
The Myth-Buster: Through seminal works like ‘Islam Velugu’ (The Light of Islam) and ‘Islam Jeevana Tarangalu’ (The Rhythms of Islamic Life), he has acted as a literary surgeon, delicately removing the tumours of misconception and Islamophobia that often plague social discourse.
The Gardener of Souls: His work ‘Balavanam’ (The Children’s Garden) is perhaps his most tender contribution. It is an investment in the future, teaching children that values like kindness, honesty, and empathy are the true universal languages.
The Social Poet: When the journalist in him meets the poet, the result is a stinging yet hopeful commentary on contemporary issues. His verses don’t just rhyme; they reason.
A Chorus of Approval
It is rare for a writer to find equal resonance among religious scholars and secular literary icons. Mujahid has achieved exactly that.
The legendary Jnanpith Awardee C. Narayana Reddy (CiNaRe) once found his style captivating, while the eminent Qur’an translator Sheikh Hamidullah Sharif saw in him a powerful ally for truth. From historians like Syed Naseer Ahamed to veteran editors like Ejaz Aslam, the consensus is clear: Mujahid’s pen is a social necessity.
For Mujahid, the journey is far from over. He remains a man on a mission, driven by the philosophy that silence in the face of social decay is complicity.
“The message of peace isn’t the property of a religion; it is the inheritance of humanity,” he often says. In his modest workspace, the scratching of his pen continues to be a defiant sound against the noise of hate.
At a time when the fabric of society feels frayed, Mohammad Mujahid reminds us that a single individual, armed with an honest pen and a heart full of harmony, can still rewrite the story of a nation. His life is not just a biography; it is a blueprint for coexistence.
source: http://www.radiancenews.com / Radiance News / Home> Features> Focus / by Saad Mohsin / January 14th, 2026
Multi-hyphenate talent Khwaja Ahmed Abbas worked in Urdu, Hindi and English and across writing mediums. Abbas, who died in 1987 at the age of 71, wrote social realist screenplays for Raj Kapoor and V Shantaram, directed films, published short stories and plays,and contributed a long-running weekly newspaper column. Among the best-known films he directed are Neecha Nagar, Sheharaur Sapna and Saat Hindustani. Set in Goa and tracing the efforts of seven revolutionaries to free the state from Portuguese rule, Saat Hindustani marks the debut of Amitabh Bachchan. An essay from the anthology Bread Beauty Revolution, edited by Iffat Fatima and Syeda Hameed, relates Abbas’s encounters with the “tall young man” and future screen icon. Bread Beauty Revolution includes writings from Abbas’s memoir I Am Not An Island: An Experiment in Autobiography as well as essays, stories,poems, photographs and columns.
The story of Saat Hindustani came out of the Goa struggle reminiscences of my assistant, Madhukar, who would often regale us with the adventures he had while trekking up with the non-violent commandos to hoist the tricolour on every police station they came across…
I was so excited when I finished the screenplay that I telephoned all my friends and informed all my assistants, including Madhukar, to come and hear it in my fourth floor office on the very next day. That was a ritual which they never missed and I would get their suggestions for casting the film.
I wanted to prove by my casting that there was no particular Hindu or Muslim, Tamilian, Maharashtrian or Bengali ethnic type. To begin with, I would transform the smart and sophisticated and versatile Jalal Agha into the Maharashtrian powada singer. Even Jalal was shocked to hear this. But I reassured him that, with the proper make-up and get-up, nobody would recognize him except as a rural Maharashtrian folk singer. Madhukar, who hails from Meerut, would be a Tamilian; Sharma (Brahmin by caste) would also undergo a similar transformation; and Utpal Dutt, the cigar-chewing admiral,would be the tractor-driving Punjabi farmer. So far the casting was clear in mymind. On one of my visits to Kerala I had met Madhu, the handsome hero of the Malayalam screen, and he had approached me and expressed his desire to work in a Hindi film with me. I would make him the sensitive Bengali; I wouldn’t have to work much on his Bengali accent for he had lived with a Bengali family. Now only the Hindi and Urdu fanatics were left. Jalal one day brought with him his friend Anwar Ali (brother of the comedian Mehmood), in whose eyes I saw the Jana Sanghi fanaticism. So I decided to make him the Swayam Sevak who hates Urdu and speaks jaw-breaking Hindi. That left one Indian, the Muslim Urdufanatic. Since I wanted these boys to be of different ages and different heights, the one vacancy left was for a tall and handsome man. He had to be thin, also corresponding to the thin image of my friend, the late Asrarul Haque “Majaz”.
One day someone brought a snapshot of a tall young man and I thought that the boy was in Bombay. I said, “Let me see him in person.” “He will be here day after tomorrow evening.” Again, presuming he was in Bombay, I thought he must be working somewhere and wouldn’t be free till the evening. On the third day, punctually at 6 pm, a tall young man arrived who looked taller because of the churidar pajama and Jawahar jacket that he was wearing. This young man would one day be known as Amitabh Bachchan, the heart-throb of millions. But I did not know his name. Roughly, the following dialogue took place between us:
“Sit down, please. Your name.”
“Amitabh.” (Not Bachchan.)
It was an unusual name — so I asked, “What does it mean?”
“The sun. It’s also one of the synonyms for the Gautama Buddha.”
“Education?”
“B.A. from Delhi University.”
“Have you worked in films before?”
“No one has taken me so far.”
“Who were they?”
He mentioned very prominent names.
“What did they find wrong with you?” The boy spoke with frankness. “They all said I was too tall for their heroines.”
“Well, we have no such trouble. In a way we have no heroine in our film. Even if we had, that wouldn’t prevent me from taking you.”
“Taking me? Are you really going to take me? Without even a test?”
“That depends. First I must tell you the story. Then I must tell you your role and see if you will be enthusiastic about playing it. Then I shall tell you what we can afford to pay you. Only then, if you agree, shall we sign the contract.”
I read him out the complete story and saw his face become alive with interest. I asked him which role he would like to play. He told me the two which particularly impressed him. The role of the Punjabi, and the role of the Muslim. I told him he was perhaps a Punjabi, and that made him unfit to play that role. He asked me why. I gave him the reason, the reason for having a scrambled cast. The idea appealed to him greatly. He said, “I think, I know what you mean. Then I would like to play the Muslim role, specially because he is under a cloud of suspicion. And only at the end the suspicions are removed and he is proved a patriot.” Then I told him we could pay him no more than five thousand rupees,which was the standard figure for all the roles.
He seemed a little hesitant, and I asked him, “Are you earning more than that?”
“I was,” he said.
I asked him what he meant.
He said that he was getting about sixteen hundred a month in a firm in Calcutta.
“I resigned the job and came over.”
I was astonished. “You mean to say that you resigned a job of sixteen hundred rupees a month, just on the chance of getting this role! Suppose we can’t give the role to you?”
He said, “One has to take such chances” with such conviction that I said, “The role is yours.”
Then I called my secretary, Abdul Rehman, to dictate the contract. I asked the tall young man for his name and address.
“Amitabh—” after some hesitation, “Amitabh Bachchan, son of Dr H.R. Bachchan.”
“Stop,” I said. “This contract cannot be signed until I telegraph and get your father’s consent. He is a colleague of mine on the Sovietland Nehru Award Committee. I wouldn’t like to have a misunderstanding with him. I am afraid you will have to wait for two days more.”
“You can ask my Dad, but frankly, do I look like a runaway?”
I told him that runaways don’t have any particular look. So I dictated, instead of the agreement, a telegram to Dr Bachchan in New Delhi and asked him if he was willing to let his son become an actor. Two days later a telegram came reading “No objection where you are concerned.” This is the whole story about how Amitabh Bachchan came into films.
Excerpted with permission from Bread Beauty Revolution, edited by Iffat Fatima and Syeda Saiyidain Hameed, Khwaja Ahmed Abbas Memorial Trust and Tulika Books.
source: http://www.scroll.in / Scroll.in / Home> Book Excerpt / by Khwaja Ahmed Abbas / November 14th, 2015
