This piece entitled, My Name is Green, published in the weekly Outlook India traces how “forged in the cultural ferment of a century ago, Islamic poster art in India thrived on the frontiers of taboo.” The author is Shruti Ravindran, who has obviously undertaken a lot of research and also published some great samples of such posters. That Islam in South Asia acquired and adapted the local flavour and modes of social and spiritual interaction is well known.

While reading this piece, I also recalled seeing similar eclectic posters in Pakistan in my childhood before the puritanism of General Zia ul Haq engulfed the country and Wahabi variant of an exclusive and suspicious man made ‘faith’ deepened its presence, well at least in the public domain of representation.

This piece looks at some of these aspects through the popular art form. Read and enjoy - full text has been posted below courtesy the intelligent Outlook. (more…)

Amir Khusrau

I am a pagan (worshiper) of love: the creed (of Muslims) I do not need;
Every vein of mine has become (taut like a) wire; the (pagan) girdle I do not need.
Leave from my bedside, you ignorant physician!
The only cure for the patient of love is the sight of his beloved –
other than this no medicine does he need.
If there be no pilot on our ship, let there be none:
We have God in our midst: the pilot we do not need.
The people of the world say that Khusrau worships idols.
So I do, so I do; the people I do not need,
the world I do not need.

An essay contributed by the celebrated singer,writer and spiritualist Vidya Rao

I often ask myself the question why I choose, above all things, to sing, and then to sing a traditional gayaki like thumri. The images that are gleaned from its poetic texts are so often open to misunderstand: pining nayikas, heartless piyas, rakish Krishnas, divine Rams. I ask myself that question again today when ‘tradition’ is in danger of being smothered by sectarianism, communal violence and a whole culture lies bleeding.
I turn to the music itself for my answer. It has never failed me before—it does not fail me now. (more…)

Earlier I posted on Khowaja Ghulam Fareed, the Sufi poet from Cholistan. A famous festival takes place each year attracting thousands of people in the vast desert that Cholistan is. About this mela or gathering I found this charming piece by Zia Zaidi. (more…)

Contribution by Shahidain

In this kafi, the Sufi poet Bulleh Shah reveals the unbearble pain of seperation from his Beloved. He can not give up love and the seperation makes him restless and unable to sleep. So he hangs between life and death. Please find below the Punjabi version followed by English translations (from here).

Ab lagan lagi ki kariye?
Na ji sakiye te na mariye.
Tum suno hamaari baena,
Mohe raat diney nahi chaena,
Hun pi bin palak na sariye,
Ab lagan lagi ki kariye?
Eh agan birhon di jaari.
Koi hamari peedd nivaari.
Bin darshan kaise tariye?
Ab lagan lagi ki kariye?
Bulle payi musibat bhaari,
Koi kare hamaari kaari,
Ik ajihe dukh kaise jariye.
Ab lagan lagi ki kariye?

“I long for you, what can be done?
I cannot live, I cannot die.
I long for you.

Listen to my plea,
Night or day, I have no peace.
Not another moment can I exist without you.
I long for you, what can be done?

This separation-torment is unending!
Does anyone have a cure for it?
If I do not see him, how will I live?
I long for you, what can be done?

Says Bulha, I am in great distress,
O please find a remedy.
How can I endure such pain?
I long for you, what can be done?” (Translation By Suman Kashyap)

Another translation that might make the meaning a little clearer (more…)

The challenge of translating a historical era into a cinematic endeavour is daunting, especially when it concerns historically contested subjects such as the fabled love between 16th century Mughal Emperor Akbar and Jodha Bai, the legendary princess from Rajputana who later ruled India as Empress and symbolised the Hindu-Muslim accord of the times. However, it is not historical accuracy, or lack thereof, which defines the rather exasperating cinematic narrative of an otherwise glorious period of the subcontinent’s history. It is the facile treatment of history, its interpretative variants and its actors that makes the Bollywood film Jodhaa-Akbar a disappointment.

Akbar’s reign symbolised the zenith of the Mughal Empire and also some of its unique attributes. Whether it was the secular, tolerant governance based on the Sulah-i-Kul (peace with all) policy, opening up the frontiers of theological discussion, effective administrative systems or promotion of Indo-Mughal art forms, Akbar was a pioneer in most respects.

Jodhaa-Akbar attempts to capture the essence of that particular moment: the Indianisaton of the Mughal court and most importantly, the royal household. Whether it is to do with the grafting of a temple within the Agra fort or the introduction of vegetarian meals, these were significant markers for centuries to come, enabling a tiny Muslim minority to rule the non-Muslim majority. But the film fails to handle this momentous phase of history appropriately and instead churns out a masala mix that, despite the massive budget, results in mediocre film-making.

This is not to say that the film is without merit. It is visually stunning in places and A R Rehman’s music is outstanding. The two stars – Ashwariya Rai and Hrithik Roshan – provide glamour and unreal beauty. The settings are competently improvised and yes, the feel of the whole cinematic experience does convey the clichéd Mughal aura of splendour, excess and a hybrid aesthetic. Rai and Roshan exude that enigmatic chemistry which makes them an attractive pair on screen.

But it is the treatment of the subject, characters and nuances that disappoints, especially when one remembers director/producer Ashutosh Gowariker’s earthy and under-your-skin rendition in Swades . In the pursuit of commercial success, Ashutosh relies on soft plagiarism. The battle scenes remind one of the Hollywood blockbuster Troy; the inanimate army contingents resemble those in Gladiator; and the sword fighting sequences re-enact the visual tricks of Crouching Tiger, Hidden Dragon . But these are all still pardonable. (more…)

A few days ago, Irfan Habib, a noted researcher and author of TO MAKE THE DEAF HEAR — Ideology and Programme of Bhagat Singh and His Comrades sent his thoughtful piece on the legendary Bhagat Singh.

Incidentally, Bhagat Singh was hanged on Pakistan’s Republic Day - March 23 though nine years prior to that - in Lahore - thereby adding another dimension to the symbolism of March 23 for Pakistanis. Bhagat Singh for his principles, struggle for just causes and valour is a shared hero.

I am quoting some of the passages from Habib’s article below. Citing a Tamil newspaper editorial of 1931, Habib writes:

One of the most articulate and strong reaction was seen in far away Tamil Weekly called Kudi Arasu, where Periyar E.V. Ramasami wrote an editorial on March 29, 1931. Besides being critical of Gandhi and the Congress for failing to save him, Periyar saw in young Bhagat Singh an ally who stood for rationalism and spoke against caste oppression. He began by writing “there is no one who has not condoled the death of Mr. Bhagat Singh by hanging. There is none who has not condemned the government for hanging him.” The above lines reflect the widespread acceptance of Bhagat Singh as a national hero, much beyond the limits of Punjab, and more significantly, within this short political life. There is no reason to believe that his persona was created by scholars through their exploration and interpretation of historical records.

Habib concludes with these words- (more…)

Mian Mir’s death anniversary celebrations are commencing today.

Mian Mir is regarded as one of the greatest Sufi saints of the Subcontinent. He belonged to the Qadiria order of the Sufis. He was famous for being a spiritual instructor to Dara Shikoh, the eldest son of Mughal Emperor Shah Jahan, who also held Mian Mir in great esteem. (more…)

By Vidya Rao

The streets of some cities, they say, are paved with gold. This city’s streets are paved with stories. Doubtless, they were also paved with gold once, but this would have been before the British pounced upon it and shook its pagoda tree. Which was how they referred to the looting of India that each ‘nabob’ of the East India Company systematically carried out. Though, to give the devil his due, it was the British that are considered to have founded the city. (more…)

by Sadia Dehlvi

Jama Masjid, the last significant and glorious monuments of the Mughal period now faces a threat of extinction in the garb of development. If the Delhi government has its way, glitzy swanky malls underground malls will be constructed just fifteen metres from the steps of the monument. The proposed plan shows disregard and insensitivity to history and the culture of the people living in the area.

To create the four layered basement the ground will have to be dug at least eighty feet which will causes severe stress to buildings within five hundred meters. In the year 2005 there was a high court order in favour of beautifying the area around the Jama Masjid with open green spaces for community interaction. The MCD had commissioned such a plan which was presented and approved by the court. Instead of this well integrated plan we suddenly hear the horror story of a new MCD plan converting the area into a commercial mall venture.

As a rule, the archeological survey of India does not permit any construction within a hundred metres of a protected monument. The Jama Masjid is a functioning mosque and is therefore not officially protected by the ASI as it belongs to the Muslim community. The Waqf Board is the custodian of the mosque as pronounced by the Delhi High court. However, does that mean we should strip it off from a heritage status and allow the builders and adventures of the state to threaten its survival? If the Masjid collapses, so will India’s secular legacy as represented by the adjoining mausoleum of Maulana Azad and the tomb of the Sufis Sarmad Shaheed, who challenged the orthodoxy of Aurangzeb resulting in his execution on the steps of the Jama Masjid. (more…)

My blogger friend, Manasvi wrote this reviewof Jodha Akbar and I am glad that the film is good.

Jodha Akbar brings to cinema an epic love story that even if imagined is just too wonderful.

There have been controversies about the fact that recorded history has little evidence on the character of Jodha Bai. My simple question is: what about the oral histories of the subcontinent. Why must we always remain beholden to court historians and foreign travellers - why not respect what generations have believed over time? (more…)

By Nadir Ali

A little over fifty years ago our Persian teacher, a pious maulana in the old mould, was explaining the exemplary character of the Holy Prophet (pbuh). He quoted lines from Baaba Naanak to explain his point ‘Ek ne keh di ek ne maani’. This was not uncommon. From great Punjabi poet Hafiz Burkhurdar (17th century) to a common Punjabi villager, everyone quoted Naanak. Now they teach no Naanak at Punjab University Lahore, because Naanak was a non-Muslim.

However in Muzaffar Ghaffar’s series on Punjabi classic poetry, you get an insight into the great wisdom and beauty of Naanak’s poetry. Muzaffar is a great cultural asset and in presenting a selection of Naanak after seven volumes in this remarkable series on Sufi poetry of Shah Husayn, Bulleh Shah, Sachal Sarmast and Khawaja Farid, he has excelled himself in this one. His series presenting all the major poets of Punjabi language in English is a work unique not only in the subcontinent but among world literature. In no other language are all the major poets of a language explained so comprehensively and competently by one author. Punjabi has a very rich heritage and Muzaffar has done justice to this colossal undertaking. (more…)

Ishtiaq Ahmed writing here

Today’s article coincides with India’s declaration as a republic in 1950. The civilisational roots of modern India are always worth discussing, because despite all the odds against it — the caste system, poverty and hunger, illiteracy and other such debilitating factors — it became a democracy and has remained so.

Civilisation denotes a complex society with distinct cultural and ideational features that takes shape in the long, historical process through the division of labour and a concomitant social hierarchy. Therefore, civilisations cannot be understood only in contemporaneous terms; historical antecedents and legacy weigh heavily in forming the present. On the other hand, civilisations are also dynamic and change, adjust and transform, while retaining links with the past. (more…)

Babar, the founder of Mughal dynasty in India was an unusual character of his times. A poet, writer and a free soul, he was so modern and some would say post-modern in an era otherwise categorised as medieval. I was delighted to find this piece authored by Ashfaque Naqvi.

An interesting book has landed at my table. As the title, Zaheeruddin Muhammad Babar, is about the person who laid the foundations of the Mughal Empire in the sub-continent. Written by the eminent Indian educationist, Qamar Rais, it gives a different picture of the man from what we gather about him from his self-written, Tozak-i-Babri…..

As Prof Qamar Rais says in the foreword, he had for long been studying the works of Ali Sher Nawai and such other classical poets of Uzbekistan but realized during his stay in that country that those people revered Babar more for being an intellectual and a lyrical poet. In fact, even during the Soviet era, he saw Babar’s pictures hung in most homes showing him holding a book and sunk in deep thought. As a consequence, he directed his studies in that field.

… even today, Babar is held in esteem and considered a hero both in Afghanistan and Uzbekistan. He even quotes Pandit Nehru as having said that the greatness of Babar lay not in capturing India but in capturing the hearts of Indians. (more…)

By Intizar Husain

ONE fine morning under the programme of Sahitya Academy I found myself in Lucknow, and wondered if it was the Lucknow I had earnestly desired to get a glimpse of. When after partition Attiya Husain wrote her novel depicting the Lucknow of good old days, she chose to present it under the title Sunlight on the broken column. Now the broken column is very much there, but sunlight has long faded away. The novel had been dubbed as decadence by the maulvis, reformists and the progressives alike, and as a flourishing of fine arts and culture by the liberals. Prof Anis Ashfaq, who was kind enough to host me and sensing my keenness to have a glimpse of that sunshine, led me to Imambara Asifiya. What a splendid structure. One was left wondering at high, spacious roof with no columns to support it. The upper story has a bhoolbhulliyan, a maze. It provides added attraction to visitors. (more…)

Indian Muslims Blog is now two years old. The IM team have compiled the best articles published at the blog in 2007. Shameless as it sounds, one of my guest articles - Journeying into Mysticism is included in the category. As the editor Mohib, said the “colorful downloadable pdf file is worth reading for the diversity of views and opinions. IM blog team has been most kind to allow me to occasionally contribute to the space. In the process I have learnt a lot about the country and its Muslim population. But most importantly, I have found a few good friends from Lucknow, Kakori, Bhopal, and Bihar among other places. wah wah, kiya kehnay blogosphere ke…

To blow my own little trumpet in this seamless and infinite blogosphere, here is my piece for those readers who may not have read it earlier. (more…)