Monday, September 27, 2004

Urdu Academies and Cash

Urdu Akademi faces cash crunch
Delay in approval by Finance Dept, projects stalled
Tanvir Siddiqui

Ahmedabad, September 26: Activities at the Gujarat Urdu Sahitya Akademi have come to a halt. Members of the akademi attribute this to a major financial crunch. They say projects have been stalled due to delay in approvals by the State Finance Department.

With the year coming to an end without any special programmes, members of the executive committee have decided to meet on September 30 to finalise the name of Gaurav Puraskar awardee and list the writers to be given financial assistance for scripts that are published in the akademi’s periodicals.



A Gaurav Puraskar award distribution function, a national-level Urdu mushaira, a seminar on Vali Gujarati and publication of books are some of programmes planned for the current year. It’s also planning to organise a workshop for teachers in Saurashtra.

Akademi president Waris Alvi says, “The implementation of these projects will solely depend on approvals, without which we will have to abandon them.”

But Alvi is also hopeful. “We will seek an appointment with the Culture Secretary after the executive committee meeting is held, to press for early approvals.”

Approval or no approval, the akademi won’t be able to hold any programme before year-end, says executive committee convener M G Bombaywala.

“We will be meeting the authorities to get financial approvals at the earliest, but with the upcoming festival season, the programmes will have to be put off till December or January.”

According to sources, the Gaurav Puraskar this year will go to a nominee from outside Ahmedabad.

V N Maira, secretary in the Department of Sports, Youth Affairs and Cultural Activities, says the file is in motion and funds should not be a problem for the akademi’s special projects.

“But the akademi should not face problems in carrying out routine activities as it gets a monthly grant,” he says.

Another problem facing the akademi is the telephone connection at its office in Gandhinagar. The lines are not working for over two months now, making it difficult for members to communicate routine matters to the deputy registrar.


http://cities.expressindia.com/fullstory.php?newsid=101031

Urdu remains one of the popular language of India but the State and Central Governments continue to hinder the growth of the language. It is high time that all those who care about Urdu to take up the matter in their own hands and stop depending on the government. If the govt. supports it, well and good, if not ...

dekhna hai zor kitna bazoo-e-qaatil meN hai.
( we will test the strenght of the killer's hands)

Sunday, September 26, 2004

Urdu : common thread between India and Pakistan

Profusion of Urdu couplets at India-Pakistan summit:



[World News] New York, Sept 24 : There was a profusion of Urdu poetry at the summit meeting Friday between Indian Prime Minister Manmohan Singh and Pakistan President Pervez Musharraf - all talking about love, hope, the call of history and the need to transcend mistakes of the past.

When Manmohan Singh and Musharraf began talking at the presidential suite of the Roosevelt Hotel, against the backdrop of Pakistani and Indian flags, the Indian prime minister reminisced of the couplets he had recited to the president when the latter telephoned to congratulate him on assuming office May 22.

The couplets read:
" Aah ki in tarikhiyon se, surkhiyan paidan kare
Is zamin ki bastiyon se, aasman paidan kare.
(From the day's events, lets make history and lets us together create a paradise on earth).

Another one read:

Kuch aise bhi manzar hain, tarikh ki nazron ne
Lamho ne khata ki, Sadiyon ne saza payee.
(There are instances in the cavalcade where centuries have suffered for the mistakes of the moment).

In keeping with the trend, External Affairs K. Natwar Singh had his own couplet:

Sahar chahe ho na ho, Kabhi sahar dekha to hai
Jis taraf dekha na tha, Ab tak udhar dekha to hai.
(At last we have begun envisioning what we have never imagined before).

This was followed by Indian National Security Adviser J.N. Dixit coming out with another one, each pregnant with meaning and an appropriate metaphor for the moment.

Aashki saber talab, Aur tamanna betaab
Shama har rang me jalti hai, Sahar hone tak.

(Love and desire have a certain urgency, the flame of hope continues to burn in multiple hues till the morning).

If Musharraf, or any of his delegation members, responded with their own couplets, this was left unstated by the Indian delegation.

--Indo-Asian News Service

http://news.newkerala.com/world-news/?action=fullnews&id=33068

animated gif by bazaauq

Friday, September 24, 2004

Poet Tabish Dehalvi dead



Noted poet Tabish Dehlavi dead


By Mukhtar Alam

KARACHI, Sept 23: Veteran poet Tabish Dehlavi died at a private hospital here on Thursday after a brief illness. He was 93. His funeral was attended by hundreds of relatives, friends and admirers , including senior literary personages and intellectuals. He was laid to rest at the Sakhi Hassan graveyard in North Nazimabad.

The poet leaves behind a son and four daughters. Masoodul Hassan Tabish was also widely admired as a broadcaster and Urdu news reader. As Masood Tabish, he read the news bulletin announcing the establishment of Pakistan on August 14, 1947, from the All India Radio.

He was associated with Radio Pakistan as programme producer and was regarded as one the best news readers in the 1950s and 60s. Tabish Dehlavi was born in Delhi on Nov 9, 1911.

He received his early education from his mother and later from Maulvi Sheiv Diyal. He was called by his grandfather Maulvi Inayatullah to Hyderabad-Deccan where he completed his secondary education from Darul Uloom. He later became a disciple of famous poet Fani Badayuni. He passed his BA from the University of Karachi in 1958.

Tabish Dehlavi was considered among the classical poets who valued the sanctity of idiom and usage. His intuitive commitment to classical expression and construction notwithstanding, Tabish Dehlavi was always thematically alive to present-day sensibilities.

His first contribution to the Urdu prose was an essay on Fani Badayuni published in 1941. A collection of his essays, "Deed baaz deed" contained sketches of personalities and reviews of works of Fani, Josh Malihabadi, Yagana Changezi, Meeraji, Zulfiqar Ali Bukhari, Shahid Ahmad Dehlavi, Mahirul Qadri, Mehshar Badayuni, Saba Akbarabadi, Zakir Ali Khan and others.

His first poetic collection 'Neemroz' was published in 1963, which was followed by 'Chiragh-i-Sahra' (1982), "Ghubar-i-Anjum' (1984), 'Taqdees' (1984), 'Mahe Shakista' (1993) and 'Dhoop Chaoon' (1996).

Always respected and admired for his civility, Tabish Dehlavi symbolized the refinements and sophistications of the 19th century Muslim culture of the subcontinent. He was a major name among ghazal writers of the present era, and was also known for his command of the Urdu language.

In recognition of his services and achievements he was awarded Tamgha-i-Imtiaz in 1998.


http://www.dawn.com/2004/09/24/top11.htm


A ghazal by Tabish

be-qaraari si beqaraari hai
din bhi bhaari hai raat bhaari hai

zindagi kii bisaat par aksar
jiti baazi bhi ham ne haari hai


torho dil mera shauq se torho
cheez meri nahiN tumhari hai

baar-e-hasti uThaa sakaa na koi
ye gham-e-dil jahaaN se bhaari hai

aankh se chhup ke dil meN baiThe ho
haa_e kaisi ye pardaa-daari hai



Thursday, September 23, 2004

Learning Urdu Online

Plan to teach Urdu through Internet

New Delhi: Jamia Millia Islamia’s outgoing vice chancellor, Syed Shahid Mehdi, said that Jamia Millia had prepared a programme, ‘Urdu online’ for teaching Urdu on Internet which would be introduced very soon. He said that the programme needed great resources which were not available with Jamia, but somehow we arranged all the resources and succeeded in giving shape to the programme. He lauded the efforts of Jamia’s teachers and technical staff.
He said that in the first stage a website has been created to teach Urdu in Hindi medium and it would be launched soon. On the next stage a website for teaching Urdu in English medium would be created. Dr Jagannath, who is a professor of Hindi in Indira Gandhi National Open University (IGNOU) expressed his happiness over the creation of the website and said that so far no website for teaching Hindi has been created. The design of the Urdu website as prepared under the supervision and guidance of Khaleel Ahmad. «


I failed to find the Urdu online information on Jamia's website, but here is the address to Urdu Correspondence Course.
http://www.jmi.ac.in/FHum/Ucc.htm

thanks to Milli Gazette for the news.


Sunday, September 19, 2004

Decipher Calligraphy




Can you read the text above? if not then follow the link below to find out how to decipher text in Calligraphy. The phrase above is in Arabic, some words and phrases from Arabic are freely used in Urdu and learning these will help in Urdu.

Urdu Calligraphy is also greatly influenced by Arabic and Persian calligraphy practices. So let's learn more about it.

http://www.artbismillah.org/html/lessons.html


Saturday, September 18, 2004

Annual of Urdu Studies

Annual of Urdu Studies is a research journal for Urdu language. First it was published by Prof. C. M. Naim and now by Prof. Uman Memon. Since 1981 it has been raising awareness of Urdu in the English speaking circuit. Here is the website address where you can read the whole magazine online, but why not become a subscriber for $18/year.
http://www.urdustudies.com/

Read about Prof. Memon and AUS below :



"Urdu is the love of My Life"

Muhammad Umar Memon, as publisher of the Annual of Urdu Studies Journal has contributed tremendously to trigger awareness of Urdu in the West!
By M. Hanif Lakdawala

Words like Kashmir and Taliban have jolted American attention to the region of South Asia. UW-Madison Professor, Muhammad Umar Memon hopes that focus can spread to the more delicate words of the region’s rich culture, especially Urdu, a language spoken by millions of people in India and across the world. His “Mission” aims to raise the awareness of Urdu in the West.

Memon is the publisher of the Annual of Urdu Studies, the only English-language journal discussing Urdu. In 1993, Memon took the editorship for the publication that is now based out of an office in Van Hise Hall.

Urdu Studies is a publication of Wisconsin University, whose Department of Languages and Cultures of Asia manages to bring it out annually under the editorship of M.U. Memon. The latest issue is its 13th issue. During these years, the journal has gradually come to stay as an organ playing the role of introducing Urdu literature to the English-knowing literary world of the West in a serious way. And what a journal! With each issue we feel inducted into an assembly of scholars belonging to different countries of the West and East, pre-occupied in the critical study of Urdu literary tradition in its manifold forms.

He said: “The Annual has basically three types of readership: the general scholarly community, Urdu speakers in the West, and scholars of Urdu in the sub-continent.”

The main thrust of the journal is not creative literature, like the literature in translation course Memon teaches at UW-Madison on Urdu prose, but rather it is a more comprehensive scholarly work on Urdu humanities.

“It is the only source for those with a very strong interest in the health and life of the language and its literature, and offers certain perspectives that are not native,” he said. Memon began his work in the area many years ago and his efforts now are finally beginning to bear fruit. He sets such a high standard because as an author himself, he cares so much—agonising over the translation of just a single image or phrase.

Memon calls UW-Madison’s 45-year-old Department of Languages and Culture of Asia, “one of the major places of study on South Asia in the United States.” “Our library resources are in the top four or five in the country,” he said.

Urdu is one of the four South Asian languages taught regularly at UW-Madison. Centuries ago, there was little distinction between Urdu and the spoken forms of Hindi, a language widely spoken in India. British imperialists began to differentiate the two, giving the Arabic scripted language the name Urdu, or “camp language,” as an attempt to separate the language and Muslims, from the rest of the Indian sub-continent.

Memon, a native of India, said he longed for an increased interest in Urdu and the region. “One should have a healthy interest in other cultures for their own sake, with the assumption that there will be a difference,” Memon said. “I would rather have Americans choose to study other languages and cultures than have some terrorist force them to pay attention to the differences. That’s a very negative way, but maybe the end result will be positive.”

So, in the present issue, Stephanie Lonsdale, who studied English philology in Barcelona University and later developed interest in South Asian literature, has chosen to make a study of Hajra Masroor’s short story Bhag Bhari, in the light of its social background. And Valerio Peintrangelo, coming from the University of Rome will be seen here discussing the theme of social situation of women as treated by male writers in Urdu, and later picked up by female writers who were now seen asserting in the fields of fiction and poetry.

Amina Yaqin from London University scrutinizes Anita Desai’s treatment of Urdu in her novel, In Custody. The way the novelist depicts the situation of Urdu in post-Partition India leads her to conclude that “Urdu is destined to wither away in the stultifying heat of summer, unable to sustain the hopeful beginning of spring.” And Amina Yaqin ends her analysis by saying that “Desai’s symbolism is tinged with the troupes of a communally-charged present, unable to break out of the fragmentary Hindu-Hindi and Muslim-Urdu divide despite her staging the debates within the ‘secular’ Indian-English novel.”

Shamsurrahman Farooqi’s article deals with what has been termed as Sabak-i-Hindi, which includes Persian poetry, specially ghazal “written mostly from the 16th century onwards by Indian and Iranian poets, the latter term to include poets of Iranian origin, who spent long periods of their creative life in India.”

But perhaps more important is the long section devoted to the study of Mohammad Hasan Askari done jointly by M.U. Memon and Mehr Afshan Farooqi, who at present is an assistant professor of Urdu at the University of Virginia. Mehr Afshan has focused on what Askari wrote between 1940 and 1955, and has translated a number of critical articles written during this period. It was during this period that Askari dominated the literary scene as a critic and fought a number of battles in defence of literary values as he had understood them.

The later period has been covered by Memon. While discussing this phase of Askari’s life, he has reproduced in English translation a number of articles written during this period. With complete indifference to contemporary literary situation, he was now pre-occupied with the questions which belonged to the domains of tasawwuf and Islamic thought.

Mehr Afshan regrets at what she imagines “his omission from the wider scholarly discussion of modern Urdu literature” and his marginalisation because of his confrontation with the progressive writers’ movement. The actual situation is that soon after his death, he came under heavy attack because of his little book published posthumously under the title Jadidyat ya Maghribi Gumrahiyon ki Tareekh. In consequence, a heated controversy flared up. So once again, he was a controversial figure for years to come, compelling Urdu readers involved in ideas and ideologies to react for or against him.

Along with the critical studies of Urdu writers and writings, we have a section devoted to the English translations of Urdu writings. It includes translations of short stories of Prem Chand, Ghulam Abbas, Hajra Masroor and Ikramullah. Add to it the translation of a character sketch by Qudratullah Shahab.

We find a few Urdu writings at the tail-end of this bulky volume. They carry with them questions relevant to our time. Scholars around the world have come to depend on Memon and his publication, which specialises in Urdu, a language with several hundred million speakers, mainly in India and Pakistan. Although the language is still somewhat unknown in the United States, Urdu’s profile has received a boost as the world’s focus shifts to South Asia and native speakers and signs bearing Urdu script pop up on CNN.

To Memon, who was born in Aligarh, it is gratifying to see recognition of the language and culture he has dedicated his life, to advancing. “Urdu is my mother tongue and the love of my life” Memon says.


http://www.islamicvoice.com/july.2004/m3.htm#urdu



Wednesday, September 15, 2004

Ghalib Kaun Hai?

His Life, Our Times

First editions of his manuscripts, samples of his handwriting... The Ghalib festival aims to bring Bahadur Shah Zafar’s favourite poet back into the mainstream.

Paromita Chakrabarti



New Delhi, September 13: Poochtay hai woh keh Ghalib kaun hai
Koi batlayein keh hum batayein kya!...
Mirza Asadullah Khan Ghalib’s doubts about his popularity have long been proved unfounded. With the Ghalib festival underway in the Capital, one of the most prolific poets of the 19th century is back in the limelight.

‘‘Even today people across all age groups can identify with the poet. I wanted to bring Ghalib back into the mainstream,’’ says festival organiser Rakshanda Jalil. Titled “Ghalib: His Life, His Times”, the fest consists of an exhibition of rare first editions of the poet’s manuscripts, samples of his handwriting, lithos, drawings, portraits and items of everyday use like hookahs and spitoons from Ghalib’s era. There are photographs of the havelis Ghalib resided in, including the one he lived in after his marriage. Another interesting item on display is the robe that noblemen of Ghalib’s time used to wear.



The items have been sourced from various museums, from the Ghalib Institute in Delhi, and from private collections. Though Ghalib had refused the offer to become Bahadur Shah Zafar’s court poet, he was the Mughal ruler’s favourite muse and teacher, and supervised Zafar’s amateurish attempts at poetry. However, after the fall of the king, Ghalib spent his last days in poverty.

Besides the exhibition, the festival also includes ghazal renditions, and a talk on ‘Ghalib ki Dilli’ by Mushirul Hasan, vice chancellor of Jamia Millia Islamia University. Also planned are readings from Ghalib’s letters by theatreperson Habib Tanvir. ‘‘Ghalib’s verses open up a different world. They give us insights about a Delhi we’ve only heard of, or read about. So his letters will be interesting,’’ says sarod player Sharan Ramji, who was impressed by the exhibition.

Jalil wants more youngsters to attend the festival. ‘‘The older generations, who are clued in about Hindi and Urdu literature do attend such festivals,’’ she says. The 41-year-old is a visiting fellow at Jamia Millia Islamia, a book editor and translator, a columnist and the driving force behind Hindustani Awaaz, an organisation she started in July 2003 to popularise Hindi and Urdu culture.

Jalil has many other programmes lined up. Coming up next is a festival on Munshi Premchand in October, and another programme with Gulzar on his work Raat Pashmine Ki on October 27. But Ghalib remains close to her heart. ‘‘He was one of the foremost geniuses of Delhi’s cultural renaissance. What makes him special is the fact that he was part of a very tumultuous age—he saw the 1857 mutiny, the fall of the Mughals—and his work reflects the angsts that he, and others of his time, suffered from,’’ says Jalil. In December, she is also planning to organise another festival in Old Delhi in the haveli where Ghalib used to reside. ‘‘That’s perhaps one of the most befitting backdrops for a programme on him,’’ she says.
(The festival is on at India International Centre till September 17. For details call 2461-9431.)

http://cities.expressindia.com/fullstory.php?newsid=99433

you can find the details about this program here :
http://www.iicdelhi.nic.in/program/program_detail.asp?ProgId=656&CatgId=2

Toba Tek Singh by Manto

Toba Tek Singh
by Saadat Hasan Manto

Translated from the Urdu by Richard McGill Murphy


Two or three years after Partition, the governments of Pakistan and India decided to exchange lunatics in the same way that they had exchanged civilian prisoners. In other words, Muslim lunatics in Indian madhouses would be sent to Pakistan, while Hindu and Sikh lunatics in Pakistani madhouses would be handed over to India.

I can’t say whether this decision made sense or not. In any event, a date for the lunatic exchange was fixed after high level conferences on both sides of the border. All the details were carefully worked out. On the Indian side, Muslim lunatics with relatives in India would be allowed to stay. The remainder would be sent to the frontier. Here in Pakistan nearly all the Hindus and Sikhs were gone, so the question of retaining non-Muslim lunatics did not arise. All the Hindu and Sikh lunatics would be sent to the frontier in police custody.

I don’t know what happened over there. When news of the lunatic exchange reached the madhouse here in Lahore, however, it became an absorbing topic of discussion among the inmates. There was one Muslim lunatic who had read the newspaper Zamindar1 every day for twelve years. One of his friends asked him: “Maulvi Sahib! What is Pakistan?” After careful thought he replied: “It’s a place in India where they make razors.”

Hearing this, his friend was content.

One Sikh lunatic asked another Sikh: “Sardar ji, why are they sending us to India? We don’t even speak the language.”

“I understand the Indian language,” the other replied, smiling. “Indians are devilish people who strut around haughtily,” he added.

While bathing, a Muslim lunatic shouted “Long live Pakistan!” with such vigor that he slipped on the floor and knocked himself out.

There were also some lunatics who weren’t really crazy. Most of these inmates were murderers whose families had bribed the madhouse officials to have them committed in order to save them from the hangman’s noose. These inmates understood something of why India had been divided, and they had heard of Pakistan. But they weren’t all that well informed. The newspapers didn’t tell them a great deal, and the illiterate guards who looked after them weren’t much help either. All they knew was that there was a man named Mohammed Ali Jinnah, whom people called the Qaid-e-Azem. He had made a separate country for the Muslims, called Pakistan. They had no idea where it was, or what its boundaries might be. This is why all the lunatics who hadn’t entirely lost their senses were perplexed as to whether they were in Pakistan or India. If they were in India, then where was Pakistan? If they were in Pakistan, then how was it that the place where they lived had until recently been known as India?

One lunatic got so involved in this India/Pakistan question that he became even crazier. One day he climbed a tree and sat on one of its branches for two hours, lecturing without pause on the complex issues of Partition. When the guards told him to come down, he climbed higher. When they tried to frighten him with threats, he replied: “I will live neither in India nor in Pakistan. I’ll live in this tree right here!” With much difficulty, they eventually coaxed him down. When he reached the ground he wept and embraced his Hindu and Sikh friends, distraught at the idea that they would leave him and go to India.

One man held an M.S. degree and had been a radio engineer. He kept apart from the other inmates, and spent all his time walking silently up and down a particular footpath in the garden. After hearing about the exchange, however, he turned in his clothes and ran naked all over the grounds.

There was one fat Muslim lunatic from Chiniot who had been an enthusiastic Muslim League activist. He used to wash fifteen or sixteen times a day, but abandoned the habit overnight. His name was Mohammed Ali. One day he announced that he was the Qaid-e-Azem, Mohammed Ali Jinnah. Seeing this, a Sikh lunatic declared himself to be Master Tara Singh. Blood would have flowed, except that both were reclassified as dangerous lunatics and confined to separate quarters.

There was also a young Hindu lawyer from Lahore who had gone mad over an unhappy love affair. He was distressed to hear that Amritsar was now in India, because his beloved was a Hindu girl from that city. Although she had rejected him, he had not forgotten her after losing his mind. For this reason he cursed the Muslim leaders who had split India into two parts, so that his beloved remained Indian while he became Pakistani.

When news of the exchange reached the madhouse, several lunatics tried to comfort the lawyer by telling him that he would be sent to India, where his beloved lived. But he didn’t want to leave Lahore, fearing that his practice would not thrive in Amritsar.

In the European Ward there were two Anglo-Indian lunatics. They were very worried to hear that the English had left after granting independence to India. In hushed tones, they spent hours discussing how this would affect their situation in the madhouse. Would the European Ward remain, or would it disappear? Would they be served English breakfasts? What, would they be forced to eat poisonous bloody Indian chapattis instead of bread?

One Sikh had been an inmate for fifteen years. He spoke a strange language of his own, constantly repeating this nonsensical phrase: “Upri gur gur di annexe di be-dhiyan o mung di daal of di lalteen.”2 He never slept. According to the guards, he hadn’t slept a wink in fifteen years. Occasionally, however, he would rest by propping himself against a wall.

His feet and ankles had become swollen from standing all the time, but in spite of these physical problems he refused to lie down and rest. He would listen with great concentration whenever there was discussion of India, Pakistan and the forthcoming lunatic exchange. Asked for his opinion, he would reply with great seriousness: “Upri gur gur di annexe di be-dhiyana di mung di daal of di Pakistan gornament.”3

Later he replaced “of di Pakistan gornament” with “of di Toba Tek Singh gornament.” He also started asking the other inmates where Toba Tek Singh was, and to which country it belonged. But nobody knew whether it was in Pakistan or India. When they argued the question they only became more confused. After all, Sialkot had once been in India, but was apparently now in Pakistan. Who knew whether Lahore, which was now in Pakistan, might not go over to India tomorrow? Or whether all of India might become Pakistan? And was there any guarantee that both Pakistan and India would not one day vanish altogether?

This Sikh lunatic’s hair was unkempt and thin. Because he washed so rarely, his hair and beard had matted together, giving him a frightening appearance. But he was a harmless fellow. In fifteen years, he had never fought with anyone.

The attendants knew only that he owned land in Toba Tek Singh district. Having been a prosperous landlord, he suddenly lost his mind. So his relatives bound him with heavy chains and sent him off to the madhouse.

His family used to visit him once a month. After making sure that he was in good health, they would go away again. These family visits continued for many years, but they stopped when the India/Pakistan troubles began.

This lunatic’s name was Bashan Singh, but everyone called him Toba Tek Singh. Although he had very little sense of time, he seemed to know when his relatives were coming to visit. He would tell the officer in charge that his visit was impending. On the day itself he would wash his body thoroughly and comb and oil his hair. Then he would put on his best clothes and go to meet his relatives.

If they asked him any question he would either remain silent or say: “Upri gur gur di annexe di be-dhiyana di mung di daal of di laaltein.”

Bashan Singh had a fifteen-year-old daughter who grew by a finger’s height every month. He didn’t recognize her when she came to visit him. As a small child, she used to cry whenever she saw her father. She continued to cry now that she was older.

When the Partition problems began, Bashan Singh started asking the other lunatics about Toba Tek Singh. Since he never got a satisfactory answer, his concern deepened day by day.

Then his relatives stopped visiting him. Formerly he could predict their arrival, but now it was as though the voice inside him had been silenced. He very much wanted to see those people, who spoke to him sympathetically and brought gifts of flowers, sweets and clothing. Surely they could tell him whether Toba Tek Singh was in Pakistan or India. After all, he was under the impression that they came from Toba Tek Singh, where his land was.

There was another lunatic in that madhouse who thought he was God. One day, Bashan Singh asked him whether Toba Tek Singh was in Pakistan or India. Guffawing, he replied: “Neither, because I haven’t yet decided where to put it!”

Bashan Singh begged this “God” to resolve the status of Toba Tek Singh and thus end his perplexity. But “God” was far too busy to deal with this matter because of all the other orders that he had to give. One day Bashan Singh lost his temper and shouted: “Upri gur gur di annexe di be-dhiyana di mung di daal of wahay Guru ji wa Khalsa and wahay Guru ji ki fatah. Jo bolay so nahal sat akal!”

By this he might have meant: “You are the God of the Muslims. If you were a Sikh God then you would certainly help me.”

A few days before the day of the exchange, one of Bashan Singh’s Muslim friends came to visit from Toba Tek Singh. This man had never visited the madhouse before. Seeing him, Bashan Singh turned abruptly and started walking away. But the guard stopped him.

“He’s come to visit you. It’s your friend Fazluddin,” the guard said.

Glancing at Fazluddin, Bashan Singh muttered a bit. Fazluddin advanced and took him by the elbow. “I’ve been planning to visit you for ages, but I haven’t had the time until now,” he said. “All your relatives have gone safely to India. I helped them as much as I could. Your daughter Rup Kur . . .”

Bashan Singh seemed to remember something. “Daughter Rup Kur,” he said.

Fazluddin hesitated, and then replied: “Yes, she’s . . . she’s also fine. She left with them.”

Bashan Singh said nothing. Fazluddin continued: “They asked me to make sure you were all right. Now I hear that you’re going to India. Give my salaams to brother Balbir Singh and brother Wadhada Singh. And to sister Imrat Kur also . . . Tell brother Balbir Singh that I’m doing fine. One of the two brown cows that he left has calved. The other one calved also, but it died after six days. And . . . and say that if there’s anything else I can do for them, I’m always ready. And I’ve brought you some sweets.”

Bashan Singh handed the package over to the guard. “Where is Toba Tek Singh?” he asked.

Fazluddin was taken aback. “Toba Tek Singh? Where is it? It’s where it’s always been,” he replied.

“In Pakistan or in India?” Bashan Singh persisted.

Fazluddin became flustered. “It’s in India. No no, Pakistan.”

Bashan Singh walked away, muttering: “Upar di gur gur di annexe di dhiyana di mung di daal of di Pakistan and Hindustan of di dar fatay mun!”

Finally all the preparations for the exchange were complete. The lists of all the lunatics to be transferred were finalized, and the date for the exchange itself was fixed.

The weather was very cold. The Hindu and Sikh lunatics from the Lahore madhouse were loaded into trucks under police supervision. At the Wahga border post, the Pakistani and Indian officials met each other and completed the necessary formalities. Then the exchange began. It continued all through the night.

It was not easy to unload the lunatics and send them across the border. Some of them didn’t even want to leave the trucks. Those who did get out were hard to control because they started wandering all over the place. When the guards tried to clothe those lunatics who were naked, they immediately ripped the garments off their bodies. Some cursed, some sang, and others fought. They were crying and talking, but nothing could be understood. The madwomen were creating an uproar of their own. And it was cold enough to make your teeth chatter.

Most of the lunatics were opposed to the exchange. They didn’t understand why they should be uprooted and sent to some unknown place. Some, only half-mad, started shouting “Long live Pakistan!” Two or three brawls erupted between Sikh and Muslim lunatics who became enraged when they heard the slogans.

When Bashan Singh’s turn came to be entered in the register, he spoke to the official in charge. “Where is Toba Tek Singh?” he asked. “Is it in Pakistan or India?”

The official laughed. “It’s in Pakistan,” he replied.

Hearing this, Bashan Singh leapt back and ran to where his remaining companions stood waiting. The Pakistani guards caught him and tried to bring him back to the crossing point, but he refused to go.

“Toba Tek Singh is here!” he cried. Then he started raving at top volume: “Upar di gur gur di annexe di be-dhiyana mang di daal of di Toba Tek Singh and Pakistan!”

The officials tried to convince him that Toba Tek Singh was now in India. If by some chance it wasn’t they would send it there directly, they said. But he wouldn’t listen.

Because he was harmless, the guards let him stand right where he was while they got on with their work. He was quiet all night, but just before sunrise he screamed. Officials came running from all sides. After fifteen years on his feet, he was lying face down on the ground. India was on one side, behind a barbed wire fence. Pakistan was on the other side, behind another fence. Toba Tek Singh lay in the middle, on a piece of land that had no name.

1 "The Landowner"
2 Literally: "The lack of contemplation and lentils of the annexe of the above raw sugar of the lantern."
3 "Gornament": Punjabi pronunciation of the English "government."

http://www.wordswithoutborders.org/article.php?lab=Toba

Wednesday, September 08, 2004

Intezar Hussain




Recently, a very learned friend called me up and said yaar Intezaar, you have copied this new story verbatim from Thomas Mann. I said, my dear, you have read every tiny morsel of western literature, wish you had read something from India too.


Then I explained that when I had read this story in Bangalore, where Girish Karnad was present, they said oh this is like Hayavadan. It turned out that Thomas Mann, myself and Karnad were all thieves because we had all stolen the idea from Betal Pacheesi.”


— Intezaar Husain, at a seminar in Delhi last week.


I first discovered Intezaar Husain quite by chance, almost in the same manner that he discovered the fecund treasure troves of Ancient India.

It was a novel called Basti hidden inconspicuously in my father’s shelves. As I read through its poignant world of migration, memory, nostalgia and loss I underwent an unconscious transformation in my sensibility, one that can best be called Intezaarian.

One of the best novels in modern Urdu and arguably the finest on Partition, Basti derives its uniqueness from its combination of many different narrative traditions that include Jataka tales, Persian family genealogies and the modern existential strand.

The emotive appeal of the loss of homeland, love and roots is played out against the eerie political atmosphere of sixties Lahore and the transformation of Pakistan is measured by the closing of nightclubs and the disappearance of the wandering poet Nasir Kazmi.

When he is asked how he began writing, Hussain’s stock reply is that he learnt it from his Nani Amma.

Via her, he receded further back, into the 1400 years past of Islamic history, thence to Ancient India, to Panchtantra, Betal Pacheesi, Kathasaritsagar and eventually, the source from which all stories flow, the Jataka tales. His stories came to reflect the world of Markandaya Rishi as well as medieval Tota Maina ki Daastaanein.

Our critics, he says, told us a lot about Kalidas and Tulsidas and Meerabai but could never quite accord the status of literature to this enormously rich fictional tradition.

The loss has entirely been ours. Since then the Budhha, who remembers his past lives, and the contemporary Indian, who has lost his memory, have been the twin poles of his fictional journey.

From the very beginning Husain’s decision to employ Hindi/Hindu/Budhhist words, themes and concepts into his work raised the hackles of a vocal and influential section of Pakistani society. His only response is, “See, they think I am a Kafir whereas I think they are a Kafir.”

I asked him, when I met him recently, why he had migrated. On a mere whim he said, following his preceptor and guide Mohammed Hasan Askari who had sent a radio message asking him to come to Lahore. Neither did anyone else in his circle migrate out of some idealistic mission. And does he regret it?

This he says, with typically astute clarity, is a part of a wider question, whether it was right for Pakistan to be formed. Both are now more than 50 years old and now belong to the Historians’ jurisdiction.

And India and Pakistan? Well, they are like those mythical characters Gog and Megog, condemned to licking a wall away all night, which springs back whole in the morning. They will make peace only to fight again. But then he is a pessimistic man.

http://web.mid-day.com/entertainment/news/2004/september/91817.htm

Tuesday, September 07, 2004

Ashfaq Ahmed Passed Away

Ashfaq Ahmed (1925-2004)







LAHORE: Writer, intellectual and playwright Ashfaq Ahmed was born on August 22, 1925 in Muktasar district of Ferozepur in India. Javed Tariq, Mr Ahmed’s nephew, told Daily Times that his uncle got his early education at Ferozepur, and then did his BA from Lahore and Masters in Urdu from Government College in Lahore. He started writing stories in his childhood, which were published in Phool magazine. He said very few people know that Mr Ahmed was also a poet. He quoted Mr Ahmed’s verse

Kis ki amad hai kay taron nay bichah deen aankhain
Kehkashan ban gaie har rah guzar aaj ki raat.

He said Mr Ahmed had been into Sufism for the last thirty years. He was a disciple of Baba Jee Noor Walay, whose ‘astana’ was in Mian Mir. He said other people who used to visit Baba Jee Noor Walay included Hanif Ramay, Qudaratullah Shahab and Sheikh Manzoor Elahi. Mr Tariq said after Partition, when Mr Ahmed arrived at the Walton refugee camp with millions of other migrants, he used to make announcements on a megaphone round the clock. He said Mr Ahmed got a job in Radio Azad Kashmir, which was established on a truck that used to drive around in various parts of Kashmir.

Achievements: Writer Ashfaq Ahmed did diplomas in the Italian and French languages from the University of Rome and Grenoble University, France. He got special training in broadcasting from New York University. He was a lecturer at Diyal Singh College for two years and was later appointed professor of Urdu at Rome University. When he returned to Pakistan, he published his literary magazine Dastan go. He was also the editor of weekly Lail-o-Nehar for two years. He was appointed director of the Markazi Urdu Board in 1966, which was later renamed the Urdu Science Board. He remained with the board until 1979. Mr Ahmed was also appointed advisor in the Education Ministry during Ziaul Haq’s regime. Mr Ahmed became a prominent short story writer in 1955 when his short story Gadariya was published. He used Punjabi literary words very well in Urdu and introduced a new kind of prose, which was unique to him. His command of story writing was also rare. Aik Mauhababt Sau Afsaanay and Ujlay Phool are his early short story collections. He later wrote Safar Dar Safar, (travelogue), Khail Kahnai (novel) and Tota Kahani (dramas), which are his most prominent works. Mr Ahmed introduced his famous character Talqeen Shah in 1962 at Radio Pakistan Lahore. It was a weekly feature that ran for three decades, the longest weekly radio show in the subcontinent. In the 60s, Mr Ahmed produced a feature film Dhoop aur Saie. Its songs were written by Munir Niazi and Tufail Niazi composed the music. Actor Kavi Khan made his debut as a lead in that film. However, it did not do well at the box office. In the 70s, the prolific writer wrote a drama series Aik Mauhbbat so Afsanay based on the short story collection of the same name. In the 80s, his Tota Kahani and Man Chalay Ka Sauda were televised. The shows steeped in Sufism and were criticised a lot. He used to focus more on dialogue than the plot of the play and his characters used to utter long dialogues. Currently, he was hosting a TV programme named Zavia. The late Qudaratullah Shahab and Mumtaz Mufti were his friends. Mr Ahmed’s wife Bano Qudsia is a novelist.

---shoaib ahmed

http://www.dailytimes.com.pk/default.asp?page=story_8-9-2004_pg7_12

Ashfar Ahmed laid to rest:

http://www.dailytimes.com.pk/default.asp?page=story_8-9-2004_pg7_11

Monday, September 06, 2004

Nastaleeq : beauty of Urdu



The style of writing that you see in the above painting is called "nastaleeq". Early on Urdu adopted this form of writing, and now it is considered inseparable from the Urdu language. Nastaleeq is highly stylized writing form, developed from Naskh ( Arabic is written in Naskh form).

Nastaliq is the innocent melody created by the fingertips of the one who is in love with God.

you can read history of Nastaleeq on this site.

http://www.kelk.org/History/history.shtml

With the advent of typewriter and computers it became difficult to transfer the elegance and beauty of nastaleeq on paper and screen, while typewriter adopted Naskh form of writing which was largely ignored by the Urdu readers since for them it looked very ugly, computers was a different story. Ahmed Mirza Jameel, a Pakistani artist transferred Urdu calligraphy using a ligature based system, this method was incorporated in creating Urdu desktop publishing software called InPage.

InPage is created by an Indian software company called Concept Sofware ( www.inpage.ws) . InPage has revolutionized the way Urdu newspapers and magazines are published now, and almost all of them have moved to composing on computers.

Internet posed a difficult challange for Urdu computing which still remains to be fully solved but fortunately we are much closer to it today. Unicode standard has made computers understand almost all the written languages of the world including Urdu. The problem remaines of designing a font that can be closest to Nastaleeq so that it can be acceptable to the Urdu readers. Here are links to Urdu fonts.

http://www.urdustan.net/u-hoo/index.php?action=displaycat&catid=26

If you are interested in learning Urdu script, you might find this book useful.





Thursday, September 02, 2004

2004 Mushairas in America

well today thanks to Amir Ali; I have 2004 mushaira schedule for North America.


2004 Mushaira Schedule

Date "City, State" Organization Contact Tel #(Day) Contact Person Email

27-Aug "Cleveland, OH" Aligarh Alumni Association (216) 464-8318(Friday) Mr. Qamraruddin Khan qrkhan@yahoo.com

28-Aug "Chicago, IL" Aligarh Alumni Association (847) 632-0882 (Saturday) Mr. Zille Khan zkhan3@hotmail.com

3-Sep "San Antonio, TX" Aligarh Alumni Association (210) 764-0286(Friday) Dr. Masarrat Ali adiali@4adi.com

4-Sep New Orleans (Saturday)

10-Sep "Houston, TX" Aligarh Alumni Association (281) 858-1218(Friday) Mr. Perwaiz Jafri perwaizjafri@yahoo.com

11-Sep "Detroit, MI" Aligarh Alumni Association (586) 795-0583(Saturday) Mr. Ashfaq Qureshi mohammad.qureshi@gm.com

17-Sep "Phoenix, AZ" Aligarh Alumni Association (602) 548-9240(Friday) Mr. Afzal Usmani ausmani19dec@yahoo.com

18-Sep "San Francisco, CA" Aligarh Alumni Association (650) 212-ALIG(Saturday) Dr. Shaheer Khan info@amualumni.org

24-Sep Open (Friday)

25-Sep "Los Angeles, CA" Urdu Markaz International (310) 450-8738(Saturday) Ms. Naiyar Jahan zihanat@hotmail.com

1-Oct "Atlanta, GA" Aligarh Alumni Association (770) 564-9253(Friday) Dr. Rasheed Ahmad rasheedahmad@hotmail.com

2-Oct "Washington, DC " Aligarh Alumni Association (301) 924-1528(Saturday) Dr. A. Abdullah dra622@hotmail.com

8-Oct "Boston, MA" Aligarh Alumni Association (508) 845-3634(Friday) Dr. Ashraf Khan ashrafkhan90@hotmail.com

9-Oct "New York, NY" Aligarh Alumni Association (516) 369-0784(Saturday) Mr. Ahsan Z. Fazli MacworldInc@aol.com

Participating Poets
Shiv Kumar "Nizam" - India
Naseer Turabi - Pakistan
Tariq Subzwari - Pakistan
Khamakha Hyderabadi - India

And Selected Poets of North America

National Coordinator:
Dr. Abdullah: (301) 924-1528
dra622@hotmail.com

thanks to www.aligs.org

Wednesday, September 01, 2004

Mushaira

Mushaira can be translated as poetry recitals. Mushaira has a long tradition in Urdu poetry, Urdu poetry coming from the heritage of Arabic and Persian and folk songs of Urdu is supposed to be recited. In the earlier days popularity of a poet was measured by his ability to extract the praises from Mushaira audience.

Mushaira of these days are an attempt to keep that tradition alive. Any one close to Northern California should try to attend this mushaira. Shaharyaar is an awarded poet from India and Khamakha Hyderabadi will sure to make you laugh with his wit and humor.

Aligarh Muslim University Alumni Association
Northern California - USA

Presents

Sir Syed Day’2004
International Mushaira and Banquet

Saturday, September 18, 2004 (6:30 PM - Midnight)

(Dinner 6:30 PM – 8:00 PM Only)



Chandni Restaurant
5748 Mowry School Road
Newark, CA 94560


Participating Poets


· Shiv Kumar"Nizam"- India
· Tariq Subzwari -Pakistan
· KhamakhaHyderabadi - India
· Shaharyar -India
· Haneef Akhgar - NY
o A. Abdullah - Washington DC
And Selected Poets of Bay Area

Advance Purchase Tickets are $25/person. Tickets at the gate are $30/person. Children under 12 years $10 (Inc. baby-sitting).

For More Information & Tickets please contact:

Email:tickets@amualumni.org



Note: Tickets are also available online through our website (www.amualumni.org)