MIRZA GHALIB’S SURTI SHAGIRD
Nestled within the hustle bustle of the area known as Badekhan Chakla, is one of Surat’s heritage monuments - Khwaaja Daana Saheb’s Dargah.The Mausoleum of a famous saint who traveled from Agra to Baroda to Surat in the 15th century .Just as all rouzas do, this place provides for peace and quiet to staunch believers who come here to pray and pay respect.
Circumferential to Khwaja Daana Saheb’s place of rest are various other tombs, those of his direct descendants. One among these is that of Nawab Gulam Baba Khan, a patron of Delhi’s great poet Mirza Ghalib. Next to him, is buried Sayyah-one of Ghalib’s favourite students. Although the renowned poet never visited Gujarat, he kept in touch with Gujarat’s Mirs via his wonderful letters.
‘Qasid ke aatey aatey khat ek aur likh rakhoon,main jaanta hoon jo who likhenge jawaab mein’
Ghalib tutored the glamour of Urdu grammar to many students through his impeccable penmanship and was particularly fond of Mian Dad Khan, bestowing him the pen name ‘Sayyah’, meaning traveler.Ghalib penned him thirty-five letters from 1859-1869, discussing various topics. Sayyah was a courtier at Nawab Mir Gulam Baba’s palace and it was he who introduced Ghalib to this patron.Ghalib loved to travel but in absence of good health and apt means, it was Sayyah who corresponded to him about various places in India where he traveled to.
In the book Mirza Ghalib and the Mirs of Gujarat, author Mir Jaffar Imam shares the letters Ghalib wrote to Sayyah.The beauty of Ghalib's prose was equal to that of his verse.The personal letters written by Ghalib during his last years to the kith and kin of author Mir Jaffar Imam,show Ghalib's most vulnerable and sentimental profile.
One of them reads thus when translated- “Well if I cannot travel, I’ll content myself with the thought that ‘to hear of pleasure is to experience half of it.’ So let me enjoy the story of Mian Dad Khan Sayyah’s travels and tours.”
Syed Zahiruddin Madani who wrote ‘Sukhanrvarne Gujarat’ mentions how Sayyah was a connoisseur of elegant and well stitched clothing and ordered the same from Delhi; he also had a penchant for perfumes and collected various ittars from around the country.Once, Mirza Ghalib sent him six caps like the one he wore himself but Sayyah gave them to Gulam Baba, wearing none himself.
Sayyah’s luxurious lifestyle and extravagant habits led to his involvement with some people of dubious character, who printed counterfeit currency. Once, Sayyah used a counterfeit Rs.100 note at the Victoria Terminus and was sentenced to fourteen years upon getting caught but, was pardoned and set free when he wrote a verse in the honour of Queen Victoria’s jubilee celebrations.
Although a Diwan of Sayyah ‘s works is not available, he published a book ‘Saire Sayyah’ in 1872, which was a travelogue featuring his visits to mushaiyaras in cities such as Hydrabad,Mysore,Madras,Delhi,Meerut,Lucknow,Banaras and so on. The book ‘Lataaif-e-Ghaibi’ written by Sayyah is credited to Ghalib who many scholars believe was its original writer.
‘Khat likehnge garche matlab kuch na ho/Hum toh aashiq hai tumhare naam ke’
In his book ‘Surat sonani murat’, author Ishwarlal Desai has described how Ghalib and Sayyah shared a unique father and son relationship.Ghalib mostly referred to him as ‘Barkhurdar’,or ‘Munshi sahab ‘or ‘Dost’. Ghalib and Sayyah both shared the grief of losing several children none of whom survived beyond infancy. The Ustad consoled his shagird through his letters and related to his irreplaceable loss.
He conferred Sayyah with the title’Saif Ul Haq’ (the sword of God) and wrote to him”By giving you the title, I have appointed you the commander of my army. You are my hands, you are my arms, you will be the weilder of the sword of my speech.” Proud of being his ustad’s favourite, Sayyah once wrote “The shadow of grace of Ghalib has graced me, what matters if the wings of Phoenix do not bless me with their shadow.”
He further penned with great pride, “Hai talmaz Assadullah se humko Sayyah, shaayaro mein ho na kyun fakhre madar apna”
Thursday, March 31, 2011
Monday, March 21, 2011
Thailand's spice and silk route
Thailand's spice and silk route
“Sorry sir,full moon night,so, no whiskey,no sexy.”said the bouncer blocking the bar entrance. The Gujaratis could not believe their ears; there they were, in Phuket, Thailand’s paradise for ‘paisawallahs’, they had all the money to spend in the world, but this ban certainly meant less bang for their buck.
“Eni behney! “Exclaimed one from the gang,”ahiya ho Poonam bharva jaay!”(they visit the temple on a full moon here too)
There is much more than the Thai‘wai’(namaste)that welcomes Indians to feel at home in Thailand; for a country where tourism thrives on the business of bars and babes-practices that are generally perceived as being outside the matrix of morality, it has staunch cultural traditions very similar to many followed within India and more so in Gujarat, which surprises first time visitors.
Business bonding
Around 8 lakh Indians visited Thailand in 2010,but Gujarat’s Shahbandars (Port men) were amongst the earliest who sailed out to its shores.During the ancient medieval times, Surat, Bharuch and Khambhat which were amongst the most active ports of the 52 which existed in Gujarat, had many traders sailing out with fine silk and spices to Thailand’s shores.Patan’s Patola silk is considered sacred and the fabric of gods there.Naturally dyed colour fast block printed cloth made by the masters of textiles in Ahmedabad was produced for export to Thailand.
Made by the Bhavsars of Ahmedabad,the cloth was known as ‘Saudagiri’-fabric meant for trade.This trade was monitored by three main corporations run by Vashi,Maskati and Baghi . The Imperial Gazeeteer notes how five workshops of Hindu and Muslim Khatris were set up in Pethapur for block printing fabrics to be exported to Thailand. The Gajjar community specially crafted wooden blocks with Thai motifs. Along with silk weaves ,cotton Kalamkar prints from Ahmedabad had high demand in Thai markets.Motifs woven within Thai silk till this date is inspired by these ancient designs.
In his book ‘The history of Thailand,’Patit Paban Mishra states how ‘spice and pepper trade in the Mediterranean by Gujarati traders resulted in the establishment of Muslim settlements in Southeast Asia.The Indian Muslims, newly converted to the religion themselves were not as orthodox as the Arabian followers of Islam.’
Gujarati entrepuener, Nishita Shah, 30, recently featured amongst Forbes magazine’s listing of Thailand’s richest.Gujarat’s Dawoodi Bohra community known to be ace businessmen were amongst the earliest trading communities to settle in Bangkok; in fact ,the oldest non-Chinese firm in Bangkok is the A.T.E. Maskati Company, established 1856 by Dawoodi Bohras of Ahmedabad who had sailed out from Surat and set up one of Thailand’s first international trading companies.
Food and culture.
Gujarat’s Khatri community too abstains from both meat and alcohol during full moon nights and a visit to the temple particularly that of Mahalakshmi is mandatory. Just as the evil eye is warded off by burning it back here, butter paper lanterns are lit and let up to burn out above the beaches of pristine sea waters there.
More than 94 % of Thailand’s population follows Theravada Buddhism which historians believe was spread via the messengers of Ashoka the great Indian king , locals believe in Ramakien –a Thai version of Ramayana..Over the years,Thailand has also preserved its Hindu characteristics acquired from Khshatriya immigrant colonies,via peaceful non political methods and more so by means of marriage.Traders who sailed out to Southeast Asia,often ended up marrying local women and settling there for good.Later,when their off springs were married back into Gujarat,they brought with them a varied Thai cuisine and long before fancy Thai restaurants were opened up in our country, Khatri home makers were conjuring up coconut and peanut curries tinged with lemongrass roots within the local kitchens.
Many Brahmins, who sailed there with Kshatriya kings settled in Thailand and were adopted into royalty and also performed coronation ceremonies. Indian themes thus got ingrained within Thai forms of dance and dramas. Method of worship is similar as Hindus, as are our Gods from Ganesha to Brahma.
Thousands flock the Sri Mariamman temple in Bangkok during Navratri .Bangkok's sacred destination - temple of Emerald Buddha has Ramayan depicted on its walls.A lot of retail shops in Thailand even within fancy malls begin the day by playing a recording of the Hanuman chalisa.
Geographically,the only link that connects India to Thailand are the lowest crags of the Himalayas ,foothills of which line Northern Thailand; its Salawin river flirts with Myanmar before flooding our Bay of Bengal. Surat and Tapi are names that read on the maps of both these two different countries which have similar customs. While Gujarat’s spices and silk enrich their day to day life, fruits imported from Thailand's 'Fruit Garden city'-Surat Thani, like Ramabutan, Mangosteen and Durian are now available here too. Along with similar English language speaking skills (or rather the lack of same) we also retain the title of being ‘city of good people.’
“Sorry sir,full moon night,so, no whiskey,no sexy.”said the bouncer blocking the bar entrance. The Gujaratis could not believe their ears; there they were, in Phuket, Thailand’s paradise for ‘paisawallahs’, they had all the money to spend in the world, but this ban certainly meant less bang for their buck.
“Eni behney! “Exclaimed one from the gang,”ahiya ho Poonam bharva jaay!”(they visit the temple on a full moon here too)
There is much more than the Thai‘wai’(namaste)that welcomes Indians to feel at home in Thailand; for a country where tourism thrives on the business of bars and babes-practices that are generally perceived as being outside the matrix of morality, it has staunch cultural traditions very similar to many followed within India and more so in Gujarat, which surprises first time visitors.
Business bonding
Around 8 lakh Indians visited Thailand in 2010,but Gujarat’s Shahbandars (Port men) were amongst the earliest who sailed out to its shores.During the ancient medieval times, Surat, Bharuch and Khambhat which were amongst the most active ports of the 52 which existed in Gujarat, had many traders sailing out with fine silk and spices to Thailand’s shores.Patan’s Patola silk is considered sacred and the fabric of gods there.Naturally dyed colour fast block printed cloth made by the masters of textiles in Ahmedabad was produced for export to Thailand.
Made by the Bhavsars of Ahmedabad,the cloth was known as ‘Saudagiri’-fabric meant for trade.This trade was monitored by three main corporations run by Vashi,Maskati and Baghi . The Imperial Gazeeteer notes how five workshops of Hindu and Muslim Khatris were set up in Pethapur for block printing fabrics to be exported to Thailand. The Gajjar community specially crafted wooden blocks with Thai motifs. Along with silk weaves ,cotton Kalamkar prints from Ahmedabad had high demand in Thai markets.Motifs woven within Thai silk till this date is inspired by these ancient designs.
In his book ‘The history of Thailand,’Patit Paban Mishra states how ‘spice and pepper trade in the Mediterranean by Gujarati traders resulted in the establishment of Muslim settlements in Southeast Asia.The Indian Muslims, newly converted to the religion themselves were not as orthodox as the Arabian followers of Islam.’
Gujarati entrepuener, Nishita Shah, 30, recently featured amongst Forbes magazine’s listing of Thailand’s richest.Gujarat’s Dawoodi Bohra community known to be ace businessmen were amongst the earliest trading communities to settle in Bangkok; in fact ,the oldest non-Chinese firm in Bangkok is the A.T.E. Maskati Company, established 1856 by Dawoodi Bohras of Ahmedabad who had sailed out from Surat and set up one of Thailand’s first international trading companies.
Food and culture.
Gujarat’s Khatri community too abstains from both meat and alcohol during full moon nights and a visit to the temple particularly that of Mahalakshmi is mandatory. Just as the evil eye is warded off by burning it back here, butter paper lanterns are lit and let up to burn out above the beaches of pristine sea waters there.
More than 94 % of Thailand’s population follows Theravada Buddhism which historians believe was spread via the messengers of Ashoka the great Indian king , locals believe in Ramakien –a Thai version of Ramayana..Over the years,Thailand has also preserved its Hindu characteristics acquired from Khshatriya immigrant colonies,via peaceful non political methods and more so by means of marriage.Traders who sailed out to Southeast Asia,often ended up marrying local women and settling there for good.Later,when their off springs were married back into Gujarat,they brought with them a varied Thai cuisine and long before fancy Thai restaurants were opened up in our country, Khatri home makers were conjuring up coconut and peanut curries tinged with lemongrass roots within the local kitchens.
Many Brahmins, who sailed there with Kshatriya kings settled in Thailand and were adopted into royalty and also performed coronation ceremonies. Indian themes thus got ingrained within Thai forms of dance and dramas. Method of worship is similar as Hindus, as are our Gods from Ganesha to Brahma.
Thousands flock the Sri Mariamman temple in Bangkok during Navratri .Bangkok's sacred destination - temple of Emerald Buddha has Ramayan depicted on its walls.A lot of retail shops in Thailand even within fancy malls begin the day by playing a recording of the Hanuman chalisa.
Geographically,the only link that connects India to Thailand are the lowest crags of the Himalayas ,foothills of which line Northern Thailand; its Salawin river flirts with Myanmar before flooding our Bay of Bengal. Surat and Tapi are names that read on the maps of both these two different countries which have similar customs. While Gujarat’s spices and silk enrich their day to day life, fruits imported from Thailand's 'Fruit Garden city'-Surat Thani, like Ramabutan, Mangosteen and Durian are now available here too. Along with similar English language speaking skills (or rather the lack of same) we also retain the title of being ‘city of good people.’
Alam Ara -India's first talkie.
MORE ARA FOR ALAM
Last week Google’s doodle commemorated India’s first talkie, Alam Ara, turning it into one of online’s hottest hits of the day.
Made 80 years ago, our country’s first ‘all singing, talking and dancing’ movie seems to have been silenced forever, since, it’s last existing print perished in a fire at the National Film Archives of India, 2003.
A milestone for Bollywood, this movie that also set the hallmark for popular Indian cinema with the song and dance routine has another strong Surti connect besides its heroine Zubeida.
“Alam Ara was an instant runaway hit that ran for seven weeks at Mumbai’s Majestic cinema, four annas tickets were black marketed for Rs.5 and Rs.6 an astonishing price in those days.” informs music writer Adil Bhoja,further pointing out that Imperial Movie –tone was co owned by a Surti.”In the silent era, and even much later movies were screened in pitched tents with a screen and a few accompanied musicians. A Surti by the name of Abdullally Esoofally was a leading exhibitor of silent movies. In a bid to settle down, he bought the Alexandra Theatre in Bombay in 1914 and went on to build the Majestic Theatre in 1918 along with his partner- Ardeshir Irani.Together they formed Imperial Film Company and released Alam Ara in 1931.”
Abdullally Esoofally was an enterprising Surti, born here in 1884; this pioneer tent showman traded in global cinema. He would take his projector, folding screen and a fifty by hundred foot tent that could host a thousand spectators and venture to spread the magic of cinema through India and Asia, exhibiting operas, comedies and actualities like travelogues and sports events, with live music from tabla-sarangi and harmonium players.With Alam Ara also began the profession of penning dialogues for cinema; India’s first writer of which was Joseph David, a Bene Israeli Jew .
The script was written in lighter vein to appeal lay audiences similar to the way they are now. David’s great grand daughter, Joanna Ezekiel a writer herself, now settled in the UK says that ,”Although he had minimal schooling and had joined Parsi Imperial theatre as a stagehand who got small improvisational roles as an actor, Joseph David Penkar was soon noticed for his talent with words and music. Fluent in Indian and Hebrew as well as the English language, he had a passion for plays and the influence of mythological tales from all these languages was detectable in Alam Ara.I am proud that my Jewish ancestor wrote a script that was enjoyed alike by Hindus,Muslims,Jews ,Christians and other religions alike. Sentimental? Yes, but then, that’s Bollywood.”
Paging through The Encyclopedia of Hindi Cinema proved one thing for certain, that the main lead Master Vithal –superstar of the silent era had little to do in the film; being poor at Hindi diction which was the need of the hour then, he was shown magically dumbstruck and was either in a trance or unconscious through most of the film. It was here that Prithiviraj Kapoor’s thunderous booming voice scored and secured a successful future for this character actor who went on to establish the iconic Kapoor clan.Prithviraj Kapoor played the role of Adil,as Zubeida’s father in the film.
Surat’s Zubeida who played the lead role held centre stage with her enigma. Writer Urvish Kothari, a connoisseur of vintage music who owns a booklet on Alam Ara, printed in Gujarati, points out that, “Alam Ara was the name of the heroine, which is interesting considering the fact that it was not a known name that belonged to any historical /mythological character that people could identify with.”
It was Ardeshir Irani’s belief in this spitfire Surti superstar who went to provide ‘paisa vasool’entertainment for the enthusiastic public.It was she who made it eternal, like it’s name-Alam Ara-Light of the World, glowing in our memory forever.
Last week Google’s doodle commemorated India’s first talkie, Alam Ara, turning it into one of online’s hottest hits of the day.
Made 80 years ago, our country’s first ‘all singing, talking and dancing’ movie seems to have been silenced forever, since, it’s last existing print perished in a fire at the National Film Archives of India, 2003.
A milestone for Bollywood, this movie that also set the hallmark for popular Indian cinema with the song and dance routine has another strong Surti connect besides its heroine Zubeida.
“Alam Ara was an instant runaway hit that ran for seven weeks at Mumbai’s Majestic cinema, four annas tickets were black marketed for Rs.5 and Rs.6 an astonishing price in those days.” informs music writer Adil Bhoja,further pointing out that Imperial Movie –tone was co owned by a Surti.”In the silent era, and even much later movies were screened in pitched tents with a screen and a few accompanied musicians. A Surti by the name of Abdullally Esoofally was a leading exhibitor of silent movies. In a bid to settle down, he bought the Alexandra Theatre in Bombay in 1914 and went on to build the Majestic Theatre in 1918 along with his partner- Ardeshir Irani.Together they formed Imperial Film Company and released Alam Ara in 1931.”
Abdullally Esoofally was an enterprising Surti, born here in 1884; this pioneer tent showman traded in global cinema. He would take his projector, folding screen and a fifty by hundred foot tent that could host a thousand spectators and venture to spread the magic of cinema through India and Asia, exhibiting operas, comedies and actualities like travelogues and sports events, with live music from tabla-sarangi and harmonium players.With Alam Ara also began the profession of penning dialogues for cinema; India’s first writer of which was Joseph David, a Bene Israeli Jew .
The script was written in lighter vein to appeal lay audiences similar to the way they are now. David’s great grand daughter, Joanna Ezekiel a writer herself, now settled in the UK says that ,”Although he had minimal schooling and had joined Parsi Imperial theatre as a stagehand who got small improvisational roles as an actor, Joseph David Penkar was soon noticed for his talent with words and music. Fluent in Indian and Hebrew as well as the English language, he had a passion for plays and the influence of mythological tales from all these languages was detectable in Alam Ara.I am proud that my Jewish ancestor wrote a script that was enjoyed alike by Hindus,Muslims,Jews ,Christians and other religions alike. Sentimental? Yes, but then, that’s Bollywood.”
Paging through The Encyclopedia of Hindi Cinema proved one thing for certain, that the main lead Master Vithal –superstar of the silent era had little to do in the film; being poor at Hindi diction which was the need of the hour then, he was shown magically dumbstruck and was either in a trance or unconscious through most of the film. It was here that Prithiviraj Kapoor’s thunderous booming voice scored and secured a successful future for this character actor who went on to establish the iconic Kapoor clan.Prithviraj Kapoor played the role of Adil,as Zubeida’s father in the film.
Surat’s Zubeida who played the lead role held centre stage with her enigma. Writer Urvish Kothari, a connoisseur of vintage music who owns a booklet on Alam Ara, printed in Gujarati, points out that, “Alam Ara was the name of the heroine, which is interesting considering the fact that it was not a known name that belonged to any historical /mythological character that people could identify with.”
It was Ardeshir Irani’s belief in this spitfire Surti superstar who went to provide ‘paisa vasool’entertainment for the enthusiastic public.It was she who made it eternal, like it’s name-Alam Ara-Light of the World, glowing in our memory forever.
Monday, March 14, 2011
Google 's Alam Ara Doodle -India's first talkie's hero was actually its heroine.
Surti Siren on Google Doodle
80th Anniversary of India’s first talkie Alam Ara.
Google’s doodle talk is back and how! Post an all women special logo for the 100TH International Women’s Day, Google’s search engine home page for India has now featured Zubeida, the legendary actress from Surat, on its new doodle. As a tribute to India’s first talkie-Alam Ara, on its 80th anniversary, the doodle is an artist’s impression of a scene from the movie.
Daughter of the Nawab of Sachin and Fatma Begum who was Bollywood’s first lady director, Zubeida made her debut at 12 with the movie Kohinoor and had already made her mark as an actress with Balidaan which was based on Tagore’s Sacrifice.
Highest paid actress of her times, with the title role Alam Ara, she had the box office coffers jingling and a stampede of sorts was created at Mumbai’s Majestic cinema where people thronged to catch a glimpse of her’ All talking, singing and dancing ‘ blockbuster.
Zubeida who plays a gypsy girl in the film,sang most of the songs in the movie, which were recorded, live at night within an indoor studio, to avoid outside noise by ‘microphones hidden in incredible places to keep out of camera range ‘as director Ardeshir Irani had once mentioned.
“Irani was able to foresee the profound impact sound would have on cinema. He raced to complete Alam Ara before several other contemporary sound films. The cast and crew faced a lot of hitches since sound proof stages were unheard of then. Mostly shot indoors and at night, since the studio was close to a railway track, they had to schedule shots between train timings or shoot after their services ceased.” Says music writer Aadil Bhoja.
“Zubeida was a beauty with a sensuous voice, luminescent skin and great presence. Watching her perform popular songs from the film like ‘Badla dilwayega yaar tu ab sitamgaro se” and ‘De de Khuda ke naam pe “(originally sung in the movie by Wazir Mohammed Khan) live during the Golden Jubilee celebrations of Alam Ara at Sanmukhananda Hall was a rare treat.” says Yasin Dalal, 65, ex head of department of Journalism and Mass Communication, at Saurashtra University, a staunch cinema buff from Rajkot, who has a video recording of the event,” Even as she stopped short after singing a few lines and shyly disclosed,”bhul gayi.”,the audience went gaga over this beauty from Gujarat, who said she was honoured and proud to have been part of this great film.”
Directed by Ardeshir Irani, the movie was a remake of the popular play Alam Ara written by Joseph David Penkar, a playwright from The Parsi Imperial Theaterical Company. While Prithviraj Kapoor played a character actor in the film, its lead master Vithal was sued by Sharda Studios for breach of contract by working for Imperial Movietone. M A Jinnah was then appointed to defend him.
Just as master Vithal ogles at Zubeida on the Google doodle, so also he had little to do and nothing to say in this first of its kind ‘All living .Breathing.100 percent talking’ film as it was advertised.Vithal being weak at Hindi diction was mostly shown unconscious or in a trance while the Surti siren held centre stage and sizzled onscreen.
India’s first talkie which was lost in silence when its last existing print was destroyed forever in a fire at the National Film Archives of India, has found a voice again and like it’s name-Alam Ara-proven to be the Light of the World ,glowing in our memory forever.
80th Anniversary of India’s first talkie Alam Ara.
Google’s doodle talk is back and how! Post an all women special logo for the 100TH International Women’s Day, Google’s search engine home page for India has now featured Zubeida, the legendary actress from Surat, on its new doodle. As a tribute to India’s first talkie-Alam Ara, on its 80th anniversary, the doodle is an artist’s impression of a scene from the movie.
Daughter of the Nawab of Sachin and Fatma Begum who was Bollywood’s first lady director, Zubeida made her debut at 12 with the movie Kohinoor and had already made her mark as an actress with Balidaan which was based on Tagore’s Sacrifice.
Highest paid actress of her times, with the title role Alam Ara, she had the box office coffers jingling and a stampede of sorts was created at Mumbai’s Majestic cinema where people thronged to catch a glimpse of her’ All talking, singing and dancing ‘ blockbuster.
Zubeida who plays a gypsy girl in the film,sang most of the songs in the movie, which were recorded, live at night within an indoor studio, to avoid outside noise by ‘microphones hidden in incredible places to keep out of camera range ‘as director Ardeshir Irani had once mentioned.
“Irani was able to foresee the profound impact sound would have on cinema. He raced to complete Alam Ara before several other contemporary sound films. The cast and crew faced a lot of hitches since sound proof stages were unheard of then. Mostly shot indoors and at night, since the studio was close to a railway track, they had to schedule shots between train timings or shoot after their services ceased.” Says music writer Aadil Bhoja.
“Zubeida was a beauty with a sensuous voice, luminescent skin and great presence. Watching her perform popular songs from the film like ‘Badla dilwayega yaar tu ab sitamgaro se” and ‘De de Khuda ke naam pe “(originally sung in the movie by Wazir Mohammed Khan) live during the Golden Jubilee celebrations of Alam Ara at Sanmukhananda Hall was a rare treat.” says Yasin Dalal, 65, ex head of department of Journalism and Mass Communication, at Saurashtra University, a staunch cinema buff from Rajkot, who has a video recording of the event,” Even as she stopped short after singing a few lines and shyly disclosed,”bhul gayi.”,the audience went gaga over this beauty from Gujarat, who said she was honoured and proud to have been part of this great film.”
Directed by Ardeshir Irani, the movie was a remake of the popular play Alam Ara written by Joseph David Penkar, a playwright from The Parsi Imperial Theaterical Company. While Prithviraj Kapoor played a character actor in the film, its lead master Vithal was sued by Sharda Studios for breach of contract by working for Imperial Movietone. M A Jinnah was then appointed to defend him.
Just as master Vithal ogles at Zubeida on the Google doodle, so also he had little to do and nothing to say in this first of its kind ‘All living .Breathing.100 percent talking’ film as it was advertised.Vithal being weak at Hindi diction was mostly shown unconscious or in a trance while the Surti siren held centre stage and sizzled onscreen.
India’s first talkie which was lost in silence when its last existing print was destroyed forever in a fire at the National Film Archives of India, has found a voice again and like it’s name-Alam Ara-proven to be the Light of the World ,glowing in our memory forever.
Sunday, March 13, 2011
Wali Muhammed Wali
ASHES TO ASHES, DUST TO DUST?
Ashleshaa Khurana
Ajab shehron mein pur nur aek shehr bila shak hai voh jag mein maqsad-e-deher ke mash-hur us ka naam Surat ,keh jawey jis ke dekhey sab kudurat ............vahaan saakin ite hain ahl-e mazhab,ke ginti mein naa aaven unke mashrab agarche sab hain voh abnaa-e aadam,vale beenash mein rangaarang-e aalam
Penned in ‘Rekhta’ (ancient Urdu), the above words were part of a masnavi written in praise of Surat by India’s first Urdu poet, Wali Muhammed Wali;also known as Wali Gujarati because he lived and died in our state. Wali’s brilliant prose put Urdu poetry on the world literary map. A rough translation of the text above, provided by poet Max Babi, reads-
“Amongst the delights of humanity is a brilliant city ,one which draws people to quaff celestial joy ,it goes by the name of Surat ,one sheds all malice as it alights on the eye………
so many people of so many religions live there ,their sects cannot be possibly counted ,even though they are all progeny of Adam, in appearance however, they are a multicoloured spectrum.”
Wali, who educated himself via his travels couldn’t have described our town or its visitors better. Besides being the hub for global trade, Surat was also the land where agents of several nations vied with each other to live in the greatest splendour.
It was here that the English first came in contact with the Armenians; it was here that the French gained the unenviable title of being pirates and plunderers, where the Portuguese and the Dutch competed die hard for remaining the masters of maritime trade.
In The Journal of Asiatic Society of Bombay, A F Ballasis records how the English presidents in town dined in ‘vessels and dishes which were all of massive silver and each course was ushered in by a flourish of trumpets and a band of music played during dinner’He also points out, ‘men who lived in such grandeur may naturally be supposed to have emulated each other in erecting ostentation tombs to commemorate their dead’
Undoubtedly, the cemeteries of the English, Dutch and Armenians in Surat are its most grand heritage. England’s Oxenden brothers buried here within tombs which have been described to be of ‘unsurpassed grandeur’ even in Europe, standing tall at forty feet, with a twenty five feet diameter and lofty cupolas.
Many historians have remarked that by adorning their tombs with fine marble, frescos, passages from scriptures and windows with wood carvings the Dutch and English competed to out do each other even in death and tried to impress their status on locals ; how ‘The object of raising Baron Adrian Von Reede’s monument was to eclipse the English cemetery’.
While most of the graves are of women of honour, men of status and innocent children, J Ovington mentions in his travelogue, the grave of a certain merry Dutch man whose last wish was rather strange and whenever his friends visited his grave they,” remembered him there sometimes so much that they quite forgot themselves.”.
Believed to be a relative of the Prince of Orange, banished to Surat by the Dutch government, his was supposedly,’ the most discreditable grave at the burying ground ‘, according to the Calcutta Review,’ the notorious tippler had enjoined that a stone punch bowl be placed on his tomb’s summit and smaller punch bowls with sugar loaves at the corners of his tomb.’ His friends would visit him at night and revel in merry making by preparing punch atop his grave and ladle it in the smaller bowls as they sang,”Oh! That a Dutchman’s draught could be; As deep as the rolling Zuyder Zee”
Yes, there are many strangers from foreign lands buried in Surat;surrounded by fragrant frangipani trees, their tombs are officially ‘reckoned as the most important historical monuments in the city’by the SMC, which provides details of the same on its website. Protected by the Archeological Survey of India (ASI), they all rest in peace .
As for Wali, who died 1707;alas! his mazaar is but a razed road in Ahmedabad since the last nine years.
Ashleshaa Khurana
Ajab shehron mein pur nur aek shehr bila shak hai voh jag mein maqsad-e-deher ke mash-hur us ka naam Surat ,keh jawey jis ke dekhey sab kudurat ............vahaan saakin ite hain ahl-e mazhab,ke ginti mein naa aaven unke mashrab agarche sab hain voh abnaa-e aadam,vale beenash mein rangaarang-e aalam
Penned in ‘Rekhta’ (ancient Urdu), the above words were part of a masnavi written in praise of Surat by India’s first Urdu poet, Wali Muhammed Wali;also known as Wali Gujarati because he lived and died in our state. Wali’s brilliant prose put Urdu poetry on the world literary map. A rough translation of the text above, provided by poet Max Babi, reads-
“Amongst the delights of humanity is a brilliant city ,one which draws people to quaff celestial joy ,it goes by the name of Surat ,one sheds all malice as it alights on the eye………
so many people of so many religions live there ,their sects cannot be possibly counted ,even though they are all progeny of Adam, in appearance however, they are a multicoloured spectrum.”
Wali, who educated himself via his travels couldn’t have described our town or its visitors better. Besides being the hub for global trade, Surat was also the land where agents of several nations vied with each other to live in the greatest splendour.
It was here that the English first came in contact with the Armenians; it was here that the French gained the unenviable title of being pirates and plunderers, where the Portuguese and the Dutch competed die hard for remaining the masters of maritime trade.
In The Journal of Asiatic Society of Bombay, A F Ballasis records how the English presidents in town dined in ‘vessels and dishes which were all of massive silver and each course was ushered in by a flourish of trumpets and a band of music played during dinner’He also points out, ‘men who lived in such grandeur may naturally be supposed to have emulated each other in erecting ostentation tombs to commemorate their dead’
Undoubtedly, the cemeteries of the English, Dutch and Armenians in Surat are its most grand heritage. England’s Oxenden brothers buried here within tombs which have been described to be of ‘unsurpassed grandeur’ even in Europe, standing tall at forty feet, with a twenty five feet diameter and lofty cupolas.
Many historians have remarked that by adorning their tombs with fine marble, frescos, passages from scriptures and windows with wood carvings the Dutch and English competed to out do each other even in death and tried to impress their status on locals ; how ‘The object of raising Baron Adrian Von Reede’s monument was to eclipse the English cemetery’.
While most of the graves are of women of honour, men of status and innocent children, J Ovington mentions in his travelogue, the grave of a certain merry Dutch man whose last wish was rather strange and whenever his friends visited his grave they,” remembered him there sometimes so much that they quite forgot themselves.”.
Believed to be a relative of the Prince of Orange, banished to Surat by the Dutch government, his was supposedly,’ the most discreditable grave at the burying ground ‘, according to the Calcutta Review,’ the notorious tippler had enjoined that a stone punch bowl be placed on his tomb’s summit and smaller punch bowls with sugar loaves at the corners of his tomb.’ His friends would visit him at night and revel in merry making by preparing punch atop his grave and ladle it in the smaller bowls as they sang,”Oh! That a Dutchman’s draught could be; As deep as the rolling Zuyder Zee”
Yes, there are many strangers from foreign lands buried in Surat;surrounded by fragrant frangipani trees, their tombs are officially ‘reckoned as the most important historical monuments in the city’by the SMC, which provides details of the same on its website. Protected by the Archeological Survey of India (ASI), they all rest in peace .
As for Wali, who died 1707;alas! his mazaar is but a razed road in Ahmedabad since the last nine years.
Wednesday, March 9, 2011
At the Core-Book review
AT THE CORE-GLIMPSES AT SURAT’S GLORY
Surat is one of the fastest growing cities in the world sparkling as bright as diamonds that are polished here(80% of the entire world's uncut stones are polished here); a town by the river Tapi which holds its place in history with illuminating memories of a glorious past. Here is where the Sun God presided, the city named Suryapur after him, Rander on the yonder shore named after his wife Rannade, Tapi known as his daughter-Suryaputri, part of which is renowned as Gupt Ganga, where the Ganges visits to wash her sins.
The original Gateway to India for the globe, where flags of 84 countries once furled high making a statement for the town’s trading talent. With the advent of visitors and settlements came the array of heritage that weaved itself within this textile town’s social fabric and till date reflects in Surat’s culture and construction.
‘At the Core’, Understanding the built heritage of Surat and Rander - a book by Urban Management Centre (UBC),supported by Surat’s Municipal Corporation (SMC), provides a peek into the past, within the walled city which was once a melting pot of global culture and commerce. Co-authored by UBC’s founder director Manvita Baradi and deputy director Meghna Malhotra, the book is beautifully wrought and consistently appealing.
Post an introduction to Tapi town by SMC Commissioner Ms.S.Aparna, the book begins with Surat’s extensive dateline which goes way back to 300BC, when it was known as Laat Pradesh and proceeds to its position as the best performing JnNURM city in present times. This documentation goes far deeper to the core within; providing Surat’s history to the significance of data.
An expansive study of structures within the old walled city,’At the Core’ brings forth the expressive embellishments on Surat and Rander’s listed buildings of heritage value zooming in on about 2,417 from the 4,450 listed by the Surat Municipal Corporation.
Photographed by the staff and associates of UBC, the pictures provide an opportunity to soak in at ease intricate wood carvings within the timber and teak from Burma and Dang which were treated to withstand weather. While locals will instantly be able to recognize and relate to these, captions of locations would have been a helpful hint to tourists.
A handful of black and white aces which are in a class of their own have been clicked by Surat’s legendary photographer V. N. Mehta and have been generously shared by his great grandson Rajesh Mehta are fabulous and reminiscent of the city in the early and mid twentieth century and have successfully captured the essence of Surat’s spirit and spunk
The architecture within the inner city influenced by Arabesque style from the Mughal period to European and Colonial style combined with traditional style and skill of local workmanship displays genius craftsmanship within structures which now look dilapidated at first look. But then, lets not forget, this city has survived fires and floods, ravaging and plague and still stands tall.
From secret catacombs in basement of the Nagarsheth‘s haveli which were a safe passage to the river banks during the Maratha raids to stained glass window panes and Art Deco styling with skylights that brought in the sunlight with row houses that ran side by side from ornamental ‘otlas’ (front porches) upto service entry ‘vadas’ (backyards).The intermingling of ancient and modern fresco and design is visible in a wide and vast variety in segments of the city where people of privilege resided. The built heritage suggests the then veritable economic boom in a city which by no means has ever had a sluggish economy.
Enriched by ancient maps and paintings provided from the British Library Board to modern day satellite visuals,it documents the ‘Sheharpanah’ and ‘Alampanah’,Surat’s old inner and outer city walls along with its twelve entry gates.Since Rander was the Southern tip of Bharuch at the time this book chronicles in, it has been named separately .
Unlike Ahmedabad, Surat and Rander do not have any structures by Le Corbusier but, its orderly grid of sheris, majestic ovaras and jharokhas, artistic chabutras and cemeteries, lofty fort, intricately carved mosques and temples are proof enough of the finest architecture of its time in a city which was influenced by maritime trade and was cosmopolitan centuries ahead of the rest of India.
‘At the Core’ packages all that and more while simultaneously weaving the warp and weft of history, the wealth of which is as rich as the kinkhwab and brocade woven within its heritage structures.
Surat is one of the fastest growing cities in the world sparkling as bright as diamonds that are polished here(80% of the entire world's uncut stones are polished here); a town by the river Tapi which holds its place in history with illuminating memories of a glorious past. Here is where the Sun God presided, the city named Suryapur after him, Rander on the yonder shore named after his wife Rannade, Tapi known as his daughter-Suryaputri, part of which is renowned as Gupt Ganga, where the Ganges visits to wash her sins.
The original Gateway to India for the globe, where flags of 84 countries once furled high making a statement for the town’s trading talent. With the advent of visitors and settlements came the array of heritage that weaved itself within this textile town’s social fabric and till date reflects in Surat’s culture and construction.
‘At the Core’, Understanding the built heritage of Surat and Rander - a book by Urban Management Centre (UBC),supported by Surat’s Municipal Corporation (SMC), provides a peek into the past, within the walled city which was once a melting pot of global culture and commerce. Co-authored by UBC’s founder director Manvita Baradi and deputy director Meghna Malhotra, the book is beautifully wrought and consistently appealing.
Post an introduction to Tapi town by SMC Commissioner Ms.S.Aparna, the book begins with Surat’s extensive dateline which goes way back to 300BC, when it was known as Laat Pradesh and proceeds to its position as the best performing JnNURM city in present times. This documentation goes far deeper to the core within; providing Surat’s history to the significance of data.
An expansive study of structures within the old walled city,’At the Core’ brings forth the expressive embellishments on Surat and Rander’s listed buildings of heritage value zooming in on about 2,417 from the 4,450 listed by the Surat Municipal Corporation.
Photographed by the staff and associates of UBC, the pictures provide an opportunity to soak in at ease intricate wood carvings within the timber and teak from Burma and Dang which were treated to withstand weather. While locals will instantly be able to recognize and relate to these, captions of locations would have been a helpful hint to tourists.
A handful of black and white aces which are in a class of their own have been clicked by Surat’s legendary photographer V. N. Mehta and have been generously shared by his great grandson Rajesh Mehta are fabulous and reminiscent of the city in the early and mid twentieth century and have successfully captured the essence of Surat’s spirit and spunk
The architecture within the inner city influenced by Arabesque style from the Mughal period to European and Colonial style combined with traditional style and skill of local workmanship displays genius craftsmanship within structures which now look dilapidated at first look. But then, lets not forget, this city has survived fires and floods, ravaging and plague and still stands tall.
From secret catacombs in basement of the Nagarsheth‘s haveli which were a safe passage to the river banks during the Maratha raids to stained glass window panes and Art Deco styling with skylights that brought in the sunlight with row houses that ran side by side from ornamental ‘otlas’ (front porches) upto service entry ‘vadas’ (backyards).The intermingling of ancient and modern fresco and design is visible in a wide and vast variety in segments of the city where people of privilege resided. The built heritage suggests the then veritable economic boom in a city which by no means has ever had a sluggish economy.
Enriched by ancient maps and paintings provided from the British Library Board to modern day satellite visuals,it documents the ‘Sheharpanah’ and ‘Alampanah’,Surat’s old inner and outer city walls along with its twelve entry gates.Since Rander was the Southern tip of Bharuch at the time this book chronicles in, it has been named separately .
Unlike Ahmedabad, Surat and Rander do not have any structures by Le Corbusier but, its orderly grid of sheris, majestic ovaras and jharokhas, artistic chabutras and cemeteries, lofty fort, intricately carved mosques and temples are proof enough of the finest architecture of its time in a city which was influenced by maritime trade and was cosmopolitan centuries ahead of the rest of India.
‘At the Core’ packages all that and more while simultaneously weaving the warp and weft of history, the wealth of which is as rich as the kinkhwab and brocade woven within its heritage structures.
Sunday, March 6, 2011
Girls just wanna have fun
The world will celebrate the 100th anniversary of International Women's Day tomorrow, a movement begun by efforts of women in the West who paraded demanding equal voting and working rights. It was the tragic ‘Triangle Fire’ in New York city on March 25, 1911 which took the lives of 140 immigrant Italian and Jewish working women that drew significant attention to the state of work conditions and labour legislation which became the focus of ‘IWD’.
While ladies in the West were fighting for their rights through the 20th century, Indian women were fighting for Independence among whom Usha Mehta, a Surti woman, stood out for her bravery against the British system.
Born on 25th of March,1920, Mehta met Gandhiji at the mere age of seven where she was influenced by the simplicity and self dependence ashram style, an attendance at his meeting in Olpad inspired her enough to form a team of children who fought for freedom with all their might in a non violent way in 1928 ,shouting ‘Simon go back.’ The boy gang called themselves ‘Vaanar sena’ (monkey army), so the girlie gang named themselves 'Manjar sena "(cat army). They traded their play time to sell Khadi from door to door, distributed clandestine bulletins, carried messages to prisoners and also picketed at liquor shops discouraging alcoholics from buying booze.
”It was not child’s play, but the police could not put us under arrest and we were excited to do our bit for the country.” Reminisces Leelaben Parekh, 92, an ex social worker, who would picket with her gang of girls at shops near the Bhagal crossroads.
The girls dressed in tri coloured.Green blouses, Red petticoats and White chunnis made from Khadi;these’ live flags’ were put together by their mothers and grandmothers and would sing slogans which were their only weapons,”Ae policewalloh, chalao lathi, chalao danda; jhuk na sakegaa apna jhandaa”
During the civil disobedience movement in 1930, 30,000 Surtis greeted Gandhiji.Women in the old walled city decorated streets with marigold flowers to greet Gandhiji and his followers. Though he had asked men to participate in the Satyagrah, women became mass participants of the freedom movement for the first time, thousands participated .In Zareer Masani's ‘Tales of the Raj’, Usha Mehta noted how,” Even our old aunts and great aunts and grandmothers used to bring pitchers of salt water to their houses and manufacture illegal salt and then they would shout at the top of their voices,’ we have broken the salt law!”
United Nations secretary general Ban Ki-moon has congratulated our creed and announced that this year’s agenda for International Women’s day focuses on education, training, Science and technology,” Cell phones and Internet can enable women to improve the health and well-being of their families, take advantage from income earning opportunities, and protect themselves from exploitation and vulnerability.”
Surat’s gutsy gal Usha Mehta used technology to protect the country from exploitation and vulnerability way back in 1942.After being the first to hoist the Tri colour on August 9th that year along with Aruna Asaf Ali at Gawalia Tank ground which was rechristened August Kranti Maidan, Mehta set up the Secret Congress radio with the help of friends which kept Indians in touch with the thoughts of freedom leaders.
On the 14th of August when almost the entire Congress leadership was jailed after Gandhiji’s speech,Usha Mehta’s voice resonated through the country .The first words that India heard were hers ,”This is the Congress radio calling on 42.34 metres from somewhere in India.”
When this 22 year old was later arrested for the same, she fearlessly refused to lie in court in spite of knowing it would have helped her escape conviction. So petrified were the Britishers by her chutzpah for freedom that even when this petite five feet tall was hospitalized, they would have four policemen guarding her from escaping.
For many young women like her, the Gandhian civilian disobedience movement provided an alternative to conventional marriage and domesticity. Miss.Usha Mehta was the first political prisoner to be released in free India and she was bestowed with Padma Vibhushan.a promoter of Eco friendly cottage industries, she believed the strength and art of our grannies and mothers were what would bring us progress. Her dream was that India transform from “Swarajya to Surajya”.Her nephew,director Ketan Mehta who has given us aces like ‘Bhav ni Bhavai” and ‘Mangal Pandey”has a home made script of one of India’s bravest hero.
While ladies in the West were fighting for their rights through the 20th century, Indian women were fighting for Independence among whom Usha Mehta, a Surti woman, stood out for her bravery against the British system.
Born on 25th of March,1920, Mehta met Gandhiji at the mere age of seven where she was influenced by the simplicity and self dependence ashram style, an attendance at his meeting in Olpad inspired her enough to form a team of children who fought for freedom with all their might in a non violent way in 1928 ,shouting ‘Simon go back.’ The boy gang called themselves ‘Vaanar sena’ (monkey army), so the girlie gang named themselves 'Manjar sena "(cat army). They traded their play time to sell Khadi from door to door, distributed clandestine bulletins, carried messages to prisoners and also picketed at liquor shops discouraging alcoholics from buying booze.
”It was not child’s play, but the police could not put us under arrest and we were excited to do our bit for the country.” Reminisces Leelaben Parekh, 92, an ex social worker, who would picket with her gang of girls at shops near the Bhagal crossroads.
The girls dressed in tri coloured.Green blouses, Red petticoats and White chunnis made from Khadi;these’ live flags’ were put together by their mothers and grandmothers and would sing slogans which were their only weapons,”Ae policewalloh, chalao lathi, chalao danda; jhuk na sakegaa apna jhandaa”
During the civil disobedience movement in 1930, 30,000 Surtis greeted Gandhiji.Women in the old walled city decorated streets with marigold flowers to greet Gandhiji and his followers. Though he had asked men to participate in the Satyagrah, women became mass participants of the freedom movement for the first time, thousands participated .In Zareer Masani's ‘Tales of the Raj’, Usha Mehta noted how,” Even our old aunts and great aunts and grandmothers used to bring pitchers of salt water to their houses and manufacture illegal salt and then they would shout at the top of their voices,’ we have broken the salt law!”
United Nations secretary general Ban Ki-moon has congratulated our creed and announced that this year’s agenda for International Women’s day focuses on education, training, Science and technology,” Cell phones and Internet can enable women to improve the health and well-being of their families, take advantage from income earning opportunities, and protect themselves from exploitation and vulnerability.”
Surat’s gutsy gal Usha Mehta used technology to protect the country from exploitation and vulnerability way back in 1942.After being the first to hoist the Tri colour on August 9th that year along with Aruna Asaf Ali at Gawalia Tank ground which was rechristened August Kranti Maidan, Mehta set up the Secret Congress radio with the help of friends which kept Indians in touch with the thoughts of freedom leaders.
On the 14th of August when almost the entire Congress leadership was jailed after Gandhiji’s speech,Usha Mehta’s voice resonated through the country .The first words that India heard were hers ,”This is the Congress radio calling on 42.34 metres from somewhere in India.”
When this 22 year old was later arrested for the same, she fearlessly refused to lie in court in spite of knowing it would have helped her escape conviction. So petrified were the Britishers by her chutzpah for freedom that even when this petite five feet tall was hospitalized, they would have four policemen guarding her from escaping.
For many young women like her, the Gandhian civilian disobedience movement provided an alternative to conventional marriage and domesticity. Miss.Usha Mehta was the first political prisoner to be released in free India and she was bestowed with Padma Vibhushan.a promoter of Eco friendly cottage industries, she believed the strength and art of our grannies and mothers were what would bring us progress. Her dream was that India transform from “Swarajya to Surajya”.Her nephew,director Ketan Mehta who has given us aces like ‘Bhav ni Bhavai” and ‘Mangal Pandey”has a home made script of one of India’s bravest hero.
Subscribe to:
Posts (Atom)
Posts
