Indexes of literary magazines

INDEX of a literary magazine is prepared to facilitate research scholars and students to go through its entire editions in a compendium.

Looking up each edition is not only time consuming but no library holds the entire file of a literary magazine. Seeing the entire editions of a literary magazine, a research scholar has to visit a number of libraries in and outside of his or her city. The index of quarterly Sahifa, Lahore, has been prepared covering all its editions spanning from its beginning in ss1957, to 2007.

The very indexical data gathered in the index of Sahifa enables the research scholars to see what has so far been published pertaining to his or her research topic.

Rifaqat Ali Shahid has done a tremendous job in this regard. He has carried out a research to inform how many indexes of Urdu literary magazines and research journals have so far been published.

The very research was published in a quarterly Mayaar, Islamabad, which is the most cited research journal, a couple of years ago.

Sadly, there are hundreds of Urdu literary magazines left to be indexed. Monthly Nigar, Karachi, founded by Niaz Fatehpuri, and presently edited by Dr Farman Fatehpuri is still without an index.

It has been a much cited source for students and researchers. I, being a research student, want to see its entire file to benefit from it. I asked Mr Muhammed Zubair, the chief librarian of the Bedil library, Shafabad, Karachi, where I have been visiting for a couple of years. I was surprised to know that the Bedil library contains its entire photocopy index from its first edition published in February 1922 to 2012.

The chief librarian of Bedil library has arranged these photocopy indexes in his own right for around 60 to 70 most cited Urdu literary magazines, helping the students and research scholars a lot.

I request the research institutions in Pakistan and the research supervisors to motivate their research students not only to index the indexless literary magazines, some dating back to the nineteenth century, but also to digitalise this source of knowledge which is now rusting as no library in Pakistan maintains proper temperature as the Congress library, America has.

I hope that librarians of other libraries holding the corpus of literary magazines would follow the example set by the Bedil library, Karachi, for providing photocopy indexes of those indexless literary magazines to its visitors.

JAWED AHMED KHURSHEED 
Karachi


source: http://www.dawn.com / Home> News> From the Newspapers / June 28th, 2012

Indo- Bangla Nazrul celebration

The first ever Bangladesh-India joint programme celebrating the birth anniversary of Kazi Nazrul Islam was inaugurated on Friday at the Bangabandhu International Conference Centre in Dhaka.

The two-day event marking the 113rd birth anniversary of the national poet of Bangladesh was inaugurated by prime minister of Bangladesh Sheikh Hasina amidst much enthusiasm while Salman Khurshid, law and justice and minority affairs minister of India, was present as the guest of honour.

A discussion session and a cultural programme featuring prominent and promising artistes of both the countries were held at the inauguration ceremony of the programme which also celebrates the 90th anniversary of the publication of the Nazrul’s classic poem ‘Bidrohi’ (The Rebel).

The cultural show featured music renditions, recitations and dance recitals based on the legendary poet’s literary creations.

A group of singers of Nazrul Institute, Dhaka rendered a chorus of Mora jhanjar mato udyam.

Noted Bangladeshi singer Khairul Anam Shakil with his wonderful voice modulation mesmerised audiences by rendering Keu bhole na keu bhole, the song which narrates the sweet memories of a heart-broken lover.

Veteran Indian artiste Pradip Ghosh recited Nazrul’s poem Fariyad. With great passion the artiste perfectly articulated the emotion of the poet which depicts a prayer to the almighty remove the pain of the oppressed and seeks strength for the exploited people in overcoming all sorts of repressions.

Indian singer Sushmita Goshswami rendered Nazrul’s romantic track Abar bhaloshar sadh jage.

Around twenty artistes of local cultural organisation Nrityalak Sangskritik Kendra, led by Kabirul Islam Ratan, delighted the audiences with a dance recital based on Nazrul’s poem ‘The Rebel.’ Through the performance, the group also celebrated the 12 years of successful staging of the dance recital.

Poet and recitation artiste Kazi Abu Zafar Siddiqui was bestowed with ‘Kazi Shabbyashachi Award’ at the programme for his immense contributions in reciting Nazrul poems. Sheikh Hasina handed over the crest while Nazrul Institute executive director Rashid Haider read out the life sketch of Abu Zafar Siddiqui.

Earlier at the discussion session, Nazrul exponent, professor emeritus Rafiqul Islam presented commemorative lecture on Nazrul. Mentioning the joint celebration as unique tribute to the poem The Rebel, in his speech, Rafiqul Islam explored the background of the poem and its tremendous influence in the history of Bengali literature.

Mentioning Nazrul as a social reformer Salman Khurshid said, ‘Nationalists still draw inspiration from Nazrul’s songs and poetry, leftists portray him as their comrade and secularists always quote Nazrul as their idol.’

Cultural affairs minister Abul Kalam Azad, state minister for cultural affairs Pramod Mankin, cultural secretary Suraiya Begum, Nazrul’s granddaughter Khilkhil Kazi, among others, spoke at the function.

Another cultural programme, as part of the two-day event, was held in the evening at the National Theatre Hall of Bangladesh Shilpakala Academy on Friday.

Earlier, in the morning, people of all-walks of life, members of the poet's family placed wraths at the grave of Nazrul at Dhaka University.

News Source: 

 The New Age
source: http://www.news.priyo.com / by Lutphea.tory / Saturday, May 26th, 2012

Urdu Bard’s play in town

A SHAKESPEARE play performed in Urdu is the latest production showcased by a theatre company.

The Taming of the Shrew, as created by Theatre Walley from Lahore which features TV stars, will come to Rotherham this month.

Open Minds Theatre Company in the town has accomplished a major coup in bringing the production to the area.

Actors will lead school workshops as well as starring on stage at the Old Market Gallery on Tuesday, May 29, and in Clifton Park walled garden on May 31.

Theatre Walley are part of the Cultural Olympiad’s Globe to Globe Festival to see all 37 of Shakespeare’s plays performed in London by companies from around the world in their own languages.

For tickets to the productions call 07541 485 139.

source: http://www.thestar.co.uk / The Star, United Kingdom / Home> News / Wednesday, May 02nd, 2012

Its all in the Shayari

Being a Hyderabadi, one for sure encounters many instances, where the Dakhni dialect is not just used for a normal conversation. It has been a tradition among the Hyderabadis, to use the Dakhni dialect in the shayari form, known as the Dakhni Shayari. Branded Hyderabadi words like ‘Nakko’, ‘Kaiku’, form the base of this shayari. Apart from sharing a laugh, many great scholars of Urdu, have used this form to touch upon issues affecting the society and try and bring about a change in the thought-process of people.

But, the past few decades have brought in a drastic change in the writing style and presentation of Dakhini Shayari.

The present day Dakhini shayari revolves only around a funny, humorous but offensive way of presenting the loopholes of household matters in a shayari form. For example, the very popular “Nai bole toh sunti nai” (She won’t listen, till I tell her) series. Intentionally used to refer to their wives, the shayars (reciters) give into the shayari to describe their marital livelihood and woes.

Lately, the scholars in the city have been discouraging this form of shayari as the shayari has taken a different avatar altogether, and the youngsters these days laugh at it, or are unaware of its existence, or are very disrespectful about it.

“Dakhini sounds like some yummy dish or dessert, I never heard about it. Is it tasty?” says Satish Kumar, a student. Don’t be too surprised at the response.

According to Dr.Naseemudin Farees, head and associate professor, Department of Urdu, Maulana Azad National Urdu University, “Dakhini Shayari is an interesting form of shayari. As an individual I believe that it is an integral part of our Hyderabadi culture, literature and heritage. Famous shayars like Mohd.Quli Qutub Shah IV conveyed their messages through Dakhini shayari.”

He then adds, “They wrote about the social issues, rituals and customs. So that the housewives back then, who were only confined to home, get to read these shayaris and sing while doing their daily house chores. But, today this has turned out to be a mere pathetic humour art form, which is entertaining but offensive too. We do not encourage this anymore.”

Agreeing with him was Mohammad Ali Asar, an Urdu professor from Osmania University. He opines, “Dakhini was once upon a time a respectful and meaningful art form, but with the changes made by the modern shayars, it has become a matter of pointing out the mistakes and making fun of wives and in-laws. This form of shayari has lost its essence.”

Explaining his view, Deepak Jain, a BBM student, says “I think Dakhini shayari recited today is only about entertainment. Considering the development rate, there is a high possibility of Dakhini Shayari becoming extinct.”

However, the University of Hyderabad (UoH) has a new plan. They are planning on introducing Dakhni as a full-fledged course. Explaining more on this, Dr Hakeem Raees Fatima, faculty member, Department of Urdu, UoH says, “We are introducing teaching and learning of Dakhini language as an academic course now. This is going to be a useful step in bringing back the actual essence of the existence of the language again.”


Source: http://www.ibnlive.in.com / Home> South> Southern News> Hyderabad / The New Indian Express / by Sana Parveen / April 29th, 2012

Javed Akhtar's poetry book launch

Everyone's familiar with the scriptwriter Javed Akhtar, whose dialogues are part of the collective Indian psyche (kitne aadmi thay?, mere paas maa hai), or the lyricist Javed Akhtar, who even today gives words to a 20-something's romantic feelings. But Sunday saw a different side of him. It was the kavi Javed, whose shayari renditions on stage won innumerable waah waahis from the Delhi audience, and who couldn't get enough of him.

The launch of Javed Akhtar's second book of poetry, "Lava", (his first was "Quiver", 14 years ago), saw vice president Hamid Ansari and eminent Urdu poet and scholar, Professor Gopichand Narang, as the special guests.

It was clear that Narang holds Akhtar's poetry in high regard. Not only did he introduce him on stage with, "Poochte hain ke Ghalib kaun hai. Koi batlao, ke hum batlaayein kya?".

When it was Javed's turn on the podium to read out some of his poetry, Narang kept instructing him to read out just one more, while Javed dutifully complied. And well, we didn't see anyone complain!

When he recited the poem "Mela", which is dedicated to son Farhan Akhtar, Shabana called out from the audience, "Javed saab ab beti ka bhi haq banta hai ki aap uski kavita sunayein."
So then it was the turn of "Doraaha", a poem dedicated to Zoya. After Narang made Javed recite many of his poems, including "Kainaat", Narang said, "Ab ek Shabana ke liye," to which Javed quipped, "haan mujhe ghar toh jana hi hai!"

And so, with the poem "Shabana", his expression of love for his family was complete.

source: http://www.timesofindia.indiatimes.com / Home> Entertainment> Filmi Parties> Bollywood / by Arushi Nigam / TNN / March 21st, 2012

Nilanjana S Roy: Once upon a time in Delhi

If you were telling a story in the Cameroons, you might start with: “A fable! A fable! Bring it! Bring it!” Most Bengalis know the folktale riff on “Once upon a time”: “Once there was a king, once there was a queen….” Many tales begin with: “Once there was, once there wasn’t”. The older storytelling traditions may invoke a truly ancient past: “In the time when men and animals talked to one another….”

For the last seven years, Mahmood Farooqui and Danish Husain have begun their dastans with an ode to the cup-bearer, setting aside the minor impediment that their silver cups are often filled with nothing more exciting than water. The traditional invocation is as much part of their act as are the spotless white kurtas or the ancient story-cycles that they’ve recited from the steps of the Jama Masjid, the monuments of Old Delhi and, more prosaically, the auditorium stage at the India International Centre.

   The dastangos began their performances at an interesting point of time in Delhi’s history: the mushairas and sawal-jawab oral poetry baithaks had died out, replaced by the often grimly ritualistic evening of book readings. Few of the readings that were attended by growing numbers of aspiring writers and curious readers in the 2000s ever migrated out of the comfortably narrow confines of South Delhi. A handful of events were in Hindi or Urdu and the Sahitya Akademi did its best to bring in writers from across India.

But by the end of the decade, the Delhi book reading was like a burra khana for Indian English writers; an evening of chiefly ceremonial significance, as the writer Mukul Kesavan has remarked. Through dastangoi, the two performers brought back a much older tradition of storytelling.

Mahmood Farooqui is a historian with a background in theatre; Danish Husain is an actor and poet. It was in 2005 that Farooqui began to study the cultural history of the dastans, the storytellers who carried a library around in their heads. The first performances he did that year along with Himanshu Tyagi – Danish would join in later – were from the Tilism-e-Hoshruba, a magnificently fraudulent epic.

“Know then that from 1883-1893 in Lucknow, two rival storytellers, Syed Muhammad Hussein Jah and Ahmed Husain Qamar wrote a fantasy in the Urdu language whose equal has not been heard before or since,” writes Musharraf Ali Farooqi, writer and translator of the Hoshruba. The epic was 8,000 pages long, and was “a monstrously elaborate literary hoax”: it passed itself off as one of the great ancient story-cycles, perhaps even part of the legendary Adventures of Amir Hamza, but was actually the creation of a small group of storytellers in Lucknow.

They wove an indelible tale, one that was made to be told to a circle of awed listeners, and that was labyrinthine in its twists and turns. “These stories were here before Tolkien and – if we dare say so – are much better than Tolkien’s work,” boasts an online Urdu bookseller’s Hoshruba page.

Over their seven years of dastangoi, Danish Husain and Mahmood Farooqui have departed from the old classics – the Hoshruba or the tales of Amir Hamza – in order to experiment with newer works. Recently, they did a Dastaan-e-Sedition to protest the imprisonment of Dr Binayak Sen in Chhattisgarh.

To mark Rabindranath Tagore’s 150th birth anniversary, the two performers took up his revolutionary novel, Ghare Baire,exploring the separation between the home and the world, and, as they put it: “Vande kya hai, Mataram kya hai”. The two switch easily between the three roles — Sandip, the fiery revolutionary driven by greed, desire and patriotism; Nikhil, the temperate zamindar offering reasoned arguments against the excesses of nationalism; Bimala, Nikhil’s wife, stepping across many boundaries as she is seduced by the outside world and by Sandip’s many persuasions.

The performance, and their translation of Ghare Baire from Bengali into Urdu-studded Hindustani, is successful — as most of their performances have been. Danish Husain said once that the virtue of dastangoi also lay in its portability — the performance/readings could take place in auditoriums or at a bus stop.

After the show, Mahmood says: “The old stories are the stuff that we live for.” The “modern” stories, based on novels that so closely mirror contemporary concerns, are easier for the performer to feel; but the old story-cycles promise a more ancient connection. It’s what the translator of the Hoshruba, Musharraf Farooqi, means when he says his role is to “beat the kettledrums”.

“What dastangoi is about,” says Mahmood Farooqui, “is a combination of four things — Urdu, theatre, performance, literature. People who do theatre in India often feel the burden of having to do something worthy, relevant, serious. But eventually, it’s about telling a good story. It’s meant to entertain.” The storytellers of Delhi are done, until the next performance. As the traditional Russian closing has it: “The story is over, I can’t lie any more.”

source: http://www.Business-Standard.com / Home> Opinion & Analysis / Nilanjana S Roy / New Delhi Feb 28, 2012

Three-Day International Seminar on “Naziri Nishapuri” – A Renowned Persian Poet of Mughal Period at Jamia

New Delhi:


The Department of Persian, Jamia Millia Islamia (JMI) is organizing a three-day International Seminar on "Naziri Nishapuri", who is a renowned Persian poet of Mughal Period from 27-29 February 2012.
 
The Inaugural Session of the Seminar will begin at 3.00 PM on February 27, 2012 in the Conference Hall of India Arab Culture Centre, Jamia Millia Islamia.
 
The seminar will be formally inaugurated by Prof. S.M. Azizuddin Husain, Dean, Faculty of Humanities & Languages, Jamia Millia Islamia and deliver his Inaugural Address.
 
Prof. Sharif Husain Qasemi, Secretary, All India Persian Scholars Association will deliver the Keynote Address on this occasion.
 
The Seminar shall be presided over by Prof. Akhtarul Wasey, Vice-Chairman, Delhi Urdu Academy, Delhi.
 
His Excellency Syed Mahdi Nabizadeh, Ambassador, Embassy of the Islamic Republic of Iran, New Delhi and His Excellency Mr. Saidbeg Saidov, Ambassador, Embassy of Tajikistan, New Delhi shall be the Chief Guests in the Inaugural Session.
 
Dr. Ali Dehgahi, Director, Iran Culture House, New Delhi and Dr. Bashir Ahmad Shabir, Cultural Counselor, Embassy of Islamic Republic of Afghanistan, New Delhi will be the Guest of Honour on this occasion.
 
The Valedictory Session will begin at 4.30 PM on February 29, 2012. The Valedictory Session shall be presided over by Hon.'ble Dr. M. Mossein Karim, Counselor Science, Technology and Education India & Subcontinent, Embassy of Islamic Republic of Iran, New Delhi.
 
Prof. Raza Mustafvi Sabzwari, Allama Tabatabai University, Tehran, Iran will deliver Valedictory Address.
 
Prof. Hakima Dabeeran, PVC, University of Teachers Training, Tehran, Iran and Dr. Ali Reza Ghazve, Director, Markaz-e-Tehqiqat, Iran Culture House, New Delhi will be the Chief Guests of the Valedictory Session.
 
The seminar will be attended by the academicians, research scholars, bureaucrats from  various Universities, Embassies, 


source: http:// www.indiaeducationdiary.in / Friday, February 24th, 2012