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Bhupen Hazarika

Bhupen Hazarika was posthumously awarded the highest civilian honour in India this year, the Bharat Ratna. He was a man who dreamt, felt and sang international solidarity. An award for international solidarity was named after him in 2011 and was given out this year to Singapore film-maker, Eric Khoo.

Bhupen Hazarika was born in Assam, India, on 8th September 1926. He has been the recipient of numerous awards and accolades. His lyrics have crossed the borders of time and place and celebrate humanitarian concerns of mankind. Today we commemorate his 93rd birth anniversary with a recording of a Bengali rendition of his song, Aami ek Jajabar (I am a wanderer), by the maestro himself and a translation into English of the lyrics so that it can reach out to everyone with its large-heartedness and compassion…

Bhupen Hazarika’s rendition of Aami ek Jajabar (I am a wanderer)

I am a wanderer

(Translated by Mitali Chakravarty, edited by Nabina Das)

I am a wanderer.

The world has made me its own, 

I’ve forgotten my home.

I’m a wanderer.

I’ve seen the Ganga, the Mississippi

By Ratnottama Sengupta

 

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Gauhar Jaan, a singer and dancer who cut six hundred records in more than ten languages between 1902 and 1930, a woman who popularised Indian classical.

 

Chhaya. Tagar. Basana. Maanada-Panna-Radha. Hasina. Angelina. Gauhar Jaan… What do the narratives of these ladies have in common? They are all engaged in sexual activity for money.

So, what are the sobriquets for them? Prostitute, street walker, wench, call girl, escort, harlot, hooker, hustler, vamp, whore, temptress, tart, puta, fillet de joie, bawd, moll, courtesan, lady of pleasure, woman on the game, lady of the night, scarlet woman, concubine, paramour, cocotte, strumpet, trollop, wanton woman, devadasi, tawaif, baiji, ganika, randi, veshya

This is less than half the 75 synonyms in Thesaurus for the ‘woman of ill repute’. And this is without going into the term sex worker, coined by a certain Carol Leigh, in the last century that has seen people become ‘porn star’, ‘sex educator,’ ‘sexual trainer,’ and even ‘actress turned prostitute’.

Where has the word ‘prostitute’ come from? From the Latin word prostitus, found since the 16th century? But the past participle of prostiture — whether interpreted as ‘to expose publicly’ or read as ‘thing that is standing’ — does not have the abusive association the most ancient profession has. For that matter, the very phrase ‘oldest profession’ — a euphemism for prostitution when delicacy forbade the use of the word — is said to have acquired its opprobrious nuance only in the last lap of 19th century, after Rudyard Kipling used it in ‘On the City Wall’ (January 1889), a short story about an Indian prostitute. Kipling begins by citing a biblical reference:

A short story from Myanmar by San Lin Tun

Moe did not know what he could do while he sat in his chair and his mind drifted like a kite floating with the free flow of wind. Something dampened his strength and he felt frayed. He had been feeling this way for a couple of days. It started gradually till it took concrete shape in his mind, tending to block his mental processes. That is why he could not  focus on his job. He decided to try to deal with it…

Though he felt it, he could not name the sensation. He picked up the pen from the rectangular lacquer pen holder in front of him on the table, unconsciously. He did not intend to use the pen but his laptop. He sighed at his confusion and looked at his watch — fifteen past four in the afternoon. He stood up, pushed his laptop away and picked up his shoulder bag that lay in a slant against the foot of the table.

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Here is a UK- based flash fiction contest where you can choose your entry fee.

They say: “We operate a choose your own entry fee system. The suggested entry fee is £7 per entry (£6 per entry for two, or £5 per entry for three or more), but if that’s prohibitive, just pay what you can afford. If you’d like to support a writer who can’t afford the full fee, why not add a pound or two?”

The contest ends 30 th November, 2019.

Book Review by Suvasree Karanjai

The Best Asian Speculative Fiction

Title: Best Asian Speculative Fiction

Editor: Rajat Chaudhuri

Series Editor: Zafar Anjum

Publisher: Kitaab, 2018

Speculative fiction can no longer be dismissed as low-brow, trashy or pulp, or at the very least, unimportant and weird fantasy if one reads the collection edited by Rajat Chaudhuri, The Best Asian Speculative Fiction. To many readers’ surprise, this marginalised genre has lot to contribute philosophically to the dream of a technocrat’s world. The present age that can be well-described as an era of artificial intelligence (AI) is surely complementary to human intelligence developed with the purpose of mitigating our works in future. But the rise of AI and the philosophy of technocracy have, at the same time, given rise to multiple speculations regarding future of humanity — the fear of Frankenstein.

Speculative fiction is too large a subject to be represented exhaustibly in a book or a collection of Asian speculative narratives. The unique character of this specific genre lies in an impossibility to hold all its threads within a watertight definition. It encompasses several genres under its shed. Chaudhuri’s The Best Asian Speculative Fiction is indeed a suitable example of this broad compass.  We are on an enchanting rollercoaster ride as we leap from one imaginative narrative to another coming from diverse authors from sixteen countries of Asia plus more diasporas.

IMG_0668Palestine: A Four Thousand Year History (2018) by Nur Masalha, a Palestinian scholar, explores the history of Palestine from the Bronze age, through the Ottoman empire to the current Palestine-Israel issue.

Nur Masalha is a Palestinian scholar who lives and teaches in London. He has written a number of books on Palestine, especially on the Israel- Palestine controversy. He is also the Editor of Journal of Holy Land and Palestine Studies (formerly Holy Land Studies: A Multidisciplinary Journal), published by Edinburgh University Press.

 

On 31 st December, 2017, some met in Fort Shaniwarwada in Pune to commemorate a historic event from January 1st 1818, a battle in which the Peshwas  (Brahmins) were defeated by the British forces though the loss was huge on both sides. This had been a part of the third Anglo Maratha wars which led to British domination in Maharashtra ultimately. 

The programme had speeches and cultural performances and police presence. The British victory nearly two hundred years ago was seen as a Dalit victory over Peshwas as Dalits had manned the British army against the Brahmin Peshwas. On January 1 st 2018, one Dalit was killed in the violence that ensued over the meet among different groups who clashed over differences of opinion.

IMG_0667Number of activists, some of them allegedly communists as Maoist involvement was suspected, were arrested over the event. What bordered on the ludicrous was that one activist was arrested for possessing incriminating documents like Tolstoy’s War and Peace. The judge is reported to have saidWar and Peace is about war in another country. Why were you keeping these books at your house?” 

TBASS

“Chikki called in the morning,” Amma begins, seated at the dining table.

Dinner conversations at home have always been severely orchestrated, progressing into a chaotic crescendo. It always begins with the most neutral subject, me. And usually Achan sits silent, regarding his food with empirical interest. He is on standby for his cue.

“She’s had fever for two days now,” Amma continues.

“Has she been taking medicines? Ask her not to self- medicate.”

“Why would she self-medicate?”

“Alla, isn’t that what everyone in your family does?” Achan asks.

“I’ll be grateful if Chikki doesn’t inherit your arrogance.”

“You should be grateful if she turns out like me,” Achan responds grimly. “God forbid she becomes like you.”

Silence.

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Richard Rose is a British writer, university professor and researcher who has been working regularly with teachers and children in India for the past nineteen years. His work has appeared in academic journals, magazines and books in several countries. His play, written with James Vollmar, Letters to Lucia, which celebrates the life of James Joyce’s daughter, Lucia Anna Joyce, received its first performance by Triskellion Irish Theatre in 2018.

Mahmood Farooqui in conversation with Gargi Vachaknavi

 Dastangoi is the art of Urdu storytelling that was popular all across India and could regale commoners and elites alike. That was in times of Mughal splendour. The performers were artists and writers rolled into one who left behind over 46,000 pages of published fantasies. The Dastans were the stories told by these storytellers, the gois. Unfortunately this art form completely vanished, leaving behind few memories.

Inspired by the scholarship of one of Urdu’s greatest living writer S. R. Faruqi, Mahmood Farooqui began its revival in 2005 and has since then trained dozens of other storytellers or Dastangos, staged over a thousand shows all around the world and has composed over a dozen modern Dastans for the genre. With all the innovations that he and his team have spearheaded, a virtually new genre of performance and a new kind of writing for the stage has emerged in our times.

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Mahmood Farooqui performing

Farooqui is an award winning writer and performer. He was awarded the Bismillah Khan Yuva Puraskar by the Sangeet Natak Akademi of the Union Government for his efforts in reviving Dastangoi. His book on the 1857 uprising Besieged: Voices from Delhi, 1857, was awarded the Ram Nath Goenka Award for the best non-fiction book of the year by the Indian Express Group. He has been a visiting fellow at the Universities of Michigan, US and Berkeley, California and was a Rhodes scholar at the Universities of Oxford and Cambridge. His latest book is A Requiem for Pakistan: The World of Intizar Husain. He has written over 15 modern Dastans for the stage and has trained nearly 50 people besides performing close to 500 shows himself. His wife, film maker Anusha Rizvi, is not only the producer of the Dastangois but also the award winning writer-Director of Peepli Live, a 2010 satirical comedy with the involvement of greats like Aamir Khan and Raghuvir Yadav.

Mahmood Farooqui and his troupe will be performing in Singapore on the 14thof September. In this exclusive, he talks to Gargi Vachaknavi of his work, of how a Dastangoi performance varies from normal theatre and what he is going to perform in Singapore.

 

Gargi: Why did you think of reviving Dastangoi, an art of 13 th century storytelling in Urdu? What is the potential you see that makes you feel it is necessary to contextualise it for the present day?

Farooqui: I was a student of history and had been active in theatre for many years when I came across the great S. R. Faruqi’s study of the world of Dastans. I had been reading Urdu literature all my life but had never really heard of this incredibly enchanting world. When I dug deeper, I was totally bowled over by the genius of the writers and the of the performers. Here was theatre in its purest form, one or two narrators, sitting still and holding an audience captive, just like our ancient rishis (sages) narrated epics and Shastras to rapt listeners. I felt that this was the most essential art form of the Indian subcontinent. From the word go, it was an instant success perhaps because in India everything, including religion is a story.

The innovation I made was to have not one but two narrators and our designer, Anusha Rizvi, kept the basics very simple so we brought it into the ambit of modern theatre by using techniques of lighting, stage decorum and presentation.