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.

By Gargi Vachaknavi

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Eric Khoo at the Bishwaratna Dr Bhupen Hazarika International Solidarity Award ceremony in Singapore

Eric Khoo, the acclaimed filmmaker from Singapore, has another feather in his cap. His films have been acknowledged for contributing to ‘international solidarity’ with the Bishwaratna Dr Bhupen Hazarika award this year.

Said Eric Khoo, the fourth recipient of this biannual award: “I believe that every person has intrinsic value beyond his or her race, religion, nationality or social class.  This belief I understand was also shared by the late Bhupen Hazarika in whose honour the Award for International Solidarity was named. In this spirit, my films seek to bring people together, despite their apparent differences and thus, I am truly privileged to receive this award and to be associated with the late Bhupen Hazarika and his philosophy of International Solidarity.”

The Bhupen Hazarika award  was instituted in 2011 by the Assam Sahitya Sabha ( Assam Literary Society).  Given to artistes who exhibit international solidarity through their works, the awards represent the best in bridging borders drawn by mankind as did the lyrics and writings of artiste after who the award is named.

By Tan Kaiyi

Singapore flag on HDB

I was setting up the livestream on the living room’s television when Ma called. “Ah Boon, hand me the gift packs on the table.” I ignored her for the moment, playing around with the video settings. Finally, the words “The Parade Will Start In…” appeared on screen, followed by a countdown timer below them.

There was an ongoing discussion to call the parade ‘a ceremony’. I remember a member of the opposition questioning a minister of the ruling party on the choice of words. “It’s a show of power, of our strength,” the minister had said. “Is it? Many performances seem more like acts of reverence, not deterrence,” his opponent had fired back. She had a point though. The parade usually began with protective blessings from the leaders of our four major religions.

But nothing changed. It was still called a parade.

Ma shouted for me again. I yelled back, saying that I heard her.

I took up the four scarlet packs, one for each of us, from the dining room table and walked into the kitchen. There used to be five but that was two years ago.

By Mitali Chakravarty

 

Singapore has completed more than half a century of independent existence. It is now a thriving country with an intrinsic personality of its own. What went into making Singapore a distinctive island cannot be just found in history books but between the borders of fact and fantasy, where lingers fiction that tunes us to the distinct flavour of this unique metropolitan city-state.

As Lee Kuan Yew, the founding father said in one of his speeches, Singapore started with people of  “many races who speak many languages, who worship different gods, who have different diet habits” and yet they all unified under the banner of a single flag. The kind of culture that evolves out of the union of these diversities is best explored in stories that are of the people, by the people and for the people.

These are some novels that showcase the culture and history of Singapore and how it evolved out of the colonial past to become what it is today. These are all books that focus on issues against the backdrop of a national landscape. The issues addressed transcend to become larger than the personal. Some of the writers are Singapore Literature Prize and S.E.A. Write Award winners and have been translated to multiple languages.

Reviewed by Namrata

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Title: Interpreter of Winds 

Author: Fairoz Ahmad

Publisher: Ethos Books ( 2019)

Interpreter of Winds is a collection of four stories which brings together Fairoz Ahmad’s experiences and observations while growing up as a Muslim. In a world where we are (sadly) divided by religion and united by our bitterness towards it all, these stories are an invigorating read. This short collection is a remarkable attempt to interpret faith and capture its challenges.

Ahmad is a young voice who is striving to be the change he wants to see in the world. Having co-founded an award-winning social enterprise Chapter W — which works at the intersection of women, technology and social impact, he has been awarded the Outstanding Young Alumni award by National University of Singapore for his work with the community. He believes that magic, wonder and richness of one’s history and culture, together with their quirks and eccentricities, could help narrow the gap in our understanding. His stories seem to be an amalgam to repair the breaks that whisper incompatibility through the world.

By A. Jessie Michael

The parcel arrived in a postal van and James’ wife, Doris, put it aside for James to return from work and open it. It was an annual ritual — its arrival and his opening of it. This cardboard box measuring one foot by one foot by ten inches, wrapped in brown paper, with colourful stamps all over the top right hand corner and cross-tied with twine, came all the way from Mathagal, James’ home village in the Jaffna peninsula to the North of Sri Lanka, by sea-mail, to Malacca in Malaysia, and it contained his very own piece of home.

Actually, two similar parcels arrived every year, the other one landing at the house of James’ brother Joseph in Singapore.  Joseph, naturally a little sardonic and less nostalgic about the contents, let his wife Lily open the box. Nevertheless he appreciated the efforts put in by their sister in Mathagal for sending them this parcel, with a whiff of their homeland. He made Lily  list each item in the box so that he would not forget them when he got Lily to write his sister a thank you letter in Tamil. His written Tamil was pretty rusty after near fifty years of disuse.

James came home at about 5.00 pm exhausted from office, saw his parcel and instantly his tiredness lifted. He hastily cut through the twine, tore off the brown paper and pried the box open, a boy-like delight showing on his face. A treasure-box of edible memories — fruits of the earth and sea!

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We studied the extensive menu, which listed both international as well as local cuisine. Joe and I were fast decision makers when it came to selecting our dishes. Joe settled on rice with Crispy Catfish in Chili Paste and a side order of the ubiquitous tangy Green Mango Salad to share, while I chose rice with Red Curry of Roasted Duck, a dish Joe had suggested after describing it as a bracing Thai classic combining tender roasted duck with a perfect blend of spices, coconut milk, and pineapple. The food arrived within ten minutes of ordering, and was excellent in both presentation and taste. My duck curry surpassed Joe’s mouth-watering description. I complimented Joe on his recommendation. His quiet response was “I’m happy you liked the duck.”

Food aside, what do you talk about with a charming Thai man whom you have just met on his home turf? A lot, apparently. I told Joe about my job, and he pressed me to tell him more about the documentaries I had shot from Singapore to Bangkok. As I had at least a dozen documentaries under my belt in Singapore but only one in Bangkok, I gave Joe capsule highlights of my work. He seemed impressed. It was now Joe’s turn to talk about himself. His voice was even and fluid as he told me about his student days majoring in

By Tan Kaiyi

Spooky bus stop

“You change to 165 from here. It’ll take you down the road and then to Holland Village. You can’t miss it,” he said.

“Ok, thank you. It’s so late at night now and my phone battery is flat. Thanks for your help,” she said.

“No problem.”

“And it’s awfully dark.”

“The lights down the road are spoilt. It’s usually better lit.”

“And we’re under a highway.”

“Yeah. It’s not the most accessible bus stop in Singapore.”

She laughed.

By Mitali Chakravarty

Three Idiots, The Reluctant Fundamentalist and  Crazy Rich Asians have made history in cinema and they started out as mere books, Five Point Someone by Chetan Bhagat, The Reluctant Fundamentalist by Mohsin Ahmad and Crazy Rich Asians by Kevin Kwan.

Bhagat was cited by The New York Times as “the biggest selling English language novelist in India’s history” and was also included in the Time magazine’s list of the world’s 100 most influential people. Ahmad’s book made it big not just in its own rights, climbing up to #4 on the The New York Times Bestseller list and winning multiple awards and accolades, the film catapulted his book as one that addressed humanitarian concerns and won the German film award for peace and at least five more international awards. Kwan also made it to the Times list of the hundred most influential people and was named as “five writers to watch” on the ‘Hollywood’s Most Powerful Authors’ in The Hollywood Reporter. Their cinematic launches helped them make it huge!

But did you ever wonder how their books made it to the big screen? How did they sell their film rights? And as an author, what all should you be looking out for when you sell your book’s film rights?

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Siddharth Jain

Today, we meet the man who can help authors evade controversies and make it from books to movies… He is the man who has made it a business to help writers sell their books to film-makers. Meet Siddharth Jain, the founder of The Story Ink (TSI), India’s first story company for premium content for screen. It is also “India’s No.1 Book to Screen Adaptation Company” and has sold the adaptation rights of almost 70 books to Producers/Studios in India. It is now expanding its footprint by solving the story problem for Indian regional language content producers and international producers, who are searching for local stories for global audiences.

TSI was founded in April 2018 by Jain who had earlier worked for India’s largest OTT (over the top) — Hotstar.com (now acquired by Disney from Fox), iRock Films, Adlabs Films (Reliance Entertainment), Hyperion Studio — Los Angeles and Baazee.com (Ebay India). In a recent  interview with scroll.in , Jain said that five years from now he sees himself “reading a book a day” and curating great stories for films.  In this exclusive interview, he explains how books are made into films… through options agreements.

 

Kitaab: What do you mean by an options agreement?