Tasveer-e Urdu and the Centre for Indian Languages (SLLCS), Jawaharlal Nehru University (New Delhi), plan to hold a two-day conference on the popular culture of Urdu language on 8-9 September 2017 in New Delhi. The organisers seek proposals of presentations that can lead to engaging discussions on the theme, outlined in the concept note shared below.

For submissions, a short abstract (not more than one page) should be sent in Urdu or English, with a short bio of the presenter’s past work, latest by 10 April 2017 to conference@tasveereurdu.in.

Once the submitted abstract/concept is selected for participation, the selected submissions will have to send the full paper (5000 to 8000 words, in Urdu or English) by August 10, 2017.

For more details visit: www.tasveereurdu.in

Concept Note:

While Urdu is typically celebrated as a language of romance and classical poetry by Ghalib, Mir, and Faiz etc., its lesser-acknowledged popular culture of movie songs, detective fiction, ghazal gayeki, poetry inscribed behind vehicles, mushairas, and qawwalis, has probably kept the language alive and kicking among the masses even as its more virtuous practitioners lament that Urdu is dying in India. So what are these popular forms that continue to thrive in the underbelly of classical Urdu and how different they are from its elite cultural life? More importantly, where does one draw a line between popular and classical in Urdu? Although some examples mentioned above are part of what we call ‘popular culture’, these were never really disconnected from what can be called ‘classical’. Urdu is not a monolithic entity in time and space – it has been changing over centuries in its vocabulary, usage, demographics and poetics. There have been multiple dilutions within Urdu that have redefined the notions of ‘Classical’ and ‘Popular’, not to mention the local or regional differences in Urdu’s use.


By Aminah Sheikh


Deh na dekhi, naram kahaaye

Buraa lagay aur hansi bhi aaye

(Invisible, but they call it tender

Feel bad, but it evokes laughter)


It’s the second time I’m reading this riddle. Attempting to get close to solving it, I’ve narrowed it down to two possible answers. But, I’m confused. So, I turn the page to see the illustration for a clue, trying hard not to glance at the answer which is on the page next to the illustration. The illustration consists of artistically drawn fish and feathers. It intrigues me further, as I rattle my brain, thinking what feathers can do – make you fly, make you smile. My thoughts take me to a time I got a fish pedicure. I remember giggling a lot! Giggling by tickles…? I go back to reading the verse to confirm if my guess fits the riddle. Having read the riddle, now for the third time, I decide on “tickle” as the answer. I turn the page – “tickle” it is! The answer leads the reader to an anecdote of Amir Khusrau. There is a child-like excitement as you go about solving twenty riddles that make for a wonderful discovery on Amir Khusrau, in a book Amir Khusrau: The Man in Riddles.

The Sufi poet has been brought to life in an innovative narrative by Ankit Chadha, a popular dastango (someone who practices the oral form of storytelling in Urdu). Each riddle unveils a facet of Amir Khusrau. Ankit explains that the idea was to bring the poet and his poetry together in the most accessible form for readers of all ages. “Through some riddles, which were fun and representative of the culture Khusrau stands for, I wished to tell a story that would open up the man that was and is. So, each riddle in the book is, in a way, a petal that you open and slowly appreciate this flower of a personality.”