Tag Archives: Manto

‘Everything in India, including religion, is a story’: Reviving the old tradition of Dastaangoi with Mahmood Farooqui

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. Read more

Will contemporary Urdu novelists please stand up?

Urdu novelist Rahman Abbas, 46, had to spend time in jail, even losing his teaching job, over a book he published in 2004. It was only in August 2016 that he was acquitted by a Mumbai court, the culmination of a 10-year lawsuit against his Nakhlistan ki Talash (In Search of An Oasis). The novel, which was slapped with obscenity charges under Section 292 of the Indian Penal Code, revolves around love and politics in the aftermath of the 1992-93 riots in Mumbai. It created a furore in conservative Urdu literary and media circles. But such instances of incendiary Urdu novels, with contemporary settings, are hard to find now. Why are there no traces of anything similar to the Progressive Writers’ Movement of yore?

Urdu fiction buffs profusely applaud the seminal writers of the 20th century—Ismat Chughtai, Munshi Premchand, Qurat-ul-Ain Haider and Saadat Hasan Manto. But how much do we know about the contemporary Urdu fiction in 21st century India? Do these unknown novelists still concern themselves with the hoary traditions of ‘Lakhnawi Tehzeeb’ and ‘Awadhi Zubaan’, or have they moved on to ruminate on more topical issues from their immediate surroundings?

How many Urdu novels from Maharashtra, Kolkata or Andhra Pradesh have come to the fore, discounting the usual suspects from Delhi, Uttar Pradesh and Bihar? Moreover, what ails Urdu novels today?

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The Lounge Chair Interview: 10 Questions with Kankana Basu

By Aminah Sheikh

kankana-basu

Let’s get down to brass tacks. Why do you write?

Growing up in a big family of book-lovers and where the head of the family was a distinguished author, it was inevitable that one got books as birthday gifts. Added to that was the daunting task of delivering an oral essay of every book read to a stern panel of adults! The love for words, consequently, was destined to bite very early. Although I trained for commercial art and worked as an illustrator-visualizer in my early years and aspired to paint in oils someday, the weight and thrust of words and story ideas was too great at one point and they threatened to erupt and take precedence over everything else, including my domestic life. I had no option but to sit down and put pen to paper. All of life’s experiences appeared to be translating into words somehow, and the need for self-expression took the form of writing (both fiction and non-fiction). Painterly aspirations went flying out of the window.

Tell us about your most recent book or writing project. What are you trying to say or achieve with it?

My most recently published book is a collection of short stories, Lamplight: Paranormal Stories from the Hinterlands. Some of the stories in this collection are loosely based on the ghost stories handed down from generation to generation in my father’s family. My grandparents lived in an old rambling house in Munger, Bihar, where all kinds of creepy things are supposed to have happened and I’ve taken inspiration from these.

I’m a huge admirer of the subtle form of story-telling, especially when it comes to the paranormal. Authors like Henry James, Stephen King and Ruskin Bond who create menacing atmospherics with the crafty use of language, where the reader’s mind can come unhinged with terror and imagination run rampant by the mere use of subtle suggestions, is the kind of craft I aspire to. Not for me the over-the-top spooking with blood, bones, screams and a whole lot of pyrotechnics. In Lamplight, I’ve taken an empathetic stance towards ghosts. Along with being chilling entities, I’ve tried to portray ghosts as piquant, funny, amorous, lovable and even gluttonous! I’ve allowed my ghosts to have the blast of their lives (or death, as the case may be!) in the stories.

Describe your writing aesthetic.

I was barely nine when I read this magical novella called The Grass Harp by Truman Capote. The plot remains fuzzy in mind, it had something to do with an orphaned boy and two elderly ladies sitting on a branch of a tree and observing life. But till date I remember the vivid scene created by the author’s prose, that of a sea of emerald green grass waving in the breeze, bright golden sunshine, an idyllic summer’s day and a child with a head full of impossible longings. I love the auditory and visual qualities that certain writers conjure up by the magic of their prose. Some books titles are forgotten, one may even confuse plots but certain passages remain in the mind with their wonderful imagery. A rainy city at dusk, the lapping of waves against a boat on a starlit night and the silent aftermath of a riot-torn area are just some of the assorted bits that have stayed in memory after reading a couple of recent books. A book’s plot is of prime importance, for sure, but the rhythm of words, vibrant imagery and the ability to create a frequency that connects instantaneously with the reader is what I hope to achieve with every work of fiction I write. It is also immensely interesting to explore the secret worlds that people inhabit. There is a gray zone between what most people appear to be and what they truly are and it is an author’s privilege to explore this no-man’s land. Fictitious characters are almost always based on real life models, the twists and loops in their personalities, the angled perceptions of reality by different characters (reality, as it is, is a very subjective affair), mirages of the mind and the point where the real often blends into the surreal….. I try to explore these aspects in my writing.

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‘Manto’s lunatic’: My Punjab has no border, no limits

As told to Nirupama Dutt

A poem of mine devoted to my homeland goes thus: “Punjab mera tan Duniya jidda, Punjab mera anhadd hai; iss vich sabho darya vehndey (My Punjab is as big as the whole world, it has no borders no limits; all the rivers flow in it). In other words, humanism and universalism is what true Punjabiat means to me. And none other than Baba Nanak is its icon that symbolises this sentiment the best. Though I have to cross the Wagha border – created by the Punjabis themselves – showing my British passport, but in my mindscape there is no border. I am Manto’s lunatic from ‘Toba Tek Singh’ and I never reconciled with the division of the Punjab.

I exist in Punjabi and I’ll die in it. I dream, think and feel in Punjabi. It is my last refuge against all odds. As my children don’t speak it, it’ll die with me. The poem ‘Lasan’ was written while I was flying back to Vancouver from California in 1988. There I had come across the word Lasan written in the Punjabi script on a huge billboard meant for woman farm workers, migrants from the Punjab. Read more

Source: Hindustan Times

Katha Kathan: A tribute to literary legends Tagore and Manto

A story telling session of Katha Kathan was held in Mumbai on Friday evening to commemorate the birthdays of Rabindranath Tagore and Saadat Hasan Manto with a recitation of their renowned works.

The warmth of literature is truly overpowering. One could sense the excitement in the audience while they waited to enter the YB Chavan auditorium in Mumbai on Friday, but not more than the performers themselves, who had a sparkle in their eyes as they looked forward to the storytelling session for the evening.

Katha Kathan is a platform for storytelling that converts works of literature into spoken word narration. The main aim of the venture is to revive Indian language literature that is often relegated to the background.

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Taseer versus Dalrymple: Top recent Indian literary spats

Five plots, a few bad characters and a twist in the tale: Daily O

William DalrympleLast week, columnist Malavika Sangghvi wrote about a leaked email exchange (from a couple of months ago) between Aatish Taseer and William Dalrymple, two writers who have a little bit of history. Dalrymple, apparently, sought to end the needle by offering an olive branch: he invited Taseer to speak at the 2016 Jaipur Literature Festival, on a panel discussion about Manto and the Partition (Taseer has, in the past, translated Manto’s stories into English). Read more

Indian writing: The changing tales of communal violence

Manto

Manto

At the recently concluded literary festival at Aligarh Muslim University, authors dwelt on the changing representation of communal violence in literature – many noticed the stark changes in the depiction of such violence, from the time of Partition to more recent instances. The raw power of Manto, for instance, has been replaced by writing for readers less shocked – communal violence has become almost part of the nation’s “common sense”. Fiction too now reaches out for answers and solutions.

While at the time of Partition, the Muslim was almost solely the communal “Other”, groups like the Pandits of Kashmir and tales from insurgency in Punjab have expanded the number of communities that have experienced such violence. Read more

‘Indians writing in English cannot come close to Manto, Premchand or Bibhutibhushan’: Bhalchandra Nemade

An argument with Jnanpith winner Bhalchandra Nemade on the limitations and inevitable failure of Indian writing in English: Scroll.in

Literature is political in nature…literature needs a folklore, a shared history to exist

Manto

Manto

“There are questions of roots, literary cultures. Languages work within a number of contingent factors, including folklore, say, literary history, shared history and geography, flora, fauna, everything. Unfortunately, the kind of medium you have chosen – whatever your compulsions – you may land yourself into a no-man’s land gradually. Because you are using a form which has no folklore, no shared history. Read more

Video: Ayesha Jalal: Manto and The Pity of Partition

Renowned historian Ayesha Jalal discusses her new book, The Pity of Partition: Manto’s Life, Times, and Work across the India-Pakistan Divide. Jalal’s book offers the first in-depth look in English at the influential Urdu writer Saadat Hasan Manto (1912-1955). Drawing on Manto’s stories, sketches, and essays, as well as a trove of private letters, The Pity of Partition provides a intimate history of Partition and its devastating toll on the Subcontinent.

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