Tag Archives: Pakistan

Laal/Red

“In 1949, while in Lahore, Sahir Ludhianvi wrote a revolutionary poem, ‘Avaaz-e-Adam’ (The Voice of Man), in which ‘hum bhi dekhenge’ remains a memorable phrase. It ended on the optimistic – and one could say provocative – assertion that the red flag of communism would fly high. Pakistan had already decided to become a frontline state in Western attempts to contain Soviet Communism. It was trying desperately to convince the US that it could be a strong ally in its anti-Communism policy. Pakistan also wanted to portray itself as a trusted ally for the West, not just in South Asia but also in the Middle East. But after the poem was published, Sahir was threatened by intelligence agencies and he migrated to India. In effect, ‘hum bhi dekhenge’ came to symbolise Sahir’s farewell to Pakistan, which he felt would be a puppet of the West, and his search for sanctuary in Nehru’s India.” Source: The Wire.

© 2019 Pippa Virdee
aavaaz-e-aadam
Dabegi kab talak aavaaz-e-Aadam hum bhi dekhenge
rukenge kab talak jazbaat-e-barham hum bhi dekhenge
chalo yoonhi sahi ye jaur-e-paiham hum bhi dekhenge

dar-e-zindaan se dekhen ya urooj-e-daar se dekhen
tumhen rusva sar-e-bazaar-e-aalam hum bhi dekhenge
zara dam lo maal-e-shaukat-e-jam hum bhi dekhenge

ye zoam-e-quvvat-e-faulaad-o-aahan dekh lo tum bhi
ba-faiz-e-jazba-e-imaan-e-mohkam hum bhi dekhenge
jabeen-e-kaj-kulaahi ḳhaak par ḳham hum bhi dekhenge

mukaafaat-e-amal tareeḳh-e-insaan ki rivaayat hai
karoge kab talak naavak faraaham hum bhi dekhenge
kahaan tak hai tumhaare zulm mein dam hum bhi dekhenge

ye hangaam-e-vidaa-e-shab hai ai zulmat ke farzando
sahar ke dosh par gulnaar parcham hum bhi dekhenge
tumhen bhi dekhna hoga ye aalam hum bhi dekhenge
The Voice of Man
We too shall see till when one can suppress the voice of Adam
We too shall see till when can be stopped the angry emotion(s)
We too shall see, sure, just like this, the constant oppression.

Whether we view from the door of the dungeon or the elevation of the scaffold
We too shall see you dishonoured in the marketplace of the world
Just take a moment’s breath, we too shall see the consequences of the grandeur of Jamshed.

You too behold this vanity of power
We too shall see this by the kindness of the firm belief’s fervour
We too shall see a bend upon the dusty face that wears the jaunty headgear.

Retribution is a tradition of human history
Till when will you amass the arrows, we too shall see
We too shall see how far will you persist with your tyranny.

O sons of darkness this is the time for departure
We too shall see the morning shoulder the flag of red colour
We too shall see, you too shall have to see this clamour.

Source: ‘We Too Shall See, You Too Will Have to See This Clamour’: A Tribute To Sahir Ludhianvi by Raza Naeem, NayaDaur

Read/listen to Sahir on Rekhta

Sahir Ludhianvi – Making of Dreamer – Freudian Poet of the Indian Cinema by Anil Pundlik Gokhale. CounterCurrents.org

Speaking Easy: Allama Iqbal’s Grandson – Yousaf Salahuddin

via Speaking Easy: Allama Iqbal’s Grandson – Yousaf Salahuddin – on his Current Project and the Future of Art and Culture in Pakistan

Originally published 5 Sept 2012 but relevant today.

If you want to read further also see this article in The Friday Times by Muhammad Asif Nawaz, The old world charms of Mian Salli, originally published 25 July 2014.

Faletti’s

Faletti’s Hotel is the oldest colonial hotel in Lahore. It opened in 1880 in the old walled city. Back then, it claimed to be one of the finest hotels. By modern standards, this is not a big place, but it is certainly one of the most sought after. It retains the colonial architecture along with a matching attitude. One of the reasons that Faletti’s continues to attract so much attention is to do with the famous guests that have stayed there, over the years.

Read about the origins and owner, Giovanni Faletti on Faletti’s website.

A fascinating account in Dawn about the owners changing hand:

According to tales recounted by old hotel employees, Faletti’s Hindu clerk, Oberoi, offered to buy some shares, and Faletti was so impressed and delighted that someone whose job was to haul coal for the rooms had saved enough to buy the shares of his hotel that he allowed him to become his trusted employee. When Faletti finally left Pakistan, he gifted Oberoi all his hotels on the condition that he would not change the name of Faletti’s. Oberoi stayed true to his word and earned so much from just Faletti’s alone that he invested in a hotel in Delhi, the famous Oberoi, following which he established more hotels in India…After the 1965 war, Oberoi decided to move to India and sold majority shares of the hotel to PTDC — again on the condition that the hotel name would not be changed.

Everyone from the great Quaid-i-Azam to Hollywood actors have stayed at the hotel. Ava Gardner and Stewart Granger stayed here for three months during the filming of Bhowani Junction, which took place in 1955. The room in which she stayed is now known as the ‘Ava Gardner Suite.’ Marlon Brando stayed here when he was visiting the country on behalf of UNICEF. One of the Chief Justices of Pakistan, A.R. Cornelius, took up residence at Faletti’s and stayed at the hotel for over 40 years until his death in 1991. Whereas Mohammad Ali Jinnah stayed at Faletti’s when he came to Lahore to argue the appeal of Ghazi Ilm-ud-Din Shaheed before the Lahore High Court in July 1929.

Other guests have included the cricketer Sir Garfield Sobers, Jawaharlal Nehru, Dilip Kumar, Raj Kapoor, and Mohammad Rafi.

Remembering Faiz: thirty-five years on…

When Faiz passed away at the age of 73, Dawn described him as:

The greatest Urdu poet of his time, Faiz became a legend in his lifetime for his intrepid struggle against what he himself once described as “the dark and dastardly superstitions of centuries untold”. He understood the agony of the dispossessed and the disinherited and he sang of them and for them to the last.

While these songs and poems need no introduction, he also wrote enduring prose. On his 35th death anniversary, pasted below are some selections:

‘The Role of the Artist’, Ravi (Lahore) 1982:

‘Who are we – we the writer, poets and artists and what can we contribute, if anything, to avert the moral calamities threatening mankind? We are the offspring, in the direct line of descent of the magicians and the sorcerers and music makers of old…They found for the hopes and fears of their people, for their dreams and longings, words and music that the people could not find for themselves. And by blending their collective will to a desired end, they would sometime make the dream come true…In our part of the world through long centuries…the magician of old became the post-mystic or the mystic poet, the forerunner of the modern humanist, who defied both emperor and priest to articulate the ills and afflictions of his fellow beings, to expose the injustices of their masters and their master’s collaborators, who taught them to believe in, and fight for, justice, beauty, goodness and truth, irrespective of personal loss and gain…So that is who we are, inheritors of this magic…And never was the power of this magic more devoutly to be wished than in the world of today when so many powerful agencies are at work to deny the validity of all ethical human values, to obliterate all refinements of human feeling…by extolling cynicism, insensitivity and brutishness as the hallmark of a he-man and a she-woman…’

Source: Coming Back Home: Selected Articles, Editorials and Interviews of Faiz Ahmed Faiz, compiled by Sheema Majeed, introduction by Khalid Hasan, Karachi: OUP, 2008, pp. 40-1.

 

‘The Writer’s Choice’:

‘Literature like science is a social activity…Literature unfolds in a similar fashion…the unexplored or dimly lit complexities of social reality, the given human situation of a given time. The impact…however, more insidious, more subtle and at the same time more direct…. The writer is directly manipulative and formative of the consciousness of the audience…He cannot plead, therefore, that he is unaware of, or unconcerned with, social implications…A writer may be tempted, coerced or bribed [by] vested interests to ignore, emasculate, or pervert the basic realities of social existence under various specious pretences, ‘pure’ literature, art for art’s sake, ‘pure’ entertainment etc., a mechanistic repudiation of these ‘purities’, however, poses another danger. In creative writing to ignore the demands and essentials of artistic creation can be inexcusable, although perhaps not as reprehensible, as the moral and social imperatives of reality. It is but another form of escapism…There is still considerable confusion in most African and Asian countries regarding the function of literature, the role of the writer and the modalities of literary expression. This confusion is partly a legacy of the colonial past, partly a recent import as a product of neo-colonialism…Whatever his social status, his intellect and education will automatically place him in the ranks of the elite minority…He will be called upon to make a choice of his audience – to write for his own class or to transcend the class barriers…’

Source: Coming Back Home: Selected Articles, Editorials and Interviews of Faiz Ahmed Faiz, compiled by Sheema Majeed, introduction by Khalid Hasan, Karachi: OUP, 2008, pp. 43-4.

 

‘Decolonizing Literature’:

‘When the process of colonial occupation got underway in Asia and Africa the literature and languages of the subject peoples were among the first victims of foreign cultural aggression. Its impact hit different communities in different ways depending on their level of social and cultural development, thus confronting each one of them with a different set of dilemmas in their quest for identity after liberation…(1) The study of Asian and African literatures should be incorporated in the relevant schemes of higher learning…Even language teaching in European languages need no longer be confined to European authors. (2) …publication and marketing of important Afro-Asian writings in still the monopoly of a few Western publishing houses…such publications are only marginal to their main business interests…The high cost of Western publications is another inhibiting factor…Efforts are needed for a re-orientation of the publication trade in Asian and African countries. (3) For many Asian and African writers, ‘international recognition’ still means some notice by the Western media. Some of them are thus induced to set their sights while writing on Western rather than their national readership…There are enough nations in Asia and Africa to make any writer ‘international’ without any Western certification…This needs some rectification not only in the outlook of the writer, but also of his readers’.

Source: Coming Back Home: Selected Articles, Editorials and Interviews of Faiz Ahmed Faiz, compiled by Sheema Majeed, introduction by Khalid Hasan, Karachi: OUP, 2008, pp. 49-52.

 

 

 

Shoulder to Shoulder

Peshawar 2017
© 2017 Pippa Virdee

This picture was taken by me during one of the most memorable tuk tuk rides in Peshawar in 2017, when I was exploring the city and trying to find a gurdwara in the narrows lanes of the congested city. Along came this sardar ji who jumped on the tuk tuk and navigated us to Gurdwara Bhai Joga Singh. As the sounds and sights gather momentum around the opening of the Kartarpur corridor, I share this moment that speaks silently for the hopes of many.

Kashmir: protest and writing 1947-2019

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Below are some books in chronological order during the decades following from August 1947 when India and Pakistan were created. The are from different historical and political vantages and show the enduring struggle in Kashmir and how it has been represented. Above are pictures from a protest organised on 15 August 2019 outside the Indian High Commission in London following the Government of India’s decision to revoke Article 370.

Michael Brecher, The Struggle for Kashmir, Ryerson Press, 1953.

Prem Nath Bazaz, The History of Struggle for Freedom in Kashmir: Cultural and Political, from the Earliest Times to the Present Day, Kashmir Publishing Company, 1954.

Josef Korbel, Danger in Kashmir, Princeton University Press, 1954.

Christopher Birdwood, Two Nations and Kashmir, Robert Hale, 1956.

Aziz Beg, Captive Kashmir, Allied Business, 1957.

 

Sisir Gupta, Kashmir: Study in India-Pakistan Relations, ICWA, 1966.

Alastair Lamb, The Crisis in Kashmir 1947–1966, Routledge & Kegan Paul, 1966.

 

Muhammad Yusuf Saraf, Kashmiris’ fight for freedom, Vol. 1 (1819–1946) and Vol. II (1947–1978), Feroze Sons (1977, 1979).

Prem Nath Bazaz, Democracy through intimidation and terror, Delhi: Heritage, 1978.

 

Sheikh Abdullah and M.Y. Taing, Atish-e-Chinar, Srinagar Shaukat, 1985.

S.T. Hussain, Sheikh Abdullah-a biography (based on Atish-e-Chinar) Wordclay, 2009.

B.C. Taseer, The Kashmir of Sheikh Mohammad Abdullah, Lahore: Feroze Sons, 1986.

U.K. Zutshi, Emergence of political awakening in Kashmir, Manohar Publications, 1986.

 

Alastair Lamb, Kashmir: A Disputed Legacy 1846-1990, Roxford, 1991.

Robert G. Wirsing. India, Pakistan, and the Kashmir Dispute: On Regional Conflict and Its Resolution, New York: St. Martin’s. 1994.

Victoria Schofield, Kashmir in the Crossfire, Bloomsbury, 1996.

 

Iffat Malik, Kashmir: Ethnic Conflict International Dispute, OUP 2002.

Mridu Rai, Hindu Rulers: Muslim Subjects: Islam, Rights and the History of Kashmir, Princeton University Press, 2004.

Chitralekha Zutshi, Languages of Belonging: Islam, Regional Identity, and the Making of Kashmir, Hurst, 2004.

Praveen Swami, India, Pakistan and the Secret Jihad: The Covert War in Kashmir, 1947-2004, Routledge, 2006.

Andrew Whitehead, A Mission in Kashmir, Penguin, 2007.

 

Sanjay Kak, ed. Until my Freedom has Come, Penguin, 2011.

A.G. Noorani, Article 370: A Constitutional History of Jammu and Kashmir, The Kashmir dispute: 1947–2012, OUP, 2011.

Christopher Snedden, The Untold Story of the People of Azad Kashmir. Hurst, 2012.

Shonaleeka Kaul, The Making of Early Kashmir, OUP, 2018.

Duschinski, Bhan, Zia and Mahmood, eds. Resisting Occupation in Kashmir, University of Pennsylvania Press, 2018.

Freedom and Fear: India and Pakistan at 70

IMG_2257
© 2017 Pippa Virdee

The role of any democratic country, with a well-defined rule of law, is to protect ALL its citizens, ensuring that their rights and freedoms are safeguarded. It is in fact difficult to imagine these lands without the heterogeneity that forms the essence of being South Asian. It is this vibrancy and diversity that gives it character and strength. To move toward a homogenous culture is not only problematic but also dangerous because it is based on exclusivity.

Extract:

In the midst of the monsoon of August 1947, British India ceased to be and gave way to two independent nations. The logic of this partition being religious and regional, the older and larger India was reinforced as a Hindu majoritarian society, while the newer and smaller Pakistan emerged as an Islamic country. No partitions are total and absolute but this one was especially terrible and ambiguous; it left about a 20 percent religious minority population on both sides. Moreover, it created two wings of Pakistan with a hostile Indian body-politic in the middle.

This event was not entirely of subcontinental making. The British Empire in Asia cracked under the hands of the Japanese army during World War II, most spectacularly with the fall of Singapore in February 1942, and began to crumble in South Asia after the war. Along with India and Pakistan, Burma (today’s Myanmar) and Ceylon (Sri Lanka) also emerged independent (both in 1948) at this time. All this was to bring about many changes, both internally in India and internationally. Europe, the ravaged battlefield of the world wars, ceased to be the center of the Western world, with political and economic power shifting decisively to the Soviet Union and the United States, representing two contrasting and conflicting ideological visions for the post-1945 world.

The end of British rule in South Asia happened alongside the emergence of this conflict, christened the Cold War. The road to freedom and partition of India and the creation of Pakistan was a long one and accompanied with fundamental social, economic, and political changes. From the mutiny of 1857 to the massacre of 1919 in Jallianwala Bagh, Amritsar; from the formation of the Indian National Congress in 1885 to the establishment of the All-India Muslim League in 1906; from fighting for king and country in two world wars to seeking self-rule in the interwar years; and from the development of an elaborate civil and military bureaucratic and infrastructural apparatus and a space for provincial politics – all these were to completely transform Indian society.

This transformation and its underlying tensions ultimately contributed to that final moment, when in the middle of August 1947, Britain finally bid farewell to its prized colony after being there in one form or another as traders, marauders, administrators, and rulers for over 300 years. Weakened by World War II, the British were forced to accept the new realities of a determined nationalist struggle and an emerging new world order in which old-fashioned colonialism no longer seemed feasible. The journey toward this reality was slow and painful.

This year, on August 14 and 15, the Pakistani and Indian state and society, respectively, will mark 70 years of freedom. The bulk of both countries will be in celebratory mode as much of them were in 1947. Neither will want to remember the hard history of this freedom, nor face the harsh realities of it today. Back in 1947, Mohammad Ali Jinnah was in Karachi and Jawaharlal Nehru in Delhi, both welcoming a new dawn of freedom, but also engulfed in the fear and flames of communal violence. The worst of this was in the partitioned province of the Punjab in North India, where from March 1947 onward in Rawalpindi, communal violence and forced migration of people completely changed the landscape. Over the next year, but largely concentrated in August-December 1947, approximately 1 million were massacred and over 10 million were forced to move from one side of the Radcliffe line to the other. Bengal in East India, the other province to be partitioned, experienced similar, if slower, migration but not murder on the same scale. Other provinces, like Sindh, United Province, Bihar, Assam, Bombay, and the North-Western Frontier Province, also saw religious riots and exchanges of refugee populations.

Partitions are never easy; they are fraught with physical uprooting and dislocation, emotional and psychological separations, and, often, bitter memories of enmities. The partition of British India, though, appeared inescapable in early 1947, once constitutional attempts to secure a confederal arrangement for the Muslims in India to live in a post-colonial Hindu-majority country, without fear, collapsed. The movement for a home for Indian Muslims had gained currency in the interwar period, with poet-philosopher Muhammad Iqbal’s presidential address to the 25th session of the All-India Muslim League in December 1930, envisioning “a consolidated, North-West Indian Muslim State” amalgamating “the Punjab, North-West Frontier province, Sind, and Baluchistan” and self-governing “within or without the British Empire.” It culminated, almost 10 years later, in March 1940, in the lawyer- politician Jinnah’s speech at another session of the League. Describing Muslims as a “nation,” not merely a community, Jinnah demanded “homeland, territory, and state” for them.

Full article in The Diplomat, Issue 33, August 2017 or contact me.

A Pakistani homeland for Buddhism: Buddhist art, Muslim nationalism and global public history

Buddhist iconography is an important element in India’s national flag and national emblem, and Buddhist sites in India, such as the Ajanta Caves and Bodh Gaya are well known. In contrast, Pakistan’s engagement with its own Buddhist heritage has received far less attention. Andrew Amstutz (University of Arkansas, USA) explains his ongoing research that examines…

via Long Read: A Pakistani homeland for Buddhism: Buddhist art, Muslim nationalism and global public history — South Asia @ LSE