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Time Perception – BBC World

Mike Williams asks why some weeks just fly by but sometimes minutes can seem like hours? Why do we perceive time differently in different circumstances? Mike talks to Pakistani writer and broadcaster Raza Rumi,[…]

May 15th, 2016|Arts & Culture, Pakistan|5 Comments

On Sir Syed Ahmad Khan

C.M. Naim’s, A Professor Emiretus had shared this some months ago:

“What an extraordinary man he was. Iftikhar Alam Sahib has been publishing books about him — about his little known aspects, the kind of things […]

My interview with Ithaca Times, U.S.

Recently I was interviewed by Ithaca Times, USA. Here is the text:

The Ithaca Times sat down with Rumi to talk about his work—in past, present, and future—the state of Pakistan, and his impressions of the United States so far.
Ithaca Times:You took an unorthodox path into journalism. Tell us a little bit about your background and how that informs your work now.
Raza Rumi: I was a civil servant in Pakistan, and then got into international development. I was with the Asian Development Bank for nearly a decade, during which time I began to write for Pakistani papers. I was enjoying it so much, getting so much feedback, that I said, ‘Let’s give it a try and make it into a kind of career.’ In 2008 I took a leave from the Asian Development Bank and started editing the Friday Times, a liberal weekly newspaper in Lahore … My background gives me an immense edge in terms of commentaries and analysis. I write with that experience; I know which parts of government talk to each other, how transactions come into effect. […]

April 4th, 2016|Arts & Culture, Pakistan, terrorism|6 Comments

A message from Nizamudddin Dargah

I have never met Marta but the attachment to Nizamuddin Dargah has bound us for years. Yesterday I got this email and beautiful photographs from Marta Irene. Marta herself suffered a major accident in recent years and survived.
Human connections… RR

Dear Raza Rumi,

After a long time I am finally back in Delhi for a short visit. My heart is an explosion of joy. It seems that I love everything here, pollution included: the voice of the Kabari-Wala, the barking dogs, the children playing in the street, the traffic, the exciting fragrance of flowers mixed with many less noble smells…But above all, the Dargah. 31 years have passed now since I wrote the essay you later published on your site. My passion has just kept growing, every day pushing me beyond the limit of my capacity of love, everyday leading me across my fears and my endurance. An extraordinary travel, and so much way to come ahead!
Sitting in front of the Dargah, of course I also think of you. I have no news, and if I try to imagine your life, shivers run along my back…May God protect you with His grace. I know the Saint is close to your heart, He is the best Friend you could have.
I send you a few pics of the Dargah, hoping to convey a little of its magic to you.

With Love,

Marta Franceschini

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March 27th, 2016|Arts & Culture, Sufism, Sufism and Sufi poetry|0 Comments

Badge of honour

Sharmeen Obaid-Chinoy’s incisive documentary helps reignite the debate on honour killings in Pakistan.

Second success: Sharmeen with her Oscar. Photo: Reuters Second success: Sharmeen with her Oscar. Photo: Reuters

Sharmeen Obaid-Chinoy has won the second Oscar for a short documentary that brings international attention to an endemic evil in Pakistan (and India for that matter) known as honour killings. Officially, there are a thousand victims of honour killings every year but the actual number may be much higher. Aside from Sharmeen’s recognition by Hollywood, which by itself is a big win, the Oscar for A Girl in the River: The Price of Forgiveness is a victory for Pakistan’s long list of activists who have been advocating to end this heinous practice. Days before the Oscars ceremony, a special screening of the movie was held at Prime Minister Nawaz Sharif’s house. The Pakistan PM issued a statement saying he would bring changes to the legislation to end the curse of honour killings. Sharif’s recent overtures to causes such as minority rights and talking about a liberal Pakistan have come as a surprise, given his conservative politics, and his party’s attempts to prevent progressive legislation during the 1990s. Or it is a sign of Pakistan’s drift into extremism that even centrist politicians like Sharif are worried about the future of the country.

A Girl in the River narrates the heart-wrenching story of Saba Qaiser who survived an attempt to kill her and lived to tell her tale. Saba was lucky to survive. Most victims are not. The issue of honour killings is cultural as a woman’s conduct is seen as an instrument of honour of the family. That such tribal and feudal customs continue in the 21st century is a shame indeed. As if the customs were not enough, General Zia-ul-Haq and his successors worked on a law that compounds murder and also enables the murderer to seek forgiveness under an interpretation of Islamic law. In short, honour killings rarely, or never, get punished.

Worse, the parliamentarians, who in any democratic society are required to enact legislation that ends brutal customs, have been divided and complicit. In 1999, a young woman, Samia Sarwar, was killed outside the offices of Pakistan’s renowned human rights lawyers, Asma Jahangir and Hina Jilani. A resolution moved by a liberal senator in Parliament could not be carried through as a Pakhtun member of the Awami National Party objected to the attempt to interfere with the ‘honour’ culture. In the Musharraf era, a weak law was enacted but when a woman member of parliament presented a resolution, it was shot down. Sherry Rehman’s earlier efforts to table a reform bill were also rejected by the then ruling party closely allied to Gen Musharraf. The Islamists who were in the opposition supported the government on that front.

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“Remembering Intizar Husain”

Raza Rumi remembers Intizar Husain as a colossus of letters, but also as a formative influence for himself
ishtiaq1

(L-R) Jamila Hashmi, Intizar Husain, Masood Ashar and Kishwar Naheed

I remember the languid afternoon in Lahore when I met Intizar Husain surrounded by his friends and admirers. This formal introduction happened as poet-writer Fahmida Riaz was visiting Lahore and wanted to see Intizar Sahib – as we all called him. This was nearly a decade ago and my memory of that meeting is a bit hazy. All I remember is that Intizar Sahib showed extraordinary enthusiasm when he heard my name.

Arrey I have been reading you in The Friday Times”, he said. Bewildered, I thought that he was trying to humour a young novice with literary pretensions. Noticing my maladroit attempt to hide my expression, he added in chaste, homely Urdu: “I had thought that this guy Rumi was some old man writing about the shared cultures of the subcontinent…Aap tau naujawan nikle (you turned out to be a youth).”

In those days, I was regular feature writer at TFT and had penned many a rant on the civilisational ethos of the Indian Subcontinent that has fast eroded in the past few decades. Little did I know that it would be noted by – of all the readers – Urdu’s master fiction writer and columnist, essayist and a critic!

ishtiaq2Intizar Sahib had resisted the temptations of turning into a cult figure, a pop star or a pir

This was a moment of reckoning for me. I was but a pygmy in front of this literary giant and man of all proverbial seasons. Hearing his acknowledgment was a kind of homecoming – a process that continues, distracted by the necessities of garnering jobs and nurturing pretenses of a ‘career’. Among other reasons to change direction in my life, perhaps Intizar Sahib was a major reason. His encouragement – to an utterly unimaginative person like me – acted as an elixir.

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In memoriam: Writers like Intizar Husain never die, they live on in their words and ideas

In celebrating his pluralistic literary roots, Intizar Husain was a truly contemporary writer

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Intizar Husain, the last of great Urdu writers, passed away yesterday at the age of 92.

He’d been hospitalized for some time in Lahore. His ardent followers had been worried that the worst was likely to happen. But the truth is that writers of Husain’s stature never die. They live in their words and the corpus of ideas that they bequeath to future generations.

Husain was definitely one such figure. He leaves behind some of the finest specimens of fiction, journalism, travel writing and critical essays. The sheer volume of Husain’s literary output is mind boggling as it indicates a life that was lived in a deep love of letters; engaged in an eternal search for meaning.

Intizar Sahib spent his early years at his birthplace Dibai in the Bulandshahr district of Uttar Pradesh (UP), India. In one of his interviews, he said that the partition of India in 1947 made him a fiction writer. Nothing could be truer as the shadow of his migration to a new country became perennial. For much of his life, this event and the sense of displacement informed his creative musings.

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Intizar Husain was a sought after presence at literary festivals, where his vast body of work was discussed

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