women

Through the looking glass

21 February 2015

After a decade of epistolary exchanges, I finally met Shahzia Sikander, Pakistan’s most celebrated global icon of the arts, ironically unsung at home.

SikanderShahzia Sikander Selects, 2009, Cooper Hewitt National Design Museum, New York

“Not to be boxed in, to be able to transcend boundaries: for an artist, it’s essential.”

It is a pity that I got to discover Shahzia Sikander’s work only when I left Pakistan. After her initial successes in the 1990s, with her migration to the United States, she slowly disappeared from the local art scene and the narratives within her country of birth, almost rendered invisible, like the mythical characters one reads in the folklore. In a different country, she would be celebrated for being a global icon, intensely original and gifted. Not in her country of birth where talent is subjugated to the cliques that define ‘excellence’ and where history has to be doctored to make the present legible and comfortable.

sikander2The Scroll, 1989-91

Sikander graduated from the National College of Arts in 1991. Her innovative work struck everyone since she had done something remarkable with the miniature form. Reinterpreting the format of a traditional Indo-Persian miniature, she crafted a personal relationship and in a way liberated it from the clutches of ‘tradition’. Prior to her work, the late Zahoor ul-Akhlaq inducted postmodern ideas during the 1970s and 1980s and suggested how miniature remained a relevant form for ‘contemporary’ artists. In his own work he borrowed elements of the miniature form and merged them with the abstract style he practiced. Sikander went beyond and using miniature as the foundation for her work created something new. Her teacher Ustad Bashir Ahmed encouraged her and thus began the great revival. Later, Imran Qureshi, Aisha Khalid, Ambreen Butt, Saira Wasim and many others took this movement forward and they are all globally celebrated artists in their own right.

Manto’s women

13 February 2015

Manto stands more or less alone in the position he takes on women, contends Raza Rumi, in an exploration of Manto’s relationship with his female protagonists

 

Manto2Saadat Hasan Manto

Perhaps the most well-known and also controversial Urdu writer of the twentieth century happens to be Saadat Hasan Manto. He left us with a stupendous literary output, which continues to remain relevant decades after his death. Manto, not unlike other ‘greats’ died young and lived through the greatest upheaval in the Indian subcontinent i.e. the Partition. As a sensitive writer, he was influenced and traumatized by political turmoil during 1947 and beyond. His stories reflect his repeated attempts to come to terms with this cataclysmic event especially for millions in North India. For Manto, partition remained a mystery but he did not keep himself in a state of denial about it. He always used the word ‘batwara’, never partition.i Manto felt that it was the ripping apart of one whole and would lead to greater divisions among the people of the subcontinent. This coming to terms with the ‘batwara’, is experienced in his works by unusual characters driven by plain ambitions, mixed emotions and above all sheer humanity.

Like Nazeer AkabarAbadi, Manto’s characters are universal and often it is difficult to condemn or dislike them since their humanity remains overarching. Manto raised the slogan of humanism at a time when the subcontinent presented the picture of a boiling cauldron of religious riots and protests, of acts of misogyny committed in the name of communal honour and ‘nationalism’. For example, in the story Sahai, Manto writes, “Don’t say that one lakh Hindus and one lakh Muslims have died. Say that two lakh human beings have perished.” Manto uses his characters as metaphors to highlight the prevalent abuse of humanity in those times.

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Journey to change

30 January 2015

In referencing N M Rashed, clay pots, paper boats, the river Ravi and the lost garment ‘Saddri’, Pakistani artist Sabah Husain creates a seamless whole out of seemingly disparate objects.

sabih hasanBoats made of drawings and paintings on paper. Inkjet prints

Sabah Husain, the accomplished artist of Pakistan, is a trendsetter. Currently affiliated with the School of Museum of Fine Arts, Boston, Sabah displayed her recent works in Washington DC where the Pakistani Embassy showcased her works for art lovers in town and also reiterated how important cultural diplomacy is for our missions abroad.

As someone who has followed Sabah’s work for some time, I have always been intrigued by her fusion of Pakistan’s rich literary and cultural traditions into her oeuvre of printmaking and paperworks. The exhibition entitled ‘Mapping Waters’ (January 22-27, 2015) presented a range of paintings, prints and photography.

sabih hasan2Sabah Husain at XVA Gallery in Bastakiya Art Fair

Four distinct, yet interwoven, sensibilities were curated at the exhibition: first, Sabah’s enduring conversation with Urdu’s best known modern poet Noon Meem Rashid and his epic poem ‘Hassan Koozagar Ke Naam’; the second layer invoked her interpretations of the once popular but now in virtual disuse ‘saddri’ (men’s waistcoat with Central Asian origins); the paper boat; and Lahore’s dying River Ravi. At the outset these layers may appear to be incompatible but essentially they represent non-linear, complex journeys of an artistic vision.

In his celebrated poem, Rashed identifies himself with Hassan the koozagar (the potter). In material terms most ancient civilizations display pottery as both a daily convenience as well as an expression of the collective creative spirit. At a metaphysical level, clay symbolizes the material for creation shaped by the “creator”. Thus all three are one in the Sufi parlance of Wahdut ul Wajud (Unity of Being) and best represented by the famous line from Jalaluddin Rumi:

“Khud Kooza O, Khud Kooza Gar O, Khud Gil-e-Kooz; Khud Rind O Subu Kush; Khud Bar Sar-e-Aan Kooza Kharidaar; Bar Amad Ba Shikast O Ravaan Shu.”

He the vessel, its creator and also its clay;

He is the reveller drinking from it…

And is the one who buys it and breaks the vessel having drunk from it

The mythical Hassan from Rashed’s poem was a resident of Baghdad and invoked during his long soliloquy, the banks of River Tigris, the boat and the powers of his creativity, poverty and longing. The poem also reminds us of the cycles of personal and civilizational growth and decay. Sabah interprets the poem and its metaphors – the river and the boat – and locates them in contemporary settings. This is where it all comes together: the poet and the artist both identify with Hassan who on the banks of a River muses on Time and its various manifestations. One such manifestation for Hassan’s successor, Sabah Husain, is the forlorn piece of garment Saddri (Sabah in a conversation told me that she owns and wears them too).

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Kal bhi woh darte the

11 December 2014

A few lines I wrote after Malala’s
Nobel and some of the reactions of Pakistanis on social media

MalalaKailash

(English translit. below)

کل بھی وہ ڈرتے تھے
نہتی لڑکیوں سے
آج بھی نالاں ہیں
وہی مذہب کے بیوپاری
اہک ننھی ملالہ سے!
وہ جھوٹے دعوے کرنے والے
وہ بے ایمانی کے سوداگر
دہشت کے پجاری
کیا تم جانتے نہیں؟
یہ ننھی بچیاں
تم کو ہر بار شکست دیں گی!
یہ بھی سچ ہے کہ
ابھی دور ہے حق کی جیت
اس میں بھی مات تمھاری
تم گولیاں برسا کر بھی
بازی ہار گۓ

ابھی بہت سے موسمِ بارود گزرنے ہيں
ابھی ملالہ کو جلا وطن رہنا ہے
اور کوۓ ملامت کو سنبھلنا ہے
لمبا ، کٹھن سفر ہے باقی
اور کچھ ہو نہ ہو
تمہاری شکست کی آواز
تمھاری بزدلی کے چرچے
سارے جہاں میں عام ہو گۓ
ایک نہتی لڑکی نے
پھر سے ہرا دیا

سب بندوق والوں کو
بندوق دینے والوں کو
بندوقیں ماننے والوں کو

Kal bhi woh darte theMalalaKailash2
Nihati laRkiyoN se
Aaj bhi nalaaN haiN
Aik nanhi Malala se!
Wohi Mazhab ke beopari
Woh Jhoote daawe karne wale
Woh be-aimani ke saudagar
Dashat ke pujari
Kiya tum jante nahiN?
Yeh nanhi bachiaN
Tum ko har baar shikast deiN gi!
Yeh bhi sach hai keh
Abhi door hai haq ki Jeet
Is meiN bhi maat tumhari
Tum goliyaan barsa kar bhi
Baazi haar gaye
Abhe bohot se mausam-e barood guzarne haiN
Abhe Malala ko jilaawatan rehna hai
Aur koo-e malamat ko sanmbhalna hai
Lamba, kathan safar hai baaqi
Aur kuch ho nah ho
Tumhari shikast ki awaz
Tumhari buzdali ke charche
Saare jahaN meiN aam ho gaye
Ik nihati laRki ne
phir se Hara diya
Sab bandooq waloN ko
Bandooq dene waloN ko
Bandoqen manane waloN ko

Meeting Salma Bhatti

28 November 2014

I met the wife of slain Minister Shahbaz Bhatti and discovered tales of woe, marginalisation and hope

 

salma bhatti

It has been over three years that Pakistan lost a brave Christian citizen Shahbaz Bhatti for his relentless advocacy of human rights and in particular for wanting to correct discriminatory and anti-people laws that afflicts all Pakistanis – Muslim or non-Muslim. Shahbaz Bhatti’s case has been treated in the same manner as most cases of this kind are. There are high-sounding condemnations; initial activity by the Police, arrest of a few ‘suspects’ and then the dysfunctional, collapsed system of justice takes over.

Shahbaz Bhatti was a serving Minister at the time of his murder. This was the second loss for the PPP – an ostensibly liberal and secular party in power. Earlier it was Punjab’s Governor Salmaan Taseer who was assassinated by his own guard in 2011, and in the same year a federal minister was gunned down in broad daylight. Yet, the response of the government was not what it ought to have been. By caving in to the extremists’ pressure and keeping survival in power as the top priority it lost the chance of changing the direction of the country. True, PPP was beholden by powerful corporate interests of the military and a formidable armed right wing but the impact of it all has been grievous for the country.

salma bhatti2

Taseer’s son is in the custody of militants since 2011. The former Prime Minister Yousaf Raza Gilani’s son was also abducted by militants and remains a hostage. The public opinion in Pakistan is not concerned, as the middle class narrative holds the ‘corrupt’ politicians responsible and militancy is now viewed as a heroic resistance to the evil West. This is why Shahbaz Bhatti’s killers are free and the case most likely will lead to another unjust outcome. (more…)

Meena Kumari, the poet

30 October 2014

After my earlier article on the life of Meena Kumari, I explored the iconic actor’s prowess in an entirely different area of personal expression – poetry

Meena KumariMeena Kumari

My heart wonders incessantly
If this is life, what is it that they call death?
Love was a dream?
Ask not about the fate of this dream?
Ask not about the punishment
I received for the crime of loyalty.
(This is Life)

 

Meena Kumari, the iconic actor, will perhaps be better remembered by posterity as a poet of unique sensibility. For three decades she ruled Indian cinema – now referred to as Bollywood; and even after her tragic death due to alcoholism in 1972 her film Pakeezah continued to fascinate cinegoers. In a relatively short life, Meena achieved a place on the silver screen that few can match. Unlike the current trend of actors staying in business beyond their welcome, Meena died at her peak when she was barely thirty nine years old.

A few months ago I had reviewed Vinod Mehta’s biography of Meena Kumari authored in the 1970s (Meena Kumari: The Classic Biography) and wondered why her poetry had not been widely published. Within a few weeks, I was delighted to receive a copy of Meena Kumari the Poet: A Life Beyond Cinema – a collection of her poems translated by Noorul Hasan, a competent translator and a former Professor of English. The book has a thought provoking introduction by Philip Bounds and Daisy Hasan and a few other gems that have been rescued from the anonymity of film journalism.

Meena Kumari2

Meena Kumari3

Meena Kumari’s lasting friendship with the poet Gulzar is well known. In fact, Gulzar was even present in the hospital when Meena struggled for her life and finally gave up. It was Gulzar who published her poems after her death. In Pakistan, pirated copies of this orginal publication were available everywhere during my childhood. At railway junctions with small bookstalls, on the pavements where old books were sold and all other places where popular literature was bought and sold. However, this collection gradually faded into oblivion and today the English readers in India and Pakistan may not even know about the poetry of Meena Kumari, which by all standards is formidable. Hasan, the translator tells us in the preface: (more…)

Malala Yousufzai – A symbol of Pakistan’s Resistance to Bigotry

13 October 2014

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