& occasionally about other things, too...

Wednesday, February 08, 2017

Jawaid Danish wins the prestigious Ghalib Award

Jawaid Danish with the Ghalib Award
Jawaid Danish is a celebrated playwright in Urdu who has pioneered the portrayal of the problems and pleasures of the diaspora in his plays. Recently, he was awarded the prestigious Ghalib Award by the Ghalib Institute Delhi, a Government of India undertaking for his path-breaking creativity. GAB has a freewheeling chat with Jawaid

Q. Congratulations on the latest award. You seem to have made a habit of winning awards with a monotonous regularity. Please give more details about the award.

A. I’m flattered and humbled. I’m not in the habit of receiving such international awards.  It’s a pleasant surprise to receive the prestigious Ghalib Award for Drama – 2016.

Good heavens! It’s taken over 45 years for my plays to be considered worthy of such awards! Just kidding.

I was invited for the Sadaf International Award for Drama 2016 in Doha Qatar, recently, and while I was travelling with my Datangoi performances across the Middle East, I got this news while we were in Jeddah that I was being honoured with the Ghalib Award. The Doha award was for ₹100,000, and the Ghalib award for ₹75,000, I’ll definitely cherish the Ghalib award because of its historical significance.

Let me give some background about the Ghalib Awards. The Ghalib Institute was established in New Delhi in 1971 by the then President Fakruddin Ali Ahmed. It’s a fitting memorial to Mirza Asadullah Khan Ghalib. It’s managed by a Trust. The Drama Awards (along with other categories) were launched in 1973, with the purpose of promoting Urdu drama and literature. Among the award winners have been stalwarts of Indian Urdu drama and literature such as Ismat Chughtai, Habib Tanvir, Sheela Bhatia, Kartar Singh Duggal, Mohammed Hasan, A.R. Kardar, Rajinder Singh Bedi. I’m honoured and humbled to be in such august company.

Q. You have pioneered diasporic writing in Urdu in Canada. Your stories and plays are different from other writers in Urdu because you focus on the lives of immigrants in Canada. What motivates you to write about immigrants?

A.  My diasporic plays, or as they’re better known as Mahjari drama in Urdu, are different from the creations of other diaspora writers. The difference is that my plays are diasporic in theme and content, they talk about Canada and immigrant Canadians. There is not a single book of diasporic dramas or for that matter any other Indian language besides English at least in Canada, and perhaps anywhere in the West. Yes, there’s poetry, fiction, novel, but no plays on the problems and pleasures of immigrants.

As an immigrant myself, I’m especially interested in the lives of immigrants. I believe that unless you as a creative person have not experience through the cultural, emotional and psychological turmoil and tested yourself, you cannot write on immigrant issues with any empathy. There are better and mature plays written in most of the languages including Urdu in India, but none of them captures issues we face in everyday life as immigrants. It’s a different world, completely different experience.

Q. Which of your creations will withstand the test of time, and why?

A. I have 12 published Books to my credit, but I believe my collection Hijrat Ke Tamashey (Plays of Migrations) will stand the test of time.  It’s 26 years since the first edition was published, and up to now it has gone into reprint three times and the fourth edition is coming out next month.

The play is important because it was the first play of its kind, dealing with the life of immigrants. Prior to that, there were no plays on this subject in Urdu. A Bengali version, titled Bhopa has been published twice. Many of the plays in that collection have been translated into Hindi, English and Swedish. 

It’s received numerous awards; an M. Phil was done on the play by a student of Urdu literature at the Delhi University in 2013. A 13-episode serial was produced by Omni TV during 2007, which has had five reruns so far; it’s also been dubbed in English, too.  A telefilm Bara Shayer Chota Admi was produced with local artists in Toronto in 2013; it’s a controversial play from this book. 

My theatre group Rangmanch Canada has been active in organising an annual Hindustani Drama Festivals, showcasing the rich heritage of Indian Theatre, with multilingual drama presentations (not just in Urdu). I’m bridging the language barrier and bringing communities together.

Jawaid performing Dastangoi
Q. You brought Dastangoi to Canada and toured with it to the Middle East recently. Explain what this verbal narrative form and what does it seek to achieve?

A. I love challenges, I always try to do something different, some venture which is not been tested in Canada before.

Dastangoi is my new found love, It’s a Persian word, dastan mean tales and goi, is to tell a tale. It’s a 16th century Urdu oral storytelling art form.  One of the earliest references in print to Dastangoi is a 19th-century text containing 46 volumes of the adventures of Amir Hamza, titles Dastan e Amir Hamza. This art form reached its zenith in the 19th century, but it’s said to have died with the demise of Mir Baqar Ali in 1928.

Shamsur Rahman Faroqi revived it in the 21st century.  In recent years, it became popular in India, especially Delhi with Mahmood Faroqi and many others, with new tales and subjects.

I took the challenge of reviving this forgotten art form in Canada but wove the tales of our immigrant experiences.

The format style and dress code remain the same traditional 16th century, but the tales I’m telling are of present day immigrant life, problems and pleasures. It’s unique because I’m telling the story of five different characters, with five different dictions and dialects; it’s called Boli tholi in brij bhasha and Hindustani.  This form needs a captivating voice, and I use it to my full satisfaction. I’m confident that my audiences in Canada and overseas will remember 'Dastan Hijraton Ki’ for a long time.

Q.  Who among your contemporaries do you consider as writers of calibre in Urdu language?

A. We have some celebrated Urdu writers in Canada, but in my field (playwright) there is no contemporary. The stage of Urdu drama is vacant. We often have some Urdu plays staged, some are a comedy and some commercial plays, but the question is there is no published collection of Urdu drama in Canada.


Sunday, February 05, 2017

Foot Soldier of the Constitution: A Memoir

Religious violence is endemic to the Indian subcontinent. Its unpleasant legacy of hatred may be traced to the formation of religion-based nationalistic ideologies in the 19th century. 

However, it has grown exponentially after India became an avowedly democratic nation after its Independence from the British rule; a nation that constitutionally guaranteed universal rights to all its citizens irrespective of their religious beliefs.

There are many reasons the Indian State has not been able to find an effective and a lasting solution to the menace of religious violence. 

Primarily, it is the presence (and the ascendency) of political forces that espouse Hindutva – the majoritarian ideology which denies the minorities the basic human rights.
 
The present government in New Delhi, which is led by the Hindu nationalist Bharatiya Janata Party (but is a coalition of over 40 political parties called the National democratic Alliance), has seen an unprecedented revival of ideology-driven intolerance against all minorities both religious and caste based.

The Hindutva forces have, in particular, targetted India's Muslims.

Innumerable incidents have been recorded since 2014 when Narendra Modi won the parliamentary elections and became the Prime Minister of India. These incidents are proof of a rapid and comprehensive deterioration of the values enshrined in India’s constitution.
 
The Modi government is on a mission to change the ethos of Indian nationhood that has traditionally been based on acceptance of differences and respect for diversity. 

These values found a reflection in the Indian constitution, which also ensured affirmative action in favour of those sections of the society that had been traditionally subjected to a subservient existence.
 
The Modi government’s mission to change Indian ethos includes (but is not limited to) to a naked assertion of Hindutva ideology in all spheres of the Indian polity, including, dismayingly, even the judiciary and the media.
 
The Indian civil service has been steadily infiltrated by the Hindutva ideologues, and the executive arm of the government is under despotic control of the Prime Minister of India and his thuggish henchman Amit Shah, the head of the ruling BJP.

It is important to keep this perspective in mind when reading Teesta Setalvad’s memoir Foot Soldier of the Constitution. The memoir is a historical testament to the genocide of Muslims in the western Indian state of Gujarat, and the epic battle she has waged against the State apparatus hijacked by the Hindutva forces led by Narendra Modi, who was the Chief Minister of Gujarat, and who is culpable in the carnage.


Nearly two thousand Indians were killed in the 2002 carnage in Gujarat, and most of them were Muslims. Religious violence of this magnitude is rare but not uncommon in India, where every decade or so, subterranean tensions bubble over, leading to rioting and deaths mostly of Muslims. Where the 2002 Gujarat riots have proven to be different is in the unprecedented number of culprits being convicted for their role in the riots.

This is because of Setalvad’s indomitable courage and dogged persistence and perseverance.

As a friend of the author, Amir Rizvi, notes on the social media, “Teesta Setalvad is the first and only person in India who has sent 117 killers to jail, including the closest friends of Modi.”
 
MJ Akbar, who for four decades, was India's foremost chronicler of atrocities against all minorities, and who is now, unconscionably, serving as a junior minister under Modi, also praised Setalvad before he joined the dark side. 

He wrote: “The important, and vital, point is that justice survived the malfeasance of the system; perhaps that is the only point. The courts were assisted by the dedication and sheer determined obstinacy of civil society leaders like Teesta Setalvad, who refused to be defeated by the acquittal of the accused by a court in Gujarat, and went to the Supreme Court...Thank God for Teesta Setalvad and the Supreme Court. And thank God for a free media too. We will see if media has the tenacity of a Teesta Setalvad or not.” (Peace of Justice, 26 February 2006, Asian Age).
 
The slim book is an exhaustive detail of the cases that Setalvad has pursued to bring justice to the victims and victim-survivors of the Gujarat carnage. 

It comprehensively lists the failure of the Indian State in defending its Muslim citizens and records its failure to bring justice to those who faced utter desolation as a result of the riots.

Faced with impregnable walls of officialdom, Setalvad’s frustration is palpable in many places in the book. 

She observes, “Close to fifteen years after independent India’s worst ever state sponsored carnage directed against the Muslim minority, issues of state impunity for mass crimes, accountability to the Constitution, deliverance of justice, fair compensation and reparation, citizenship rights and an on-going climate of fear and intimidation remain.”
 
At another place, she laments, “India is at best an electoral democracy tottering or edging often towards majoritarianism and mobocracy. In a constitutional democracy, the last word of dissent should have a legitimate place and should be respected.
 
“The rights of the voiceless and the marginalised – the victims of deep institutional communal, caste and class bias – need to be taken not just seriously, but brought on par with the resourceful defences put forward by the State that is backed by its vast administrative and monetary arsenal.
 
“Institutions such as the Judiciary, especially the higher Judiciary, exist in the Constitutional scheme to correct this imbalance, otherwise bent in all senses, towards absolute State power. This is not the case in our time. The power of the State, therefore, remains near complete.”
 
The book is an important chronicle of the death and devastation wreaked upon the Muslims of Gujarat and the facile attempts by the state apparatus to cover-up the crime. 

It proves (not that proof was ever needed) that behind the glib shibboleths of secularism and democracy the Indian State is deeply prejudicial and inimical to its Muslims citizens.
The horrific details of the genocide in the book will shock an average reader who is largely dependent upon mainstream and social media for news, views and information.
 

Sunday, January 29, 2017

Literature Matters - III: Solitude, Mistakes & Creativity

Edugyan (far left), Kamboureli (centre) and Solie (right)
The third annual Literature Matters – the Avie Bennett Chair in Canadian Literature Lecture Series featured Karen Solie, and Esi Edugyan, both renowned, multiple award-winning writers. Solie is a poet, and Esi Edugyan is a novelist. Smaro Kamboureli, the Avie Bennett Chair in Canadian Literature, moderated the program.

Karen Solie is the author of four collections of poetry. Her third collection Pigeon won the 2010 Pat Luwther Award, Trillium Poetry Prize, and the Griffin Prize. Her most recent, The Road In Is Not the Same Road Out (2015) was shortlisted for the Trillium Book Award. She was the 2015 recipient of the Writers’ Trust Latner Poetry Prize and received the 2016 Canada Council for the Arts Victor Martyn Lynch-Staunton Award.

Before the program commenced, the organisers had prepared a slideshow that was presented on the screen of the Isabel Bader Theatre’s stage. It contained extracts from both the poet’s and the novelist’s works, all remarkable in their pithy observations. The liked the following lines from Solie’s poem from the collection The Road In Is Not the Same Road Out.

My unknown presence
was my weapon. I waited for him
to initiate the next stage
of our lives.

Solie’s subject was On Folly: Poetry and Mistakes. She began her talk by quoting from Desiderius Erasmus Roterodamus (also known as Erasmus of Rotterdam), most famous work The Praise of Folly, where the humanist theologian and one of the pioneers of the Protestant Reformation asked: What is more foolish? The poet or the poetry? Solie’s tongue-in-cheek answer: People are generally when they see a tradesperson – a plumber or an electrician; that is not often the case when they see a poet.  That, she added, had to do with more people agreeing that they hate poetry than on what it is.

In a talk that was peppered with quotes from many poets and writers, Solie made the case that follies and mistakes are integral to creativity and that everything that a writer does is no more natural than other things in the world. A writer’s responsibility, therefore, is to remain open, vulnerable, and basically get everything that’s inside the head down a paper.

Solie observed that the definition of word folly has evolved to become narrower; in its pristine sense, it also meant delight, fakery, a dwelling place, in addition to failure or a mistake. She said fear is a necessary ingredient for good writing, and that fear, too, had many shades and connotations, just as mistakes are essential to creativity. During the Q&A later, she said that fear for her is the fear of being terrible in the many ways that one can be terrible.

Solie said poetry is about ‘and’ not ‘or’, and quoted Meena Alexander’s poem Question Time

We have poetry
So we do not die of history.
I had no idea what I meant.

Solie answering an audience question as
Kamboureli and Edugyan listen
Esi Edugyan is a renowned novelist, whose second novel Half-Blood Moon won the 2011 Scotiabank Giller Prize for Fiction, and the Ethel Wilson Award for the USA’s Hurston-Wright Award and the Anisfield-Wolf Prize for Fiction. It was shortlisted for many other awards including the Man Booker and the Governor-General Award. In 2014 she published her first collection of a nonfiction book, Dreaming of Elsewhere, a meditation on the relationship between home and belonging.

The subject of Edugyan’s talk was The Wrong Door: Some Meditations. She began with the example of the proverbial person from Porlock, who disturbs Samuel Taylor Coleridge, the Romantic era English poet, while he was penning Kubla Khan (A Vision in a Dream: A Fragment).

The story goes that Coleridge, in an opium-induced haze, was writing a poem that apparently was flowing naturally and was practically getting itself written, was disturbed by this person from Porlock, who had mistaken knocked on Coleridge's door. By the time this person left, the poem has evaporated from his mind, and mere fragments were of it left.

Edugyan said every writer needs a metaphorical wrong door that intruders may knock on to disturb someone else and leave the writer alone to create. Every writer fears the sudden, thought-scattering disturbance that ruins her work. She said solitude and silence are essential requirements for a writer because only through silence can she cut out the external to hear the internal.

Losing a thought or an idea because of the din that surrounds a writer is commonplace, especially in these days of social media distractions. Edugyan quoted Rebecca Solnit (A Field Guide to Getting Lost) where she traces the origin of the word ‘lost’ to the Norse word los. Solnit says, “The word ‘lost,’ comes from the Old Norse ‘los,’ meaning the disbanding of an army, and this origin suggests soldiers falling out of formation to go home, a truce with the wide world. I worry now that many people never disband their armies, never go beyond what they know.”

We must go away to allow ourselves to perform miracles, Edugyan observed. She said even though the writer writes for everyone, she should accept that not everyone will like what she writes and that the role of art and creativity is to depict the world faithfully, even if it is unsavoury. Edugyan also emphasised the significance of privacy. She said that the role of privacy in creation is being redefined constantly, especially in this post-privacy world, a writer should realise that public intimacy turns into banality, and loss of privacy has the greatest ability to destroy the artist. Silence, she said, exists beyond the spectacle and words are within us waiting to be made whole.

A brief Q&A followed the readings, where both Solie and Edugyan stressed the need for solitude. Solie spoke of the eternal conundrum: We don’t write to please people, and yet, we want people to read what we write. Edugyan spoke of the adverse effects of being a celebrity on the process of creativity.

Read about the previous two Literature Matters here:


Literature Matters – II

Friday, January 27, 2017

‘Breaking the Waves’ by Daisuke Takeya

Daisuke Takeya reciting a poem (photo by Artur Augustynowicz)
Earlier this month, I participated in the closing reception of Daisuke Takeya's exhibition of paintings and installation at the Christopher Cutts Gallery in Toronto. 

Daisuke is a Canadian-Japanese artist who works both in Toronto and Tokyo. He calls himself an “interdisciplinary artist whose practice is comprised of the exploration of nature and plausibility in contemporary society, and hinges on all kinds of double meanings.” He has lived and worked globally, having studied art in New York.

His exhibition at the Cutts Gallery titled ‘Breaking the Waves’ was his fourth solo show. The title is from Lars von Trier’s 1996 film of the same name, which depicted a traumatic story of love, life and death. Daisuke explained that the film had resonated with him and influenced his artistic explorations especially after the earthquake-tsunami-nuclear reactor meltdown disaster of 2011 that hit Japan’s east coast. 

Earlier, talking to me during an interview on TAG TV (which is yet to be aired), Daisuke said that as an artist he evolved dramatically from realistic and figurative paintings to exploring emptiness after his five-year involvement for the rehabilitation of the survivors of that disaster.

Venice (Home to Yayoi Kusama’s
1959 No. 2) Cutts Gallery
In interpreting emptiness, Daisuke uses large canvas space to depict the sky, and at the bottom of the canvas is a thin, minuscule skyline of different cities. 

The Kara (emptiness) series of paintings force viewers to see urban space as a small, insignificant, and quintessentially artificial creation of humankind, dwarfed by the vastness of nature’s immense creation – the magnificent sky. 

The urban skyline depicted are of Toronto, Niagara Falls, rural Fukushima, the South China Sea, Jomon, the oldest known civilization of Japan; Gaylang, Singapore’s redlight district and Okawa Elementary School.

Memoirs of Fukushima
Cutts Gallery
 
The Kara series were exhibited in one room of the Cutts Gallery. In the other room there were two life-sized paintings: a portrait of a Lolita girl from Fukushima, and of a Canadian indie music star Clara Venice as a mermaid.

Both exuded a distinct surreal aura, not necessarily in the way they are painted (realism) but in the way Daisuke situates and contextualises them. 

The overwhelming effect they created in the exhibition space, juxtaposed as they were with the centrepiece of the exhibition, was dramatic and unsettling, and ultimately surreal.

These two paintings along with the centrepiece installation formed a part of a triptych monument dedicated to the 2011 tsunami disaster in Japan.  The installation was a smorgasbord of abstraction, realism, mixing of different media, a combination of disaster debris, neon signs, Kara paintings and figurative, realistic (as opposed to sensual) nudes

It boldly proclaimed the underlying theme of the exhibition: that manipulation of nature in the name of development and progress only results in decay, disintegration; and that all of it is almost always deliberately. 

The highlight of the closing reception was a performance by Istvan Kantor, who performed the ‘Ravaged Pieta’ in the installation space, blending in with Daisuke’s art and simultaneously transforming it. 

Istvan Kantor and Louise Liliefeldt performing the Ravaged Pieta

Kantor is a renowned exponent of Neoism and a Governor General Award winner for performing art. He interpreted tsunami to mean gentrification that has led to the extinction of urban communities in recent decades. His cry was also against what he describes as 'shinyism' of art that is controlled by corporate tastes. 

The highlight of the performance was at the climax when Kantor pushed a needle into his vein and began to bleed rather profusely much to the gaping astonishment of the audience. It was by all accounts a spellbinding act.

From the social media, I learnt that Ravaged Pieta was a mash-up performance led by Kantor, and accompanied by Lynda Cheng - Vocal/Performance, Louise Liliefeldt -Performance/Tableau Vivant, Vivienne Wilder - Music Performance. 

Louise Liliefeldt is a longtime collaborator of Kantor, and is globally known for her pioneering durational tableau vivant action/performances and installation works. Vivienne Wilder is a skilled musician/artist, lead vocalist and bass player in several bands. She has become integral to Kantor's performances in recent years. Lynda Cheng is a social worker with unceasing passion for helping homeless people. She also contributes her talents to the arts and regularly shares the stage with Kantor.