Faceoff: Kashmiri Muslim challenges Pakistan PM Sharif for equating Kashmir with Palestine
Rashmi Talwar
Toronto (Canada) 26th April 2024—–
India’s chutzpah against powerful Western interference emboldened a Kashmiri Muslim against Pakistan’s attempt to label Kashmiris and Palestinians as clubbed victimhood.
India’s newfound boldness to stand up to aggressor nations inspired its citizens, to take a courageous stance for themselves, and their communities on the grand chessboard of world diplomacy and relations. A Kashmiri Muslim thus daringly shouted foul on social networking site ‘X’ formerly Twitter to a Tweet by Pakistan’s sitting Prime Minister Shehbaz Sharif, accusing him of shedding ‘crocodile tears’ for Kashmiris, while covertly being the root cause of all ills that Kashmiris faced.
Pakistan has continuously thrust a false propaganda worldover, against India, despite being a key player, a gainer, and a stakeholder in creating bloodbath, madness, and mayhem in India’s Kashmir valley. Pak’s powerful rulers and army have grown immensely by stoking the fires of terrorism in Kashmir in the name of supporting ‘Kashmiri brethren’ to win elections, funds, and favors from other countries, on the dead bodies of Kashmiris.
By openly and often equating Kashmiris’ plight with that of Palestine, Pak added multiple dimensions to make Kashmir a battleground. It continued its stated stand of Kashmiris equation with Palestinians; more so after the recent October 7th events that led to war between Israel and Palestine-Hamas (Hamas- the armed wing of Palestine). Refreshingly, this time, it was a Kashmiri Muslim who shouted down, the false propaganda by Pakistan coming from its Prime Minister Shehbaz Sharif.
Firing a salvo on the ‘X’ Post on the virtual worldwide net from a remote area of Beerwah- on the Indian side of Kashmir, Javed Beigh, a Kashmiri Muslim lambasted a Tweet by Pakistan PM Sharif–“KASHMIR VALLEY is NOT Palestine and Kashur speaking Kashmiris are NOT Palestinians!”
It sent a twin message to the neighboring country, a key player in creating turmoil in Kashmir for decades. Firstly, an Indian Kashmiri Muslim is speedily emerging as a bold voice to reckon with. Indian Kashmiri is no more quivering, scared, and gullible sacrificial goat waiting to be slaughtered at the altar to clinch political thrones for successive rulers of Pakistan. He could stand for himself without fear of Religion or Rant, groomed by Pakistan for nearly 30 years.
Secondly, India’s remote areas also enjoy internet facilities with power supply.
In a counter tweet, he wrote –“As an ethnic Kashur speaking Kashmiri Muslim from India’s Kashmir Valley, I, Javed Ahmad Beigh, an Indian Kashmiri Muslim take strong objection to your hyphenating ethnic Kashur Kashmiris with Palestinians.”
Drawing attention to the history of Kashmir, he wrote- “Kashmir Valley has always had historical, religious and cultural ties with Bharat (India), even thousands of years before the existence of your country called Pakistan!”
And further explained –“Kashmir Valley was the seat of Kashmiri Hindu Shaivism that was part of the wider Shaivite Hindu tradition prevalent all over the Indian subcontinent including what is today so-called Pakistan. It was also through Kashmir Valley that Buddhism was introduced to Ladakh and Tibet from where it traveled to China, Mongolia, Korea, and Japan.
Even Sufi Islam of Kashmir Valley, known as RISHIISM or “Sufi order of Rishis” was heavily influenced by the philosophy and practices of Kashmiri Hindu Shaivism.
Drawing attention to his syncretic sacred land of amalgamation and goodwill between various faiths, Beigh wrote –“Kashmir is the sacred land of Kashmiri Hindu sages and Kashmiri Muslim Sufis called “Rishis”.
Kashmir’s ties with the Indian cultural, social, and political mainstream were never colonial. Kashmir, was and is part of Indian socio-cultural identity from time immemorial, when even your so-called Pakistan was part of Bharat.”
And sought an explanation –“Also, may I ask why as an ethnic Punjabi Pakistani Muslim, are you only hyphenating Kashmir with Palestine and not clubbing/ connecting the following:
1. Pakistani Balochi Muslims of Balochistan with Palestinians;
2. Pakistani Shia Muslim minority with Palestinians;
3. Pakistani Pashtun Muslims; Pakistani Sindhi Muslims; Pakistani Urdu speaking; &Mohajir Muslims; with the Palestinians?”
Beigh reiterated –“We, Indian Kashmiri Muslims are integral part and parcel of the wider Indian society, which promotes unity in diversity, unlike Pakistan, where Punjabi Sunni Muslim is the ruling elite who has colonized other Muslim communities like the Baloch, the Pashtuns, the Sindhis, the Mohajirs who came from Indian side during Indo Pak Partition of 1947 and even people of Pakistan Occupied Jammu & Kashmir and Pakistan Occupied Gilgit & Baltistan”.
And added –“We, Indian Kashmiri Muslims enjoy constitutional, legal and other benefits equally, and at par and without any discrimination, like any other Indian citizen of other Indian states and Union Territories.”
“Furthermore, unlike Pakistan, where ordinary people don’t have access to even the very basic amenities like food, water, medicines, we Indian Kashmiri Muslims are extremely fortunate to be part of a diverse and flourishing India”.
“Also unlike Uyghur Muslims of China, whose religious freedom the Chinese government severely oppresses and suppresses, we Indian Kashmiri Muslims enjoy full religious freedom.”
“The only time Kashmir faced trauma was when Punjabi Pakistani Muslims controlling Pakistani Army & ISI funded, armed and backed three-decade-long insurgency starting 1989 that tore apart the social fabric of Kashmir and destroyed its syncretic culture, completely.”
“Today, we Kashmiri Muslims are very well aware of the destructive role that you Punjabi Muslims played in supporting deadly terrorism in our much loved Kashmir Valley.”
“Lastly, I suggest you and other Pakistanis, especially Punjabi Muslims of Pakistan not to hyphenate Kashmir Valley with Palestine”.
Javed Ahmad Beigh, the writer, is an author from Kashmir who has represented India at the 54th and 55th Sessions of the United Nations Human Rights Council, (UNHRC) in Geneva and put across the views of Kashmiri Muslims succinctly before the world body.
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BOX
Prime Minister of Pakistan Shehbaz Sharif posted on his ‘X’ Wall
On the joyous occasion of Eid ul-Fitr, I would like to express my felicitations to my fellow countrymen at home and abroad, as well as to the entire Muslim community.
As we revel in the festivities of this auspicious event, let us not forget the importance of spreading joy and sharing our blessings with those less fortunate.
I also urge Muslims around the world to remember their Palestinian and Kashmiri brothers and sisters who are facing the worst kind of atrocities of the occupation forces and they will be constrained to enjoy the joys of Eid. We all pray to Almighty Allah to ease their difficulties.
May this blessed time bring peace, prosperity, and happiness to the people of our nation, the region, and the world.
#EidMubarak
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· Sanjay Pataskar a blue tick marked account wrote “You have won my heart Javed by your knowledgeable post. I pray that hundreds of thousands of Javeds in Kashmir will show Pakistan the mirror.”
· Vishal writes –“Shehbaz is probably referring to POK.. [Pakistan occupied Kashmir]. Muslims in POK are indeed going through the worst kind of genocide by the Pak Army.
I stand in solidarity with the Muslims of POK.”
· Kashir writes – “You will be surprised to know that there is no Kashmiri-speaking person in PoK. I have met many and all are Punjabis. Nothing ethnic”.
· A Kashmiri Pandit Vimal Wakhlu wrote – “Hats off! You are a true Kashmiri!
Even the External Affairs Ministry spokesperson could not have given such a brilliant rebuttal to hypocrites who have destroyed the lives of ordinary Kashmiris, through their proxies in Kashmir. God bless you with more &more strength & a bright future!”
· Muhammed Ashraf posted – “No words Javed Bhai, you had hit them really hard, and that too with facts. I wish the so-called big heads of Pakistan and their supporting heads of various nations & organizations get this into their heads”.
· Guardsman – “Punjabi Pakistani should also compare Ahmadia with Palestinian”
· Dr Manish Bhatnagar lauded the reply in a response –“What a thunderous response. They would shake them to the bottom.”
Drama diplomacy between India and Pakistan / Publishedin 2014
Rashmi Talwar
Digging deep into the India-Pakistan psyche, I have suddenly arrived at a serious conclusion that aside of Punjabis signature bonhomie of Paapis – Jhaapis and the Buraaahs…on either sides of the border, the only thing that may still stall the nasty smoking guns of two nations is to straddle the ‘saas bahu’ serials from India to Pakistan and let the ‘Zindagi’ channel bring in the Gulzar (flower) syndrome to India.
Leave aside the Confidence Building Measures (CBMs) that have done nothing between India-Pak relations. And never mind poverty and proxy warts that cut into the resources of our impoverished countries, if our defense arsenals can remain flushed surely e-to-e (entertainment to entertainment ) exchange would be a cakewalk.
This time the big nuclear Goliaths could fight on mm screens big or small with very little loss of life.
Surely ‘Tulsi’ India’s honorable HR minister -Samriti Irani must not underestimate her personal impact and those of her generation of TV actresses, on the audience west of Radcliff line. If wedding culture be the competition category, then India has aplenty. From sagai, joota-chupai to vidai. Damsels in Kanjivaram sarees, sindoors, bindiyas, bichhuas and cuddly relationship with their age-defying mom-in-laws, sounds interesting material for export.
Pakistani TV serial for instance – ‘Zindagi Gulzar hai’ may belt out soft background scores in keeping with the storyline but it has to match Indian serials technology with the actor’s entry welcomed with reactions enhanced by three-dimensional pointed echo or triple-zoom close-ups matching with three thumps, as if it was a Martian that entered the Indian home space clutter. Technically you can’t ever get this effect, without rolling eyes, a raised eyebrow, closely locked dentures, and a count of three.
Still ‘Zindagi Gulzar’s university life or Pak girls in discotheques on the other side of the border with a free mix of sexes could be virtually eye-popper for Indians especially those who noticed separate enclosures for men and women at the Indo-Pak Wagah Attari border.
Much like Tulsi’s ‘Kyuki saas be kabhi bahu thi’, serials like Parvati’s ‘Ghar Ghar ki Kahani’ could add a few footnotes to the relationship remix. These ‘Made in India’ caricatures could use bold tag lines ‘serials double-up as free lessons for growing daughters!’ After all, these serials have an applauding distinction of catching the highest number of female eyeballs in their 500-plus episodic roller coaster rides. The 500-Club has –Kyunki.., Ghar ghar.., Balika Vadhu, Uttraan, and many Dharmic and historical serials even as India yawns!
In the make-up segment, the non-make-up Pak beauties of the serial ‘Kash mein Teri beti na hoti’ merely look the part but our Indian heavy eye-shadowed, artificial-lash fluttering ‘poor’ Indian girl emerges a looker. Even ‘Kashaf’ as the heroine of the Pak serial ‘Zindagi Gulzar hai.’ should have had a good feather haircut instead of the simple plaid.
The heroine in polka-dotted pajamas from Pak play ‘Aunn Zara’ may have tough competition with Indian child brides like ‘Anandi’ in Balika Vadhu who sleeps in all rustling silk sarees, matching jewelry along with special non-bleeding night make-up complete with gloss, to emerge as goddesses at the strike of dawn. Beating Anandi are many, many more Indian actresses in stunning bedroom looks.
Only ‘Saman’ of Pak serial ‘Maat’ can give competition to our serial heroines. ‘Saman oozes oomph even in salwar suits’. Shhh … this may be ISI plant or Pak propaganda!
India’s Amna Sharief as Kashish in ‘Kahin toh hoga’ with her designer suits surely will be a rocker.
Remember the competition in these visual channels should be based entirely on the classic formula of ‘Dirty picture’ actress Vidya Balan dialogues–Entertainment! Entertainment! Entertainment! If Pak can use their two or four marriages syndrome as in ‘Kash mein teri beti na hoti’ and many daily series of ‘Kitne Girhain baki hain’ India can plug in old serials like ‘saans’ with Neena Gupta and Kawaljit of an adult affair or child-adult serial ‘Barey ache lagte hain’ and if that doesn’t suffice the Indian caste based serials of ‘Kyasth’ ki larki’ aur ‘Brahmin’ ka larka in ‘Ye pyar na hoga kaam’ could somewhat participate.
This time Pak is not resorting to its old tricks of fake currency, arms, cocaine packages, and suicide bombers and ready to heap a proxy war on India. They are taking the celluloid screens, those (All) watching ‘Zindagi’ channel in India know that Pak has come armed with its most potent missile of a bouquet of Pakistani dramas and Telefilms. Attacking and some ready to attack are Dil-e-Muzter, Silvatein, Shehr E Zaat, Dastan on Indo-Pak partition, Behadd-Telefilm, Durr-e-Shehwar, Humsafar, Adhoori Aurat, Virassat, Tanhai, Bulbulay, Bilqees Kaur, Perchaiyan, Rehaai and hundreds of other ..Huff…Huff…I am out of breath now.
From women’s empowerment, and gender ties to social trends, Pak arsenal has a range. While India’s classics like Tareek Mehta ka Ulta Chashma, Office office, Balika Vadhu, Na Ana iss des laado, Aik boond Ishq is merely like air rifle shots before the staccato fire. There was a time India made –‘Tamas’.
India! India! Wake- up! Let us throw the challenge of ‘Sach ka samna’ with the host extracting hidden tales of a person labeled the ‘bakra’. Pak could well enjoy and even float a tolly version of the show, of course, Amitabh Bachchan’s ‘Kon Banega Crorepati’ with its dharmic sawals could be a mismatch in the theological state.
Even India’s youngistan fare like ‘Splitvilla’, ‘Roadies’ stunt manias ‘Khatro ke Khiladi could turn lucky but the song and dance reality shows will score tops, don’t you see Indian songs playing in Pak serials.
Well, ‘Comedy with Kapil’ could give some guffawick competition to Pak’s political and social satire sitcom ‘Hasb-be-haal’
However, all is not over for India. Other than cricketer turned politician Imran Khan and a Canada-based Pak cleric Mohammed Qadri historic democracy march, it is the Indian Actor Salman Khan’s ‘Kick’ that is kicking up a duststorm in Pakistan with a collection of 57.8 million in three days. Buzz says it garnered a whopping Rs 65,700,000 on this Eid in both Lahore and Karachi, even as Pak’s drama brigade flashily entered Indian homes riding on ‘Zindagi’ channel just before Eid on July 23rd.
The Salman starer released on Eid became the highest holiday grosser in Pakistan with an estimated business of Rs 20.8 million Pak rupees daily and as many as 58 screenings in Karachi alone. “Other than Paf Cinema all other cinema halls in Lahore are running ‘Kick’ to full houses including Prime cinema, Tamaseel cinema, Cine gold, Capital cinema, Prince cinema, Gulistan cinema, Rex and one in the Fortress stadium called Sozo world.
Pak’s only claim to film fame in India has been -‘Khuda Ke liye’, ‘Bol’, and a cross breed ‘Tere Bin Laden’ a made-in-India set in Karachi film with Pak actor Ali Zafar in the lead.
Instead of India- Pak’s efforts on ‘Confidence Building Measures (CBMs) turn it around to (CFP)-
PAKISTAN’S HASEENA MOIN MATCHLESS LEGACY OF TELEVISION SERIALS
A Tribute
Rashmi Talwar
In mid-1970s a convent educated Sukrita Khanna admonished the darkening silhouette of Dhauladhar snow peaks cautioning -‘No wind maangtaa (want) – for the next hour, Ok!’ She paced the cozy room reciting ‘alif, bey, pe …’ alongside praying the winds wouldn’t alter the angle of the tall antenna. The fireplace was flickering flames, under a dressed mantelpiece, she finally dropped in her favourite sofa chair, pulled over the home-spun crochet shawl; holding pen to paper. From her Japanese Television set Akai –popped PTV’s (Pakistan Television) signature tune and a blackboard appeared. Sukrita’s husband Kirti Chand (KC) Khanna was on rounds of his famed 1939, built colonial-style hotel ‘Aroma N Claire’s’ in Dalhousie, India. Sukrita made notes from the televised Urdu teaching program, revising and drilling the words to her memory.
PTV neatly conquered Indian audiences at the height of 1970-meters in upper hills. And it was Haseena Moin’s TV serials that captured the Indian imagination and mind. The visually delighted, TV-empowered Indian was lucky albeit by a quirk of fate, located in the line of PTV signals, bang on the banks of the international borderline of two nations; or, positioned in the latitude of PTV airwaves, located in the upper reaches of the mountain range.
Though in first line of fire, Indian border residents momentarily forgot three wars, their plight and numerous border conflicts, and instead enjoyed moments of wholesome local and ‘foreign’ fare churned out by PTV. India’s state-run Doordarshan channel arrived late and proved to be insipid and clichéd with movies, Chitrahaars, and a stray agriculture programme. In a way, PTV actually rendered our townships, border villages to become prized summer holiday destinations and the envy of cousins in capital Delhi and the rest of the mainland. They craved trips to Amritsar or Jammu or Dalhousie, precisely to enjoy matchless evenings of TV time.
Though my aunt Sukrita’s delight was in learning a language of poetic fame, her prime triumph laid her ability to read the ‘actual names’ of the title star cast of dramas running on PTV. The names weren’t announced, rather rushed on screen in the ‘incomprehensible’ Urdu script. When visiting our home, her maika, in Amritsar, considered twin city of Pakistan’s Lahore – of pre-partition times, Sukrita, casually names-dropped the real identity of enchanting characters of iconic Moin plays and won admirers. “Dr Zoya Ali Khan’ is Marina Khan; Dr Ahmer Ansari is Rahat – the charming couple of cult classic ‘Dhoop Kinare’.” Gradually, names of popular PTV characters from Moin’s plays started emerging in birth certificates of newborns. I have named my daughter Sana, Shaheen or Zoya or Zara was the oft-repeated social circle talk in Colonial Clubs, over card games of rummy, flash and poker tables as also at the Tennis courts, leftover, and popularized by the British.
Less than two decades post-partition, among the 60s and 70s born Indian generation, the Urdu-educated elders or grandparents suddenly became more sought-after than the convent or Hindi educated parents. Many an Urdu dialect and dialogue from Moin’s plays entered an essentially Sikh and Hindu home and became amusing fill-ups among children- Gustakhi, mausiki, khasoosi, shaukeen. We had dialogues like – ‘Zill-e-Illahi ko khasoosi bhojan paroosa jai!’; ‘Ye jhumlebaazi band kar, Gustaakh!’ Significantly, the word ‘mazloom’ or helpless was never seen used for women in Moin’s plays, whose protagonists were strong, feisty, spirited and humorous women.
Haseena Moin -a trailblazing, celebrated dramatist, playwright, scriptwriter, Pride of Performance awardee of Pakistan and of numerous international awards, passed away on 26th March 2021, in Karachi following a cardiac arrest. However, her legacy lives on among Indians across borders and the elders of her ancestral country. She elevated the Pakistani woman in Indian eyes and inspired the female gender cross-border too. In her lifetime, Moin succeeded in bridging hearts between her twin homes divided by the infamous Radcliff line. She was born in Kanpur, India in 1942, and left for Pakistan with her family in 1947.
Her plays were adored, as Sarabjot Mallik a classmate in Amritsar, now an artist, recalls –“Moin’s serials had an ease of manner, were identifiable, decent and replete with comic moments”. Men equally enjoyed the series and closed down business concerns synchronizing with serial timings.
During my first visit to Pakistan In 2005, five years post the Indo-Pak Kargil war, -“My father fondly asked me to bring CDs of Moin’s plays, popular shows, and serials of PTV. I found pirated copies freely sold at Hall Road, in Lahore’s labyrinthine Androon Shehr or the old city. The CDs were much in demand by the new flock of Indians following a free flow of people to people contact under the aegis of CBMs (Confidence Building Measures) between the two warring neighbours. CD sellers told me –“Moin’s serials are in serious shortage often, much as they are in demand by Indians and of other Muslim countries”.
It fascinated me that these serial CDs got reinvigorated with the free flow of people to people contact through Indo-Pak border and posed stiff competition to the Made-in-India Hindi films, sitting cosily and sharing neighbourly racks with Indian film CDs- adored in turn by Pakistanis. It felt interesting to assess, grudgingly though; that India had to concede this once in no uncertain terms- ‘What wars couldn’t achieve, the virtual waves of Moin’s serials did to win strategic depth with Indians’. PTV serials especially Moin’s ideas, were rational, grounding intelligent, decent and real-time and with cine treatment far superior, compared to Indian TV Channel programmes.
Alternately, it was exciting for me to watch the utter craze for Indian films. It was widespread, abundant, free flowing especially in Lahore the capital of West Punjab, Pakistan. Melodies of Indian movies were played everywhere- in buses, taxis, homes – A violin player unabashedly churned out song after Indian Bollywood song at the famous Gawalmandi, Food Street of Lahore, adding a melodious and aromatic Indian tempering to delicious Lahori cuisine, during my delightful invite to dinner. That’s what Indian films meant to Pakistani public, banned as they were, from watching them in Pak cinemas; apparently to elevate Pakistan’s hobbling unrefined film industry popularly referred as Lollywood. The country that produced lacklustre film ideas had an undisputable aptitude to create and produce wholesome content on state-run television channel, beating its own film industry with ideas, subjects, treatment and sensibilities, was ironical. Moin’s serials were a big contributor to this success story.
Alternately, that same year, Indian Television dramas were much discussed in Pakistan – The mother of my dear friend Neelma Durrani- SSP Lahore, who loved watching Indian TV serials of the mid-90s on cable in Pakistan–‘Saas Bhi Kabhi Bahu Thi’ and the likes of Kamolika as vamps, mischievously enquired “Ek baat batao beta, -Do Indian women sleep in extravagant Sarees, and loud make-up and lengthy sindoor lines, every night?” She twinkled. “Do they want to impress their husbands?” eliciting a belly laugh from me-“We are just like you Amma (addressed her lovingly),” I hugged shaking with laughter. ‘Ye Indian drame bhi Na, bas drame hi hain, haqeekat nahi’ (Indian TV dramas are just dramas not anywhere near reality) I lamely justified.
In the same era of the 70s, TV signals from Pakistan were hazy in Kashmir. So, Kashmir, famed for its haseen vaadiya (charming valleys) couldn’t see these Haseen – Haseena Moin’s serials in real-time. Anita Mehta, owner of –‘The original Photoshop’ – the legendary ‘Mahattas’ of Srinagar-Delhi, since 1915, recollects, – “Entry of popular Moin plays and others came as pirated copies in seedy Kashmiri CD parlours in the mid-80s. Kashmir too was mesmerised just like the mainland, by Moin’s serials”. Since Kashmir-Amritsar enjoyed socio-economic umbilical cord. Kashmiris returning in summers told their brethren in Kashmir about Pak serials.
A distinguished TV producer and former general manager of PTV in addition to being from an exalted lineage as the daughter of illustrious Urdu –Punjabi Poet Faiz Ahmed Faiz and Alys Faiz- Moneeza Hashmi, while speaking to Kashmir Images in India gushed –“Moin and I had a fastidious friendship”. We connected through PTV- the lone channel of the 70s. Distance didn’t deter us from keeping an enduring friendship of 40 years, the same number of years we both were in Television, she, the dramatist and I, the producer. I was stationed in Lahore and Moin in Karachi, but being frequent travellers we met often.”
A Moin serial meant – rich fare of diverse plots, amazing direction, eagerly and equally craved in India and Pakistan. Language, shared culture, became robust bonding and meeting points between two Punjabs and Jammu’s counterparts in Sialkot and Mirpur. Jammu too turned crazy over Moin’s serials; the Sialkot booster stationed in Pakistan ensured clear signals to this erstwhile princely state that was part of the bone of contention between the two countries and over which three wars were fought.
Ravinder Kaul, renowned global theatre critic reminisces how Jammu was glued to PTV. The animosity of wars replaced timeline of endearing relatable stories of our generation, when streets remained empty. Many Pakistani actors and singers became stars and legends. Jammu’s former Deputy Commissioner, a Punjabi short story writer admired in collective Punjabs on either side of the border, for books published in both Shahmukhi and Gurmukhi scripts, Khalid Hussain, remembers people making wild guesses and hurrying back from work on Fridays to watch the twists and turns in Moin’s serials.
Taru Bhatia Peshawaria a schoolmate became much sought after the following news -Rahat and Sahira Kazmi of Pakistan were staying at her place in Green Avenue, Amritsar. As word spread – Taru recalls –“It was a near riot of fan craze! People climbed over boundary walls and neighbouring trees for a glimpse of Pak duo. Then, Rahat was considered the Amitabh Bachchan of Pakistan! Amritsaris screamed, waved from the streets when I sat with Rahat- Sahira in a car. I honestly felt like a queen! We were headed for an interactive session of Pakistani stars with students of SR Government College for Women, Amritsar. In the college auditorium, crazy girls let out catcalls, hysterically recited popular dialogues of the actors and screamed and yelled. The multi-storied college building swung, rocked and frolicked with the infectious aura of adulation,” Taru gleamed recalling that unforgettable day.
Unlike Indian Ekta Kapoor serials presumably abhorred by men, Moin’s serials had an overall endearing quality that drew men to watch. Amritsar based artist, writer, businessman Arvinder Singh Chamak felt, Moin’s characters were stamped on his mind in our childhood days. In Moin’s plays, Pakistani women were spirited, carrying bob-cut hairstyles which were metamorphic for me. My mother was from Gujranwala Pakistan and we, who had been fed with tales of purdah and burqas, were dazed to watch gutsy, lively, modern female characters of her serials, coping and dealing with the vicissitudes of life. To say her characters were inspiring would be an understatement”, said Chamak who went on to do three international theatre pieces in Lahore in 2005-2006 and 2007 with Neeta Mohindra and MK Raina troupe- Rang Toli. Chamak had the opportunity of meeting Moin whose literary legacy is precious, during his visit to Lahore in 2006. “To discuss progressive writers of the time and the way the city-twins Amritsar-Lahore resonate culturally with her was delightful,” he recalls.
Dr Zoya of Dhoop Kinare – a Moin serial, assumed a fashion icon status in India, recollects Mrs Amar Singh, a pioneer in the beauty business in Amritsar with the first beauty parlour- Figurette. “What was unforgettable was the slicked-back bob-cut hairstyle of the young doctor that became a craze with girls here. Natural make-up, special looks on Eid, weddings and other occasions flowed in congruence with the script line. Moin’s serials got us hooked to their styling, clothes, words, gestures, body language, mannerisms, unpretentious make-up and left us deeply impressed,” adds, Amar.
In a televised interview Shahnaz Sheikh – a craze as Sana Murad in much-acclaimed Moin serial – Ankahi, gave wings to a strong, delightful, humorous female character that even Pakistani men, otherwise conservative, relished. Shahnaz, at the panel discussion with Moin remembered how during military dictator–Pakistan’s President Zia-ul-Haq’s rule, indoctrinated Islamisation, plunging a new, emerging, modern Pakistan, back to the dark ages. He ordered-Television producers to show all hero and heroic characters in traditional Salwar Kameez, signifying the virtuous, alternately, all dark, dicey and negative characters were to be shown wearing western outfits of pant shirts.” Shahnaz chuckles, remembering- “In 6th episode of the popular serial Ankahi, suddenly, the good men donned the Salwar Kameez and the devious ones wore trousers and shirts”. It was ordered that all women be seen in head-dupattas or veil. So, a woman stepping out of water or washroom or upon waking up or while cooking, had dupattas stuck to their heads. Orders to keep a distance of four feet between men and women also followed. “So, leave alone holding hands, a page of a book was expected to be read via a bionic vision from four feet away!” she added.
Even Sarees stamped as Hindu traditional wear, faced a ban. Perhaps legendary Pakistani singer Noor Jahan was the last and only privileged woman to don the Saree during her television appearances. “Women wearing Saree in Pakistan evokes stares and double-takes and the inevitable question –“Are you Indian?” writes Saba Imtiaz in her comprehensive article ‘Borders’ published in “FiftyTwodotIn”. The impression came alive on meeting Zareena Saeed in the year 2011, while leading an all-woman delegation to Pakistan, made possible by my dearest friend Shahnaz Hussain. Zareena Saeed, English Professor, Punjab University, Lahore Pakistan, a visibly die-hard Saree fan claimed she wore only Sarees; it was on the tip of my tongue to ask Zareena, if she had an India connect, we were so conditioned to see women characters in Pak serials in Salwar Suits, never in a Saree. Shahnaz my friend too loves to wear Sarees to special events.
Meantime, in the same discussion, Moin mocked at popular Pakistani play Humsafar that became hugely popular in 2000, showing a beautiful top Pakistani TV actress- Mahira Khan, as a helpless, tearful woman looking for a male messiah to save her.–“the strong dignified peppy woman of Pakistan that we took 40-years to create onscreen as an inspiration to the subdued gender of our nation, vanished in the four years that I fought with cancer and couldn’t write dramas and scripts”. Moin brushed aside comments on her serials labelled as “Lighty Flighty”- opposed to serious dramas, at the same panel and lamented –“My tough woman was replaced with helpless, weepy, timid, tearful female character; and I, was accused of spoiling girls- that my girls were bold- but I shot back –“they weren’t disrespectful!” Women should be daring and know-how to cope and command respect, this will remain my stand, forever,” Moin hand-stamped her preference in no uncertain terms, at the discussion.
In year 2016, I visited Lahore again. A friend Faisal Satti’s friend Annie Quratlain a producer in PTV offered a visit to PTV studios. I jumped at the chance even as my astonished daughter on her first visit to Pakistan was stunned by my childlike thrill. My tickles of joys and ecstasy of revisiting my childhood was only short of her stint in bungee jumping. PTV studios were brimming with photos of popular 70s & 80s Moin serials. Our friend clicked pictures of us on sets of sitcoms, Qawwali, Newsrooms, a tastefully done living room, with photos of identifiable yesteryear actors of mass craze serials and much more. I remember my eyes sparkle, my step bounce, my bundles of chuckles, my glee unfettered and it truly became an unforgettable Adrenaline moment for me. Perhaps seeing the location came as a closure to my dream of visiting ‘that’ Pakistan seen on TV back home as children.
Among the expressive photographs spread the deep shadow of the creator Moin’s sudden demise. How these unknown, ordinary people turned into household names and cult stars. They were a far cry, from weepy characters -scenes of most Pakistani TV serials, today. I reflect on Moin’s passing and wonder if Sukrita- the charming lady of Dalhousie, of a spirited memory chip, who ironically, developed Alzheimer’s – a disease wiping her memory slate clean, that took her life; would she ever meet Moin- the women empowerment crusader, in Soul-land? If ever, then Urdu indisputably would ignite the conversation; tales of pre-partition, partition, and freedom may light their fire, generational similarity may concoct a Rice Palau or Biryani and their collective humour may stir the Kesar Chai and brush smooth the ruffled feathers and bond a fastidious friendship! Who knows Moin may strike an idea for an Indo-Pak serial and add a new twist to the tail of storytelling with real-time inputs from India, sorely missed in her vast repertoire of cherished Drama serials. The meeting may become a grand sweep, successfully brushing aside long drawn animosity between both countries; this time, perhaps for eternity.
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SNIPPETS
· Television in India started experimentally in September of 1959, with a small transmitter and a makeshift studio in Delhi. Daily transmission began in 1965 as part of All India Radio (AIR) television and later extended to Bombay and Amritsar in 1972. PTV came to Pakistan in November of 1964, the first broadcast from Lahore.
· Haseena Moin, famed dramatist of Pakistani serials penned many a serial that left a lasting impact through generations including Uncle Urfi, Ankahi, Tanhaiyaan, Parchaieyen, Bandish, Dhund, Dhoop-Kinarey, Aahat, Kasak, Pal Do Pal, Tere Aajane Se. Her play Gurya won an award at the Global TV Plays Festival in Tokyo for best script and direction. It felt like Moin took a line or idiom, tossed it around and turned it into a story, with a standout character’s nameplate.
· Pakistan’s first original script ‘Kiran Kahani’ aired in early-1970s was penned by Haseena Moin. Earlier PTV relied on novel based scripts for TV serials. When Moin’s play took to the airwaves, it turned unforgettable.
· Haseena Moin – the beautiful woman, who wrote, created, love on reels of the small screen, never found a sweetheart in real life! Moin never married, died single, and wasn’t even touched by a rumour of an affectionate relationship with the opposite gender. So minute was Moin’s reflection of real life, she observed, understood, and breathed life into her diverse characters as if she had borrowed the nuances from a popular book ‘Men are from Mars and Women from Venus’ by relationship councilor John Gray. No! The book came much later, Moin had an inbuilt antenna combined with talent that observed and served the true essence of varied human behaviour.
· Moin was the writer of the first coloured drama of Pakistan, aired on PTV called Parchaiyan, which had a huge star cast.
· Characters from Moin’s drama became hugely popular especially across the border in India. In the late 70s -“Rahat Kazmi & Sahira Kazmi came from Bombay to Amritsar and stayed at our place”, Taru Bhatia Peshawaria reminiscences. Then in the year 1982, we went to Lahore and the Kazmis invited us for dinner at their home. I remember I was very impressed by their home and found it “very arty with a classy floor sitting. The couple was not only cultured but exhibited intelligence about varied topics.”
BOX
How did Rahat and Sahira Kazmi land in Amritsar?
It’s quite interesting how Pakistan’s top actor Rahat Kazmi and his wife Sahira Kazmi landed in Amritsar and stayed with a local family. It was after the Indo-Pak partition, that film producers Ram Dayal Sabharwal and his father Sardari Lal Sabharwal produced independent Pakistan’s “first film” Teri Yaad starring Nasir Khan and built lifelong relations and connections with the performing artists’ fraternity of Pakistan, this closeness did not get divided with the new national borders. Ram Dayal was married to Nirmal Sabharwal whose sister Swaraj Bhatia was married in a well-known political family of Amritsar. Taru Bhatia Peshawaria was the daughter of Swaraj. Ram Dayal had asked Swaraj and her husband Shyam Sunder Bhatia to host Rahat and Sahira in Amritsar since they were to cross over to Lahore Pakistan from Wagah border. Thus the duo had the privilege to stay in a local home of Bhatias and participate in an interactive session in SR Government College- Amritsar’s best women’s college at the time.
‘This silence of the Majority is worrisome’ Salima Hashmi daughter of one of the greatest poets of the subcontinent Faiz Ahmed Faiz , says about the current situation plaguing Pakistan in terms of terrorism. In an exclusive interview to Rashmi Talwar on the way to Pakistan via the Wagah Attari Indo-Pak Joint Check Post after presiding as the Guest of Honor at “Jashan-e-Faiz organized by Jammu Civil Society for Art and Literature (JCSAL), in Jammu” in connection with centenary celebrations of poet Faiz Ahmed Faiz, being seen as the biggest-ever poetic congregation cum festival in the trouble-torn Jammu and Kashmir.
Kishwar Naheed, Rashmi Talwar, Salima Hashmi
Salima Hashmi daughter of Faiz Ahmed Faiz Interview in Times of India BY Rashmi Talwar
Q1: What was it like to stay in the shadow of your father- Faiz Ahmed Faiz -one of the finest poets?
Salima: For me, he was more of a father and less of a poet people knew him to be. My father was a soft spoken and gentle human being with not a harsh word to anyone and I too had taken after him as a shy, quiet, soft person. When I used to come to him, about odious comparisons when people asked me of my poetic skills, my father used to brush it aside and say “Ek ghar mein ek he shaiyar kafi hai’. It is only when I started teaching that I went against my natural mettle and learned to express myself in public. My paintings are in a way like a luminous visual translation of my father’s poetry. A new book, ‘A Song for This Day’, by Shoaib Hashmi, that holds 51 translated poems of my father in its covers, carries my painting as a watermark on each page of poetry
Q2: Many believe that Faiz was against the Indo-Pak partition of 1947. His silence with merely one poem on the partition (“Ye dagh dagh ujaala, ye shab-guzeeda sehar/ Who intezaar tha jis ka, ye who sehar to nahi”) authenticated this perception. How did he really feel about it?
Salima: My father was shocked by the catastrophe wrought by the partition. He told me, “It is only the British who may be delighted with this partition”. I asked him why he had not written more poetry, other than only one poem ‘Subh-i-Aazadi’ the first written after independence on August 14, 1947 with these pained but ringing words: “yeh daagh daagh ujaala, ye shab-gazeeda saher/ woh intezaar tha jiska yeh woh saher to nahin”( This dim, stained light, this morning that still bears the imprint of a dark night’s blows: surely this is not the morn that we had waited for all these long years) -He replied, “The monumental loss of life, exodus and bloodshed numbed and overwhelmed me. We wanted independence from the British but what this Radcliff line would denote, look like, what shape it would take, all of us had only a vague idea”. However my father wrote several editorials and essays in those days filled with grief over the pointless massacres, the terrible killings of innocents and appealed for sympathy and aid for the victims and for an end to the mayhem. I still remember when I was a child how my father would talk about his Indian poet friends like Firaq Gaurakhpuri, Hasrat Mohani, Majaz, Ali Sardar Jafri and others.
He never wrote much specifically about Partition. He may have believed that to make statements about such issues was the job of politicians. In the years leading up to 1947, Faiz and most intellectuals considered freedom from colonial rule as the most important matter. He wrote in one: ‘We all knew that. It would be safe to say that no one (including politicians) expected the human catastrophe that Partition eventually brought’.
Q3: What was so compelling about Jammu, other than the fact that your father centurion was being celebrated here, that moved you to tears?
Salima:The whole year devoted to Faiz’s celebrations in both India and Pakistan has overwhelmed me, but coming to Jammu was ever so special. “Ever since my aunt (fuffi) told me about my father and mother’s little known rendezvous in Jammu, I was yearning to visit Jammu. While most know about their Srinagar connection with his ‘nikkah’ with my mother Alys –a British, sanctified by Sheikh Abdullah, few know about my father’s frequent visits to Jammu via the Jammu-Sialkot train when they were in love.
“It was in the year 1938, that on the way to Jammu from Sialkot via train during summers, my aunt spotted them together. My aunt told me, “She was coming with her relatives and noticed Faiz in the train, and Faiz hurriedly changed his wagon on noticing us. On arrival at Jammu railway station, Faiz hastily crossed the station and approached a tonga, in which a beautiful English lady was waiting. Without looking elsewhere, Faiz hopped into the carriage and disappeared. Jammu being a small city, Faiz was noticed with that same beautiful lady.” My aunt confided that she kept “their secret” and “Faiz knew it! That served to bond us siblings as best friends”.
Q4: Any memories about the time when Faiz was incarcerated in Pakistan jails?
Salima : My father used to make light of his prison term in Sahiwal jail, it was known as Montgomery jail, then. He used to gloss over that period with a simple ease. Despite his inner turmoil, he used to amuse us by saying that “it was the same cell where Moti Lal Nehru and Badshah Khan were imprisoned during the freedom movement.” He invited my sister Munissa and me to the prison cell once and showed us the flowers he had planted. The ward has now been named as ‘Faiz Ward’ and the cell as ‘Kamra-e-Faiz’. Even the place in prison where he turned a wilderness into a garden is still there, bountiful with flowers, as if time has stood still, I was so moved with the sight of flowers when I visited it, and thought ‘even the flowers had held fast and not left my father, even after he left’. However, he had long spells of silence when he just observed the life pass by, doing nothing. Looking at a squirrel, tree, clouds, the moonlight… for hours, weeks passed by and he would not write a single poem. His long letters written to my mother Alys are very revealing of this state.
Whenever criticism came his way which was ‘huge’ he was known to never respond to critics, he just took a puff of cigarette and smiled ! There was a time when he was in Hyderabad jail and I wrote him a letter before my birthday and asked him for a silk dress. And was thrilled to receive a shalwar, kameez, duppata in silk with exquisite embroidery on my B’Day.
During his spell in the jail he wrote Dast-e-Saba and we held a book release function where people cried while reading the book. I was overwhelmed with the feelings that indeed my father had magical powers to move people with his words. Whenever a new poem emerged from his cell in the jail, it became the hottest news and spread like wild fire.
Q 5. What is your personal assessment of his work and poetry?
Salima: The fact that many who were condemned to the gallows in Zia-Ul-Haq’s regime went reciting his poems is the true assessment of his work that millions kissed in prayer. His rebellion was a passion, an internal matter, it was never used for swinging speeches; it was internalized and reserved for poetry; which was potent and constant.
His poetry incorporated both the values of beauty and social responsibilities. His message was couched in beautiful words with an almost wistful quality. That is why his poetry was unlike the writings of his contemporaries, with a style more mellifluous, his tone soft, his poems smooth and flowing, while other poets had a stronger tone. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
REMEMBERING FAIZ
Poets and artists converged on Zorawar Singh Auditorium of Jammu University for ‘Jashan-e-Faiz’ Festival to mark the 100th Birth Anniversary of Faiz Ahmed Faiz. A galaxy of Indian and Pakistani artists and poets churned out the best of original poetry covering aspects as banal as corruption and as soft as hands folded in prayer.
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Q 6. What do you think of the current situation in an environment of growing terrorism with specific reference to Pakistan and how can it be tackled?
Salima: The ‘silence’ of the majority who is against terrorism is worrisome. But they must remember that silence is not and will not be the solution. The scourge of terrorism is not confined to Pakistan alone; it is spreading its tentacles everywhere. It needs to be nipped by having all South Asian countries including Bangladesh to cooperate and coordinate with each other for a common cause to undermine and eradicate it. Remember those who stay silent today may not have a tomorrow for themselves or their near and dear ones… And recited Faiz’s poem –‘Lekin ab zulm ki miyaad ke din thode hain/ Ik zaraa sabr ki fariyaad ke din thode hain/ Arsaa-e-dahar ki jhulsi hui veeraani mein/ Hum ko rehana hai pa yoon hi to nahi rehana hai/ Ajnabi haathon ka benaam garaanbaar sitam/ Aaj sehana hai hamesha to nahi sehana hai..
Salima Hashmi, is Dean, School of Visual Arts, Beacon House National University, Lahore, has taught for 31-years at the National College of Arts (NCA), Lahore and remained its Principal for 4-years. Standing tall as an accomplished painter and an intense writer on arts, she curates exhibitions of contemporary art and traditional textiles, with her work exhibited in Pakistan and abroad. Her book ‘Unveiling the Visible-Lives and Works of Women Artists of Pakistan’ and publication ‘Memories, Myths, Mutations – Contemporary Art of India and Pakistan’ co-authored with Yashodhara Dalmia for Oxford University Press, India and her express devotion to art, mentoring and promoting young artists has won her Pakistan’s ‘Pride of Performance award’.
Salima is the co-founder of the Rohtas Gallery in Islamabad, established in 1981, and established Rohtas-2 in Lahore in 2001.
The voice of Farida Khanum has enchanted listeners for decades, on both sides of the border. The legendary artiste, when she was in Delhi recently, said she had always got a lot of love from India, and that the arts made a huge difference to cultural relations – something that an initiative like Aman Ki Asha has reiterated often.
“Lijiye hum aa gaye, pahunch gaye aapke paas,” is what she says genially when the conversation begins. “Yeh pyaar mohabbat humein kheench laye. Bahut bhaag daud karke visa liya hai. ICCR and Roots to Routes ne bahut bhaag daud ki, bahut mehnat aur lagan se kaam kiya hai,” she says, in a heavy Punjabi accent.
Farida Khanum was born in Amritsar and spent the early years of her childhood in Kolkata before their family moved to Pakistan during Partition. How often has she come to Delhi? “Bahut martaba aa chuki hoon. Eighteen years ago, I came here for a performance for the Gymkhana Club. Getting an NoC was a big problem at that time. That was my first time in Delhi,” she says.
Narrating the story of her years in India, she says, “Meri padaish Amritsar ki hai, belong toh hum Punjab se hi karte hain, par hamari family ka rehna Kolkata mein ho gaya. My elder sister worked in theatre and films there. “Waise hum Punjabi hain, par asli soch toh meri Bengal ki hi hai, uske liye bahut kashish hai mere dil mein. Dono mix hoke kuch achha hi ho gaya ki Allah ne fankar bana diya, aur aap bachcon ko sunke khushi hoti hai,” she says.
“We left home at first because it was announced that India and Pakistan were to be partitioned and so was the state of Punjab. Uss waqt kashmakash hui, ghar jalne lage, maramari ho gayi. Toh hamare logon ne kaha ki Pindi (Rawalpindi) chalte hain, paas hai, mahine mein wapas aa jayenge. We took just enough stuff for a month, but we could never come back after that. Announce ho gaya ki Amritsar Hindustan mein chala gaya. Bachpan ka time tha, humein laga ki yeh kya hua. We started living in Pindi and then moved to Lahore. Hamare liye toh Lahore bhi naya tha, Pindi bhi naya tha. Iss wajah se do-teen saal uljhan rahi. Jo gaana seekha tha usmein difference aa gaya. Then I joined Radio Pakistan. Jab Allah Taala ko izzat deni hain, kisiko naam dena ho, toh aawaz mein bhi khoobsurti daal dete hain, aur logon ko achha laga. Naam toh mera Farida tha sirf, radio ke liye Farida Khanum kar diya.”
In the context of Aman Ki Asha, what difference to bilateral ties does she think art and cultural exchange can make? “Bahut farak padta hai beta, government ka bhi mood cool ho jaata hai, artiste ke aane mein ijazat de dete hain. Usse artiste bhi khush hota hai – unhe mauka milta hai ki Hindustan jaa ke apne fan ko sunayenge, apnon se milenge, tarse hote hain Hindustan dekhne ke liye, sochte hain sair hogi, dosti hogi, mohabbat badhegi. Zahir hai, aapki mohabbat mein koi kami hai nahin, woh yaadein bahut hi khoobsurat le ke jaate hain, woh kehte hain ki hum dobara aana chahenge. Yeh mel-jol, pyaar-mohabbat purana hai, lekin ismein zara si jo rukawat hoti hai, uske baad jo ijazat milti hai, usmein aur hi mazaa aata hai,” she says emphatically.
And what sort of response has she got from her fans here? “Jab bhi main aayi hoon, pyaar ke lafz hi likhe hain aapne. Artiste ka dil bada ho jaata hai ki itna toh main gaati hi nahin jitna inhone likha hai. Bahut achha lagta hai. Allah ka shukr hai, haalaat behtar se behtar ho rahe hain. Duayein hi dete hain hum bhi.”
The listeners here in India have always been connoisseurs of music, and regard for the arts is only growing. “Ustad Amjad Ali Khan sa’ab ke sahabzade kitna khoobsurat performance dete hain, mausiki toh yahan ki zindagi hai. Abhi ki baat nahin hai, purani baat hai ki Hindustan mein gaana hoga toh uska aur hi rang banta hai. Bade Ghulam Ali Khan sa’ab bhi issi pyaar se yahan aa gaye, ki fan ko bhi aage badhana hai, naye bachchon mein,” she says.
And which younger performers has she heard and liked? “There are many, so many!” she exclaims. “Nazia Hassan and her brother did some good, light music, their kind of pop was very different and did so well. Lekin jo humara idhar ka kaam hai (classical music and ghazals, etc), ismein bhi bachche dilchaspi le rahe hain, zahir hai usmein bhi unka riyaz badhega, ismein bhi tarakki hogi.”
I thank all who have taken the trouble to comment or like this post.IN fACEBOOK.. believe me it is close to my heart …..
Although, every year, I share photos of a tenderly, tended garden in Amritsar in March when in full bloom ….there is also a little story I would like to share with the heterogeneous mix of my friends …..
In one of the pixs, next to the green lamppost is a ‘innocent’ looking palm spreading more horizontally than vertically. When I requested my friends in Lahore, Pakistan, about carrying a little sapling to my Desh, a night before leaving, they promptly uprooted the palm breaking the pot, soldiered some soil of Pakistan, wetted it with water and wrapped in a polythene bag. On our arrival in India on the Samjhauta Express, my husband got talking to some who were similarly waiting. As the luggage started arriving, one of them pointed it out to my husband …”Dekho loki bootey vi Lahore to le ke aa rahe ne.” My husband knew it could only be me. Sheepishly, the man skipped away; when he saw it was the wife of the man he was talking to, who was carrying the ‘Green’ bounty.
Over there in Lahore, people asked me “India mein aisa Palm nahi milta kia ?” and back home I was queried on the same “India mein aisa palm nahi milta kia, jo app Lahore se utha layi ho?”. They did not know, that it was not the palm but the living, growing memento that I had got to bond me forever with the overwhelming “Realization of Peace between people of India and Pakistan” catering to my love for the Living, Growth, Nature, Progress and Smiles.
This was not the first time, and hopefully wouldn’t be the last .
On a visit to Nepal a quarter of a century back, I had similarly brought a Bamboo bush which turns Greenest of Greens, in the hottest of summers when all others look scorched from the burning sun.
Also, from countries having strict quarantine rules, come rocks, stones and pebbles, often to the chagrin of our friends, who laugh and point out “..Sare pathar bhar ke le ayin hain , weight tey zaida hone hi si..” I found a new way to lessen the weight, and carried them in my travelling belt. When I explained to officials of Custom and Immi that I was a “stupid” stone collector and it was not a ‘hijacking tool’ . I was just lucky, they believed me and let me off, often smilingly, while my dear and near ones continued to laugh incessantly, even to this day.
This ‘queer buzz’ in me again manifested itself on a different occasion . I got a call from Pakistan …Apka article Tribune mein parke , humey Indian high commission ne visa de diya hai …abb humey humare dost se milva do”..The call was from Raja Mohammed Ali, a childhood friend of Indian Prime Minister Dr Manmohan Singh, from village Gah (birthplace of PM), Pakistan……”Yeh sunn na tha, aur hum chal pare, unko milvane ke liye. Aisa kaho bachpan ke dost ki kahani ” Krishan- Sudama ” vali thi, lekin humko kia, humko bas karma tha …yeh .
…waise hi jese Dr Hardeep Singh aur Mrs Hapreet Kaur ke khoye hue bête Giandeep @Richie ke peche hum chal diye….
Raja ji aur Mohna ji (PM was called Mohna by his classmates) ki unnkahi kismet thi . “Ji” “mulakat hui Raja ji aur Mohna ki, aur sare Jahan ne dekha …Aur India se …..Jate, Jate Raja ji ko 2 Cassia (golden Shower) ke bootey diye ..aur woh idhar ke logon ke kahil ho gaye.
These two cassia saplings were out of three, one of which is planted behind the statue in the pix and will hopefully flower this year. However, the two are already flowering in the Pakistani village Gah bringing pleasure and smiles, since last year. ..my only wish is as my father in law (GRHS) said to me ….”Dont look back , move forward, there is no time better than now …”
U r free to share this post if u like ….Be with me on finding Giandeep….I know we will find him …..Godbless Amritsar
Rashmi Talwar SEX SCANDALS 2009:… X-GUV ND TIWARI ….(85 yr old wid 3 women)..TIGER WOODS…(14 women frm woodwrk pointing fingers) S PS Rathore..(Ruchika Molestation )…SHINEY AHUJA…(the MA(i)D Man )….wat more …!!!!
Sher Singh commented on your status.
“Siyasat ke Nashe main, Paise ke Zor main,
Wo Phadte Kapde hain, Apni man ki karte hain,
Kanoon ko Jeb Main rakhte hain, Saaf Bach Nikate hain,
Are Aslee Gunhgaar tau hum hain, Jo Julm Sahte hain,
Jo bus sirf Gandhi-Subash ki hi Baaten karte hain,
Sirf Doosro pe hi Kichad uchaal te rahten hain,
Are jub wo Bhediye Samne hi Mauzud tumre hain,
Tau Sidhe Goli hi kyon nahi unhe maar dete Hain.
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ARMY HANDS OVER HISTORICAL FORT GOBINDGARH TO CIVIL ADMINISTRATION
Rashmi Talwar /Amritsar
October 6, 2008——–
The coming Monday was indeed be special and a magnificent historical moment in the history of the holy city as the army handed over the Fort Gobindgarh ramparts to the civil administration of the city, after several rounds of talks between bureaucracy, the political leadership and army authorities.
Major General P.S.Paul,VSM, General Officer Commanding Panther Division handed over the reins of the fort to Deputy Commissioner KS Pannu on this Monday .
The Punjab Government has already chalked out an ambitious plan to tap the great tourism potential of this historic city which includes a plan for the adaptive re-use of Fort Gobindgarh as a National Museum displaying memorabilia of India’s Freedom struggle besides a contemporary history of the Indian armed forces and the role of these forces in preserving the integrity of the country.
Located on the northwestern boundary of India, it was here that Maharaja Ranjit Singh and his armies for the first time were able to shut the Khyber Pass and prevent the invaders from invading India in the early 19th century.
It may be recalled that on December 20, 2006, Prime Minister Dr Manmohan Singh had handed over the key of the historic fort to the then Chief Minister, Capt Amarinder Singh.
This monument was kept out of bounds from the people of Punjab for over 150 years who have emotional attachment with the events related to Fort Gobindgarh. It had remained under the control of Army since 1849, when Punjab was annexed by the British after the demise of Maharaja Ranjit Singh. It is expected that Fort would be thrown open to the civilians who could witness firsthand the past history of the monument and of the period .
Built in 1760, it was called Bhangian Da Kila (Bhangis was one of the twelve Sikh misles), The fort occupies a unique place in the Indian military history.
During 1808, the fort was known as the fort of Gujjar Singh Bhangi. Later it was re-built by Maharaja Ranjit Singh with the help of Jodh Singh. The legendary Maharaja Ranjit Singh, strengthened the fortification of the fort in order to keep his treasures and treaties safely. Towards this end, is a specially constructed “Toshakhana”, in the centre of the fort. The huge Toshakhana was also used to store large amount of grains and provisions for the 12,000-strong Maharaja’s army.
Made with brick and lime with number of army bastions and iron gates and 25 cannons on the ramparts that are now replaced with modern weaponry, the fort was constructed on a square pattern with a parameter of 1500 sq mt with two strong gates, four large bastions and well-defined rampart.
The majestic entrance has been named ‘Nalwa Gate’, after General Hari Singh Nalwa –the great Sikh warrior in Maharaja Ranjit Singh’s army.
The other end of the gate is known as ‘Keelar Gate’ and it was rumoured that in its close proximity existed an escape tunnel, connecting to Lahore tunnel. However, the army authorities said that they had not been able to locate any such tunnel so far.
Of special interest to the denizens and tourists is the Darbar Hall, Hawa Mehal. and Phansi Ghar (hanging chamber) besides the “O’Dyer Bungalow” a grim reminder of — a reminder of the Jallianwala Bagh bloodbath (General Reginald E. H. Dyer, chief of the British army in Amritsar and the perpetrator of the Jallianwala Bagh massacre that is merely a crows flight to the historical bagh where thousands lost their lives in the bloodiest carnage) . the British Army had added these to the fort after the annexation of Punjab about 150 years ago
Significantly after the Indo Pak Partition the fort provided shelter to a large number of refugees from Pakistan. A year after Partition in October 1948, the fort was handed over to the Indian Army. It was last occupied by 176 Field Regiment of the artillery
However, reservations are already being expressed whether the state government would be able to preserve (and restore) its original glory.
Talking to The Pioneer, Pannu said the administration and the Army authorities had worked out a solution. A part of the fort still held by army establishment would be properly segregated to give safety to their unit and also provide suitable camouflage by raising a wall with a cost of Rs 2.50 crore. A special road has also been constructed to provide a separate entry to the Army establishments.
He said the Ministry of Culture and Tourism had already earmarked restoration fund of Rs 2.50 crore that had been lying with the administration and would be used for proper facelifting and conservation of this historic monument..
Despite the prolong army occupation of the monument , the forces had to this day maintained the historicity of the place with the names of the various buildings still intact and etched in original form and have even tried to enhance the usage of the place by displays .
One such instance is the “Phasi Ghar” (hanging chambers ) that has a mock effigy hanging from a noose pointing explicitly over its use by the British who condemned hundreds of Indian freedom fighters and patriots to the gallows.
It is reported the General got sadistic pleasure in watching patriots being hanged in ‘Phansi
Ghar’ which is situated just opposite his residence-cum-office.
On this occasion , the “Association of Families of freedom fighters” demanded an inventory of those condemned to the gallows by the British , to be handed over to the civil administration as well as all previous records of the fort so that history could be truthfully , clearly and concisely conveyed to the public through historical memorabilia and corresponding documents in the proposed museum .
Also such a list could piece in the puzzle of several “missing” freedom fighters “who were known to have just ‘vanished’ during the freedom struggle and their mention in any incident or report could not be located .
Rashmi Talwar Saanjh-Togetherness 
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