Showing posts with label art and arts. Show all posts
Showing posts with label art and arts. Show all posts

Monday, October 29, 2012

Exhibition: “In the heart of Indian Sufism"

Exhibition: “In the heart of Indian Sufism" My Destination Rio de Janeiro

Fundição Progresso is the site for the latest exhibition of photographer, Ousmane Lambat, titled: “A Unidade - no coração do sufismo” translated in English as “A Unit – in the heart of Indian Sufism”. Exhibition:  “In the heart of Indian Sufism"
From 19 Oct 2012 To 15 Nov 2012
The photo exhibition depicts the world of Sufism, identified as Islam's mystical power. It is a total experience of the senses afforded by the author using photography as well as some unique video. Sufism in India had an instrumental role in spreading Islam in India.
The pilgrimage of the photographer Ousmane Lambat began ten years ago, when he felt a need to better understand the world. Departing La Reunion, a small French island in the Indian Ocean, Ousmane travels through Europe, Asia and Australia. He supports himself by performing small photography projects based in London. On one of his assignments that takes him on a trip through India, the land of his ancestors, he discovers Sufism, Islam's mystical power.
The photographer, through this exciting work, invites us to relive this great adventure with him. Through the valleys of Kashmir and deserted landscapes of Rajasthan, he guides us along the path of the great masters who have brought Sufism to the Indian world. At the end of the journey, we discover Islam in its spiritual dimension, full of “peace, fraternity and humanism”. The exhibition contrasts the stereotyped image of the religion, which too often is perceived as extreme, fanatical and often misunderstood.
Fundição Progresso-Mezzanine: Visiting hours from Noon to 9:00 pm (12:00 – 21:00 - Monday to Friday.

State of the art international center for research in sufism to be set up at Amritsar

State of the art international center for research in sufism to be set up at Amritsar by Jagmohan Singh,                   Punjab News Express October 20 2012

 AMRITSAR: Punjab Governor Shivraj V Patil today said that the state government has initiated several projects to develop Punjab especially holy city of Amritsar as a world class tourist destination.

Addressing the gathering after inaugurating two day International Sufi festival here today, the Governor said that realizing well the cultural and historical importance of this holy city the state government was making concerted efforts to develop it as a world class city. Urging the city residents to contribute towards making the city a clean, beautiful and tourist friendly, Mr Patil said that it was the duty of all the Punjabis to preserve this rich heritage of the state.
Congratulating the foundation of SAARC Writers and Literature, Punjab Heritage and Tourism Promotion Board and Khalsa College for organizing this Sufi Festival in Amritsar, Governor said that Sufi thought has impacted the cultures for several countries across the world.
Mr Patil said that the love of God and love of the Gurus has been expressed in song, dance, poetry and literature adding that he was happy to see that this festival aims to capture all these forms. He further said that Sufism has impacted southern & eastern Europe, North and central Africa, the Middle East, China and our own country in a number of ways. Emphasizing on the need of spreading the Sufi message of love, tolerance and unity of God, the Governor said that it was the need of the hour because it inspires us to renounce violence and aggression thereby contributing towards constructing a harmonious society. Welcoming the participants from 13 countries, Mr Patil said hoped that this festival would continue in coming years year and more countries would participate in it.
Presiding over the function, the Punjab Chief Minister Mr Parkash Singh Badal announced that the state government would soon establish a state of Art an International Centre for research in Sufism here in the holy city to propagate the values of humanism, harmony, peace and universal brotherhood. He said that this centre would be exclusively devoted for in-depth research in Sufism to herald a new era of love, friendship, mutual trust and amity through socio-cultural exchange programs transcending the geographical barriers. Mr Badal also announced that this upcoming centre would hold such mega sufi concerts every year adding that the state government would extend all support for organizing this International Sufi festival annually.

Badal said that the essence of Sufism proclaims that the only way to love the Almighty, is to love all his creation in all its manifestations. He said that Punjab being the land of Sufism and of Sufis had always been a cradle on universal brotherhood and peace. The Chief Minister further said that on its part the SAD-BJP government of the state has made stupendous efforts to promote peace, communal harmony, amity and brotherhood adding that it was indeed a matter of pride for them that with the active support of the people, Punjab today has emerged as the epicenter of spreading the fragrance of universal brotherhood throughout the world. Tracing the influence of Sufism on Sikhism, he said that Sufi saints like Baba Farid had spread the message of humanism, spirituality and oneness of god based on the principles of love, compassion, equality, humility, brotherhood and freedom which were very similar to the tenets of Sikhism.
The Chief Minister said that the bani of a large number of Sufi saints had been enshrined in the Sri Guru Granth Sahib which reflects affinity between Sikhism and Sufism. He further said that Sufism had the power that it could eliminate hostile images by showing that true belief could wipe out the demarcations of 'mine' and 'thine', and pave way for constructing a world that is 'ours.' Mr Badal further said that by spreading a message of peace and love Sufism creates a voice for secularism and composite culture. The Chief Minister hoped that the deliberations in the Academic Session of the Festival, in which 30 International Sufi Scholars, 25 International Poets, 50 Sufi musicians, singers and dancers from 13 countries were participating, would focus on tolerance, human values, love of futuristic dreams and a consciousness for love and Compassion that Sufism creates and advocates, thereby ensuring more co-operation and love in the Indian Sub continent.
The Chief Minister also called upon the need for holding such cultural meets frequently to further foster the bonds of friendship, goodwill, mutual trust and harmony especially amongst the people of India and Pakistan which share a common cultural bondage having lingual and socio-cultural similarity. Highly appreciated the efforts of the state government in organizing this grand Sufi meet, Mr Badal said that it would offer memorable moments to the audience to listen the great classical works of eminent Sufi singers. He hoped such events were far more meaningful in today’s stressful life to relieve the mankind from the monotonous routine in which a person works like a component of a machine. Mr Badal said such cultural programs help to soothe the body and mind besides rejuvenating a new spirit to work with much more vigor and enthusiasm.
The Chief Minister also announced a grant of Rs 2 lakh for the organizers of the festival.

Thursday, October 18, 2012

India-Russia cultural fiesta Oct 24-Nov 4

India-Russia cultural fiesta Oct 24-Nov 4 Times of India, IANS Oct 16, 2012

NEW DELHI: Cultural ties between India and Russia have got a boost with the signing of a protocol between both the countries for a festival to be held Oct 24- Nov 4 in New Delhi, Chennai and Mumbai.
The pact was signed by Indian Council For Cultural Relations (ICCR) Director General Suresh Goel and Russian Deputy Minister of Cultural Relations A. Busygin at Azad Bhavan late Monday evening.
"The Russian festival of culture is a response to the Indian artists and officials who visited Russia in 2011 for a similar festival. Russia will host yet another festival of Indian culture in 2013 as a reciprocal gesture," Goel said.
The copy of the pact made available said Russia will bring to India "soloists from the Bolshoi, Marinsky and Mikhailovsky Theatres, St Petersburg folk ensemble 'Barynya'" - the troupe of the Russian Academic Youth Theatre and a photography exhibition.
The festival will end with a ballet gala at Siri Fort Nov 1.
The Indian Council for Cultural Relations will provide hospitality to 65 artists during the festival.
"We will get several high quality groups from Russia. An exhibition of art and photographs is an important aspect of the festival because it will connect Russian art to the Roerich estate (in Kullu district in Himachal Pradesh)," Goel told IANS.
The Roerich estate in Himachal Pradesh has 8,000 artifacts, including 37 rare paintings by the Russian painter-thinker, who settled in India to paint Himalayan landscapes.
The ICCR has several international festivals on its agenda this year and the next to bolster cultural ties with countries like Germany, Australia and Canada, the director general said.
"We are trying out several new initiatives in cross-cultural exchanges to create a common language," Goel said.
"At the opening of the Delhi International Arts Festival (DIAF) Oct 26, we will get Qawaal groups from Pakistan, Bangladesh, Afghanistan and Uzbekistan and host them with dervishes (Sufi dancers) from Turkey at the Purana Qila. The two things that India shares with South Asia and West Asia are Sufism and qawaalis," he said.
Sufism has developed in each country in different ways, he said.
The director general said that "the Russian festival was also a similar initiative to explore the connections and commonalities between the cultures of India and Russia, both of which have rich cultural inheritances".

Wednesday, September 19, 2012

Screening of film on ‘Sufi Soul: Mystic Music of Islam’

Screening of film on ‘Sufi Soul: Mystic Music of Islam’

Pakistan Observer, City reporter, September 19 2012

Islamabad—The Institute for Preservation of Art and Culture (IPAC) has arranged screening of the film “Sufi Soul: The Mystic Music of Islam” here on September 18 to highlight the traditions of Sufism.

The film screening will be held at Kuch Khaas, Center for Arts, Culture and Dialogue. In this documentary film the acclaimed historian and travel writer William Dalrymple explores Sufism and its music in different parts of the Islamic world, including Syria, Turkey, Pakistan, and Morocco.

Music lies at the heart of the practice and traditions of Sufism- the mystical dimension of Islam that seeks to experience oneness with God on an intimate, personal level. From the Whirling Dervishes of Turkey to the qawwali music of Pakistan, Sufism has produced some of the world’s most spectacular music celebrated by Muslims and non-Muslims alike. 

Monday, September 10, 2012

From Mystical Timeless to Today's Timely

From Mystical Timeless to Today's Timely Religion News Service, Omid Safi, Sept 2 2012
How to make the timeless timely.

This is the challenge that Alexis York Lumbard has undertaken in her masterful retelling of the 13th century masterpiece, the Conference of the Birds.    In this work, she has told the timeless story of the Persian Sufi master Farid al-Din Attar in a way that reads as absolutely timely for today’s audience, especially younger readers.
How to take the timeless language of classical Islamic mysticism, and express in it 21st century American English is something that takes heart and soul, intellect and craft, and Alexis York Lumbard’s beautiful Conference of the Birds is indeed rich with all these qualities.    Lumbard's work is beautifully illustrated by the incomparable Demi.    The result is a stunning work of art that speaks to all who are spiritually seeking, no matter what their age.  
To understand how she arrived at this product, I recently conducted an interview with her.   Here are some of her answers:

Question:  Can you tell us a bit about your self, and how you came to be interested in children's literature?
Alexis York Lumbard:   I never knew that I would one day become a writer.  Some writers know from very early on. Many have MFAs.  I on the other hand have a BA in Religious Studies and while some of that carries over into my work, I wasn't until I became a parent that discovered children's literature. You see, as a parent, I found myself looking for a particular book.  But this book did not exist.  As Toni Morrison once said, "If there's a book you really want to read but it hasn't been written yet, then you must write it" And so I did.
Question:  How does a student from West Coast end up writing about a thousand old mystical Islamic poetry?  What about that poem of Attar spoke to you?
Alexis York Lumbard:    Great question.  My early childhood was spent playing on the shores and in the woods of Whidbey Island, Washington State.  Even though we moved to VA by my 7th year, the beauty and wonder of the Northwest made a lasting impression. Later, as a high school student, I felt myself being pulled back to the West. I think in some way I felt that
it would be there, amidst pristine nature, that I would find peace and contentment.  And return I did, as a freshman at the University of Oregon.


The summer before my first semester began however, my family and I traveled to Turkey.  It was at the Blue Mosque that I heard the call to prayer for the first time.  That trip was a time of many firsts--my first time in a mosque, my first exposure to Islamic people and Islamic art, but it was that singular moment at the Blue Mosque when the call sounded and something sacred pierced my breast.  That experience planted a seed and by the end of my freshman year I had converted to Islam.  I then transferred to GWU where I studied Sufism with Dr. Seyyid Hossein Nasr.  I remember Dr. Nasr mentioned Attar in one of his classes (Dr. Nasr is after all Persian and Attar is after all a supreme Persian poet) but at that point I still hadn't read the original. Continue reading here

Wednesday, September 05, 2012

Painting Secularism with Sufi Colours


The Hindu August 31st 2012 Staff reporter
 
The Hindu A SILENT PAUSE CAPTURED: A picture of Hazrat Nizamuddin dargah clicked by Shivani Dass is on display at Alliance Francaise de Delhi. The photo exhibition of Sufi shrines ends today.

Delhi-based photographer Shivani Dass’ abiding interest in Sufism has taken her to nine important Sufi shrines across the country.
Besides paying her respects at the shrines, this 28-year-old, who has been pursuing photography for the past four years, has managed to capture 1,000 colour pictures to highlight the secular character of the shrines.
Since she could not show all her images at one exhibition, she has shortlisted 28 images, each of which has been put on display at a solo exhibition at Alliance Francaise de Delhi and has an interesting new story to tell.
Titled “Violet Dreams”, the exhibition capturing different facets of Sufism was inaugurated last weekend and ends today.
Shedding light on how her interest in Sufism developed, Shivani says her closest friend Anamika often took her to the famous Hazrat Nizamuddin Dargarh. “I used to observe that people from different religious denominations visited and prayed at the shrine. Their faith in Sufism was heartening. What I best liked about Sufism is that it does not prevent anyone from paying homage at dargahs which embrace everyone with open arms. This created a lot of interest about Sufism in me. I have always been intrigued by its mystical ways and wanted to provide a visual language to the quest for this path.”
The shrines Shivani visited included Khwaja Moinuddin Chisthi’s Dargah in Ajmer, Dargah Hazrat Tawakkal Mastan in Bangalore, Yousufain Sharifain in Hyderabad, Nagore Dargah in Tamil Nadu and Delhi dargahs of Hazrat Nizamuddin and Matka Pir.
The photographs capture different moods of the believers and ignored corners of Sufi shrines. “There was so much going on in each place that I visited. People were healed at Mira Datar’s Dargah in Gujarat and at Nagore Dargah in Tamil Nadu when I went there during Urs. But I did not want to capture the obvious imagery of suffering and joy. I wanted to look at the in between pauses when nothing is really happening, yet a great deal is,” Shivani says.
Shivani’s favourite pictures include one of a girl whose face is turned away from the camera. She is one of three sisters at Mira Datar’s Dargah who was disillusioned as her father sat outside complaining about the loss of their only son who died during the Bhopal gas tragedy.

Friday, August 17, 2012

The Sufis and William Blake: When Islamic Mysticism and English Romanticism Intersect


 Anouar El Younssi

The Sufis and William Blake: When Islamic Mysticism and English Romanticism Intersect 

By Anouar El Younssi
Morocco World News
Philadelphia, August 17, 2012
William Blake’s poetry and paintings are extremely fascinating, innovative, and controversial with regard to their “prophetic” nature. Personally, I find Blake a very intriguing personality and his works very appealing. He is deeply invested in the “infinite realms” of the spirit and the imagination and is, therefore, very skeptical of the physical world, as perceived through the five senses. Blake is a passionate critic of empiricism’s ability to lead humanity to “real” knowledge – to “wisdom.” For Blake, the Poetic Genius, rather than the physical senses, is the faculty through which human-beings are to perceive “real” knowledge of this mysterious life and of the divine, sublime realms. Such views of Blake’s expressed in his poetry (and paintings) echo the views of a number of Muslim sufis, such as Ibn-Arabi, Al-Ghazali, Al-Bistami, Rumi, and others –mystics who believe in the existence of an infinite spiritual reality to be attained through a faculty that transcends the five senses.
These Sufis, like Blake, believe in the unity of all being or existence. Their ultimate goal is to become one with the Divine. Interestingly, there are so many affinities between Blake’s visionary, prophetic works and writings/sermons of a number of Muslim Sufis. The affinities of Blake’s mystical views with the Muslim Sufi tradition are too powerful to ignore. They are enlightening in that they waken our consciousness to core human concerns, which go beyond artificial differences in language, culture, skin color, nationality, religious beliefs, and so on. Exploring and highlighting those similarities is indeed a good step in healing –or at least alleviating – the unfortunate divide between the so-called Muslim World and the West today.
Both William Blake and the Muslim Sufis are extremely invested in the binary: reality-appearance. J. W. Morris states that according to Al-Ghazali, a very influential Muslim scholar and Sufi, “the deeper reality of the human situation –of din as the ultimate inner connection of every soul with its Divine Source and Ground – is perceived quite differently by those fully accomplished human beings who can actually begin to ‘see things as they really are’” (297). Those who live or experience or have a taste of this deeper reality –which is to be contrasted with a surface reality – are endowed with the faculty that allows them to see and comprehend the essence of things and phenomena that engulf the human situation and experience.
Martin Lings states that the Holy Book of Islam –the Qur’an – itself has both a surface meaning and a deep meaning (29). In other words, the Qur’an answers to both modes of existence and understanding, the apparent and the ultimate – the surface and the deep. From this perspective, the Qur’an caters for the needs of the entire Muslim community and, at the same time, serves the spiritual needs of a select minority, what Lings calls “a spiritual elect.” Lings provides two illustrative Quranic verses: “Guide us along the straight path” / and “Verily we are for God and verily unto Him we are returning” (qtd. in Lings 27-28). To continue reading this excellent article click here

Thursday, August 16, 2012

A Sufi Festival organised by Amana Association

A Sufi Festival organised by Amana Association Sat 10 November 3pm onwards

£12 / £10 concession. Richmix

 Dervish

A SUFI ART FESTIVAL
Brought by the Qadiri-Boutchichi Order , this festival consists of a calligraphy workshop, poetry, spiritual songs and theatre, using art as a means of spiritual and personal upliftment.
Poetry will be delivered by Avaes Mohammad and Zahidah Dodwell. Contemporary calligraphy will be exhibited, with workshops lead by Muhammad al-Amine Eatwell.  Members of the Qadiri-Boutchichi order will perform Spiritual songs as well as the play, The Madjoub’s Box, along with special guests.  A talk introducing the Qadiri-Boutchichi Sufi order will also feature as part of the events.
The play, ‘The Majdoub’s Box‘ tells the tale of a Sufi’s death, prompting locals to gather at his grave and lay claim to his only possession - A Box. As they imagine what might be inside, often to comic effect, they discover a deeper secret waiting for them…
 Avaes Mohammad: www.avaesmohamad.com
Muhammad al-Amine Eatwell: www.al-ain.ma/about.php

Monday, July 30, 2012

Something Sufi about this comic!

Daily News and Analysis Published: Friday, Jul 27, 2012  By Shilpa Bansal
Some months ago, Sufi comics were promoted at Comic Con International San Diego — one of the biggest comic conventions in the world. And now, Mocha TRIP, in association with Comic Con, is presenting an exclusive workshop with Sufi Comics this weekend. The authors, the Vakil brothers will share their experience of participating at Comic Con San Diego 2012 and will give the audience a sneak peek into the stories from their upcoming book and an exclusive preview of the book’s miniature art and calligraphy.
What more? Also, participate in exciting script writing and drawing competition to win fabulous prizes!
What adds to this whole Sufi experience is the venue, Mocha TRIP, always known for its ambience. And this time, it just perfectly blends with the theme. Be it comics, comedy, music, books or cycling— Mocha Trip as the young Bangaloreans call, is the place where you can do the things you love and share stuff with others who share the same interest as yours.
Go ahead, go on a Sufi trip!
Be at Mocha, 577, Kalyana Mantapa Road, 80ft Road, 8th Block, Opposite to Bethany High School, Koramangala Main Road, Koramangala, on July 28, 12pm onwards, call 30224711

Thursday, July 19, 2012

Mystical music enthrals audience at Sufi Night

The Nation by: APP | July 19, 2012
ISLAMABAD  - Renowned classical and folksingers mesmerised the classical music lovers here on Wednesday on a Sufi Night at Pakistan National Council of the Arts (PNCA).
The performers presented Sufi traditions and Islamic verses having a mystical school of thought, which depict divine love and messages connected to folk sayings.
Folk artists including Shaukat Manzoor, Mohammed Ali, Rukhsana Murtaza and Rizwana Khan performed on the poetry of Sufi saints and staged the Sufi traditions.
According to the organisers, Sufi teachings play a significant role in dissemination of the divine messages through mystical music that carry unique expressions.
The event focused on the message of peace, love and harmony through the teachings of Sufi saints in soul soothing performances that include poetry recitation and Sema traditional dance. The show was arranged by the Ministry of National Heritage and Integration to promote the cultural activities, entertainment and awareness related to Sufis with the theme based on peace, harmony and brotherhood among the young generation.
“The performances of the festival were reflective of the message of peace and harmony to the mankind and the mystic Sufi traditions that serve as a binding force to bring people of diverse cultures together,” while commenting on the event said an official of PNCA.

Friday, July 13, 2012

Songs of the soul

Sohini Chakravorty, Hyderabad,July 13, 2012

There is always a bit of apprehension when an evening has nothing to do with film music and is solely dedicated to some of the purest form of music — ghazals and Sufi. But the turnout at the musical night Boondon Ka Paigham showed that Hyderabad audience have preserved and cultivated these musical genres which thrived and were patronised greatly during the days of the Nizams. Ghazal singer Jaswinder Singh and Sufi performer Kavita Seth set the mood for an intoxicating evening of music with commanding and melodious voice.
Second generation ghazal singer Jaswinder Singh is the son of music composer Kuldip Singh. His choice of songs, soothing deep voice and his rhythmic interaction with the musicians brought the audience closer and involved in the music. Taking lines from poets like Dushyant Kumar and Mirza Ghalib, his singing was infused with good music which carried the audience with the musical flow. There were interludes of upbeat jugalbandi between the singer and his musicians. Jaswinder Singh is not only a good singer but also a Sardar with a sense of humour. Every singer has their own version of Aaj Jaane Ki Zidd Na Karo and this singer chose to sing it only when he saw a member of the audience get up. He also sang his father’s compositions like Tumko Dekha Toh Khayal Aaya and a few Jagjit Singh hits like Tum Itna Jo Muskura Rahe Ho, Hoton Se Chu lo Tum. The only complaint against him would be that he didn’t sing the complete songs.
Known for popular songs like Tumhi Ho Bandhu and Iktara, Kavita Seth is essentially a Sufi singer. She started the concert with a slow rendition and gradually raised the tempo taking the audience on a high. Her concert had a bit of both old and new Sufi flavours. Rendition of songs like Amir Khusro’s Chhap Tilak Sab had the power to engage and create a mehfil even for a reluctant audience.
With the audience bursting into applause and encouraging the artiste with their wah wah, it only proves that the Hyderabad audience knows how to appreciate these kind of musical mehfils. The only deterrent in such concerts are unnecessary felicitations and prolonged speeches by the organisers which puts a break into the musical flow.
RENDITIONS OF LOVE Jaswinder Singh
A concert by Jaswinder Singh and Kavita Seth set the mood for a mesmerising evening of music

Sufi Studios the first Indian publisher ever to participate in the Comic-Con International at San Diego

http://www.indiaprwire.com/pressrelease/books/20120710124740.htm

Brothers Mohammed Ali Vakil& Mohammed Arif Vakil invited at the multigenre convention from July 12th-July 15th to showcase their book "40 Sufi Comics"
New Delhi, Delhi, July 10, 2012 /India PRwire/ -- Mohammed Ali Vakil, the co-author & illustrator of 40 Sufi Comics, the short comic strips that illustrate the eternal spiritual truths in the teachings of Islam today will be participating at the Comic-Con International to be held in San Diego from July 12th to July 15th, 2012. Sufi Studios- the publishing company for Sufi Comics will be the first Indian publisher ever to participate in Comic Con International. 40 Sufi Comics received rave reviews at the Comic-Con India which was held in New Delhi in March this year for its simple rendition of the eternal teaching of Islam with a touch of classy humor.
Speaking on the occasion, Mohammed Ali Vakil, Co-Author of 40 Sufi Comics said "We're excited to be a part of Comic-Con International. India has a rich tradition of narrating stories in varied visual formats. Outside India not many people are aware that we've been producing comics for around 50 years. It's about time we showcase our work & talents at various Comic Conventions around the world. I hope this is a beginning for more Indians to participate at such events."
"Sufi Comics are short comics that illustrate the eternal spiritual truths in the teachings of Islam. It expresses values that are found common with other faiths and all people in general. Our comics have been very well received in India, and we're looking forward to showcase them at a global platform."
Mr. Jatin Verma, CEO and Founder, Comic-Con India said "Sufi Comics is a novel concept; Ali & Arif have created something truly remarkable. Sufi comics are the perfect example to showcase the accessibility and power of the graphic art form, clearing the misconceptions about Islam and spreading the soulful teachings of the Quran. These comics need to be shared with readers not only in India, but across the world. They will most certainly and deservedly get a tremendous response at Comic-Con International, we all at Comic Con India wish the Sufi Comics team all the very best."
Life's lessons are taught in a perceptive, subtle and humorous way in these comics. A short comic is a preferable medium these days for many to read and assimilate new subjects. One can go back to it as often as one wants because they are not boring. They convey esoteric philosophy in simple language and cartoons without compromising on content or quality. These comic strips are now being used as teaching material in Madrasahs around the world.
San Diego Comic-Con International is a multigenre convention held yearly in San Diego, California, United States. It was founded as the "Golden State Comic Book Convention" in 1970 by a group of San Diegans, which included Shel Dorf, Richard Alf, Ken Krueger and Mike Towry; later, it was called the "San Diego Comic Book Convention".
Notes to Editor
About 40 Sufi Comics
Sufi Comics are short comic strips that illustrate the eternal spiritual truths in the teachings of Islam. These comics were published on the Arif & Ali's Blog over the last two years. 40 Sufi Comics is a collection of these comics in the form of a book. Alongside each of the comics are verses from the Holy Quran & Traditions from the Prophet & the Ahlul Bayt, related to the topic of the comic. Some of the titles included in the book::
The Truth about Lies
* Mother
* Where does Wisdom come from?
* Where is God's Treasure?
* No Problem!
* How far is Heaven?
* A Visit to Hell
* Can I see God?

Thursday, July 12, 2012

Children Convey Sufi Message of Love

Children Convey Sufi Message of Love
PTI | 11:07 AM,Jul 09,2012
New Delhi, Jul 9 (PTI) A 'sufi' message of love, tolerance and pluralism echoed in the bylanes of Nizamuddin Basti when local children took the initiative to preserve their heritage through an improvised form of 'dastangoi'. An open air setting in the heart of the Basti, with a view of families in the neighbourhood in their balconies and windows and children up in the roofs flying colourful kites, Chausath Khamba provided an ambience apt for a theatre performance of 'Qissa Baoli ka' (The Story behind the Baoli). It also served another objective – the reuse of a dilapidated space for cultural events centred on themes associated with the Basti. Around 40 children from the Basti, who were shortlisted after auditions by the Urdu Academy, tried to make the story of the construction of Hazrat Nizamuddin Baoli, built in the 14th century despite objections from king Ghiyasuddin Tughlaq, came alive last weekend in a culmination of a 45-day theatre workshop. The 50-minute play was an Aga Khan Trust for Culture initiative in the form of Urban Renewal project that aims at improving the quality of life of residents and collaboration between AKTC and Urdu Academy for past two years has seen children and youth from the Basti getting trained in theatre. The baoli -- protected by the Archaeological Survey of India (ASI) -- miraculously still holds water and water levels have increased significantly following the recent restoration by AKTC following partial collapse in 2008. "The water from the baoli is considered holy by millions of pilgrims who visit the Basti annually to pay their respects at the Dargah of (Sufi saint) Hazrat Nizamuddin Aulia", Ratish Nanda, Project Director, AKTC said told PTI. "The (Urban Renewal) project has distinct conservation, health, education, vocational training, sanitation, urban improvement components in addition to cultural revival. Hazrat Nizamuddin Basti boasts of a 700-year living culture which has sadly been gradually forgotten and no longer remains the hallmark of the Basti", he said. At the outset of the project, the dilapidated courtyard of Chausath Khamba was landscaped as part of the project to create a performance space. It was the same place where AKTC held 'Jash-e-Khusrau' in 2010 after the 14th century Sufi legend Amir Khusrau. In the play, first-timer young actors made their entry from anywhere -- from near the audience to suddenly emerging from a dark corner -- with soulful sufi music playing in the background and kept a large crowd engaged as they spoke dialogues heavily influenced by dialects. A special corner from where the revered sufi saint Hazrat Nizamuddin's voice emanated amid smoke and light drew a huge applause. Director of the play Nadeem Khan and script-writer Anis Azmi narrated the story through a journalist who comes to the Basti to investigate and gets information through an elderly 'Chacha Maqsood'. The whole format simplified the history, making it easy for any person to retain it. Kiran Walia, Delhi Social Welfare Minister, who was present as the Chief Guest advocated for a "collective effort" from "not only by the government but by the people to protect heritage".

Friday, June 29, 2012

Sanam Marvi to represent Pakistan in international Sufi festival

"Sanam Marvi to represent Pakistan in international Sufi festival" By Fareeha Khalid - Jun 4th, 2012, in The News Tribe. Lahore: Pakistan’s Sindhi folk and sufi singer Sanam Marvi will represent Pakistan in Sufi music festivals that would be held at Morocco, France and Japan.

“Almost 200 singers from 70 nations are expected to participate in the festivals and it is an honour for me to represent Pakistan in such a big event,” Local Pakistani Urdu news paper Nai Baat reported.

“Pakistan is my identity and I will continue to bring fame to the country,” she added.

Sanam Marvi debuted at ‘Virsa Heritage’, a programme on PTV. She became popular after her performance at Coke Studio, a Pakistani television series featuring live music performances. She has since appeared in two seasons of the Coke studio.

Wednesday, June 27, 2012

Sufism and Art: Amr Fekry

"Sufism and Art: Amr Fekry"

Egyptian photographer Amr Fekry reflects on Egypt's Islamic, Coptic, and ancient identities in his new book 'Holy of Holies' by Farah Montasser, Al-Ahram Online,

Sunday 3 Jun 2012

As he celebrates the release of his first photography book, Egyptian photographer Amr Fekry describes himself as a traditional and non-traditional artist who hopes to connect with the beauties of the ancient world and share these experiences with the public.

After graduating from the Cairo University faculty of arts in 2001, Fekry spent a year searching for true beauty, and during this time he found Sufism, which has become an essential part of his identity and a major feature of his work.

Sufism is the essence of Islam. Sufis are often known as the dervishes or the people of the truth whose spirituality, modisty and refraining from materiallism inorder to purify their souls in search of the utmost truth, have and continues to attract millions of followers.

"Through Sufism I realised my true senses and intellect," he says. "I acknowledged the true language of religion, unlike the traditional sense of religion we are exposed to from childhood. I rediscovered I had some spiritual talents as well," he explains.

He admires Islamic architecture, especially mosques built in the Fatimid era inspired by Sufi numerology and shapes.

"I kept taking photos of such buildings and my belief grew," he smiles as he recalls his journey of self-discovery. Fekry held several photo exhibitions of the Turkish Dervishes where he encouperated Sufi poetry in his composition.

"I tend to question the true relationship between the creator and the created, which is based on love rather than fear of punishment or pursuit of reward," Fekry states.

According to Fekry, Sufism has no boundaries and no limitations. "I use figurines as many Sufi artists and architects did in the past. Figures of people and animals tend to build belief in God and strengthen it as well. This was seen in Egypt during the Fatimid era, for example," he says.

Fekry admires ancient Egypt and he has also applied this in his art. "In art, I am inspired by ancient Egyptian art," he says.

"Sufism introduces interaction between one's self by speaking to the human brain," he says.

Its ideas and teachings are witnessed in our daily life and tend to change by the hour and produce something different and exciting each day, according to Fekry.

Learning a different lesson each day brings a new colour, and pattern to our daily living, says Fekry and it is this concept that shapes or identifies his art.

"I spent five years of my life delving into nature and taking photographs of the world around me before I started making art and exhibiting my work," he tells Ahram Online.

He also visited galleries to see modern art but could not relate to what he saw.

"I always felt that it didn't reflect Egyptian society… Yes I have seen new concepts, techniques, and taken inspiration, but I've never found it reflecting on the regular Egyptian or addressing him," he says, and that is why he found Sufism and his own version of Islamic art that relates to the Egyptian identity.

Being a Sufi has given Fekry another characteristic as well. He initially works for himself without any intention of exhibiting his work. "To produce art, I target myself first," he says.

Instead of having deadlines and exhibition dates and schedules, "I wander around in search of beauty and more natural interactions that inspire me," he explains.

Fekry holds frequent exhibitions but without boundaries. "I keep exhibiting what I want, when I want," he tells Ahram Online.

It is the method he finds best to critically value his art and later on publically display what he believes worthy. "Not all of my work has been exhibited, but all that matters is that I am pleased with what I do," he comments.

In 2004, Fekry completed his graduate studies in Zurich, where he devoted himself to finding himself and acknowledging his space and surroundings. "Zurich is very systematic and financial and it's where I discovered my own space," he states.

He translated his experience into Holy of Holies, a book about his art using his Sufi methods. "The first part of the book is somewhat inspired by my experience in Zurich in which I translate my own time and space in this modern city into art," he recalls.

By looking at the changing daily patterns of life, he identifies patterns and the "holy architecture" of shapes and consequences of the ancient world. "I implemented the relationship of emotions, colours, images and the holy shapes," he explains.

Furthermore, in his Holy of Holies, Fekry reflects on quotes that describe Sufism and his art, including 'the relationship between seeing and sight', 'cover vs. uncover' and an 'artist's unity within place'.

Amr Fekry presents a one of a kind ideology in his art that reflects on his Egyptian identity with its Islamic, Coptic, and Ancient Egyptian background and sums it up in his 'Holy of Holies'.

Holy of Holies with be released on 9 June. Sufi Bookstore,12 Sayed Bakry, Zamalek

Thursday, June 07, 2012

Pure Optical Beauty

By Nita Vidyarthi, *Poetry in motion* - The Hindu - India; Thursday, May 31, 2012

Poetry in Motion: Tanusree Shankar's ‘We The Living,' based on the translation of Sufi poet Jelaluddin Rumi's ‘Human Beings.'

Inspired by the Sufi poet Jelaluddin Rumi's ‘Human Beings', translated by Coleman Barks, conceived and choreographed by renowned dancer Tanusree Shankar, Ananda Shankar Centre for Performing Arts , Kolkata , presented an emotionally-charged lyrical dance, ‘We The Living,' at Kalamandir, Kolkata.

Tanusree, celebrated daughter-in-law of the great Master Uday Shankar, has not only continued the legacy of the ‘new age' dance with elan, but manages the rare feat of handling and integrating the intellectual and cultural thought convincingly with the ideologies of her artistic insight with skill.

Rumi spoke a universal language and so did Tanusree's offering through the vocabulary of movement and passionate music. And the relationship co-exists.

Rumi contemplates beings as having transcended cultural systems, religions and even elemental specificity; existing neither as body or soul but seeing the two as one. Tanusree's presentation celebrates what may be called the life force. She moulds her vision into a choreographic structure representing this force as evolving out of chaotic, amoebic shapelessness to attain a bodily form.

The performance opened with light forms, ethereal movements by a group of competent dancers in white, accompanied by the refrain of a bamboo flute and the subtlety of soft Arabian music (strings), that introduced a spiritual atmosphere –‘Ruhaniyat' in the true sense.

Sounds of ripples of water, tabla-theka and the alaap of ‘Pancha indriyas' ushered in the five senses beginning with ‘dristhti' and followed by the nine rasas (moods).

Geometric formations

Tanusree uses a lot of geometric formations, intricate depiction of the text, her signature style, which does not function according to any identity structure, nor does she mix styles.

This production had something fresh to offer in terms of choreography and theme. Her approach evolved a distinct sensitive choreography with the use of mellifluous songs such as ‘Saurabhi Ranjita Ghranendriyam Sugandhi Bibhorita' and ‘Sparshey Shiharita Dibar Chetanam' underlining the theme of ‘Indriyas'. Use of piano at this point was so piercing and alive with the dances and symphony music, that even to the most casual viewer, her choreography would reveal her main ideas and the underlying nuances of Rumi's poetry.

Ballet steps, matched with mild jumps and movements on the floor, allowed the rasas to seep in with Shubha Mudgal's rich timbre, ‘Hum Hain Rayain Ke.' The choreography of the nava-rasa, unfolded the usual pattern of Tanusree's composition, punctuated by a number of friezes set to impressive music such as ‘Om Rabba Re Rabba.'

The last segment was a wealth of melodic and harmonic beauty, subtlety, exquisite workmanship and unerring sense of choreographic tradition with the emotion of the poem as a whole.

It was the portrayal of a devotee's intense search for God, only to realise that divinity lies within.

Tanusree's solo contribution at this juncture with a variety of steps in sequence emphasising Rumi's thinking, was the manifestation of virtuosity. Her trance-like rotation of the body, which the whirling dervishes produced, tearful appeal to God that culminated in the integration of the devotee with the Divine, reached the height of ecstasy when the group joined in.

Moving in circles, the dancers with raised hands and quivering fingers attained perfect equilibrium with the accompanying symphony music, strokes of the rabab and the impassionate singing of ‘Tarasha Mandir, Masjid Tarasha, Tarsha Girja, Kahina Khuda Mila.

Apne Ander Jhaakey , Wohin Khuda Ka Basera.' Tanusree became emotional as did a section of the audience with the final ‘Pranasudha bahati.'

The harmonised and interpenetrating state of choreographic ecstasy emphasised the principal theme of unity as the dancers gradually moved closer forming a tight ring with the master choreographer at the centre. Certainly a production of pure optical beauty, sharpened by technique.

The organic approach was not really style. The cumulative development of the wonderful music composed by Debojyoti Mishra, musical sketches and serenades by Shubha Mudgal and Shafkat Amanat Ali, a magnificent Persian overture by Sukanya Ghosh, Arabian strings by Tapas Roy, Armenian pipes by Vachagan Tadevosyan, touching verse and vibes by Vaskar Chowdhury (Devnagari) and Jonaki Mukherjee (Urdu) and the costumes added to the unforgettable presentation.

Picture: DAZZLING: From We The Living. Photo: Special Arrangement.

Monday, April 23, 2012

Through a Study of Dreams

By Kelsey Geiser, *Stanford's Özgen Felek investigates the power of dreams in Sufism* - Stanford University News - Stanford, CA, USA; Tuesday, April 17, 2012

Stanford's Özgen Felek investigates the power of dreams in Sufism: Through a study of dreams, Özgen Felek charts the ascendance of the 16th-century Ottoman ruler Sultan Murad III from humble disciple to spiritual and political leader.

Every night when the 16th-century Ottoman ruler Sultan Murad III went to bed, he looked forward not just to rest, but also to the guidance he would find in his dreams. In the morning, Murad, the grandson of Suleiman the Magnificent, reported his dreams to his Sufi – a mystical Islamic master who interpreted and transcribed the signs and symbols to help the sultan make decisions about his empire and his personal progress.

One night while dreaming of a boy with "a bejeweled crown on his head," the sultan reported hearing a voice in his dream that said, "It is not a boy, it is the religion of Muhammad and the religion of Islam; it is the religion of Muhammad."

Hundreds of dream narrations like this were eventually compiled into a bound manuscript that established the ruler not only as a religious leader but also as an important authority figure.

To this day, Islamic mysticism places a great emphasis on the significance of dreams as windows into the dreamer's soul. The mystics also believed that dreams, and even visions that happen when one is awake, correspond to real-world scenarios. While many modern historians write off dreams as fiction, Muslim populations understood the interpretation of these dreams as ways in which to achieve "orientation in a world that would otherwise be experienced in chaos," according to Stanford scholar Özgen Felek.

The research of Felek, a Mellon Postdoctoral Fellow in Religious Studies at Stanford, has shed new light on Ottoman dream culture and Sufism. Her international investigation of archival documents has yielded new perspectives on the spiritual progress of important figures in Ottoman history.

"For Ottoman chroniclers and their audiences, dreams were as real as historical events. But, for some Sufis, dreams were particularly significant for each disciple's individual progress," said Felek.

For example, in the Khalwatiyya order of the Sufi tradition, if one's dreams featured elephants and camels or the color blue, the individual's soul was in the first stage or "Nafs-i Ammara" (the Soul/Self that Dictates Evil), which indicated that the soul was still dominated by earthy desires and passions.

Felek, co-editor (with Alexander D. Knysh) of the recently published book, *Dreams and Visions in Islamic Societies* (SUNY Press), is studying how Sultan Murad III's portrayal of himself in dreams established him as a universal Islamic ruler and an accomplished Sufi.

Felek, inspired by the rich descriptions of the dreams, is also painting a series of miniatures that illustrate some of their themes.

Charting the rise of a ruler

A series of divine messages that the sultan received in his dreams led him to envision a broad expansion of his kingdom. The sultan referenced these dreams to justify a 12-year war with the neighboring Safavids.

Felek noted the transcription of one dream in which the sultan said God had granted him the lands of Persia: "I was wandering with Suleiman Ghazi (Suleiman the Magnificent). I heard a Divine call that said, 'O Murad Khan, the sovereignty of the province of the Persian Lands was given to you. Its invasion and conquest was made easy for you. It was all given to you.'"

"His dreams function not only to create an image of Murad as a spiritual leader, but also to legitimize his political and military decisions," said Felek.

In earlier accounts, the sultan is portrayed as the humble friend of God, but as time goes on he begins to dream of doing the types of miracles that can only be performed by the great Sufi figures and prophets. He walks on water, flies in the air, turns stones into cheese, produces milk from his fingers, and ascends into the heavens.

For many Muslims the relevance of their visions has not waned over the centuries. According to Felek, disciples of the Khalwatiyya order still report their dreams to their Sufi masters in search of spiritual guidance and understanding. According to Felek, "Some dream narratives in which the Prophet appears are circulated via Internet blogs and forums or being forwarded through emails among Muslims."

The practice of "Istikhara," first prescribed by the Prophet Muhammad, is common in some communities today. Devotees who face large decisions are encouraged to say a specific prayer meant to incite a dream that will guide their decision. Generally, as Felek explained, Muslims turn to elder or more pious Muslims to say the prayer on their behalf in the belief that "the dreams of pious people are more likely to come true."

Dreaming in the classroom

In the course of her research, Felek became intrigued by the idea of visual representations of the dreams she was studying.

"I was fascinated by how descriptive and lively his [the sultan's] dream accounts were," Felek said. "One can envision each dream in detail, so I decided to combine my academic interests and artistic skills to make his dreams even more visible by illustrating them. I thought this would make the sultan happy, too."

Felek uses very fine brushes and crushed gold leaves to capture every fine detail. A calligrapher adds the transcription of the dream accounts in traditional Arabic text.

"I closely examine the illustrated manuscripts commissioned by the sultan in order to stay loyal to the dress code, architecture and the artistic style of his time as much as possible in my paintings," said Felek.

Each ornate painting takes a full year to create. Felek is currently working on creating a book of all of her artistic endeavors and hopes to put them on exhibition one day.

This spring Felek is teaching two undergraduate courses that she developed. Islamic Manuscript Illumination: History, Theory and Practice is designed to give students more than just a theoretical introduction to Islamic manuscripts. Over the course of the quarter each student will produce at least one painting in the traditional techniques and styles of Islamic art.

Although the students were apprehensive about the painting component of the class, Felek said it has in fact helped students uncover artistic abilities they didn't know they had.

Picture: One of Özgen Felek's illuminations in progress. Photo: L. A. Cicero.

Tuesday, April 17, 2012

Not just Poets

By Peerzada Salman, *‘Sufism teaches us to love humanity’* - Dawn.Com - Pakistan; Wednesday, April 11, 2012

Karachi: Sufism is all about loving humanity and discovering one’s own self to reach or understand God.

This was the crux of the arguments presented by speakers on the inaugural day of a two-day national conference on ‘Significance of Sufi poets in modern Pakistan’ organised by the department of Sindhi, Federal Urdu University of Arts, Science and Technology (Fuuast) in the institute’s Dr Abdul Qadeer Khan auditorium on Tuesday.

The introductory session of the moot was presided over by Prof Dr Muhammad Qaiser, former vice-chancellor of Fuuast, now the VC of Karachi University.

Chairman of the Sindhi department Prof Dr Inayat Hussain Laghari informed the audience (who had turned up in a small number because of the transport strike in the city) about the conference’s objectives. He said Sufism taught us to love humanity, something which could help us in difficult, violent times.

The keynote address was delivered by Prof Dr Nawaz Ali Shoq.

He suggested that there should be a Shah Latif chair at Peshawar or Punjab university and a Bulleh Shah chair at Karachi University to promote national integration.

He said Sufis were not just poets; they were scholars too. They preached love of God, of His prophets and of humanity in general. He said according to the Sufis, offering prayers and keeping fast were important aspects of faith, but human beings needed to go beyond that – they should serve and love their fellow creatures.

To illustrate his point, Dr Shoq quoted quite a few incidents from some known Sufis’ lives.

For example, he narrated a story related to Baba Farid Ganj-i-Shakar. Once a man came to Baba Farid and tried to gift him a knife (the village he belonged to was famous for making knives). The Sufi saint refused to accept the gift and said to him that he would rather accept a needle, because he was in the world to bring people closer to each other (sui ki tarha jorney ke liyey dunia mein hoon), not to separate them (chhuri ki tarha kaatne ke liyey nahin).

Dr Shoq rounded off his address by telling the gathering that in Sufis’ eyes it was very important for man to keep his heart pure.

He read out the couplet:

Her tamanna dil se rukhsat ho gaee
Ab to aa ja ab to khalwat ho gaee


A scholar from Balochistan, Prof Dr Abdul Razzaq Sabir, said people thought Sufis led a secluded life; it was not so, they raised their voice against oppressors and tyrants. He said there was a need for revisiting Sufis’ lives and works.

Throwing light on contemporary times, he quoted Prof Karrar Husain who once said that while different languages were getting merged into each other those who spoke those languages were drifting apart. Dr Sabir added we should learn to accept one another and then read a few beautiful lines by Baloch poets, including Jawan Saal Bugti.

Prof Dr Seemi Naghmana went back in time when the British held sway over the subcontinent. She commented that even at that time Sufis had a sense of the political situation and rebelled against the British in their own way.

Prof Dr Ali Akbar and Prof Dr Sulaiman D. Mohammad also spoke. In his presidential address Prof Dr Qamarul Haq lauded the efforts of the Sindhi department in holding the event.

The second and first formal session of the day was presided over by Dr Dur Mohammad Pathan. Allah Bachayo Arisar was the first speaker who shed light on the Sufi element in Shah Abdul Latif Bhitai’s poetry. He also touched on the allegorical (tamseeli) side to stories such as Noori and Jaam Tamachi’s in Bhitai’s poems.

Sumaya Qazi read out a paper on the life and work of Shah Karim. She said he was fond of mehfil-i-sama and often organised such gatherings.

Ramzan Bamari spoke on Mast Tawakkuli.

He said people had confined Sufism to Islam; they were more than that. Sufis were above the concepts of cast, creed or colour, and though Sufis did not care much about themselves, they loved their motherland. He said Mast Tawakkuli was fond of a girl named Sammi. He often used her as bigger metaphors.

He took issue with the title of the conference and remarked that Sufis existed even before Pakistan came into being. He also talked about the tortured bodies found in Balochistan on a regular basis and argued such things made one rebellious.

He iterated the Sufis’ message was to love humanity, particularly the oppressed. He pointed out that every university had a chair, but there were no Baloch poet chair at any university.

Prof Dr Khurshid Abbasi shed light on Faqeer Qadir Bakhsh Bedil and told the audience he penned no fewer than 23 books.

Dr Abdul Aziz Sahir’s topic was Pir Meher Ali Shah Golra Sharif while Prof Nasir Abbas delivered a speech on the importance of studying Sufism so that history could be better understood.

In his presidential address Dr Dur Mohammad Pathan remarked Sufis were normal human beings and should be treated like that.

Dr Kamal Jamro conducted the event.

Picture: Whirling dervishes perform at the Galata Whirling Dervish Hall, founded in 1491 by the Ottomans, in Istanbul, Turkey, on the second day of Muslims' holy month of Ramadan, late Tuesday, Aug. 2, 2011. Sufi whirling performance of the Mevlevi order is part of a formal ceremony known as the Sama. The order was founded by the Persian-Turkish poet Mowlana Jalaluddin Rumi, one of the greatest mystic poets of Sufism in Islam, born in 1207 in Balkh, then in the Persian province of Khorasan and now in Afghanistan, and died in 1273 in Konya, Turkey. - Photo: AP.

Sunday, April 15, 2012

Umm el Fahm



[From the French language press]:

C'est peut-être la première fois qu'un grand musée israélien consacre une exposition (jusqu'au 21 avril) à un grand artiste palestinien: Walid Abu Shakra, graveur et soufi.

By Marc Lenot, *Walid Abu Shakra, graveur et soufi* Le Monde - Paris, France; Tuesday, April 10, 2012

This is perhaps the first time a major Israeli museum devotes an exhibition (until April 21) to a great Palestinian artist, Walid Abu Shakra, Engraver and Sufi.

The exhibition is held in collaboration with a Palestinian Art Gallery located in Umm el Fahm ('the mother of coal' or charcoal), hometown of Walid Abu Shakra (born 1946).

In the 1980s Walid Abu Shakra stopped drawing and painting to devote himself to Sufism.

He resumed his practice at the death of his mother, three years ago: the few recent engravings presented at the exhibition seem finer, softer, more ethereal.

Pictures: Walid Abu Shakra, "View from my Village", Drypoint, 2011 / "Night View", 1975. [Click on the title to the original article with more images and links; Click here to the exhibition at TAM Museum (English) (ed.)]

Thursday, April 05, 2012

The Path to Allah

By Sehrish Ali, *Solo exhibition: Miniatures of rustic life and spirituality* - The Express Tribune - Karachi, Pakistan; Saturday, March 31, 2012

Solo exhibition: Miniatures of rustic life and spirituality

Islamabad: From the gypsies of Rajasthan to whirling sufis, the exhibition of miniature paintings by artist SA Noory, covers both the rustic life and spirituality. His work, that incorporates water colours with intricate finesse of brushwork, was opened for display at Gallery Louvre here on Friday.

Noory has concentrated on the desert plains of Rajasthan where the women wear draping ghaghras with white bangles on both their arms; a common sight in the barren sand dunes. First appearing on the art scene in 1998, Noory’s fascination with Rajasthan began 10 years ago. The fine brushwork being his forte, he paints chiseled features of men and women of the desert along with their young ones.

However, even though the influence comes from Rajasthan, the people in the paintings remain ‘fictional’. “I don’t take pictures, rather paint using my imagination,” he said. The women are slender with delicate hands and feet, often holding earthen pots and waiting in anticipation with their heads bowed down in despair. The hues of light brown, beige and sandy tones not only emanate a desert-feel but add a hint of romanticism to his work.

Noory’s work is nuanced with Sufism- white bearded men in trance, holding the Quran. Perhaps the most intriguing piece is a painting of a tall, bearded man with his hand outstretched upwards holding onto a rope as he looks serenely towards the sand. The rope goes straight into the sky and out of the painting where the viewer is left wondering where the other end of the rope must be.

He is quick to clarify that the rope symbolises the path to Allah. The expression of complete peace on the old man’s face is proof of Noory’s control over the brushwork. Smaller paintings of old men with their large deep red, yellow and white turbans with tanned faces peering in and out of the frame are a refreshing change from the norm.

The exhibition will continue till April 15.

[Visit Gallery Louvre, Islamabad]
Showing posts with label art and arts. Show all posts
Showing posts with label art and arts. Show all posts

Monday, October 29, 2012

Exhibition: “In the heart of Indian Sufism"

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Exhibition: “In the heart of Indian Sufism" My Destination Rio de Janeiro

Fundição Progresso is the site for the latest exhibition of photographer, Ousmane Lambat, titled: “A Unidade - no coração do sufismo” translated in English as “A Unit – in the heart of Indian Sufism”. Exhibition:  “In the heart of Indian Sufism"
From 19 Oct 2012 To 15 Nov 2012
The photo exhibition depicts the world of Sufism, identified as Islam's mystical power. It is a total experience of the senses afforded by the author using photography as well as some unique video. Sufism in India had an instrumental role in spreading Islam in India.
The pilgrimage of the photographer Ousmane Lambat began ten years ago, when he felt a need to better understand the world. Departing La Reunion, a small French island in the Indian Ocean, Ousmane travels through Europe, Asia and Australia. He supports himself by performing small photography projects based in London. On one of his assignments that takes him on a trip through India, the land of his ancestors, he discovers Sufism, Islam's mystical power.
The photographer, through this exciting work, invites us to relive this great adventure with him. Through the valleys of Kashmir and deserted landscapes of Rajasthan, he guides us along the path of the great masters who have brought Sufism to the Indian world. At the end of the journey, we discover Islam in its spiritual dimension, full of “peace, fraternity and humanism”. The exhibition contrasts the stereotyped image of the religion, which too often is perceived as extreme, fanatical and often misunderstood.
Fundição Progresso-Mezzanine: Visiting hours from Noon to 9:00 pm (12:00 – 21:00 - Monday to Friday.
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State of the art international center for research in sufism to be set up at Amritsar

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State of the art international center for research in sufism to be set up at Amritsar by Jagmohan Singh,                   Punjab News Express October 20 2012

 AMRITSAR: Punjab Governor Shivraj V Patil today said that the state government has initiated several projects to develop Punjab especially holy city of Amritsar as a world class tourist destination.

Addressing the gathering after inaugurating two day International Sufi festival here today, the Governor said that realizing well the cultural and historical importance of this holy city the state government was making concerted efforts to develop it as a world class city. Urging the city residents to contribute towards making the city a clean, beautiful and tourist friendly, Mr Patil said that it was the duty of all the Punjabis to preserve this rich heritage of the state.
Congratulating the foundation of SAARC Writers and Literature, Punjab Heritage and Tourism Promotion Board and Khalsa College for organizing this Sufi Festival in Amritsar, Governor said that Sufi thought has impacted the cultures for several countries across the world.
Mr Patil said that the love of God and love of the Gurus has been expressed in song, dance, poetry and literature adding that he was happy to see that this festival aims to capture all these forms. He further said that Sufism has impacted southern & eastern Europe, North and central Africa, the Middle East, China and our own country in a number of ways. Emphasizing on the need of spreading the Sufi message of love, tolerance and unity of God, the Governor said that it was the need of the hour because it inspires us to renounce violence and aggression thereby contributing towards constructing a harmonious society. Welcoming the participants from 13 countries, Mr Patil said hoped that this festival would continue in coming years year and more countries would participate in it.
Presiding over the function, the Punjab Chief Minister Mr Parkash Singh Badal announced that the state government would soon establish a state of Art an International Centre for research in Sufism here in the holy city to propagate the values of humanism, harmony, peace and universal brotherhood. He said that this centre would be exclusively devoted for in-depth research in Sufism to herald a new era of love, friendship, mutual trust and amity through socio-cultural exchange programs transcending the geographical barriers. Mr Badal also announced that this upcoming centre would hold such mega sufi concerts every year adding that the state government would extend all support for organizing this International Sufi festival annually.

Badal said that the essence of Sufism proclaims that the only way to love the Almighty, is to love all his creation in all its manifestations. He said that Punjab being the land of Sufism and of Sufis had always been a cradle on universal brotherhood and peace. The Chief Minister further said that on its part the SAD-BJP government of the state has made stupendous efforts to promote peace, communal harmony, amity and brotherhood adding that it was indeed a matter of pride for them that with the active support of the people, Punjab today has emerged as the epicenter of spreading the fragrance of universal brotherhood throughout the world. Tracing the influence of Sufism on Sikhism, he said that Sufi saints like Baba Farid had spread the message of humanism, spirituality and oneness of god based on the principles of love, compassion, equality, humility, brotherhood and freedom which were very similar to the tenets of Sikhism.
The Chief Minister said that the bani of a large number of Sufi saints had been enshrined in the Sri Guru Granth Sahib which reflects affinity between Sikhism and Sufism. He further said that Sufism had the power that it could eliminate hostile images by showing that true belief could wipe out the demarcations of 'mine' and 'thine', and pave way for constructing a world that is 'ours.' Mr Badal further said that by spreading a message of peace and love Sufism creates a voice for secularism and composite culture. The Chief Minister hoped that the deliberations in the Academic Session of the Festival, in which 30 International Sufi Scholars, 25 International Poets, 50 Sufi musicians, singers and dancers from 13 countries were participating, would focus on tolerance, human values, love of futuristic dreams and a consciousness for love and Compassion that Sufism creates and advocates, thereby ensuring more co-operation and love in the Indian Sub continent.
The Chief Minister also called upon the need for holding such cultural meets frequently to further foster the bonds of friendship, goodwill, mutual trust and harmony especially amongst the people of India and Pakistan which share a common cultural bondage having lingual and socio-cultural similarity. Highly appreciated the efforts of the state government in organizing this grand Sufi meet, Mr Badal said that it would offer memorable moments to the audience to listen the great classical works of eminent Sufi singers. He hoped such events were far more meaningful in today’s stressful life to relieve the mankind from the monotonous routine in which a person works like a component of a machine. Mr Badal said such cultural programs help to soothe the body and mind besides rejuvenating a new spirit to work with much more vigor and enthusiasm.
The Chief Minister also announced a grant of Rs 2 lakh for the organizers of the festival.

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Thursday, October 18, 2012

India-Russia cultural fiesta Oct 24-Nov 4

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India-Russia cultural fiesta Oct 24-Nov 4 Times of India, IANS Oct 16, 2012

NEW DELHI: Cultural ties between India and Russia have got a boost with the signing of a protocol between both the countries for a festival to be held Oct 24- Nov 4 in New Delhi, Chennai and Mumbai.
The pact was signed by Indian Council For Cultural Relations (ICCR) Director General Suresh Goel and Russian Deputy Minister of Cultural Relations A. Busygin at Azad Bhavan late Monday evening.
"The Russian festival of culture is a response to the Indian artists and officials who visited Russia in 2011 for a similar festival. Russia will host yet another festival of Indian culture in 2013 as a reciprocal gesture," Goel said.
The copy of the pact made available said Russia will bring to India "soloists from the Bolshoi, Marinsky and Mikhailovsky Theatres, St Petersburg folk ensemble 'Barynya'" - the troupe of the Russian Academic Youth Theatre and a photography exhibition.
The festival will end with a ballet gala at Siri Fort Nov 1.
The Indian Council for Cultural Relations will provide hospitality to 65 artists during the festival.
"We will get several high quality groups from Russia. An exhibition of art and photographs is an important aspect of the festival because it will connect Russian art to the Roerich estate (in Kullu district in Himachal Pradesh)," Goel told IANS.
The Roerich estate in Himachal Pradesh has 8,000 artifacts, including 37 rare paintings by the Russian painter-thinker, who settled in India to paint Himalayan landscapes.
The ICCR has several international festivals on its agenda this year and the next to bolster cultural ties with countries like Germany, Australia and Canada, the director general said.
"We are trying out several new initiatives in cross-cultural exchanges to create a common language," Goel said.
"At the opening of the Delhi International Arts Festival (DIAF) Oct 26, we will get Qawaal groups from Pakistan, Bangladesh, Afghanistan and Uzbekistan and host them with dervishes (Sufi dancers) from Turkey at the Purana Qila. The two things that India shares with South Asia and West Asia are Sufism and qawaalis," he said.
Sufism has developed in each country in different ways, he said.
The director general said that "the Russian festival was also a similar initiative to explore the connections and commonalities between the cultures of India and Russia, both of which have rich cultural inheritances".
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Wednesday, September 19, 2012

Screening of film on ‘Sufi Soul: Mystic Music of Islam’

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Screening of film on ‘Sufi Soul: Mystic Music of Islam’

Pakistan Observer, City reporter, September 19 2012

Islamabad—The Institute for Preservation of Art and Culture (IPAC) has arranged screening of the film “Sufi Soul: The Mystic Music of Islam” here on September 18 to highlight the traditions of Sufism.

The film screening will be held at Kuch Khaas, Center for Arts, Culture and Dialogue. In this documentary film the acclaimed historian and travel writer William Dalrymple explores Sufism and its music in different parts of the Islamic world, including Syria, Turkey, Pakistan, and Morocco.

Music lies at the heart of the practice and traditions of Sufism- the mystical dimension of Islam that seeks to experience oneness with God on an intimate, personal level. From the Whirling Dervishes of Turkey to the qawwali music of Pakistan, Sufism has produced some of the world’s most spectacular music celebrated by Muslims and non-Muslims alike. 

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Monday, September 10, 2012

From Mystical Timeless to Today's Timely

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From Mystical Timeless to Today's Timely Religion News Service, Omid Safi, Sept 2 2012
How to make the timeless timely.

This is the challenge that Alexis York Lumbard has undertaken in her masterful retelling of the 13th century masterpiece, the Conference of the Birds.    In this work, she has told the timeless story of the Persian Sufi master Farid al-Din Attar in a way that reads as absolutely timely for today’s audience, especially younger readers.
How to take the timeless language of classical Islamic mysticism, and express in it 21st century American English is something that takes heart and soul, intellect and craft, and Alexis York Lumbard’s beautiful Conference of the Birds is indeed rich with all these qualities.    Lumbard's work is beautifully illustrated by the incomparable Demi.    The result is a stunning work of art that speaks to all who are spiritually seeking, no matter what their age.  
To understand how she arrived at this product, I recently conducted an interview with her.   Here are some of her answers:

Question:  Can you tell us a bit about your self, and how you came to be interested in children's literature?
Alexis York Lumbard:   I never knew that I would one day become a writer.  Some writers know from very early on. Many have MFAs.  I on the other hand have a BA in Religious Studies and while some of that carries over into my work, I wasn't until I became a parent that discovered children's literature. You see, as a parent, I found myself looking for a particular book.  But this book did not exist.  As Toni Morrison once said, "If there's a book you really want to read but it hasn't been written yet, then you must write it" And so I did.
Question:  How does a student from West Coast end up writing about a thousand old mystical Islamic poetry?  What about that poem of Attar spoke to you?
Alexis York Lumbard:    Great question.  My early childhood was spent playing on the shores and in the woods of Whidbey Island, Washington State.  Even though we moved to VA by my 7th year, the beauty and wonder of the Northwest made a lasting impression. Later, as a high school student, I felt myself being pulled back to the West. I think in some way I felt that
it would be there, amidst pristine nature, that I would find peace and contentment.  And return I did, as a freshman at the University of Oregon.


The summer before my first semester began however, my family and I traveled to Turkey.  It was at the Blue Mosque that I heard the call to prayer for the first time.  That trip was a time of many firsts--my first time in a mosque, my first exposure to Islamic people and Islamic art, but it was that singular moment at the Blue Mosque when the call sounded and something sacred pierced my breast.  That experience planted a seed and by the end of my freshman year I had converted to Islam.  I then transferred to GWU where I studied Sufism with Dr. Seyyid Hossein Nasr.  I remember Dr. Nasr mentioned Attar in one of his classes (Dr. Nasr is after all Persian and Attar is after all a supreme Persian poet) but at that point I still hadn't read the original. Continue reading here
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Wednesday, September 05, 2012

Painting Secularism with Sufi Colours

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The Hindu August 31st 2012 Staff reporter
 
The Hindu A SILENT PAUSE CAPTURED: A picture of Hazrat Nizamuddin dargah clicked by Shivani Dass is on display at Alliance Francaise de Delhi. The photo exhibition of Sufi shrines ends today.

Delhi-based photographer Shivani Dass’ abiding interest in Sufism has taken her to nine important Sufi shrines across the country.
Besides paying her respects at the shrines, this 28-year-old, who has been pursuing photography for the past four years, has managed to capture 1,000 colour pictures to highlight the secular character of the shrines.
Since she could not show all her images at one exhibition, she has shortlisted 28 images, each of which has been put on display at a solo exhibition at Alliance Francaise de Delhi and has an interesting new story to tell.
Titled “Violet Dreams”, the exhibition capturing different facets of Sufism was inaugurated last weekend and ends today.
Shedding light on how her interest in Sufism developed, Shivani says her closest friend Anamika often took her to the famous Hazrat Nizamuddin Dargarh. “I used to observe that people from different religious denominations visited and prayed at the shrine. Their faith in Sufism was heartening. What I best liked about Sufism is that it does not prevent anyone from paying homage at dargahs which embrace everyone with open arms. This created a lot of interest about Sufism in me. I have always been intrigued by its mystical ways and wanted to provide a visual language to the quest for this path.”
The shrines Shivani visited included Khwaja Moinuddin Chisthi’s Dargah in Ajmer, Dargah Hazrat Tawakkal Mastan in Bangalore, Yousufain Sharifain in Hyderabad, Nagore Dargah in Tamil Nadu and Delhi dargahs of Hazrat Nizamuddin and Matka Pir.
The photographs capture different moods of the believers and ignored corners of Sufi shrines. “There was so much going on in each place that I visited. People were healed at Mira Datar’s Dargah in Gujarat and at Nagore Dargah in Tamil Nadu when I went there during Urs. But I did not want to capture the obvious imagery of suffering and joy. I wanted to look at the in between pauses when nothing is really happening, yet a great deal is,” Shivani says.
Shivani’s favourite pictures include one of a girl whose face is turned away from the camera. She is one of three sisters at Mira Datar’s Dargah who was disillusioned as her father sat outside complaining about the loss of their only son who died during the Bhopal gas tragedy.
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Friday, August 17, 2012

The Sufis and William Blake: When Islamic Mysticism and English Romanticism Intersect

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 Anouar El Younssi

The Sufis and William Blake: When Islamic Mysticism and English Romanticism Intersect 

By Anouar El Younssi
Morocco World News
Philadelphia, August 17, 2012
William Blake’s poetry and paintings are extremely fascinating, innovative, and controversial with regard to their “prophetic” nature. Personally, I find Blake a very intriguing personality and his works very appealing. He is deeply invested in the “infinite realms” of the spirit and the imagination and is, therefore, very skeptical of the physical world, as perceived through the five senses. Blake is a passionate critic of empiricism’s ability to lead humanity to “real” knowledge – to “wisdom.” For Blake, the Poetic Genius, rather than the physical senses, is the faculty through which human-beings are to perceive “real” knowledge of this mysterious life and of the divine, sublime realms. Such views of Blake’s expressed in his poetry (and paintings) echo the views of a number of Muslim sufis, such as Ibn-Arabi, Al-Ghazali, Al-Bistami, Rumi, and others –mystics who believe in the existence of an infinite spiritual reality to be attained through a faculty that transcends the five senses.
These Sufis, like Blake, believe in the unity of all being or existence. Their ultimate goal is to become one with the Divine. Interestingly, there are so many affinities between Blake’s visionary, prophetic works and writings/sermons of a number of Muslim Sufis. The affinities of Blake’s mystical views with the Muslim Sufi tradition are too powerful to ignore. They are enlightening in that they waken our consciousness to core human concerns, which go beyond artificial differences in language, culture, skin color, nationality, religious beliefs, and so on. Exploring and highlighting those similarities is indeed a good step in healing –or at least alleviating – the unfortunate divide between the so-called Muslim World and the West today.
Both William Blake and the Muslim Sufis are extremely invested in the binary: reality-appearance. J. W. Morris states that according to Al-Ghazali, a very influential Muslim scholar and Sufi, “the deeper reality of the human situation –of din as the ultimate inner connection of every soul with its Divine Source and Ground – is perceived quite differently by those fully accomplished human beings who can actually begin to ‘see things as they really are’” (297). Those who live or experience or have a taste of this deeper reality –which is to be contrasted with a surface reality – are endowed with the faculty that allows them to see and comprehend the essence of things and phenomena that engulf the human situation and experience.
Martin Lings states that the Holy Book of Islam –the Qur’an – itself has both a surface meaning and a deep meaning (29). In other words, the Qur’an answers to both modes of existence and understanding, the apparent and the ultimate – the surface and the deep. From this perspective, the Qur’an caters for the needs of the entire Muslim community and, at the same time, serves the spiritual needs of a select minority, what Lings calls “a spiritual elect.” Lings provides two illustrative Quranic verses: “Guide us along the straight path” / and “Verily we are for God and verily unto Him we are returning” (qtd. in Lings 27-28). To continue reading this excellent article click here
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Thursday, August 16, 2012

A Sufi Festival organised by Amana Association

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A Sufi Festival organised by Amana Association Sat 10 November 3pm onwards

£12 / £10 concession. Richmix

 Dervish

A SUFI ART FESTIVAL
Brought by the Qadiri-Boutchichi Order , this festival consists of a calligraphy workshop, poetry, spiritual songs and theatre, using art as a means of spiritual and personal upliftment.
Poetry will be delivered by Avaes Mohammad and Zahidah Dodwell. Contemporary calligraphy will be exhibited, with workshops lead by Muhammad al-Amine Eatwell.  Members of the Qadiri-Boutchichi order will perform Spiritual songs as well as the play, The Madjoub’s Box, along with special guests.  A talk introducing the Qadiri-Boutchichi Sufi order will also feature as part of the events.
The play, ‘The Majdoub’s Box‘ tells the tale of a Sufi’s death, prompting locals to gather at his grave and lay claim to his only possession - A Box. As they imagine what might be inside, often to comic effect, they discover a deeper secret waiting for them…
 Avaes Mohammad: www.avaesmohamad.com
Muhammad al-Amine Eatwell: www.al-ain.ma/about.php
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Monday, July 30, 2012

Something Sufi about this comic!

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Daily News and Analysis Published: Friday, Jul 27, 2012  By Shilpa Bansal
Some months ago, Sufi comics were promoted at Comic Con International San Diego — one of the biggest comic conventions in the world. And now, Mocha TRIP, in association with Comic Con, is presenting an exclusive workshop with Sufi Comics this weekend. The authors, the Vakil brothers will share their experience of participating at Comic Con San Diego 2012 and will give the audience a sneak peek into the stories from their upcoming book and an exclusive preview of the book’s miniature art and calligraphy.
What more? Also, participate in exciting script writing and drawing competition to win fabulous prizes!
What adds to this whole Sufi experience is the venue, Mocha TRIP, always known for its ambience. And this time, it just perfectly blends with the theme. Be it comics, comedy, music, books or cycling— Mocha Trip as the young Bangaloreans call, is the place where you can do the things you love and share stuff with others who share the same interest as yours.
Go ahead, go on a Sufi trip!
Be at Mocha, 577, Kalyana Mantapa Road, 80ft Road, 8th Block, Opposite to Bethany High School, Koramangala Main Road, Koramangala, on July 28, 12pm onwards, call 30224711

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Thursday, July 19, 2012

Mystical music enthrals audience at Sufi Night

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The Nation by: APP | July 19, 2012
ISLAMABAD  - Renowned classical and folksingers mesmerised the classical music lovers here on Wednesday on a Sufi Night at Pakistan National Council of the Arts (PNCA).
The performers presented Sufi traditions and Islamic verses having a mystical school of thought, which depict divine love and messages connected to folk sayings.
Folk artists including Shaukat Manzoor, Mohammed Ali, Rukhsana Murtaza and Rizwana Khan performed on the poetry of Sufi saints and staged the Sufi traditions.
According to the organisers, Sufi teachings play a significant role in dissemination of the divine messages through mystical music that carry unique expressions.
The event focused on the message of peace, love and harmony through the teachings of Sufi saints in soul soothing performances that include poetry recitation and Sema traditional dance. The show was arranged by the Ministry of National Heritage and Integration to promote the cultural activities, entertainment and awareness related to Sufis with the theme based on peace, harmony and brotherhood among the young generation.
“The performances of the festival were reflective of the message of peace and harmony to the mankind and the mystic Sufi traditions that serve as a binding force to bring people of diverse cultures together,” while commenting on the event said an official of PNCA.

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Friday, July 13, 2012

Songs of the soul

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Sohini Chakravorty, Hyderabad,July 13, 2012

There is always a bit of apprehension when an evening has nothing to do with film music and is solely dedicated to some of the purest form of music — ghazals and Sufi. But the turnout at the musical night Boondon Ka Paigham showed that Hyderabad audience have preserved and cultivated these musical genres which thrived and were patronised greatly during the days of the Nizams. Ghazal singer Jaswinder Singh and Sufi performer Kavita Seth set the mood for an intoxicating evening of music with commanding and melodious voice.
Second generation ghazal singer Jaswinder Singh is the son of music composer Kuldip Singh. His choice of songs, soothing deep voice and his rhythmic interaction with the musicians brought the audience closer and involved in the music. Taking lines from poets like Dushyant Kumar and Mirza Ghalib, his singing was infused with good music which carried the audience with the musical flow. There were interludes of upbeat jugalbandi between the singer and his musicians. Jaswinder Singh is not only a good singer but also a Sardar with a sense of humour. Every singer has their own version of Aaj Jaane Ki Zidd Na Karo and this singer chose to sing it only when he saw a member of the audience get up. He also sang his father’s compositions like Tumko Dekha Toh Khayal Aaya and a few Jagjit Singh hits like Tum Itna Jo Muskura Rahe Ho, Hoton Se Chu lo Tum. The only complaint against him would be that he didn’t sing the complete songs.
Known for popular songs like Tumhi Ho Bandhu and Iktara, Kavita Seth is essentially a Sufi singer. She started the concert with a slow rendition and gradually raised the tempo taking the audience on a high. Her concert had a bit of both old and new Sufi flavours. Rendition of songs like Amir Khusro’s Chhap Tilak Sab had the power to engage and create a mehfil even for a reluctant audience.
With the audience bursting into applause and encouraging the artiste with their wah wah, it only proves that the Hyderabad audience knows how to appreciate these kind of musical mehfils. The only deterrent in such concerts are unnecessary felicitations and prolonged speeches by the organisers which puts a break into the musical flow.
RENDITIONS OF LOVE Jaswinder Singh
A concert by Jaswinder Singh and Kavita Seth set the mood for a mesmerising evening of music
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Sufi Studios the first Indian publisher ever to participate in the Comic-Con International at San Diego

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http://www.indiaprwire.com/pressrelease/books/20120710124740.htm

Brothers Mohammed Ali Vakil& Mohammed Arif Vakil invited at the multigenre convention from July 12th-July 15th to showcase their book "40 Sufi Comics"
New Delhi, Delhi, July 10, 2012 /India PRwire/ -- Mohammed Ali Vakil, the co-author & illustrator of 40 Sufi Comics, the short comic strips that illustrate the eternal spiritual truths in the teachings of Islam today will be participating at the Comic-Con International to be held in San Diego from July 12th to July 15th, 2012. Sufi Studios- the publishing company for Sufi Comics will be the first Indian publisher ever to participate in Comic Con International. 40 Sufi Comics received rave reviews at the Comic-Con India which was held in New Delhi in March this year for its simple rendition of the eternal teaching of Islam with a touch of classy humor.
Speaking on the occasion, Mohammed Ali Vakil, Co-Author of 40 Sufi Comics said "We're excited to be a part of Comic-Con International. India has a rich tradition of narrating stories in varied visual formats. Outside India not many people are aware that we've been producing comics for around 50 years. It's about time we showcase our work & talents at various Comic Conventions around the world. I hope this is a beginning for more Indians to participate at such events."
"Sufi Comics are short comics that illustrate the eternal spiritual truths in the teachings of Islam. It expresses values that are found common with other faiths and all people in general. Our comics have been very well received in India, and we're looking forward to showcase them at a global platform."
Mr. Jatin Verma, CEO and Founder, Comic-Con India said "Sufi Comics is a novel concept; Ali & Arif have created something truly remarkable. Sufi comics are the perfect example to showcase the accessibility and power of the graphic art form, clearing the misconceptions about Islam and spreading the soulful teachings of the Quran. These comics need to be shared with readers not only in India, but across the world. They will most certainly and deservedly get a tremendous response at Comic-Con International, we all at Comic Con India wish the Sufi Comics team all the very best."
Life's lessons are taught in a perceptive, subtle and humorous way in these comics. A short comic is a preferable medium these days for many to read and assimilate new subjects. One can go back to it as often as one wants because they are not boring. They convey esoteric philosophy in simple language and cartoons without compromising on content or quality. These comic strips are now being used as teaching material in Madrasahs around the world.
San Diego Comic-Con International is a multigenre convention held yearly in San Diego, California, United States. It was founded as the "Golden State Comic Book Convention" in 1970 by a group of San Diegans, which included Shel Dorf, Richard Alf, Ken Krueger and Mike Towry; later, it was called the "San Diego Comic Book Convention".
Notes to Editor
About 40 Sufi Comics
Sufi Comics are short comic strips that illustrate the eternal spiritual truths in the teachings of Islam. These comics were published on the Arif & Ali's Blog over the last two years. 40 Sufi Comics is a collection of these comics in the form of a book. Alongside each of the comics are verses from the Holy Quran & Traditions from the Prophet & the Ahlul Bayt, related to the topic of the comic. Some of the titles included in the book::
The Truth about Lies
* Mother
* Where does Wisdom come from?
* Where is God's Treasure?
* No Problem!
* How far is Heaven?
* A Visit to Hell
* Can I see God?
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Thursday, July 12, 2012

Children Convey Sufi Message of Love

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Children Convey Sufi Message of Love
PTI | 11:07 AM,Jul 09,2012
New Delhi, Jul 9 (PTI) A 'sufi' message of love, tolerance and pluralism echoed in the bylanes of Nizamuddin Basti when local children took the initiative to preserve their heritage through an improvised form of 'dastangoi'. An open air setting in the heart of the Basti, with a view of families in the neighbourhood in their balconies and windows and children up in the roofs flying colourful kites, Chausath Khamba provided an ambience apt for a theatre performance of 'Qissa Baoli ka' (The Story behind the Baoli). It also served another objective – the reuse of a dilapidated space for cultural events centred on themes associated with the Basti. Around 40 children from the Basti, who were shortlisted after auditions by the Urdu Academy, tried to make the story of the construction of Hazrat Nizamuddin Baoli, built in the 14th century despite objections from king Ghiyasuddin Tughlaq, came alive last weekend in a culmination of a 45-day theatre workshop. The 50-minute play was an Aga Khan Trust for Culture initiative in the form of Urban Renewal project that aims at improving the quality of life of residents and collaboration between AKTC and Urdu Academy for past two years has seen children and youth from the Basti getting trained in theatre. The baoli -- protected by the Archaeological Survey of India (ASI) -- miraculously still holds water and water levels have increased significantly following the recent restoration by AKTC following partial collapse in 2008. "The water from the baoli is considered holy by millions of pilgrims who visit the Basti annually to pay their respects at the Dargah of (Sufi saint) Hazrat Nizamuddin Aulia", Ratish Nanda, Project Director, AKTC said told PTI. "The (Urban Renewal) project has distinct conservation, health, education, vocational training, sanitation, urban improvement components in addition to cultural revival. Hazrat Nizamuddin Basti boasts of a 700-year living culture which has sadly been gradually forgotten and no longer remains the hallmark of the Basti", he said. At the outset of the project, the dilapidated courtyard of Chausath Khamba was landscaped as part of the project to create a performance space. It was the same place where AKTC held 'Jash-e-Khusrau' in 2010 after the 14th century Sufi legend Amir Khusrau. In the play, first-timer young actors made their entry from anywhere -- from near the audience to suddenly emerging from a dark corner -- with soulful sufi music playing in the background and kept a large crowd engaged as they spoke dialogues heavily influenced by dialects. A special corner from where the revered sufi saint Hazrat Nizamuddin's voice emanated amid smoke and light drew a huge applause. Director of the play Nadeem Khan and script-writer Anis Azmi narrated the story through a journalist who comes to the Basti to investigate and gets information through an elderly 'Chacha Maqsood'. The whole format simplified the history, making it easy for any person to retain it. Kiran Walia, Delhi Social Welfare Minister, who was present as the Chief Guest advocated for a "collective effort" from "not only by the government but by the people to protect heritage".
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Friday, June 29, 2012

Sanam Marvi to represent Pakistan in international Sufi festival

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"Sanam Marvi to represent Pakistan in international Sufi festival" By Fareeha Khalid - Jun 4th, 2012, in The News Tribe. Lahore: Pakistan’s Sindhi folk and sufi singer Sanam Marvi will represent Pakistan in Sufi music festivals that would be held at Morocco, France and Japan.

“Almost 200 singers from 70 nations are expected to participate in the festivals and it is an honour for me to represent Pakistan in such a big event,” Local Pakistani Urdu news paper Nai Baat reported.

“Pakistan is my identity and I will continue to bring fame to the country,” she added.

Sanam Marvi debuted at ‘Virsa Heritage’, a programme on PTV. She became popular after her performance at Coke Studio, a Pakistani television series featuring live music performances. She has since appeared in two seasons of the Coke studio.

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Wednesday, June 27, 2012

Sufism and Art: Amr Fekry

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"Sufism and Art: Amr Fekry"

Egyptian photographer Amr Fekry reflects on Egypt's Islamic, Coptic, and ancient identities in his new book 'Holy of Holies' by Farah Montasser, Al-Ahram Online,

Sunday 3 Jun 2012

As he celebrates the release of his first photography book, Egyptian photographer Amr Fekry describes himself as a traditional and non-traditional artist who hopes to connect with the beauties of the ancient world and share these experiences with the public.

After graduating from the Cairo University faculty of arts in 2001, Fekry spent a year searching for true beauty, and during this time he found Sufism, which has become an essential part of his identity and a major feature of his work.

Sufism is the essence of Islam. Sufis are often known as the dervishes or the people of the truth whose spirituality, modisty and refraining from materiallism inorder to purify their souls in search of the utmost truth, have and continues to attract millions of followers.

"Through Sufism I realised my true senses and intellect," he says. "I acknowledged the true language of religion, unlike the traditional sense of religion we are exposed to from childhood. I rediscovered I had some spiritual talents as well," he explains.

He admires Islamic architecture, especially mosques built in the Fatimid era inspired by Sufi numerology and shapes.

"I kept taking photos of such buildings and my belief grew," he smiles as he recalls his journey of self-discovery. Fekry held several photo exhibitions of the Turkish Dervishes where he encouperated Sufi poetry in his composition.

"I tend to question the true relationship between the creator and the created, which is based on love rather than fear of punishment or pursuit of reward," Fekry states.

According to Fekry, Sufism has no boundaries and no limitations. "I use figurines as many Sufi artists and architects did in the past. Figures of people and animals tend to build belief in God and strengthen it as well. This was seen in Egypt during the Fatimid era, for example," he says.

Fekry admires ancient Egypt and he has also applied this in his art. "In art, I am inspired by ancient Egyptian art," he says.

"Sufism introduces interaction between one's self by speaking to the human brain," he says.

Its ideas and teachings are witnessed in our daily life and tend to change by the hour and produce something different and exciting each day, according to Fekry.

Learning a different lesson each day brings a new colour, and pattern to our daily living, says Fekry and it is this concept that shapes or identifies his art.

"I spent five years of my life delving into nature and taking photographs of the world around me before I started making art and exhibiting my work," he tells Ahram Online.

He also visited galleries to see modern art but could not relate to what he saw.

"I always felt that it didn't reflect Egyptian society… Yes I have seen new concepts, techniques, and taken inspiration, but I've never found it reflecting on the regular Egyptian or addressing him," he says, and that is why he found Sufism and his own version of Islamic art that relates to the Egyptian identity.

Being a Sufi has given Fekry another characteristic as well. He initially works for himself without any intention of exhibiting his work. "To produce art, I target myself first," he says.

Instead of having deadlines and exhibition dates and schedules, "I wander around in search of beauty and more natural interactions that inspire me," he explains.

Fekry holds frequent exhibitions but without boundaries. "I keep exhibiting what I want, when I want," he tells Ahram Online.

It is the method he finds best to critically value his art and later on publically display what he believes worthy. "Not all of my work has been exhibited, but all that matters is that I am pleased with what I do," he comments.

In 2004, Fekry completed his graduate studies in Zurich, where he devoted himself to finding himself and acknowledging his space and surroundings. "Zurich is very systematic and financial and it's where I discovered my own space," he states.

He translated his experience into Holy of Holies, a book about his art using his Sufi methods. "The first part of the book is somewhat inspired by my experience in Zurich in which I translate my own time and space in this modern city into art," he recalls.

By looking at the changing daily patterns of life, he identifies patterns and the "holy architecture" of shapes and consequences of the ancient world. "I implemented the relationship of emotions, colours, images and the holy shapes," he explains.

Furthermore, in his Holy of Holies, Fekry reflects on quotes that describe Sufism and his art, including 'the relationship between seeing and sight', 'cover vs. uncover' and an 'artist's unity within place'.

Amr Fekry presents a one of a kind ideology in his art that reflects on his Egyptian identity with its Islamic, Coptic, and Ancient Egyptian background and sums it up in his 'Holy of Holies'.

Holy of Holies with be released on 9 June. Sufi Bookstore,12 Sayed Bakry, Zamalek

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Thursday, June 07, 2012

Pure Optical Beauty
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By Nita Vidyarthi, *Poetry in motion* - The Hindu - India; Thursday, May 31, 2012

Poetry in Motion: Tanusree Shankar's ‘We The Living,' based on the translation of Sufi poet Jelaluddin Rumi's ‘Human Beings.'

Inspired by the Sufi poet Jelaluddin Rumi's ‘Human Beings', translated by Coleman Barks, conceived and choreographed by renowned dancer Tanusree Shankar, Ananda Shankar Centre for Performing Arts , Kolkata , presented an emotionally-charged lyrical dance, ‘We The Living,' at Kalamandir, Kolkata.

Tanusree, celebrated daughter-in-law of the great Master Uday Shankar, has not only continued the legacy of the ‘new age' dance with elan, but manages the rare feat of handling and integrating the intellectual and cultural thought convincingly with the ideologies of her artistic insight with skill.

Rumi spoke a universal language and so did Tanusree's offering through the vocabulary of movement and passionate music. And the relationship co-exists.

Rumi contemplates beings as having transcended cultural systems, religions and even elemental specificity; existing neither as body or soul but seeing the two as one. Tanusree's presentation celebrates what may be called the life force. She moulds her vision into a choreographic structure representing this force as evolving out of chaotic, amoebic shapelessness to attain a bodily form.

The performance opened with light forms, ethereal movements by a group of competent dancers in white, accompanied by the refrain of a bamboo flute and the subtlety of soft Arabian music (strings), that introduced a spiritual atmosphere –‘Ruhaniyat' in the true sense.

Sounds of ripples of water, tabla-theka and the alaap of ‘Pancha indriyas' ushered in the five senses beginning with ‘dristhti' and followed by the nine rasas (moods).

Geometric formations

Tanusree uses a lot of geometric formations, intricate depiction of the text, her signature style, which does not function according to any identity structure, nor does she mix styles.

This production had something fresh to offer in terms of choreography and theme. Her approach evolved a distinct sensitive choreography with the use of mellifluous songs such as ‘Saurabhi Ranjita Ghranendriyam Sugandhi Bibhorita' and ‘Sparshey Shiharita Dibar Chetanam' underlining the theme of ‘Indriyas'. Use of piano at this point was so piercing and alive with the dances and symphony music, that even to the most casual viewer, her choreography would reveal her main ideas and the underlying nuances of Rumi's poetry.

Ballet steps, matched with mild jumps and movements on the floor, allowed the rasas to seep in with Shubha Mudgal's rich timbre, ‘Hum Hain Rayain Ke.' The choreography of the nava-rasa, unfolded the usual pattern of Tanusree's composition, punctuated by a number of friezes set to impressive music such as ‘Om Rabba Re Rabba.'

The last segment was a wealth of melodic and harmonic beauty, subtlety, exquisite workmanship and unerring sense of choreographic tradition with the emotion of the poem as a whole.

It was the portrayal of a devotee's intense search for God, only to realise that divinity lies within.

Tanusree's solo contribution at this juncture with a variety of steps in sequence emphasising Rumi's thinking, was the manifestation of virtuosity. Her trance-like rotation of the body, which the whirling dervishes produced, tearful appeal to God that culminated in the integration of the devotee with the Divine, reached the height of ecstasy when the group joined in.

Moving in circles, the dancers with raised hands and quivering fingers attained perfect equilibrium with the accompanying symphony music, strokes of the rabab and the impassionate singing of ‘Tarasha Mandir, Masjid Tarasha, Tarsha Girja, Kahina Khuda Mila.

Apne Ander Jhaakey , Wohin Khuda Ka Basera.' Tanusree became emotional as did a section of the audience with the final ‘Pranasudha bahati.'

The harmonised and interpenetrating state of choreographic ecstasy emphasised the principal theme of unity as the dancers gradually moved closer forming a tight ring with the master choreographer at the centre. Certainly a production of pure optical beauty, sharpened by technique.

The organic approach was not really style. The cumulative development of the wonderful music composed by Debojyoti Mishra, musical sketches and serenades by Shubha Mudgal and Shafkat Amanat Ali, a magnificent Persian overture by Sukanya Ghosh, Arabian strings by Tapas Roy, Armenian pipes by Vachagan Tadevosyan, touching verse and vibes by Vaskar Chowdhury (Devnagari) and Jonaki Mukherjee (Urdu) and the costumes added to the unforgettable presentation.

Picture: DAZZLING: From We The Living. Photo: Special Arrangement.
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Monday, April 23, 2012

Through a Study of Dreams
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By Kelsey Geiser, *Stanford's Özgen Felek investigates the power of dreams in Sufism* - Stanford University News - Stanford, CA, USA; Tuesday, April 17, 2012

Stanford's Özgen Felek investigates the power of dreams in Sufism: Through a study of dreams, Özgen Felek charts the ascendance of the 16th-century Ottoman ruler Sultan Murad III from humble disciple to spiritual and political leader.

Every night when the 16th-century Ottoman ruler Sultan Murad III went to bed, he looked forward not just to rest, but also to the guidance he would find in his dreams. In the morning, Murad, the grandson of Suleiman the Magnificent, reported his dreams to his Sufi – a mystical Islamic master who interpreted and transcribed the signs and symbols to help the sultan make decisions about his empire and his personal progress.

One night while dreaming of a boy with "a bejeweled crown on his head," the sultan reported hearing a voice in his dream that said, "It is not a boy, it is the religion of Muhammad and the religion of Islam; it is the religion of Muhammad."

Hundreds of dream narrations like this were eventually compiled into a bound manuscript that established the ruler not only as a religious leader but also as an important authority figure.

To this day, Islamic mysticism places a great emphasis on the significance of dreams as windows into the dreamer's soul. The mystics also believed that dreams, and even visions that happen when one is awake, correspond to real-world scenarios. While many modern historians write off dreams as fiction, Muslim populations understood the interpretation of these dreams as ways in which to achieve "orientation in a world that would otherwise be experienced in chaos," according to Stanford scholar Özgen Felek.

The research of Felek, a Mellon Postdoctoral Fellow in Religious Studies at Stanford, has shed new light on Ottoman dream culture and Sufism. Her international investigation of archival documents has yielded new perspectives on the spiritual progress of important figures in Ottoman history.

"For Ottoman chroniclers and their audiences, dreams were as real as historical events. But, for some Sufis, dreams were particularly significant for each disciple's individual progress," said Felek.

For example, in the Khalwatiyya order of the Sufi tradition, if one's dreams featured elephants and camels or the color blue, the individual's soul was in the first stage or "Nafs-i Ammara" (the Soul/Self that Dictates Evil), which indicated that the soul was still dominated by earthy desires and passions.

Felek, co-editor (with Alexander D. Knysh) of the recently published book, *Dreams and Visions in Islamic Societies* (SUNY Press), is studying how Sultan Murad III's portrayal of himself in dreams established him as a universal Islamic ruler and an accomplished Sufi.

Felek, inspired by the rich descriptions of the dreams, is also painting a series of miniatures that illustrate some of their themes.

Charting the rise of a ruler

A series of divine messages that the sultan received in his dreams led him to envision a broad expansion of his kingdom. The sultan referenced these dreams to justify a 12-year war with the neighboring Safavids.

Felek noted the transcription of one dream in which the sultan said God had granted him the lands of Persia: "I was wandering with Suleiman Ghazi (Suleiman the Magnificent). I heard a Divine call that said, 'O Murad Khan, the sovereignty of the province of the Persian Lands was given to you. Its invasion and conquest was made easy for you. It was all given to you.'"

"His dreams function not only to create an image of Murad as a spiritual leader, but also to legitimize his political and military decisions," said Felek.

In earlier accounts, the sultan is portrayed as the humble friend of God, but as time goes on he begins to dream of doing the types of miracles that can only be performed by the great Sufi figures and prophets. He walks on water, flies in the air, turns stones into cheese, produces milk from his fingers, and ascends into the heavens.

For many Muslims the relevance of their visions has not waned over the centuries. According to Felek, disciples of the Khalwatiyya order still report their dreams to their Sufi masters in search of spiritual guidance and understanding. According to Felek, "Some dream narratives in which the Prophet appears are circulated via Internet blogs and forums or being forwarded through emails among Muslims."

The practice of "Istikhara," first prescribed by the Prophet Muhammad, is common in some communities today. Devotees who face large decisions are encouraged to say a specific prayer meant to incite a dream that will guide their decision. Generally, as Felek explained, Muslims turn to elder or more pious Muslims to say the prayer on their behalf in the belief that "the dreams of pious people are more likely to come true."

Dreaming in the classroom

In the course of her research, Felek became intrigued by the idea of visual representations of the dreams she was studying.

"I was fascinated by how descriptive and lively his [the sultan's] dream accounts were," Felek said. "One can envision each dream in detail, so I decided to combine my academic interests and artistic skills to make his dreams even more visible by illustrating them. I thought this would make the sultan happy, too."

Felek uses very fine brushes and crushed gold leaves to capture every fine detail. A calligrapher adds the transcription of the dream accounts in traditional Arabic text.

"I closely examine the illustrated manuscripts commissioned by the sultan in order to stay loyal to the dress code, architecture and the artistic style of his time as much as possible in my paintings," said Felek.

Each ornate painting takes a full year to create. Felek is currently working on creating a book of all of her artistic endeavors and hopes to put them on exhibition one day.

This spring Felek is teaching two undergraduate courses that she developed. Islamic Manuscript Illumination: History, Theory and Practice is designed to give students more than just a theoretical introduction to Islamic manuscripts. Over the course of the quarter each student will produce at least one painting in the traditional techniques and styles of Islamic art.

Although the students were apprehensive about the painting component of the class, Felek said it has in fact helped students uncover artistic abilities they didn't know they had.

Picture: One of Özgen Felek's illuminations in progress. Photo: L. A. Cicero.
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Tuesday, April 17, 2012

Not just Poets
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By Peerzada Salman, *‘Sufism teaches us to love humanity’* - Dawn.Com - Pakistan; Wednesday, April 11, 2012

Karachi: Sufism is all about loving humanity and discovering one’s own self to reach or understand God.

This was the crux of the arguments presented by speakers on the inaugural day of a two-day national conference on ‘Significance of Sufi poets in modern Pakistan’ organised by the department of Sindhi, Federal Urdu University of Arts, Science and Technology (Fuuast) in the institute’s Dr Abdul Qadeer Khan auditorium on Tuesday.

The introductory session of the moot was presided over by Prof Dr Muhammad Qaiser, former vice-chancellor of Fuuast, now the VC of Karachi University.

Chairman of the Sindhi department Prof Dr Inayat Hussain Laghari informed the audience (who had turned up in a small number because of the transport strike in the city) about the conference’s objectives. He said Sufism taught us to love humanity, something which could help us in difficult, violent times.

The keynote address was delivered by Prof Dr Nawaz Ali Shoq.

He suggested that there should be a Shah Latif chair at Peshawar or Punjab university and a Bulleh Shah chair at Karachi University to promote national integration.

He said Sufis were not just poets; they were scholars too. They preached love of God, of His prophets and of humanity in general. He said according to the Sufis, offering prayers and keeping fast were important aspects of faith, but human beings needed to go beyond that – they should serve and love their fellow creatures.

To illustrate his point, Dr Shoq quoted quite a few incidents from some known Sufis’ lives.

For example, he narrated a story related to Baba Farid Ganj-i-Shakar. Once a man came to Baba Farid and tried to gift him a knife (the village he belonged to was famous for making knives). The Sufi saint refused to accept the gift and said to him that he would rather accept a needle, because he was in the world to bring people closer to each other (sui ki tarha jorney ke liyey dunia mein hoon), not to separate them (chhuri ki tarha kaatne ke liyey nahin).

Dr Shoq rounded off his address by telling the gathering that in Sufis’ eyes it was very important for man to keep his heart pure.

He read out the couplet:

Her tamanna dil se rukhsat ho gaee
Ab to aa ja ab to khalwat ho gaee


A scholar from Balochistan, Prof Dr Abdul Razzaq Sabir, said people thought Sufis led a secluded life; it was not so, they raised their voice against oppressors and tyrants. He said there was a need for revisiting Sufis’ lives and works.

Throwing light on contemporary times, he quoted Prof Karrar Husain who once said that while different languages were getting merged into each other those who spoke those languages were drifting apart. Dr Sabir added we should learn to accept one another and then read a few beautiful lines by Baloch poets, including Jawan Saal Bugti.

Prof Dr Seemi Naghmana went back in time when the British held sway over the subcontinent. She commented that even at that time Sufis had a sense of the political situation and rebelled against the British in their own way.

Prof Dr Ali Akbar and Prof Dr Sulaiman D. Mohammad also spoke. In his presidential address Prof Dr Qamarul Haq lauded the efforts of the Sindhi department in holding the event.

The second and first formal session of the day was presided over by Dr Dur Mohammad Pathan. Allah Bachayo Arisar was the first speaker who shed light on the Sufi element in Shah Abdul Latif Bhitai’s poetry. He also touched on the allegorical (tamseeli) side to stories such as Noori and Jaam Tamachi’s in Bhitai’s poems.

Sumaya Qazi read out a paper on the life and work of Shah Karim. She said he was fond of mehfil-i-sama and often organised such gatherings.

Ramzan Bamari spoke on Mast Tawakkuli.

He said people had confined Sufism to Islam; they were more than that. Sufis were above the concepts of cast, creed or colour, and though Sufis did not care much about themselves, they loved their motherland. He said Mast Tawakkuli was fond of a girl named Sammi. He often used her as bigger metaphors.

He took issue with the title of the conference and remarked that Sufis existed even before Pakistan came into being. He also talked about the tortured bodies found in Balochistan on a regular basis and argued such things made one rebellious.

He iterated the Sufis’ message was to love humanity, particularly the oppressed. He pointed out that every university had a chair, but there were no Baloch poet chair at any university.

Prof Dr Khurshid Abbasi shed light on Faqeer Qadir Bakhsh Bedil and told the audience he penned no fewer than 23 books.

Dr Abdul Aziz Sahir’s topic was Pir Meher Ali Shah Golra Sharif while Prof Nasir Abbas delivered a speech on the importance of studying Sufism so that history could be better understood.

In his presidential address Dr Dur Mohammad Pathan remarked Sufis were normal human beings and should be treated like that.

Dr Kamal Jamro conducted the event.

Picture: Whirling dervishes perform at the Galata Whirling Dervish Hall, founded in 1491 by the Ottomans, in Istanbul, Turkey, on the second day of Muslims' holy month of Ramadan, late Tuesday, Aug. 2, 2011. Sufi whirling performance of the Mevlevi order is part of a formal ceremony known as the Sama. The order was founded by the Persian-Turkish poet Mowlana Jalaluddin Rumi, one of the greatest mystic poets of Sufism in Islam, born in 1207 in Balkh, then in the Persian province of Khorasan and now in Afghanistan, and died in 1273 in Konya, Turkey. - Photo: AP.
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Sunday, April 15, 2012

Umm el Fahm
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[From the French language press]:

C'est peut-être la première fois qu'un grand musée israélien consacre une exposition (jusqu'au 21 avril) à un grand artiste palestinien: Walid Abu Shakra, graveur et soufi.

By Marc Lenot, *Walid Abu Shakra, graveur et soufi* Le Monde - Paris, France; Tuesday, April 10, 2012

This is perhaps the first time a major Israeli museum devotes an exhibition (until April 21) to a great Palestinian artist, Walid Abu Shakra, Engraver and Sufi.

The exhibition is held in collaboration with a Palestinian Art Gallery located in Umm el Fahm ('the mother of coal' or charcoal), hometown of Walid Abu Shakra (born 1946).

In the 1980s Walid Abu Shakra stopped drawing and painting to devote himself to Sufism.

He resumed his practice at the death of his mother, three years ago: the few recent engravings presented at the exhibition seem finer, softer, more ethereal.

Pictures: Walid Abu Shakra, "View from my Village", Drypoint, 2011 / "Night View", 1975. [Click on the title to the original article with more images and links; Click here to the exhibition at TAM Museum (English) (ed.)]
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Thursday, April 05, 2012

The Path to Allah
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By Sehrish Ali, *Solo exhibition: Miniatures of rustic life and spirituality* - The Express Tribune - Karachi, Pakistan; Saturday, March 31, 2012

Solo exhibition: Miniatures of rustic life and spirituality

Islamabad: From the gypsies of Rajasthan to whirling sufis, the exhibition of miniature paintings by artist SA Noory, covers both the rustic life and spirituality. His work, that incorporates water colours with intricate finesse of brushwork, was opened for display at Gallery Louvre here on Friday.

Noory has concentrated on the desert plains of Rajasthan where the women wear draping ghaghras with white bangles on both their arms; a common sight in the barren sand dunes. First appearing on the art scene in 1998, Noory’s fascination with Rajasthan began 10 years ago. The fine brushwork being his forte, he paints chiseled features of men and women of the desert along with their young ones.

However, even though the influence comes from Rajasthan, the people in the paintings remain ‘fictional’. “I don’t take pictures, rather paint using my imagination,” he said. The women are slender with delicate hands and feet, often holding earthen pots and waiting in anticipation with their heads bowed down in despair. The hues of light brown, beige and sandy tones not only emanate a desert-feel but add a hint of romanticism to his work.

Noory’s work is nuanced with Sufism- white bearded men in trance, holding the Quran. Perhaps the most intriguing piece is a painting of a tall, bearded man with his hand outstretched upwards holding onto a rope as he looks serenely towards the sand. The rope goes straight into the sky and out of the painting where the viewer is left wondering where the other end of the rope must be.

He is quick to clarify that the rope symbolises the path to Allah. The expression of complete peace on the old man’s face is proof of Noory’s control over the brushwork. Smaller paintings of old men with their large deep red, yellow and white turbans with tanned faces peering in and out of the frame are a refreshing change from the norm.

The exhibition will continue till April 15.

[Visit Gallery Louvre, Islamabad]
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