Tuesday, October 18, 2011

Abode for Peace

By Ishfaq-ul-Hassan,*Old Srinagar travels from stone-pelting hub to tourist spot* - Daily News & Analysis - Mumbai, India; Wednesday, October 12, 2011

From the epicenter of stone-pelting to a tourist sojourn, the sensitive old Srinagar city has come a long way to become the new abode for peace.

Cable-car, art galleries, swanky restaurants and shopping arcades have opened up to attract tourists. The icing on the cake will be the opening of Mughal era sites and makeover of Sufi shrines.

“There are so many things planned for the old city. Naagar Nagar tourist circuit is part of this Rs29 crore project, which has been approved by the Centre,” said Ali Mohammad Sagar, law and rural development minister who represents Khanyar constituency of the old city in the assembly.

Considered the stronghold of Hurriyat leader Mirwaiz Umar Farooq, the old city had been at the forefront of the unrest in 2010. The J&K government is now trying to bring in economic prosperity there.

“We are establishing the cable-car from central cemetery to shrine of Makhdoom Sahib, and setting up restaurants and art galleries. We are also expanding the central grand mosque and shrine of Dastagir Sahib and tomb of king of Zain-ul-Abidin and others to promote tourism,” said Sagar.

The Naagar Nagar project has been conceived to restore cultural properties. “A major component will be restoration of the rampart wall around the Hari Parbat Fort,” said a tourism department spokesman.

Over seven lakh [700,000/seven hundred thousand] tourists have visited Kashmir so far this year.

[Picture: Dargah Dastageer Sahab, one of the oldest Mosques in Kashmir. Photo: Wiki.]

Monday, October 17, 2011

A Unique Experiment

By Stephen Olsson, *One Through Love: Jalaluddin Rumi And A Gathering Of Lovers* - The Huffington Post - New York, NY, USA; Saturday, October 8, 2011

"This is a gathering of Lovers.
In this gathering there is no high, no low,
no smart, no ignorant, no special assembly,
no grand discourse, no proper schooling required.
There is no master, no disciple.
This gathering is more like a drunken party,
full of tricksters, fools, mad men and mad women.
This is a gathering of Lovers."
-- Jalaluddin Rumi AD 1260

To Jalaluddin Rumi, the 13th century sufi poet-mystic, intoxication and particularly, "love," can only be understood in its divine, all-encompassing manifestation, a form of spiritual "yearning" which is familiar to all spiritual seekers.

For Sufis, this "yearning" is highly celebrated, and given the outer forms of "Lover" and "Beloved."

On October 15th, 2011, we will be launching a new website called "One Through Love: A Gathering of Lovers," to remind people around the world that love (Askh in Turkish, Eshgh in Persian) is the singular force that underlies and connects all creation. One Through Love will be the first cinematic, multi-lingual website which uses the poetry and teachings of Jalaluddin Rumi to spread the unifying message of love, in English, Persian, Arabic and Turkish.

One Through Love is truly "a gathering of lovers," since it presents an international gathering of Rumi "lovers" -- scholars, musicians, dervishes and other sufi practitioners from Turkey, Iran, Europe and the US.

Each film segment shown on the website is subtitled in four languages, so that people in different countries will be watching and responding to the same film material. They will be sending in responses, comments and questions and meeting other "lovers" from the Arab, Persian, Turkish, European and North American worlds. Truly a translator's dream!

One Through Love is a unique experiment, though not one without some precedent. It was 44 years ago, that the birth of the satellite era made possible the first, live, global television transmission. The BBC put up The Beatles' "All You Need is Love" (on June 25th, 1967) connecting a string of satellites, across the globe, ultimately reaching an astounding audience of 400 million people in 26 countries.

On Saturday, October 15th, (at 11:50 a.m. PST, 2:50 p.m. EST; 7:50 p.m. GMT) the One Through Love project will be using the power of film and music, together with modern, low-cost digital and internet technologies to send out essentially the same message, the same affirmation.

Almost 800 years before John Lennon wrote "All You Need is Love," Rumi wrote:

A true Lover doesn't follow any one religion,
be sure of that.

Since in the religion of Love,
there is no irreverence or faith.

When in Love,
body, mind, heart and soul don't even exist.

Become this, fall in Love,
and you will not be separated again.

(Translated from the Persian by Shahram Shiva)

One Through Love hopes to create a yearning for people to reach out and get to know each other, especially "the other," those who have been labeled "evil" or "satanic," those who have been so misunderstood. One Through Love will become a meeting place for those who hear Rumi's message, and want to share their comments and questions about love, life and the forces that connect us all.

As a "sneak preview," over the next week, we will be presenting a sample glimpse of these "lover-teachers," which will hopefully please and inspire, leading right up to October 15th, when, at 11:50 a.m. PST; 2:50 p.m. EST; 7:50 p.m. GMT, One Through Love will be launched as a local/national/global event.

Locally, One Through Love will premiere as a film at the Mill Valley Film Festival, at a festival screening timed exactly to coincide with the national television broadcast on satellite channel Link TV (Direct TV ch. 375; Dish Network Ch. 9410), coinciding precisely with the live streaming of the film, with follow-up global discussion, on the project website: www.OneThroughLove.org.

Here is a video clip of Parisa Soultani, the project website host, chief translator and co-producer, extending the invitation to join this "gathering of lovers," in Turkish, Persian, Arabic and English.

Immediately following the one-hour film, (at 1:00 p.m. PST; 4:00 p.m. EST; 9:00 p.m. GMT) website host Parisa Soultani will moderate the follow-up global discussion.

From the Rafael theater, live video connections will be made with Cemalnur Sargut, a Turkish lover in Istanbul, Mahmoud Mostafa an Arab lover in Jakarta and Dr. Omid Safi a Persian lover in North Carolina, who will all engage and converse with Robert Abdul Hay Darr and Llewellyn Vaughan-Lee, our American and British lovers in the film festival theater. The dialogue will be projected live in the theater, and steamed live, globally, through the www.OneThroughLove.org website.

Why Rumi? When UNESCO declared 2007 as "the year of Rumi," they were recognizing Rumi's contribution as an advocate of inter-faith tolerance and respect.

They described Rumi as

"One of the great humanists, philosophers and poets who belong to humanity in its entirety".

Beyond this cross-over appeal, the UN recognized that the spiritual evolution and perhaps the very survival of our world, especially since the events of 9/11 and thereafter, is directly tied to the teachings of tolerance, acceptance and unity consciousness that lie at the heart of Rumi's writings.

Please join us throughout this week, to meet some extraordinary "lover-teachers" who form the inner circle of One Through Love's "gathering of lovers".

[Picture: Darvish. Photo: One Through Love.]

Sunday, October 16, 2011

Heritage Status

By Tripti Lahiri, *Delhi Gets Feisty Over World Heritage Status* - India Real Time / The Wall Street Journal - India/USA - Wednesday, October 5, 2011

A.G.K. Menon, the conservationist in charge of preparing Delhi’s bid to be declared a World Heritage City by the United Nations, said on Tuesday that one of the city’s unique contributions to humanity was its hybrid personality formed over thousands of years — exemplified by its mix of architectural styles and its unique brand of Sufi mysticism.

Judging by the crowd at one of the first public consultations on Delhi’s application, which has to be submitted by Feb. 1, 2012, he should have added “its rambunctiousness,” too.

The draft dossier, now online, describes a plan to apply for heritage status for four historic areas of a city that has been the seat of empire after empire, most of which have left legacies still visible today.

The four areas selected are 17th-century Shahjahanabad, or Old Delhi; the early 19th-century Lutyens bungalow zone; Mehrauli, which has monuments dating back to the 8th century; and Nizamuddin, home to a revered 16th-century Sufi shrine.

After discussions with historians and officials, many areas and epochs didn’t make the cut, including the Raj-era Connaught Place, neighborhoods like 13th-century Hauz Khas, or ruins like Tughlaqabad, the city founded in the early 14th-century by Turkish ruler Ghiyasuddin Tughlaq.

Mr. Menon and other speakers urged Delhi residents to actively participate in the application process. The crowd of intellectuals and students took those words to heart, beginning with Aman Nath, co-chairman of Neemarana hotels, which converts old palatial properties for contemporary use.

“Lutyens did not build one single bungalow in what we call Lutyens bungalow zone,” said Mr. Nath. “It’s a joke…and I think you should correct that nomenclature.”

British-built New Delhi, which was formally inaugurated in 1931, and now forms the center of the Indian capital, is widely known after British architect Edwin Lutyens. Together with fellow architect Herbert Baker, he is credited with designing and building the new capital of the Raj.

Mr. Nath went on to say that if the city plans to honor British-built Delhi by the name of a particular architect, the same honor should go to the builders of Old Delhi — not to the Mughal emperor who had it built.

“On the other hand when you’re saying Shahjahanabad, you’re saying Shahjahan built the city, he didn’t build the city,” said a passionate Mr. Nath. “It was Makaramat Khan and there were two architects.”

Soon a conversation broke out: Should the Lutyens zone be renamed the Russel zone, after Robert Tor Russel, the architect behind Connaught Place and many buildings in the Lutyens’ zone, or even more generally, Imperial Delhi?

A woman in the audience then questioned whether the Lutyens zone should be a heritage area when many of its buildings are off-limits to the public.

“It is this Lutyens zone which is not accessible to people. We are not able to see the government buildings,” she said. “It would be nice if we can get access to these places as citizens. The other three zones we can walk in, anywhere.”

Gagandeep Singh, a 20-year-old history student raised a different objection — about how the city’s historical monuments are described.

He noted that the Qutub Minar, the minaret in Mehrauli on which construction was begun by Delhi’s first Muslim ruler near the close of the 12th century, had a plaque noting that Hindu and Jain buildings on the site had been razed to build the monument, a detail that he felt was unnecessary to mention. He later said he though such notations were “provocative.”

“What will international travelers think about our country?” he told the crowd. “This should be amended.”

Others wondered whether the heritage city designation would “freeze” the historical zones and what would happen to the people living there — should development around the sites be stopped or aloud to continue? That’s an ongoing tussle around historic sites in the city. Recent news reports suggest people living around the Tughlaqabad ruins are slated to be evicted, although some of them claim to have been living there for hundreds of years.

Soon there was a fabulous chorus of people interrupting one another (quite politely, for a Delhi crowd) to interject, “May I say something?” Ah, Delhi.

Tuesday’s event is part of an ongoing public consultation process that continues through next month, and will include both limited attendance seminars about each of the four zones and public lectures.

Picture: Nizamuddin’s Sufi shrine is among the four selected areas for “heritage status.” In the image above, muslims offered prays at the shrine in New Delhi, Aug 2010. Photo: Manpreet Romana/Agence France-Presse/Getty Images.

Saturday, October 15, 2011

So Much to Be Done

By Sumati Mehrishi, *‘Musicians must realise their artistic responsibilities’* - The Pioneer - India; Friday. October 7, 2011

When he is not globe-trotting and being part of Grammy winning collaborations, world renowned percussionist Tanmoy Bose is helping popularise Bengali folk and Sufi music, helping tribal musicians get accustomed to studio settings; direct film scores and compose raga-based title tracks for regional TV serials in India.

For someone who has been an accompanist to Pandit Ravi Shankar and Ustad Amjad Ali Khan for years and decades, Bose is quite a grounded and emotional artiste.

When a musician’s eyes well up at the mention of peers he could have otherwise been conveniently jealous of, know, he has met his spiritual self.

Bose barely makes a show of such feelings when he is talking about his music and times, and tries hard to be diplomatic but Sumati Mehrishi catches the best of this great maestro of our times and realises he is connected with his fraternity, its trends and movements, more than anyone else.

You have accompanied Pandit Ravi Shankar on the tabla for over 12 years. His association with the world renowned tabla legend Late Ustad Alla Rakha Khan was for 30 years — the longest so far. Do you feel lucky?

Definitely, I am blessed to have performed with Ravi Shankar for so many years. These 12 years have taught me a lot and helped me shape as a musician I am today.

There was an emotional moment a few years back. Panditji told me after a concert that my performance had reminded him of Ustad Alla Rakha Khan, the greatest legend we have had so far. I strongly feel only Zakir bhai (Hussain) can match the sound and magic of his father’s tabla. So, to have heard the compliment from Panditji is the biggest honour I have got and known.

Then, there is an emotional bond I share with him and his family. Panditji has been very happy to have become a grandfather. Then, recently, Panditji and I have been sharing our views on music, art, theatre and films. He enjoys it so much. Sukanyaji has video recorded these conversations, as she really wants to preserve these moments and Panditji’s thoughts.

Now, we don’t want him to pay any attention to negative thoughts which people usually bring over to him — things like ‘yeh kalaakaar aapke bare mein aisa keh raha hai, waisa keh raha hai.’

Panditji has grown a beard. His recent concert-pictures are quite heart warming and he looks surreal…

(Smiles as his eyes well up) Yes, I must tell you, he looks great in a beard. He has sported one for about six months now.

During the last eight years, Panditji has spent a lot of time in the United States owing to illness and other reasons. You have been required to spend a lot of time away from home. Has it been tough?

Yes. As a result my sons don’t know me much. But that’s part of my work. But, even at this age Panditji is performing ferociously. I am so inspired by how he carries himself as a performer. He fulfills his professional commitments, giving concerts that are sold out even before you blink.

One has so much to learn from this. It still baffles me to see how people do anything to attend his concerts in the West. A woman in St Pittsburgh had sold her car to buy a ticket to Panditji’s concert. It’s a spiritual experience to be part of his musical journey.

In 2007, Panditji returned after long illness. His fans in India were introduced to the small sitar he is using now. Its structure and sound are unique. How has it changed things for you?

It is very challenging and fulfilling to be playing with this sitar in terms of rhythm and sound. These days, Panditji is giving it a special tantrakari affect where he plays the strings and numbs them down with the hand as they vibrate. The language is something really out of this world. Panditji really believes the ‘show must go on’.

Your association with the world renowned sarod maestro Ustad Amjad Ali Khan also goes a long way. Tell us what it is like to be accompanying two of the biggest and busiest Indian musicians across the globe?

I was only 21 when I had first performed with him. There are many aspects related to performance I have learnt under him. He would tell me little things now and then that helped me bring huge changes in my musical canvas. I would initially look at his hands moving on the sarod while performing, to be able to coordinate with his musical thoughts. He suggested I look into eyes and play. I think I have grown musically in front of him very much the same way as his sons Amaan and Ayaan Ali Khan have over the last 20 years.

Between themselves, Amaan and Ayaan Ali Khan have developed their playing style and repertoire between in a wonderful way, especially during the last few years. What’s your take?

I have felt the same. In fact, I communicated my feelings to them at a recent concert. They have done it subtly and magically with their hard work and riyaz. I can’t agree more.

Your Guru Pandit Shankar Ghosh has become quite tech savvy recently with help from younger disciples. How do you feel about this change?

(Laughs) I am so impressed to see that. Our maestros are so pro active even at this age. I am happy to see that a bunch of my Guru bhais are helping Guruji to connect with the younger audience through Youtube and social networking sites. I have heard he is giving online lessons as well. Thanks to him, Bickram Da (the world renowned percussionist and Pandit Shankar Ghosh’s son) and I have a wide approach to music. Though the music we make is very different, but our basics have been shaped by the same legend and that speaks for itself.

You are promoting Bengali folk musical instruments and Sufi music from East India and Bangladesh in a big way. Do you consider it your artistic responsibility?

I am sorry to say that artistes in our country do not believe in fulfilling their responsibility. Until artistes like me take the responsibility of promoting the regional culture, traditions and instruments, the coming generations will never be able to know what our rich heritage is about.

There are so many percussion instruments from Bengal which have were made popular in the world music circuit after I initiated their use in collaborations. Dhak, the drums used in religious ceremonies and festivals has become popular. Then, there are so many instruments from Jharkhand that people are not aware of.

In February this year, I saw the bauls singers of India and Bangladesh perform together at the unique confluence — Sufi Sutra, a festival dedicated to sufi music. Then recently, I have made several recordings of Jharkhand adivasi music at a Kolkata studio. They have sung beautifully.

While I was recording, I realised that there is so much to be done and heard to get the best and the rarest of aspects related to culture in our rich country. We, as musicians need to be responsible and promote them.

Bangladeshi world renowned urban baul Anusheh Anadil has led a successful crusade to promote baul philosophy, music and musicians. Has she inspired you?

During the six years of my artistic association with her, Anusheh has come a long way. She has been able to promote the bauls in Bangladesh and India. People are waking up to the baul philosophy. Plus, Anusheh has grown commendably as a performer, a singer and thinker. There is so much to learn from her. Anusheh seems to have grown spiritually. Her thoughts on life and death are tremendous and they ruffle her peers and fans in the virtual world.

I bet. She has grown spiritually. People are sure realising it. Actually, Anusheh has gained that sense of surrender which a musician is expected to cultivate — the sense of surrender to God is the essence of the baul philosophy.

Do you consciously design a fusion performance?

Yes, I believe in ‘designing’ a concert. It happens consciously. But I have a different approach to the idea of using raga music in fusion collaborations. I do not believe in making the hash of a raga.

Thanks to my initial training in vocal music and my extended learning under Pandit Ravi Shankar and Ustad Amjad Ali Khan, I have known the importance of respecting a raga. The two musicians treat the ragas in a sacred way. I have learnt a lot from Anoushka (Shankar) in this respect.

There are musicians like Ratul Shanker, Gokul Das and Sanjeev Shankar who help me realise my musical dreams. And, when you intend to treat a raga respectfully, ‘designing’ a performance, or planning it is the only thing that helps.

Recently, my title track for a Bengali soap won an award. It is set in raga Puriyadhanashree. Incidentally, Anusheh has sung it. Initially, when I was working on the track, people at concerned media house rejected it saying it was too ‘traditional’. But viewers like it so much.

Djembe, darbooka and other instruments from Africa and the Middle East are becoming very popular with young aspiring percussionists in metros. Strangely, not many of them want to learn the tabla or mridangam basics. Will it get them anywhere?

No. People have to realise that until they learn they basics of Indian percussion music, they will not be able to do much in tap drumming (at least). Without the Math basics, one will not be able to produce more than casual thap thap sounds on the drum skin.

Why did the best drummers from across the world want to learn from the great Ustad Alla Rakha Khan and Vidwan Vikku Vinayakram? Why do the most terrific drummers flock around Zakir bhai for lessons? Trilok Gurtu, Taufiq Qureshi and Sivamani are the best examples of how traditional drumming basics can lead a dedicated percussionist to a resounding musical journey.

Sometime ago, one of my sons returned cribbing from school on how he was being teased by a bunch of friends for not learning the western drums but tabla. I got in touch with the friends and had a nice friendly conversation on music. Today, three of them are learning Indian drums. And today my son plays both western and Indian percussion instruments.

Today legend drummers like Pete Lockett and Mickey Hart play Indian beat cycles so beautifully. Also, people in my own generation have to think beyond the exhibitionist slapping of cheeks for the lack of an instrument and ideas at performances.

Friday, October 14, 2011

The Optophonic Lunaphone

By Culture Desk Writer, *Asia Triennial 1 Oct – 27 Nov 2011: More Highlights* - Manchester Confidential - Manchester, UK; Wednesday, October 5th, 2011

Asia Triennial 1 Oct – 27 Nov 2011: More Highlights

Coinciding with Manchester's sultry Indian summer comes a visual feast of Asian art from 13 countries from India to Mongolia via Pakistan, Korea and Turkey as the UK's only Asian art triennial opens with a flurry of performances and exhibition launches.

Here are just a few of the highlights:

One of 25 new commissions, Tasawar Bashir and Brian Duffy present Silsila, Sufi-inspired cosmic journey in sound based on the epic Sufi poem Conference of the Birds, sited in the new £3 million Discovery Centre at Jodrell Bank, home of the giant Lovell telescope.

Researching a wide range of wavelengths, an endless musical algorithm translates data sourced from stellar events such as cosmic background noise, star formation, pulsars, solar plasma, and light from galaxy clusters, and combines it with the voice of Nusrat Fateh Ali Khan, arguably the greatest qawwali singer of the modern era using The Optophonic Lunaphone, a device that changes starlight into music.

Created especially for the John Rylands Library by Indian artist N.S. Harsha, his fascinating series of 50 ‘thought’ garlands are made up of tiny heads based on people the artist has observed in his local library. By wearing the Thought Mala, Harsha wants to transform the John Rylands into a spiritual place full of ritual, as visitors borrow the garlands as they would a book - wearing them, handling them or simply contemplating them - as they explore the gothic splendour of the Library or work in the reading rooms.

He Hai and Deng Dafei from China collectively known as Utopia Group have been rolling a giant ball of wool around Manchester city centre culminating in a performance at Chinese Arts Centre for the launch. Working with local community groups to make the ball, they have rolled it through the streets of Manchester, dressed in fluffy suits to match and the results can be seen on film if you didn't catch them about and about this week.

Enkhbold Togmidshiirev is a performance artist from Mongolia who was raised in a nomadic family that has been breeding horses for generations. For his performances, Enkhbold uses his own scaled down, self-built version of a ger; the mobile circular living structure traditionally used by nomadic Mongolian families.

Hosted initially by Manchester Museum and then by Islington Mill, Enkhbold will move his ger from site to site using performance to reveal and reflect on his heritage, its culture and traditions contrasting with the very different urban backdrop of Manchester.

Examining the growth of the VISA industry in Istanbul, artists collective PiST transform Castlefield Gallery into an alternative VISA application and training centre for visitors to ATM11, replacing the obligatory language and cultural exams for emigration to the UK.

Cornerhouse has bagged the first UK public show of Rashid Rana, one of the most important artsists of his generation from Pakistan. Seemingly abstract works bear closer inspection as his famous mosaic style, using many tiny photo images, is often influenced by popular culture or in his latest work the backdrop is his home city of Lahore.

Adeela Suleman has created a beautiful new sculpture specifically for Manchester Cathedral. Recognised for her sculptures that appropriate household objects and the decorative crafts of her home city of Karachi, Drained (2011) alludes to the fact that matter, life and even faith, can slip away.

The work curves and glistens, capturing its viewers’ own reflections and leading their eyes into its centre. The unnerving disappearance of water as it spins down a drain is replicated by this circular maze with the work’s shape reminiscent of the circular mazes that pattern the floors of some Christian churches – inviting the congregation to slowly follow their patterns to the middle while meditating along the way.

Thursday, October 13, 2011

The Human Condition

By Sher Khan, *Arieb Azhar, a man of faith* - The Express Tribune * - Karachi, Pakistan; Tuesday, October 4, 2011

Lahore: “Arieb Azhar is the earthman because his music represents something that is pure and sincere,” says Bahrain expatriate Omar Qureshi, who is studying music in Pakistan.

“A sort of intoxication prevails every time I hear his unique voice. The depth in his voice creates an emotional bond between him and the listener.”

Azhar’s sublime musical abilities first made headlines with the success of his musical rendition of the spiritual poet Khwaja Ghulam Farid’s poem “Husne-Haqiqi” in “Coke Studio”.

When one hears Azhar, it is his voice which quickly grabs one’s attention, while his poetic knowledge helps explore and challenge listeners spiritually by connecting various cultures, thoughts and ideas onto one platform.

Azhar gave an acoustic performance to a select crowd of music aficionados and fans on October 2 at The Guitar School in Lahore. The night was marked by Azhar’s effort to explore diverse musical styles. His vocal versatility was also on display, as he sang in many languages including English, Urdu and Punjabi.

“Sufi poetry was written by ordinary human beings, but I feel that in our culture the status and sanctity of poetry discourages ordinary people from experiencing these verses,” states Azhar.

“The songs I sing are about the human condition, and I believe music from all parts of the world explores the same journey. To me, Bob Marley experienced Sufism.”

Azhar will be releasing two albums in the near future.

He has lent his voice to a Croatian experimental electronic album, which will be a slightly different from his signature folk and blues dominated music. The artist confesses that it had been a while since he has released an album, so, to compliment the electronic album, he is working on a second album that will maintain the singer’s signature style.

The singer will start recording in two weeks time.

During the concert, Azhar covered American singer Frank Sinatra’s “My Way”, and turned William Yeat’s poem into a musical composition.

One of the highlights of the night was his rendition of the Central-Europe Serbian-Croat song that was sung in an exotic gypsy language. The folk song is a farewell conversation between two lovers before they join the caravans and go in different directions.

The singer explains that he is an admirer of poetry, but does not consider himself a poet. Despite this, his delivery of poetry is very unique and original.

For example, during the introduction to his song, “Hum Charsi Bhangi Hain”, Azhar gave a well-versed and spiritual context to the poem, by explaining what the poem means to him and what he feels the poet is hinting at.

The versatility with which the band — consisting of rhythm guitarist, a flute and a table player — was able to explore different genres through indigenous instruments was interesting to witness.

Junoon frontman Salman Ahmad uses the same acoustic guitar aligned with the table technique during his own concerts. The combination, however, can have limitations when one attempts to play more Western oriented tracks.

Azhar, however, knows what sound he is trying to achieve and knows how the instruments can be coordinated accordingly. For instance, the classical Spanish guitar rifts complemented by a classical flute solo can bring mellow eastern folk sound, reminiscent of music from central Europe.

The Sufi singer remains optimistic about the potential of Pakistan’s music scene and considers his optimism as the driving force behind his music.

“It’s a strange fact that in oppression, art manages to flourish better,” comments Azhar. “Despite the political and social environment, Mississippi Blues and African music prospered. Even in Pakistan, many folk venues such as shrines have been affected, but I feel that art and music will manage to survive.”

Picture: Sufi singer Arieb Azhar believes music connects people all over the world. Photo: Waheed Khalid.

Wednesday, October 12, 2011

An Individual's Choice

By Lee Lawrence, *Anonymous No More* - The Wall Street Journal - New York, NY, USA; Tuesday, October 4, 2011

Anonymous No More: Master Painters of India

Not so long ago, a museum survey of Indian paintings pegged to individual artists would have been inconceivable. The accepted wisdom about so-called miniature painting held that it was the product of anonymous workshop craftsmen churning out images conforming to the inherited norms and prevailing tastes of their court or patron.

But at a lecture series at the Freer Gallery of Art in the mid-1990s, scholars talked about finding names of artists in minute inscriptions in the paintings, as well as clues from archival materials about their family ties and movements from court to court. From behind each miniature there began to emerge the shadowy image of an individual.

The audience of art historians was visibly astonished, and in subsequent exhibitions curators began to include some names in labels and to change the language in wall texts, increasingly referring to "artists creating" rather than paintings simply exemplifying a style or period.

What makes "Wonder of the Age: Master Painters of India 1100-1900" so important is that it pushes this trend further by explicitly proclaiming that individuals with distinctive artistic voices shaped Indian painting and by naming 40 of them.

The idea of embodying this revisionist view in a survey from the era of palm-leaf manuscript to the age of photography came from three eminent scholars of Indian art: B.N. Goswamy of Punjab University in Chandigarh, India, and Eberhard Fischer, director of the Museum Rietberg in Zurich, Switzerland, from 1973 to 1998 —together they identified different hands at work in paintings from Himalayan kingdoms— as well as Milo C. Beach, director of the Smithsonian's Freer and Sackler galleries in Washington from 1988 to 2001, much of whose research has focused on Mughal ateliers and artists. Curators from the Rietberg and the Metropolitan Museum of Art, Jorrit Britschgi and John Guy, then implemented their idea.

The show, which features some 190 works, is divided into six chronological sections, such as "Early Hindu-Sultanate Painting, 1500-1575," and "The Golden Age of Mughal Painting, 1575-1650." Within each section paintings are grouped by artist, about two-thirds of whom are named, the rest designated by title based on the style or subject of their work.

This alone is powerful. No longer do works grow out of a workshop; they reflect an individual's choice, even if there is no record of his name.

Take the murder scene from a Persian epic, "Shahnama," by the 15th-century artist whom art historians now call the Master of the Jainesque Shahnama. He combined what he had learned from Indian teachers —red ground, exuberant patterning, diaphanous woman's garment— with elements selected from Persian models, such as the shape of the soldiers' helmets and a narrow green band suggesting foreground space.

And artists took liberties with their sources. Farrukh Beg, who began painting for Mughal emperors in the 1580s, modeled the composition and structure of his 1615 portrait of a Sufi sage on a 16th-century Dutch depiction of the allegorical figure of Sorrow. The two images share the figure's slumped posture, a kitten lapping spilt milk and a dog curled at the man's feet. But while the Dutch master shows Sorrow with his back to a village, Beg paints a fanciful tree leaning in over the Sufi, the concentric patterns of its multicolored leaves recalling the whirling of dervishes.

The variety of works is immediately apparent. Across from Beg's Sufi, your eye catches a page of jewel-like decoration along with two engaging nature studies by Mansur, whom Emperor Jahangir named Nadir al-Asr, or Wonder of the Age. In the gallery featuring works from 1650 to 1730, the range is even greater: images of Hindu gods floating against red and ochre backgrounds, nearly monochromatic Rajput court scenes and dynamic elephant fights.

The variety within families of painters is similarly striking. Nainsukh and Manaku, for example, both learned from their father, yet the writhing snakes and brightly colored rocks in Manaku's "South wind cools in the Himalayas" from 1730 are as fantastical as Nainsukh's 1735-40 "A Troupe of Trumpeters" is realistic. Striding in from the right, the musicians puff their cheeks as they blow into their instruments. The long horns splay across the page —you can almost hear them blaring.

This explosion of creativity continues until the story comes to an abrupt end with the introduction of photography in the late 1800s. Another pair of brothers, Shivalal and Mohanlal; another set of responses. The former rivals the camera with panoramic paintings, the latter turns photographer.

True to its message, the show ends with photographs of both artists, displayed across the room from a case containing pigments, brushes and papermaking tools. There is a slight irony in that this affirmation of individuality comes at a time when scholars of European art have called into question the notion of artist as genius. Still, given the anonymity and passivity assigned to Indian artists in the past, when curator John Guy quietly suggests that his show will change the way people think about Indian painting, one can't help but hope he's right.

Ms. Lawrence is a writer based in Brooklyn, N.Y.

Wonder of the Age:
Master Painters
Of India, 1100-1900

Metropolitan Museum of Art

Through January 8, 2012

Picture: Beg's 'A Sufi sage, after the European personification of melancholia, Dolor' (1615). Photo: MET.

Tuesday, October 11, 2011

Teachings for the Modern World

Ibn 'Arabi & Rumi: Teachings for the Modern World

Friday and Saturday, November 4 & 5, 2011

A Conference and Concert

A Rare New York Open Center & Ibn Arabi Society Conference

The the Middle East Institute and the Institute of African Studies
at Columbia University

For details and registration, please visit the Open Center .
or call the Open Center at 212-219-2527, ext 2

New York: A conference presented at Columbia University. It will include international scholars, from the U.S., Europe and the Middle East, on the works of mystics, Muhyiddin Ibn ’Arabi (Arabic) and Jalaluddin Rumi (Persian).

The program will include lectures, workshops, a panel discussion, and poetry readings in the original languages of Arabic and Persian and their English translation.

Speakers will include James W. Morris, Fatemeh Keshavarz, Michael Sells, Stephen Hirtenstein, Mahmud Kilic, Nargis Virani, and more, plus a special performance by renowned Turkish musician Omar Faruk Tekbilek.

The evening concert (a separate event) will include performances by leading American poet – Coleman Barks, Grammy Award winner, David Darling, rock star - Salman Ahmad , and whirling Dervish, Sakina.

This will be a unique and significant event.

Interview on WBAI 99.5 FM Radio with conference presenters Open Center Show.

Interview on WBAI 99.5 FM Radio with Fatemeh Keshavarz with Dr. Ali Majid

Conference Website

Conference Facebook

Monday, October 10, 2011

The Impact of Sufism

By Amy M, *Connecticut College to host symposium on Islam Oct. 13-14* - Zip 06 - New London, CT, USA; Wednesday, October 7, 2011

“Sufism as a Mediating Force in South Asia”: Connecticut College to host symposium on Islam: October 13-14

New London: Connecticut College and the American Institute for Sri Lankan Studies will bring together religion, anthropology and history experts from across the country to discuss the impact of Sufism — an ascetic, mystical dimension of Islam — on other forms of Islam.

The two-day symposium, “Sufism as a Mediating Force in South Asia,” will take place on Thursday, October 13, and Friday, October 14. All events are free and open to the public and will take place in the Ernst Common Room of the college’s Blaustein Humanities Center.

Event co-organizer Sufia Uddin, associate professor of religious studies at Connecticut College, said: “This symposium is a rare opportunity for students and members of our community to learn more about Islam and the connections it has with other religions from a group of pre-eminent scholars engaged in research and publications on Sufi Islam in South Asia.”

The scholars, Uddin said, are recognized for their contributions to areas including the study of religious boundary making, the history of Sufi Islam and contemporary practices.

Vasudha Narayanan, professor of religion at the University of Florida and past president of the American Academy of Religion, will deliver the plenary lecture on Thursday, October 13, at 7 p.m.

Charlie Hallisey, the Yehan Numata Senior Lecturer on Buddhist Literatures at Harvard University and president of the American Institute of Sri Lankan Studies, will give the opening remarks.

On Friday, October 14, there will be two sessions in which scholars will cover both historical and contemporary perspectives of this topic.

The morning panel (9 a.m. – noon) will explore the past in order to provide the necessary context for understanding the dynamic role of Sufism in contemporary South Asia.

The afternoon panel (2 - 5 p.m.) will consist of ethnographic studies of Sufism and focus on themes such as the careers of individual charismatic figures who advocate a tolerant and liberal form of Islam; the role of Sufi shrines in providing a venue for interaction among Hindus, Buddhists, Muslims and Christians; and the role of Sufi teachings informing a global vision of liberal Islam that focuses more on practice than doctrine.

“Those interested in learning more about Islam and communal interaction in South Asia or globalization and Islam should come to this symposium,” Uddin said.

Major funding for the symposium is provided by the Council of American Overseas Research Centers (CAORC) through a grant from the Carnegie Corporation of New York.

For more information, visit Connecticut College.

Sunday, October 09, 2011

Spiritual Joyousness

By Maha El-Sanosi *Sufi Orders and Practices in Sudan* - Islam Online - Doha, Qatar; Sunday, October 2, 2011

Sufi Orders and Practices in Sudan: At The Heart of Sufism (Part 1)

There’s a common belief in Sudan, “If a family does not have at least one Sufi member, it’s not Sudanese.” This may indubitably be the case, granted that Sudan has more Sufi Muslims than any other country in the world, and the number is expanding.

Sufism is noticeably entrenched in the Sudanese community, and many think of it as a way of life.

‘Zikir’ (exercises of remembrance) and ‘madih nabawi’ (poems in praise of the Prophet) are often heard on the streets, in public buses and taxis, in shops and restaurants, and on local radio stations and television channels.

‘Zikir’ and other Sufi practices form part of the weekly Sufi rituals which bring together Sufis from all walks of life, regardless of class and other differences.

Although these rituals are at times lengthy and strenuous, many engage in them with the belief that it is the ultimate form of spiritual worship, which will lead them to draw closer to God and to more fully embrace His divine presence in their lives.

The Emergence of Sufism in Sudan

Many historic accounts suggest that Islam made its impact in Sudan through the activity of Sufi orders. The orders first came to Sudan in the 16th century, and began to expand and take root two centuries later.

There are as many as a dozen Sufi orders in Sudan. While some are restricted to Sudan, others are widespread in Africa and the Middle East. Several orders are derivatives of older orders, and were established by men who made major or minor alterations to the practices of the orders to which they had formerly been linked.

Sufi orders reached all parts of Sudan until, according to some commentators, they reached about five main orders and several secondary ones. The most common ones are al-Qadiriyya with its multiple branches, al-Samaniyya, al-Shazaliyya, al-Tijaniyya, al-Mirghaniyya (al-Khatmiyya), al-Mikashfiyya, al-Majzoubiyya, al-Burhaniyya, al-Idrisiyya-al-Ahmadiya, al-Rashidiyya, al-Ismailiyya, al-Mahdiyya (al-Ansar) and the Naqshbandiyya.

Sufi Orders in Sudan

1) Al-Qadiriyya Order: Al-Qadiriyya is the most widespread and popular order in Sudan. It was founded by Abdelqadir al-Jilani in Baghdad, in the 12th century and was introduced to Sudan by sheikh Tajeldin al-Buhari at the beginning of the Funj state (a loose confederation of sultanates and dependent tribal chieftaincies drawn together under the suzerainty of the Kingdom of in southern Nubia in 1504).

2) Al-Samaniyya Order: A branch of the al-Qadiriyya order, the al-Samaniyya order was founded by sheikh al-Samani who is now buried in Medina. The order emerged in Sudan during the early decades of the Funj state via al-Sayed Ahmed al-Tayeb Wad al-Bashir.

3) Al-Shazaliyya Order: Founded by Imam Abu Hassan al-Shazali, the teachings of al-Shazaliyya order spread in Sudan before the reign of the Funj state, through Sheikh Khojali Abdelrahman.

4) Al-Tijaniyya Order: This order was established by Sheikh Ahmed al-Tijani in Morocco. It eventually penetrated Sudan in the mid-19th century via the western Sahel. It reached Northern Sudan, particularly the city of Berber, by the end of the Turkish reign through Sheikh Ahmed Mukhtar. It also spread in Darfur, west of Sudan.

5) Al-Mirghaniyya Order: Also referred to as al-Khatmiyya, the al-Mirghaniyya order is derived from both the Naqshbandiyya and the al-Shazaliyya orders. It was established in the early 19th century by Mohamed Othman al-Mirghani and settled in Sudan by the end of the Funj state’s reign through al-Sayed Ali Mirghani.

The order originates from Sheikh Ahmed Bin Idris, a religious teacher in Mecca who sent his student Mirghani to Sudan to spread the teachings of Islam. This order was well-received by political parties in Sudan and played a major role in the political history of the country.

The Sheikh, the Massiad and the Khalwa

In Sufism, a sheikh, a master or a ‘wali-Allah’ is believed to be divinely-guided and incapable of sin. An early Sufi sheikh, named Abu Yazid Al Bistami, is frequently quoted as saying, “He who has no sheikh, his sheikh is shaytan (the devil)”.

This is a common belief among Sufis who condemn and harshly criticize self-proclaimed Sufis who do not belong to a specific order and do not follow a particular sheikh. No different from Sufis of other nationalities, Sudanese Sufis believe the sheikh acts as an intermediary between them and God.

The ‘massiad’, (the home of the sheikh of the order), and the ‘khalwa’ (which translates to solitude) where the Quran is memorized and the secrets of the order are learned, are the centers of the order.

Each order has its own hierarchy with the sheikh at the top of the pyramid, usually followed by his successors.

At the ‘khalwa’, the elite of dervishes or ‘hairan’ (followers) completely devote themselves to the order, and isolate themselves from the outside world for the sake of learning the secrets of the order, under the guidance of their sheikh.

Sufi Rituals and Celebrations

Zikir (remembrance) represents the essence of Sufi practices. Some historic accounts suggest that Sudanese Sufi orders introduced distinctive African elements (that are not present in other Sufi countries) into zikir rituals of Sudan.

The ‘zikir’ exercises include reciting prayers and passages of the Quran and repeating the names or attributes of God while performing physical movements.

Each order’s ‘zikir’ varies from the other according to the modus operandi established by the founder. Singing and dancing are also incorporated, and the outcome of an exercise, which may extend to hours, is often a state of ecstatic abandon.

Sufi rituals of the al-Samaniyya order, one of the largest orders in Sudan, are performed for hours every Friday.

The al-Samaniyya followers meet during Friday prayers, all of them dressed in white ‘jellabiyas’ (traditional male garments) with leather belts across their chests, denoting their dedication to the order.

The ritual, held at the al-Samaniyya mosque and led by sheikh Mohamed al-Tayeb, marks the presence of dozens of male followers lined up in a highly organized fashion, chanting the words ‘la ilaha illa Allah’ (there is no god but Allah) while the women join in upstairs.

While some Sudanese people choose to gain religious zeal through the al-Samaniyya order’s somewhat orthodox ‘zikir’ practices, others tend to lean towards non-traditional Sufi rituals that, on the surface, may seem more fun, entertaining and appealing.

The Hamad al-Neel cemetery —a vast, dun-colored cemetery in Omdurman— is the headquarters of the al-Qadiriya order in Sudan and was founded by sheikh Hamad al-Neel, who is buried at a nearby mosque. The expanse serves as an attraction for tourists and photographers due to the nature of the order’s rituals, which combine African heritage, dance, music and colorful attire.

On Friday at 5 pm, the cemetery fills up with people of all ages, ethnicities and walks of life who come to be a part of the rituals, while tea sellers and pamphlet vendors surround the area around the tomb site.

The dervishes are dressed in red and green, patchwork, leopard-prints or flowing white ‘jellabiyas’ and ‘immas’ (turbans). Some sport dreadlocks, amulets and talismans, and others don on colorful hats and enormous strings of prayer beads.

Standing barefoot above the sand and under the heat of a sizzling sun, a few men pick up the rhythm on their ‘tambours’ (drums) and chant ‘zikr’ melodically while the crowd swells palpably, grooving to the rhythm.

A fragrance of rich and distinctive frankincense fills up the atmosphere.

As they sing harmoniously, the dervishes build up into a ritual frenzy and other followers crouch, bob and pump their arms in synchronization with the chants. Some spin in trances, some freestyle and some dance side-by-side in large circles.

As sundown approaches, the dervishes reach a final sustained and jubilant tempo then stop for prayers. Lying flat on the ground in a reverie-like state, some of them embrace what they refer to as spiritual ecstasy.

Remembering the Prophet (PBUH)—the Sufi way

One of the largest gatherings in Sudan is the annual celebration of ‘al-Mawlid al-Nabawi’ (the Prophet’s birthday).

Celebrated by Muslim countries around the world and marked as an official holiday in many of them, the ‘Mawlid’ in Sudan is commemorated in a festive ambience and involves ‘zikir’, ‘madih’, drumming sessions and other forms of performances.

The open-air venues are decorated with lights, floors are furnished with prayer rugs and Sufi flags are positioned all around the area.

From children who enjoy the assorted sweets and candy in the shapes of brides and knights in horses, to adults who sip sweet tea and engage in the Sufi ceremonials, to travelers, tourists and photographers who attend to experience the local religious carnival, the ‘Mawlid’ is attended by people from all ages, orders and ethnicities.

The ‘Mawlid’ even welcomes non-Sufis, who are often present in large numbers. The richer members of the community donate food, and the less fortunate mingle with the rest, enjoy free meals, juice and tea, and join in the chants.

While each Sufi order has its own distinct style, all are, to an extent, similar in terms of their impeccable hospitality, generosity and provoking a mood of spiritual joyousness among the masses.

Saturday, October 08, 2011

A Simple and Spiritual Life

By Essam Harrira, *Sufism and Reform (A Conf. Review)* - On Islam - ; Sunday, October 2, 2011

A galaxy of 300 renowned Muslim scholars, mostly Sufis, intellectuals, and community leaders from more than 35 countries from around the world gathered in Cairo in September 24 to 26 in order to discuss the Sufi contributions to reform.

The 3-day conference, which entitled “Sufism: An Authentic Way of Reform”, was held under the auspices of Dr. Ahmad At-Tayyeb, the Grand Imam of Al-Azhar and organized by Al-`Ashirah Al-Muhammadeyah, one of the Egypt’s leading Sufi bodies.

What Is Sufism?

To many people, the concept of Sufism is unclear and even distorted.

“Originally, Sufism ('Tasawwuf' in Arabic) started as an Islamic branch of knowledge that focused on spirituality and dedication to Allah.

Some Sufis say that Sufism derived its name from a group of Companions of Prophet Muhammad (peace and blessings be upon him) who were called “As-hab As-Suffah”. This was a group of poor Companions who were always in the Prophet’s mosque. So, they had a rough life, but very spiritual and very dedicated.

Abu Hurayrah, the famous Companion and narrator of Hadith, was one of them.

Sufis, according to this definition, also derived from a group of pious scholars, who used to wear rough wool (Souf), such as `Abdul-Qader Al-Jilani and Bishr Al-Hafi.

These scholars were not traditional faqihs, but rather a group of dedicated preachers who always reminded their followers of Allah and the hereafter and left a memory of a simple and spiritual life.

“Sufism, afterwards, evolved into an educational method, where students (called Mureedun, pl. of Mureed, i.e., a seeker) follow a certain teacher (Sheikh).

The Sheikh used to train those students according to a certain educational method, called Tariqah i.e., a way or method. The goal of this training was to attain a certain level of spirituality by mentioning Allah or one of his names a certain number of times, fasting for certain number of days, praying at night, reading specific chapters of the Qur'an a number of times, etc.

Before a student could join a Sheikh, he had to give an oath to obey the Sheikh and maintain a very high level of brotherhood between him and the rest of the students who follow the same Sheikh.

“Over the centuries, the Sufi Sheikhs started to form specific organized groups called Turuq Sufiyah based on the methods they used for spiritual education and on the loyal students. These groups, historically, contributed a great deal to the Islamic reform movements and Jihad against invading forces (examples: Al-Mahdiyun in Africa and Al-Murabitun in Andalusia, etc).”[1]

Urgent Need for Reform

Throughout the conference 10 sessions, more than 70 papers were presented covering the following main topics:

1. The urgent need for reform in the Arab and Muslim societies

2. Sufism as an authentic way of reform

3. The problems of Sufism and reform

4. Sufism and possibilities of reform

5. Models of Sufi reformers in past and present

Convening scholars and researchers emphasized that the Arab and Muslim world is in bad need of real and comprehensive reform to rescue both individuals and societies from the prevailing corruption.

Sufism, according to the gathering scholars, was and is still an authentic way of reform. It could reform both individuals and societies.

Moreover, they discussed major problems and obstacles that face Sufism as a way of reform and how the Sufis, either leaders or followers, can overcome such challenges.

Sufi Models

To practically prove Sufi contributions to reform throughout centuries, participants highlighted the efforts of eminent models of Sufi reformers from among the Companions of the Prophet (may Allah be pleased with them all), particularly Ahlus-Suffah, the early Muslims (as-Salaf as-Salih) such as Ibrahim ibn Adham, Hatim Al-Assam, Al-`Ezz ibn `Abdus-Salam, Imam Ash-Sha`rani, and `Abdul-Qader Al-Jilani, and contemporary figures such as Sheikh Muhammad Zaki Ibrahim, founder of Al-`Ashirah Al-Muhammadeyah, Sheikh Mahmud Khattab As-Subki, founder of Al-Jam`yah Ash-Shar`yah, Sheikh Hassan Al-Banna, founder of the Muslim Brotherhood, etc.

They also introduced good examples of Sufi rulers and leaders such as Saladin (Salahuddin Al-Ayyubi).

International Union for Sufis

In the conference recommendations, the participants called for the establishment of an international union that gathers all Sufi scholars and sects. They, moreover, proposed a launch of a TV channel to focus on moral and spiritual enhancement and to encounter violence and extremism.

The conference, moreover, urged Arab and Muslim countries as well as the world organizations to support the Palestinian people in establishing their independent state with its capital “A-Quds”. Arab rulers were also asked to take quick practical steps in reforming their regimes and polices.

[1] Dr. Jasser Auda, On Islam, “Sufism and Wahhabism”, October 2, 2011.

Friday, October 07, 2011

Diane Cilento passed away yesterday; may she rest in peace. See Sufi News,October 30, 2006: Interview with Diane Cilento.

Let Us Grow Roses

By TH Special Correspondent, *Let us get rid of the border: Burney* - The Hindu - India; Friday, September 30, 2011

Burney pleads for release of Pakistani virologist Dr. Chishty from Ajmer jail

Jaipur: Pakistan's human rights crusader Ansar Burney has asked both India and Pakistan to stop exchanging bodies, and consider sending people alive back home.

“The real goodwill would be in exchanging people live and not their dead bodies,” Mr. Burney, who visited the mausoleum of Sufi Saint Khwaja Moinuddin Chisti in Ajmer on Thursday, said.

The activist-lawyer, instrumental in creating a lot of goodwill between India and Pakistan in the past few years, could not meet Pakistani virologist Khaleel Chishty who is in Ajmer jail after a court sentenced him for life this January, though the main purpose of his visit this time appeared to be that.

“It is time that Pakistan and India do away with the borders dividing both the nations,” Mr. Burney told journalists at Ajmer Dargah.

“They should learn from the experience of the European Union countries and allow visa-free entry for their citizens,” Mr. Burney said. The nations in EU too were fighting detrimental battles in the past but now they co-exist in peace, he noted.

“Why don't we have a South Asia Union through which all the nations could exist in peace and prosper,” he asked. “Let us get rid of the border and grow roses there as mark of love and affection for each,” he suggested.

Mr. Burney's grand parents were from India (Bulandshahar, Uttar Pradesh). “For me, both the countries are important and I want peace between the two,” he said.

Ajmer-based Salman Chishty, who accompanied Mr. Burney in the Dargah, said the latter prayed for “peace and harmony” between the two countries.

“People are suffering on both the sides of the border; be it terrorism, human rights violation or other types of deprivation and misery. The present situation has to change,” Mr. Salman Chishty said quoting the Pakistani lawyer.

Mr. Burney, who echoed the sentiments of human rights activists in India over the release of 78-year-old Dr. Chishty — now a wreck with many ailments —appealed to the authorities here to facilitate his early release.

“If Dr. Chishty is sent back to Karachi to his ailing wife who has turned deaf as well, it would generate more goodwill between the two nations than any other major political or diplomatic move,” he suggested.

“In Pakistan, the impression is that Indian media has been very supportive to the cause of Dr. Chishty,” he said.

Mr. Burney felt that Dr. Chishty was being singled out for the kind of treatment being meted out to him when others involved in the case, including the co-convicts in the murder which had taken place some 19 years back, were out on bail.

He said the cases of Sarabjeet Singh and Dr. Chishty were different as the latter did not have any terrorism charges against him.

“Both cases cannot be compared. However, on my part, I am against death penalty,” Mr. Burney said.

Asked about the repatriation of Dawood Ibrahim, he said that if there were charges of terror acts against him he should be handed over to India. However, Mr. Burney added that he did not want to politicise issues. “I am a human rights activist. I don't want to do politics,” he asserted.

Mr. Burney, who later boarded a plane to Mumbai from Jaipur, told Kavita Srivastava, general secretary of the People's Union for Civil Liberties (PUCL) Rajasthan that he intended to seek an appointment with Rajasthan Governor Shivraj Patil.

“He has taken visas for Delhi, Jaipur, Ajmer, Mumbai and Chandigarh and plans to meet the Governor in Chandigarh,” Ms. Srivastava said. However, while in Jaipur, his thrust was on Rajasthan Chief Minister Ashok Gehlot pushing the case to its logical conclusion as the latter had cleared Dr. Chishty's clemency petition back in June,” she informed.

Picture: Pakistani human rights activist Ansar Burney paying a visit to the shrine of Khwaja Moinuddin Chishti in Ajmer on Thursday. Photo: PTI.

Thursday, October 06, 2011

Deep Roots

By TNI Correspondent, *South Asian network to fight extremism suggested* - The News International - Karachi, Pakistan; Friday, September 30, 2011

Karachi: Bangladeshi civil society activist and scholar Shahriar Kabir on Thursday underlined the need for an effective network of secular civil society forces at the South Asian level to counter the strong presence of religious extremism in the region.

Kabir, who is a senior journalist and a documentary filmmaker, was delivering a talk on “The Rise of Religious Extremism and Militancy in South Asia” organised by the Pakistan Institute of Labour Education and Research (PILER) at the PILER Centre.

A documentary titled, “Portrait of Jihad” prepared by Kabir and produced by the South Asian People’s Union Against Fundamentalism and Communalism covering the rise of Islamic militancy in Bangladesh, was also screened on the occasion.

“Most of the countries in South Asia are directly affected by religious extremism and militancy. Only secular elements can counter such forces,”

he opined, adding that a strong civil society was important to support the state to crush militancy.

He cited the recent ruling by the Supreme Court of Bangladesh that ordered to restore the secular provisions in the country’s constitution. Calling it a huge success, he said that this would pave the way for reclaiming the lost space from those espousing a violent brand of religion for the Bangladesh state.

“Sufism can also play an important role in countering Islamic militancy and creating a peaceful and harmonious atmosphere because Sufism has deep roots in the society of the Sub-Continent.

In fact, the spread of Islam in the region came through Sufism. Violent extremism never succeeded in spreading Islam at any point in time”.


He emphasised that militancy was a political issue and there was need for a strong political will and committed leadership to crush terrorism in the region.

“We can’t expect the people to rise up against militancy on their own. They need a strong leadership to lead this struggle. Thousands of people joined Anna Hazare’s movement in India because he took a stand on people’s issues.

A majority of the population of the region was anti-fundamentalism and anti-violence, he contended. Whenever given an opportunity, they have expressed their support for democratic forces and a secular and progressive political system.

In the recent elections in Bangladesh, there were 15 million new registered voters, mostly youth. A majority of them voted for the secular political forces now in power.”


He suggested holding a regional conference on Sufism in Pakistan. No single government can uproot religious extremism from the region. Everybody should be united to end religious militancy.

Kabir, who threw light on the causes of emergence of Islamic militancy in Bangladesh, as well as in the South Asian region, observed that the first constitution adopted by Bangladesh post-independence was secular in nature.

Militancy only increased after the assassination of Shaikh Mujeebur Rahman and it was later promoted by the regime of military dictator Ziaur Rehman that changed the secular provisions in the Constitution and declared Islam as state religion.

The Bangladesh Nationalist Party (BNP)-led alliance’s government by former Prime Minister Khalida Zia promoted the Jihadi elements in the country, since the major political party of the ruling alliance was Jamaat-e-Islami.

He said that in Bangladesh some elements in the government supported the militants.

The present Awami League government had arrested the chiefs of the secret agencies and their trial was underway, he added. “The secular nature of the Bangladesh Constitution has been restored and the government has introduced many reforms.”

Kabir said that the present government had introduced a new education policy under which it had initiated a uniform curriculum for all private and public Madressahs.

“All the Islamic religious schools (Madressahs) have been asked to follow a single curriculum.”

He said due to poverty, people are sending their children to Madressahs because these religious schools offered free education along with free food and residential facilities.

“Same is the case with Madressahs in Pakistan where a large majority of private Madrassahs get funding from the Middle East countries that seek to impose their brand of Islam in the region through these schools.

For encouraging a progressive education system the government must allocate more funds for the sector, while the budget for military expenditure needs to be rationalised.”


Kabir claimed that militancy in Pakistan increased after the 1971 war because the responsible generals of the military operation in East Pakistan got immunity from punishment for the genocide that they carried out in the former East Pakistan. They were given key positions in the post-1971 Pakistan that encouraged them to exploit Afghanistan as another battleground with the US support in the 80s.

Earlier, Sharafat Ali of PILER welcomed the guest and presented a brief introduction of the visiting. A large number of members of trade unions and peace activists attended the session.

[Picture: Pakistan Institute of Labour Education and Research (PILER) Centre. Photo: PILER.]

Wednesday, October 05, 2011

A Sufi Tradition

By Vit Wagner, *Mississauga mosque to offer free hot meals* - The Star - Toronto, Canada; Wednesday, September 28, 2011

A Mississauga mosque is out to prove that there is a free lunch —and dinner too.

Heeding the Qur’anic instruction to assist the needy, Jamia Riyadhul Jannah mosque will start offering free meals, seven days a week from noon to 7 p.m., starting Friday.

The Sunni/Sufi mosque, located in an industrial park near Credit View and Argentia Rds., is the first North American mosque to provide hot meals to all regardless of faith, organizers claim. The halal menu will vary daily, with the entrees ranging from burgers to pasta and other items.

“We follow a Sufi tradition. And if you look at the tradition of the Sufis, they have been quite strong on helping people, including feeding the poor and needy. This falls exactly in that tradition,” said imam Syed Soharwardy.

Community outreach was a founding principle of the mosque when it opened last August, Sohawardy said. Future plans include providing temporary shelter for recent immigrants.

“We don’t want it to just be a traditional place of worship,” he said. “That is one aspect. But we also want to make it a community centre and a place for interfaith dialogue. It is not just a place for Sufi Muslims. It is a place for all Canadians”.

The mosque has been putting the word out with flyers distributed through food banks and other community services.

Board member Imran Inamdar [pictured] concedes he doesn’t know how long it will take for the concept to catch on. He points to the success of Knights Table, a program founded by the Catholic Knights of Columbus that has operated for 20 years in nearby Brampton and provides 150 meals daily to people regardless of background.

“It will take about a month for people to get to know about this,” Inamdar said.

Initially, the food will be brought in, kept warm on site and be served in a small 18-square-metre dining room. But the mosque is equipped with a kitchen and additional dining space, leaving room for expansion.

Tuesday, October 04, 2011

Growing

By Bhavya Dore, *Mumbai to host its first convention on comic books* - Hindustan Times - New Delhi, India; Monday, September 26, 2011

Mumbai: The city will host its first comic convention this October. The two-day comic-intensive affair, featuring publishers, authors, and artists, will be open to the public for free.

Comic Con Express, a travelling version of the first Comic Con or comic convention held in Delhi earlier this year, will be organised in Mumbai on October 22 and 23.

Ten new books will be launched at the event including 1951 - a series of autobiographical sketches by Mario Miranda, 40 Sufi Comics and an adapted graphic novel version of Rudyard Kipling's Jungle Book.

"There has been no common platform for comic book lovers so far," said Jatin Vora, 27, founder of Comic Con. "As a business, comics still have some way to go. But a lot more variety is available now and many more people are liking it."

The convention will feature stalls exhibiting, promoting and selling comics, workshops and interactive sessions with authors and artists and film previews.

The comic book culture in India, still in its nascent stage, is taking off. "It has definitely progressed," said Akshay Dhar, who will release his book, Retrograde Novel, at the convention.

"People are setting up publishing houses and the number of people reading comics other than Amar Chitra Katha is growing."

[Picture: 40 Sufi Comics by Arif & Ali. Photo: Vakil.org.]

Monday, October 03, 2011

Moderate Approach

By SIS Reporter, *Azhar Grand Imam urges Islamic scholars to translate real meaning of Sufism to serve religion* - Egypt State Information Service - Sunday, 25 September 2011

Azhar Grand Imam urges Islamic scholars to translate real meaning of Sufism to serve religion

The Grand Imam of Al Azhar Sheikh Ahmed Al-Tayyeb urged Islamic scholars to have mutual cooperation with each other and translate the real meaning of Sufism to serve religion and to take advantage of Al-Azhar moderate approach.

He urged them to steer away from sectarian and political disputes to cope up with the current international challenges that face the Islamic nation.

The remarks were made in his address to the First World Conference of Sufism, which began its proceedings on 24/9/2011 under the rubric "authentic approach to reform".

The statement was delivered on his behalf by Dr. Hassan Al Shafie the Secretary General of the Conference.

Al-Tayyeb asserted that true Sufism is a humanitarian necessity. It calls for charity and work and struggle to serve humanity away from any sectarian disputes or partisan one and seeks to build an Islamic civilization under Islamic law and establish jihad in the way of Allah to liberate Muslim land that was usurped and not for aggression on anyone.

Sunday, October 02, 2011

Delivering Allah's Message

By Prabalika M. Borah, *Message delivered* - The Hindu - Chennai, India - Sunday, September 25, 2011

Sufi singer Fareed Ayaz loves his paan as much as he loves singing to deliver uparwala's message

Talking to Pakistani sufi singer and qawwal Fareed Ayaz is like sitting through an interesting class in music, general knowledge and a bit of math.

At an informal gathering in Lamakaan discussing music, Fareed takes turns to question the audience and test their general knowledge. His intention in doing so is “to explain what I am discussing better. I have a good command in various languages. But some things are best explained with examples,” says Fareed.

Ustad Ghulam Fariduddin Ayaz Al-Hussaini Qawwal better known as Fareed Ayaz is a Pakistani Qawwal but has his roots in apna Hyderabad.

“I was born in 1952 and in 1956 we shifted to Karachi. Since then I have been living there and visiting the city/country when I am invited to perform. In a way my music brings me back here,” he says.

Belonging to the Qawwal Bachchon Ka Gharana of Delhi, Fareed stresses that people take support of gharanas in the wrong way these days.

“Gharana is not a person or the famous person under whom you have been tutoring. Gharana is a school of thought. I don't feel the need to flaunt my gharana because I believe in my music and I have absolutely no ghalat feimi about myself and my performance. That's because as a child I was told by my father and guru, ‘leave music for one day, music will leave you for a month.'

Those who lack confidence in their work take the support of gharanas. I was awarded the title of ‘Pride of Performance' in Pakistan. At the award function I said, ‘my audience bestows me with this title at every performance, this title for me is a piece of gold,'”

Fareed explains as he sips chai. Dressed in his signature simple kurta and pyjama with a teliya rumal hanging from his neck and Fareed's stone studded sindhi topi, the singer also says, “while we are performing we are doing nothing but delivering Allah's message to the listeners. Qawwali or sufi music should be able to touch senses in a human being. Only then the singers know what they are singing,” he stresses and says he believes there is no language to Sufi music —“hain toh bas message.”

A heavy paan [betel leaf] chewer, on being asked how many paans he chews on an average, Fareed says, “A few years ago it was 150-200 a day. Now I don't count. Maybe this will give everyone a rough idea —‘I am awake for 12 hours but chew paan for 24 hours. How? When I sleep I nudge my wife, she understands, wakes from her sleep, makes my paan and nudges me back, then I understand and simply open my mouth, once the paan is in I fall back to sleep',” he laughs.

Along with his music and clothes, Fareed travels with his paan, because according to him God has only promised us food “uparwala Karachi paan ka wada toh nahin kiya, so I carry them with me.”

Saturday, October 01, 2011

The Intangible

By Nishaa Ishtiak, *Ta’wiz: an age-old delusion or science? * - The Express Tribune - Karachi, Pakistan; Saturday, September 24, 2011

Ta’wiz: an age-old delusion or science?

One man stood before 50 people on Thursday, in an attempt to prove to them that ta’wiz is a science.

It is not an offshoot of Sufism, insisted Asim Maharvi Chishti of the Chishtiya Ribbat Sufi Studies Centre, at the first of the four lectures organised by Kuch Khaas and Hast-o-Neest (Centre for Tradition Art and Culture in Lahore). The lecture was titled “Talismanic Science of Ta’wiz”.

Talismanic science (vajdani ilm) he explained, works at different levels of human existence or the five shells: there’s the outermost or the physical shell (treated with herbs or medicines), the electromagnetic, the psychic that invokes feelings such as fear and love, psycho astral and the innermost astral shell (Roh-e-Nisama).

The human body is surrounded by a certain “aura” that prevents negative energy from penetrating your body, although its intensity varies from person to person just like intelligence, Chishti said.

Modern science, he continued, is mostly concerned with the physical as it does not accept the concept of the intangible.

However, he continued, we often forget that the commonality that brings all humans together is the spirit – the essence of life which is not limited by time and space and still eludes the logic of modern day science.

Talismanic science is practiced through written numbers and alphabets. It’s foundations lay on Abjad numerals, a decimal numeral system in which the 28 letters of Arabic are assigned numerical values(Ibn-e-haroof) and numbers (1-9) that combine to form Ilm-e-Jaffar, explained the lecturer.

They are assigned values by spiritual leaders, and correspond to different elements; these cosmic and heavenly bodies have certain affects on the human existence.

Also universal shapes such as triangle, circle which have to be written down at prescribed time of the day, as for each shape only when the moon is the highest level will the ta’wiz have any effect.

He talked of the power embodied in Arabic alphabets such as ‘Alif’ which, he claimed, if repeatedly written can be destructive. This science, Chishti claimed, can reveal and treat illnesses at all levels of shells.

Ruqa, as referred to before the advent of Islam, existed since the time of Adam and was then taken up during Hazrat’s Idrees’s time, he said.

Resolute on his claim of ta’wiz being a science, he said it is being misused in our society and people have fallen prey to the pseudo professors of this science. The problem, he claimed, does not lie with ta’wiz but with its diagnosis.

The hows and whys

The lecture was followed by a question and answer session. Some of the questions:

Is ta’wiz a branch of magic?

No but it can be used to cure or remove destructive effects of the notorious black magic.

How do you receive this knowledge?

It is transferred in the four spiritual orders, Chishtia, Qadiriyya, Suhrawardiyya and Naqshbandi.

So are you saying this is a sectarian divide?

Not at all. It is a tailored solution which adopts different methods and has the same aims.

How much do you charge for one ta’wiz?

The question that was perhaps on most people’s mind was finally voiced amidst subtle laughter. That is a very important question. We are not allowed to charge anything, but we also cannot refuse whatever is being offered to us.

After the discussion

Chishti told The Express Tribune that the aim behind the talk was to educate the people and pave way for what he believed was an eventually imperative collaboration between modern and talismanic science.

Do alphabets and numbers contain the power to heal? How much truth lies in these cosmic and heavenly bodies affecting us? Will talismanic science ever be accepted by the modern scientist?

For some the answer will be a simple Google search; for others it will be a lifelong journey of exploration; some will not give it a second thought; others will swear by it; for those in between these two extremes, a proverbial question mark will hang over talismanic sciences, unwilling to submit to it, but vary of denying it outright.

Picture: The speaker explains ta’wiz in the light of work done by the early sufis or Islamic spiritual scientists. Photo: Kuch Khaas.

Friday, September 30, 2011

Shajarat al 'Abid

By Lamis Yahya, *A spiritual politics* - Al-Ahram Weekly - Cairo, Egypt; 22 - 28 September 2011, Issue No. 1065

Ammar Ali Hassan, Shajarat al 'Abid (Worshipper's Tree), Cairo: Nefro, 2011

Akif, the hero of this book -- the word means "recluse" -- lives in a Sufi ambience despite the politically, socially, and economically disturbed surroundings.

He is a rebellious student at Al Azhar, torn between changing the world and changing himself.

When he joins a coup attempting to replace the tyrannous sultan, his life changes. It is the danger and complexity of this experience that gives him access to hitherto unknown parts of himself, leading him on a new journey of connection with the divine, which is embodied in his search for the Worshipper's Tree, an inner as well as an outer quest.

Set in medieval Cairo, at its start the text evokes Hadith as Sabah wal Massaa (Morning and Evening Conversation) by Naguib Mahfouz, in which the borders between reality and dreams, human beings and djinn break down. Akif is in love with Namar, a genie very like a human woman, who guides him through a fantasy world similar to our own.

The rich, energetic world of medieval Cairo, of Sufi lodges, Coptic monasteries and bloody court intrigues, is colourfully evoked.

One touching detail in Akif's journey is his connection with Namar and Hafssa, her human counterpart as it were, which sheds light on the role of women in mysticism, evoking the great figure Rab'a al Adawiya.

Other characters too are searching for the tree, but there is no conflict in their interactions. And the verse from Surat an Nur (24, 35 of the Quran) becomes of particular relevance:

Allah is the Light of the heavens and the earth;
the example of His light is like a niche in which is a lamp;
the lamp is in a glass;
the glass is as if it were a star shining like a pearl,
kindled by the blessed olive tree,
neither of the east nor of the west --
it is close that the oil itself get ablaze
although the fire does not touch it;
light upon light;
Allah guides towards His light whomever He wills;
and Allah illustrates examples for mankind;
and Allah knows everything.

Dating all the way back to the Kabala, the tree as a symbol is a powerful locus for Akif's journey of self and homeland discovery, and not before the end do we find out if he is destined for life as a religious scholar, a revolutionary or a dervish.

Tuesday, October 18, 2011

Abode for Peace
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By Ishfaq-ul-Hassan,*Old Srinagar travels from stone-pelting hub to tourist spot* - Daily News & Analysis - Mumbai, India; Wednesday, October 12, 2011

From the epicenter of stone-pelting to a tourist sojourn, the sensitive old Srinagar city has come a long way to become the new abode for peace.

Cable-car, art galleries, swanky restaurants and shopping arcades have opened up to attract tourists. The icing on the cake will be the opening of Mughal era sites and makeover of Sufi shrines.

“There are so many things planned for the old city. Naagar Nagar tourist circuit is part of this Rs29 crore project, which has been approved by the Centre,” said Ali Mohammad Sagar, law and rural development minister who represents Khanyar constituency of the old city in the assembly.

Considered the stronghold of Hurriyat leader Mirwaiz Umar Farooq, the old city had been at the forefront of the unrest in 2010. The J&K government is now trying to bring in economic prosperity there.

“We are establishing the cable-car from central cemetery to shrine of Makhdoom Sahib, and setting up restaurants and art galleries. We are also expanding the central grand mosque and shrine of Dastagir Sahib and tomb of king of Zain-ul-Abidin and others to promote tourism,” said Sagar.

The Naagar Nagar project has been conceived to restore cultural properties. “A major component will be restoration of the rampart wall around the Hari Parbat Fort,” said a tourism department spokesman.

Over seven lakh [700,000/seven hundred thousand] tourists have visited Kashmir so far this year.

[Picture: Dargah Dastageer Sahab, one of the oldest Mosques in Kashmir. Photo: Wiki.]
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Monday, October 17, 2011

A Unique Experiment
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By Stephen Olsson, *One Through Love: Jalaluddin Rumi And A Gathering Of Lovers* - The Huffington Post - New York, NY, USA; Saturday, October 8, 2011

"This is a gathering of Lovers.
In this gathering there is no high, no low,
no smart, no ignorant, no special assembly,
no grand discourse, no proper schooling required.
There is no master, no disciple.
This gathering is more like a drunken party,
full of tricksters, fools, mad men and mad women.
This is a gathering of Lovers."
-- Jalaluddin Rumi AD 1260

To Jalaluddin Rumi, the 13th century sufi poet-mystic, intoxication and particularly, "love," can only be understood in its divine, all-encompassing manifestation, a form of spiritual "yearning" which is familiar to all spiritual seekers.

For Sufis, this "yearning" is highly celebrated, and given the outer forms of "Lover" and "Beloved."

On October 15th, 2011, we will be launching a new website called "One Through Love: A Gathering of Lovers," to remind people around the world that love (Askh in Turkish, Eshgh in Persian) is the singular force that underlies and connects all creation. One Through Love will be the first cinematic, multi-lingual website which uses the poetry and teachings of Jalaluddin Rumi to spread the unifying message of love, in English, Persian, Arabic and Turkish.

One Through Love is truly "a gathering of lovers," since it presents an international gathering of Rumi "lovers" -- scholars, musicians, dervishes and other sufi practitioners from Turkey, Iran, Europe and the US.

Each film segment shown on the website is subtitled in four languages, so that people in different countries will be watching and responding to the same film material. They will be sending in responses, comments and questions and meeting other "lovers" from the Arab, Persian, Turkish, European and North American worlds. Truly a translator's dream!

One Through Love is a unique experiment, though not one without some precedent. It was 44 years ago, that the birth of the satellite era made possible the first, live, global television transmission. The BBC put up The Beatles' "All You Need is Love" (on June 25th, 1967) connecting a string of satellites, across the globe, ultimately reaching an astounding audience of 400 million people in 26 countries.

On Saturday, October 15th, (at 11:50 a.m. PST, 2:50 p.m. EST; 7:50 p.m. GMT) the One Through Love project will be using the power of film and music, together with modern, low-cost digital and internet technologies to send out essentially the same message, the same affirmation.

Almost 800 years before John Lennon wrote "All You Need is Love," Rumi wrote:

A true Lover doesn't follow any one religion,
be sure of that.

Since in the religion of Love,
there is no irreverence or faith.

When in Love,
body, mind, heart and soul don't even exist.

Become this, fall in Love,
and you will not be separated again.

(Translated from the Persian by Shahram Shiva)

One Through Love hopes to create a yearning for people to reach out and get to know each other, especially "the other," those who have been labeled "evil" or "satanic," those who have been so misunderstood. One Through Love will become a meeting place for those who hear Rumi's message, and want to share their comments and questions about love, life and the forces that connect us all.

As a "sneak preview," over the next week, we will be presenting a sample glimpse of these "lover-teachers," which will hopefully please and inspire, leading right up to October 15th, when, at 11:50 a.m. PST; 2:50 p.m. EST; 7:50 p.m. GMT, One Through Love will be launched as a local/national/global event.

Locally, One Through Love will premiere as a film at the Mill Valley Film Festival, at a festival screening timed exactly to coincide with the national television broadcast on satellite channel Link TV (Direct TV ch. 375; Dish Network Ch. 9410), coinciding precisely with the live streaming of the film, with follow-up global discussion, on the project website: www.OneThroughLove.org.

Here is a video clip of Parisa Soultani, the project website host, chief translator and co-producer, extending the invitation to join this "gathering of lovers," in Turkish, Persian, Arabic and English.

Immediately following the one-hour film, (at 1:00 p.m. PST; 4:00 p.m. EST; 9:00 p.m. GMT) website host Parisa Soultani will moderate the follow-up global discussion.

From the Rafael theater, live video connections will be made with Cemalnur Sargut, a Turkish lover in Istanbul, Mahmoud Mostafa an Arab lover in Jakarta and Dr. Omid Safi a Persian lover in North Carolina, who will all engage and converse with Robert Abdul Hay Darr and Llewellyn Vaughan-Lee, our American and British lovers in the film festival theater. The dialogue will be projected live in the theater, and steamed live, globally, through the www.OneThroughLove.org website.

Why Rumi? When UNESCO declared 2007 as "the year of Rumi," they were recognizing Rumi's contribution as an advocate of inter-faith tolerance and respect.

They described Rumi as

"One of the great humanists, philosophers and poets who belong to humanity in its entirety".

Beyond this cross-over appeal, the UN recognized that the spiritual evolution and perhaps the very survival of our world, especially since the events of 9/11 and thereafter, is directly tied to the teachings of tolerance, acceptance and unity consciousness that lie at the heart of Rumi's writings.

Please join us throughout this week, to meet some extraordinary "lover-teachers" who form the inner circle of One Through Love's "gathering of lovers".

[Picture: Darvish. Photo: One Through Love.]
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Sunday, October 16, 2011

Heritage Status
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By Tripti Lahiri, *Delhi Gets Feisty Over World Heritage Status* - India Real Time / The Wall Street Journal - India/USA - Wednesday, October 5, 2011

A.G.K. Menon, the conservationist in charge of preparing Delhi’s bid to be declared a World Heritage City by the United Nations, said on Tuesday that one of the city’s unique contributions to humanity was its hybrid personality formed over thousands of years — exemplified by its mix of architectural styles and its unique brand of Sufi mysticism.

Judging by the crowd at one of the first public consultations on Delhi’s application, which has to be submitted by Feb. 1, 2012, he should have added “its rambunctiousness,” too.

The draft dossier, now online, describes a plan to apply for heritage status for four historic areas of a city that has been the seat of empire after empire, most of which have left legacies still visible today.

The four areas selected are 17th-century Shahjahanabad, or Old Delhi; the early 19th-century Lutyens bungalow zone; Mehrauli, which has monuments dating back to the 8th century; and Nizamuddin, home to a revered 16th-century Sufi shrine.

After discussions with historians and officials, many areas and epochs didn’t make the cut, including the Raj-era Connaught Place, neighborhoods like 13th-century Hauz Khas, or ruins like Tughlaqabad, the city founded in the early 14th-century by Turkish ruler Ghiyasuddin Tughlaq.

Mr. Menon and other speakers urged Delhi residents to actively participate in the application process. The crowd of intellectuals and students took those words to heart, beginning with Aman Nath, co-chairman of Neemarana hotels, which converts old palatial properties for contemporary use.

“Lutyens did not build one single bungalow in what we call Lutyens bungalow zone,” said Mr. Nath. “It’s a joke…and I think you should correct that nomenclature.”

British-built New Delhi, which was formally inaugurated in 1931, and now forms the center of the Indian capital, is widely known after British architect Edwin Lutyens. Together with fellow architect Herbert Baker, he is credited with designing and building the new capital of the Raj.

Mr. Nath went on to say that if the city plans to honor British-built Delhi by the name of a particular architect, the same honor should go to the builders of Old Delhi — not to the Mughal emperor who had it built.

“On the other hand when you’re saying Shahjahanabad, you’re saying Shahjahan built the city, he didn’t build the city,” said a passionate Mr. Nath. “It was Makaramat Khan and there were two architects.”

Soon a conversation broke out: Should the Lutyens zone be renamed the Russel zone, after Robert Tor Russel, the architect behind Connaught Place and many buildings in the Lutyens’ zone, or even more generally, Imperial Delhi?

A woman in the audience then questioned whether the Lutyens zone should be a heritage area when many of its buildings are off-limits to the public.

“It is this Lutyens zone which is not accessible to people. We are not able to see the government buildings,” she said. “It would be nice if we can get access to these places as citizens. The other three zones we can walk in, anywhere.”

Gagandeep Singh, a 20-year-old history student raised a different objection — about how the city’s historical monuments are described.

He noted that the Qutub Minar, the minaret in Mehrauli on which construction was begun by Delhi’s first Muslim ruler near the close of the 12th century, had a plaque noting that Hindu and Jain buildings on the site had been razed to build the monument, a detail that he felt was unnecessary to mention. He later said he though such notations were “provocative.”

“What will international travelers think about our country?” he told the crowd. “This should be amended.”

Others wondered whether the heritage city designation would “freeze” the historical zones and what would happen to the people living there — should development around the sites be stopped or aloud to continue? That’s an ongoing tussle around historic sites in the city. Recent news reports suggest people living around the Tughlaqabad ruins are slated to be evicted, although some of them claim to have been living there for hundreds of years.

Soon there was a fabulous chorus of people interrupting one another (quite politely, for a Delhi crowd) to interject, “May I say something?” Ah, Delhi.

Tuesday’s event is part of an ongoing public consultation process that continues through next month, and will include both limited attendance seminars about each of the four zones and public lectures.

Picture: Nizamuddin’s Sufi shrine is among the four selected areas for “heritage status.” In the image above, muslims offered prays at the shrine in New Delhi, Aug 2010. Photo: Manpreet Romana/Agence France-Presse/Getty Images.
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Saturday, October 15, 2011

So Much to Be Done
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By Sumati Mehrishi, *‘Musicians must realise their artistic responsibilities’* - The Pioneer - India; Friday. October 7, 2011

When he is not globe-trotting and being part of Grammy winning collaborations, world renowned percussionist Tanmoy Bose is helping popularise Bengali folk and Sufi music, helping tribal musicians get accustomed to studio settings; direct film scores and compose raga-based title tracks for regional TV serials in India.

For someone who has been an accompanist to Pandit Ravi Shankar and Ustad Amjad Ali Khan for years and decades, Bose is quite a grounded and emotional artiste.

When a musician’s eyes well up at the mention of peers he could have otherwise been conveniently jealous of, know, he has met his spiritual self.

Bose barely makes a show of such feelings when he is talking about his music and times, and tries hard to be diplomatic but Sumati Mehrishi catches the best of this great maestro of our times and realises he is connected with his fraternity, its trends and movements, more than anyone else.

You have accompanied Pandit Ravi Shankar on the tabla for over 12 years. His association with the world renowned tabla legend Late Ustad Alla Rakha Khan was for 30 years — the longest so far. Do you feel lucky?

Definitely, I am blessed to have performed with Ravi Shankar for so many years. These 12 years have taught me a lot and helped me shape as a musician I am today.

There was an emotional moment a few years back. Panditji told me after a concert that my performance had reminded him of Ustad Alla Rakha Khan, the greatest legend we have had so far. I strongly feel only Zakir bhai (Hussain) can match the sound and magic of his father’s tabla. So, to have heard the compliment from Panditji is the biggest honour I have got and known.

Then, there is an emotional bond I share with him and his family. Panditji has been very happy to have become a grandfather. Then, recently, Panditji and I have been sharing our views on music, art, theatre and films. He enjoys it so much. Sukanyaji has video recorded these conversations, as she really wants to preserve these moments and Panditji’s thoughts.

Now, we don’t want him to pay any attention to negative thoughts which people usually bring over to him — things like ‘yeh kalaakaar aapke bare mein aisa keh raha hai, waisa keh raha hai.’

Panditji has grown a beard. His recent concert-pictures are quite heart warming and he looks surreal…

(Smiles as his eyes well up) Yes, I must tell you, he looks great in a beard. He has sported one for about six months now.

During the last eight years, Panditji has spent a lot of time in the United States owing to illness and other reasons. You have been required to spend a lot of time away from home. Has it been tough?

Yes. As a result my sons don’t know me much. But that’s part of my work. But, even at this age Panditji is performing ferociously. I am so inspired by how he carries himself as a performer. He fulfills his professional commitments, giving concerts that are sold out even before you blink.

One has so much to learn from this. It still baffles me to see how people do anything to attend his concerts in the West. A woman in St Pittsburgh had sold her car to buy a ticket to Panditji’s concert. It’s a spiritual experience to be part of his musical journey.

In 2007, Panditji returned after long illness. His fans in India were introduced to the small sitar he is using now. Its structure and sound are unique. How has it changed things for you?

It is very challenging and fulfilling to be playing with this sitar in terms of rhythm and sound. These days, Panditji is giving it a special tantrakari affect where he plays the strings and numbs them down with the hand as they vibrate. The language is something really out of this world. Panditji really believes the ‘show must go on’.

Your association with the world renowned sarod maestro Ustad Amjad Ali Khan also goes a long way. Tell us what it is like to be accompanying two of the biggest and busiest Indian musicians across the globe?

I was only 21 when I had first performed with him. There are many aspects related to performance I have learnt under him. He would tell me little things now and then that helped me bring huge changes in my musical canvas. I would initially look at his hands moving on the sarod while performing, to be able to coordinate with his musical thoughts. He suggested I look into eyes and play. I think I have grown musically in front of him very much the same way as his sons Amaan and Ayaan Ali Khan have over the last 20 years.

Between themselves, Amaan and Ayaan Ali Khan have developed their playing style and repertoire between in a wonderful way, especially during the last few years. What’s your take?

I have felt the same. In fact, I communicated my feelings to them at a recent concert. They have done it subtly and magically with their hard work and riyaz. I can’t agree more.

Your Guru Pandit Shankar Ghosh has become quite tech savvy recently with help from younger disciples. How do you feel about this change?

(Laughs) I am so impressed to see that. Our maestros are so pro active even at this age. I am happy to see that a bunch of my Guru bhais are helping Guruji to connect with the younger audience through Youtube and social networking sites. I have heard he is giving online lessons as well. Thanks to him, Bickram Da (the world renowned percussionist and Pandit Shankar Ghosh’s son) and I have a wide approach to music. Though the music we make is very different, but our basics have been shaped by the same legend and that speaks for itself.

You are promoting Bengali folk musical instruments and Sufi music from East India and Bangladesh in a big way. Do you consider it your artistic responsibility?

I am sorry to say that artistes in our country do not believe in fulfilling their responsibility. Until artistes like me take the responsibility of promoting the regional culture, traditions and instruments, the coming generations will never be able to know what our rich heritage is about.

There are so many percussion instruments from Bengal which have were made popular in the world music circuit after I initiated their use in collaborations. Dhak, the drums used in religious ceremonies and festivals has become popular. Then, there are so many instruments from Jharkhand that people are not aware of.

In February this year, I saw the bauls singers of India and Bangladesh perform together at the unique confluence — Sufi Sutra, a festival dedicated to sufi music. Then recently, I have made several recordings of Jharkhand adivasi music at a Kolkata studio. They have sung beautifully.

While I was recording, I realised that there is so much to be done and heard to get the best and the rarest of aspects related to culture in our rich country. We, as musicians need to be responsible and promote them.

Bangladeshi world renowned urban baul Anusheh Anadil has led a successful crusade to promote baul philosophy, music and musicians. Has she inspired you?

During the six years of my artistic association with her, Anusheh has come a long way. She has been able to promote the bauls in Bangladesh and India. People are waking up to the baul philosophy. Plus, Anusheh has grown commendably as a performer, a singer and thinker. There is so much to learn from her. Anusheh seems to have grown spiritually. Her thoughts on life and death are tremendous and they ruffle her peers and fans in the virtual world.

I bet. She has grown spiritually. People are sure realising it. Actually, Anusheh has gained that sense of surrender which a musician is expected to cultivate — the sense of surrender to God is the essence of the baul philosophy.

Do you consciously design a fusion performance?

Yes, I believe in ‘designing’ a concert. It happens consciously. But I have a different approach to the idea of using raga music in fusion collaborations. I do not believe in making the hash of a raga.

Thanks to my initial training in vocal music and my extended learning under Pandit Ravi Shankar and Ustad Amjad Ali Khan, I have known the importance of respecting a raga. The two musicians treat the ragas in a sacred way. I have learnt a lot from Anoushka (Shankar) in this respect.

There are musicians like Ratul Shanker, Gokul Das and Sanjeev Shankar who help me realise my musical dreams. And, when you intend to treat a raga respectfully, ‘designing’ a performance, or planning it is the only thing that helps.

Recently, my title track for a Bengali soap won an award. It is set in raga Puriyadhanashree. Incidentally, Anusheh has sung it. Initially, when I was working on the track, people at concerned media house rejected it saying it was too ‘traditional’. But viewers like it so much.

Djembe, darbooka and other instruments from Africa and the Middle East are becoming very popular with young aspiring percussionists in metros. Strangely, not many of them want to learn the tabla or mridangam basics. Will it get them anywhere?

No. People have to realise that until they learn they basics of Indian percussion music, they will not be able to do much in tap drumming (at least). Without the Math basics, one will not be able to produce more than casual thap thap sounds on the drum skin.

Why did the best drummers from across the world want to learn from the great Ustad Alla Rakha Khan and Vidwan Vikku Vinayakram? Why do the most terrific drummers flock around Zakir bhai for lessons? Trilok Gurtu, Taufiq Qureshi and Sivamani are the best examples of how traditional drumming basics can lead a dedicated percussionist to a resounding musical journey.

Sometime ago, one of my sons returned cribbing from school on how he was being teased by a bunch of friends for not learning the western drums but tabla. I got in touch with the friends and had a nice friendly conversation on music. Today, three of them are learning Indian drums. And today my son plays both western and Indian percussion instruments.

Today legend drummers like Pete Lockett and Mickey Hart play Indian beat cycles so beautifully. Also, people in my own generation have to think beyond the exhibitionist slapping of cheeks for the lack of an instrument and ideas at performances.
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Friday, October 14, 2011

The Optophonic Lunaphone
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By Culture Desk Writer, *Asia Triennial 1 Oct – 27 Nov 2011: More Highlights* - Manchester Confidential - Manchester, UK; Wednesday, October 5th, 2011

Asia Triennial 1 Oct – 27 Nov 2011: More Highlights

Coinciding with Manchester's sultry Indian summer comes a visual feast of Asian art from 13 countries from India to Mongolia via Pakistan, Korea and Turkey as the UK's only Asian art triennial opens with a flurry of performances and exhibition launches.

Here are just a few of the highlights:

One of 25 new commissions, Tasawar Bashir and Brian Duffy present Silsila, Sufi-inspired cosmic journey in sound based on the epic Sufi poem Conference of the Birds, sited in the new £3 million Discovery Centre at Jodrell Bank, home of the giant Lovell telescope.

Researching a wide range of wavelengths, an endless musical algorithm translates data sourced from stellar events such as cosmic background noise, star formation, pulsars, solar plasma, and light from galaxy clusters, and combines it with the voice of Nusrat Fateh Ali Khan, arguably the greatest qawwali singer of the modern era using The Optophonic Lunaphone, a device that changes starlight into music.

Created especially for the John Rylands Library by Indian artist N.S. Harsha, his fascinating series of 50 ‘thought’ garlands are made up of tiny heads based on people the artist has observed in his local library. By wearing the Thought Mala, Harsha wants to transform the John Rylands into a spiritual place full of ritual, as visitors borrow the garlands as they would a book - wearing them, handling them or simply contemplating them - as they explore the gothic splendour of the Library or work in the reading rooms.

He Hai and Deng Dafei from China collectively known as Utopia Group have been rolling a giant ball of wool around Manchester city centre culminating in a performance at Chinese Arts Centre for the launch. Working with local community groups to make the ball, they have rolled it through the streets of Manchester, dressed in fluffy suits to match and the results can be seen on film if you didn't catch them about and about this week.

Enkhbold Togmidshiirev is a performance artist from Mongolia who was raised in a nomadic family that has been breeding horses for generations. For his performances, Enkhbold uses his own scaled down, self-built version of a ger; the mobile circular living structure traditionally used by nomadic Mongolian families.

Hosted initially by Manchester Museum and then by Islington Mill, Enkhbold will move his ger from site to site using performance to reveal and reflect on his heritage, its culture and traditions contrasting with the very different urban backdrop of Manchester.

Examining the growth of the VISA industry in Istanbul, artists collective PiST transform Castlefield Gallery into an alternative VISA application and training centre for visitors to ATM11, replacing the obligatory language and cultural exams for emigration to the UK.

Cornerhouse has bagged the first UK public show of Rashid Rana, one of the most important artsists of his generation from Pakistan. Seemingly abstract works bear closer inspection as his famous mosaic style, using many tiny photo images, is often influenced by popular culture or in his latest work the backdrop is his home city of Lahore.

Adeela Suleman has created a beautiful new sculpture specifically for Manchester Cathedral. Recognised for her sculptures that appropriate household objects and the decorative crafts of her home city of Karachi, Drained (2011) alludes to the fact that matter, life and even faith, can slip away.

The work curves and glistens, capturing its viewers’ own reflections and leading their eyes into its centre. The unnerving disappearance of water as it spins down a drain is replicated by this circular maze with the work’s shape reminiscent of the circular mazes that pattern the floors of some Christian churches – inviting the congregation to slowly follow their patterns to the middle while meditating along the way.

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Thursday, October 13, 2011

The Human Condition
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By Sher Khan, *Arieb Azhar, a man of faith* - The Express Tribune * - Karachi, Pakistan; Tuesday, October 4, 2011

Lahore: “Arieb Azhar is the earthman because his music represents something that is pure and sincere,” says Bahrain expatriate Omar Qureshi, who is studying music in Pakistan.

“A sort of intoxication prevails every time I hear his unique voice. The depth in his voice creates an emotional bond between him and the listener.”

Azhar’s sublime musical abilities first made headlines with the success of his musical rendition of the spiritual poet Khwaja Ghulam Farid’s poem “Husne-Haqiqi” in “Coke Studio”.

When one hears Azhar, it is his voice which quickly grabs one’s attention, while his poetic knowledge helps explore and challenge listeners spiritually by connecting various cultures, thoughts and ideas onto one platform.

Azhar gave an acoustic performance to a select crowd of music aficionados and fans on October 2 at The Guitar School in Lahore. The night was marked by Azhar’s effort to explore diverse musical styles. His vocal versatility was also on display, as he sang in many languages including English, Urdu and Punjabi.

“Sufi poetry was written by ordinary human beings, but I feel that in our culture the status and sanctity of poetry discourages ordinary people from experiencing these verses,” states Azhar.

“The songs I sing are about the human condition, and I believe music from all parts of the world explores the same journey. To me, Bob Marley experienced Sufism.”

Azhar will be releasing two albums in the near future.

He has lent his voice to a Croatian experimental electronic album, which will be a slightly different from his signature folk and blues dominated music. The artist confesses that it had been a while since he has released an album, so, to compliment the electronic album, he is working on a second album that will maintain the singer’s signature style.

The singer will start recording in two weeks time.

During the concert, Azhar covered American singer Frank Sinatra’s “My Way”, and turned William Yeat’s poem into a musical composition.

One of the highlights of the night was his rendition of the Central-Europe Serbian-Croat song that was sung in an exotic gypsy language. The folk song is a farewell conversation between two lovers before they join the caravans and go in different directions.

The singer explains that he is an admirer of poetry, but does not consider himself a poet. Despite this, his delivery of poetry is very unique and original.

For example, during the introduction to his song, “Hum Charsi Bhangi Hain”, Azhar gave a well-versed and spiritual context to the poem, by explaining what the poem means to him and what he feels the poet is hinting at.

The versatility with which the band — consisting of rhythm guitarist, a flute and a table player — was able to explore different genres through indigenous instruments was interesting to witness.

Junoon frontman Salman Ahmad uses the same acoustic guitar aligned with the table technique during his own concerts. The combination, however, can have limitations when one attempts to play more Western oriented tracks.

Azhar, however, knows what sound he is trying to achieve and knows how the instruments can be coordinated accordingly. For instance, the classical Spanish guitar rifts complemented by a classical flute solo can bring mellow eastern folk sound, reminiscent of music from central Europe.

The Sufi singer remains optimistic about the potential of Pakistan’s music scene and considers his optimism as the driving force behind his music.

“It’s a strange fact that in oppression, art manages to flourish better,” comments Azhar. “Despite the political and social environment, Mississippi Blues and African music prospered. Even in Pakistan, many folk venues such as shrines have been affected, but I feel that art and music will manage to survive.”

Picture: Sufi singer Arieb Azhar believes music connects people all over the world. Photo: Waheed Khalid.
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Wednesday, October 12, 2011

An Individual's Choice
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By Lee Lawrence, *Anonymous No More* - The Wall Street Journal - New York, NY, USA; Tuesday, October 4, 2011

Anonymous No More: Master Painters of India

Not so long ago, a museum survey of Indian paintings pegged to individual artists would have been inconceivable. The accepted wisdom about so-called miniature painting held that it was the product of anonymous workshop craftsmen churning out images conforming to the inherited norms and prevailing tastes of their court or patron.

But at a lecture series at the Freer Gallery of Art in the mid-1990s, scholars talked about finding names of artists in minute inscriptions in the paintings, as well as clues from archival materials about their family ties and movements from court to court. From behind each miniature there began to emerge the shadowy image of an individual.

The audience of art historians was visibly astonished, and in subsequent exhibitions curators began to include some names in labels and to change the language in wall texts, increasingly referring to "artists creating" rather than paintings simply exemplifying a style or period.

What makes "Wonder of the Age: Master Painters of India 1100-1900" so important is that it pushes this trend further by explicitly proclaiming that individuals with distinctive artistic voices shaped Indian painting and by naming 40 of them.

The idea of embodying this revisionist view in a survey from the era of palm-leaf manuscript to the age of photography came from three eminent scholars of Indian art: B.N. Goswamy of Punjab University in Chandigarh, India, and Eberhard Fischer, director of the Museum Rietberg in Zurich, Switzerland, from 1973 to 1998 —together they identified different hands at work in paintings from Himalayan kingdoms— as well as Milo C. Beach, director of the Smithsonian's Freer and Sackler galleries in Washington from 1988 to 2001, much of whose research has focused on Mughal ateliers and artists. Curators from the Rietberg and the Metropolitan Museum of Art, Jorrit Britschgi and John Guy, then implemented their idea.

The show, which features some 190 works, is divided into six chronological sections, such as "Early Hindu-Sultanate Painting, 1500-1575," and "The Golden Age of Mughal Painting, 1575-1650." Within each section paintings are grouped by artist, about two-thirds of whom are named, the rest designated by title based on the style or subject of their work.

This alone is powerful. No longer do works grow out of a workshop; they reflect an individual's choice, even if there is no record of his name.

Take the murder scene from a Persian epic, "Shahnama," by the 15th-century artist whom art historians now call the Master of the Jainesque Shahnama. He combined what he had learned from Indian teachers —red ground, exuberant patterning, diaphanous woman's garment— with elements selected from Persian models, such as the shape of the soldiers' helmets and a narrow green band suggesting foreground space.

And artists took liberties with their sources. Farrukh Beg, who began painting for Mughal emperors in the 1580s, modeled the composition and structure of his 1615 portrait of a Sufi sage on a 16th-century Dutch depiction of the allegorical figure of Sorrow. The two images share the figure's slumped posture, a kitten lapping spilt milk and a dog curled at the man's feet. But while the Dutch master shows Sorrow with his back to a village, Beg paints a fanciful tree leaning in over the Sufi, the concentric patterns of its multicolored leaves recalling the whirling of dervishes.

The variety of works is immediately apparent. Across from Beg's Sufi, your eye catches a page of jewel-like decoration along with two engaging nature studies by Mansur, whom Emperor Jahangir named Nadir al-Asr, or Wonder of the Age. In the gallery featuring works from 1650 to 1730, the range is even greater: images of Hindu gods floating against red and ochre backgrounds, nearly monochromatic Rajput court scenes and dynamic elephant fights.

The variety within families of painters is similarly striking. Nainsukh and Manaku, for example, both learned from their father, yet the writhing snakes and brightly colored rocks in Manaku's "South wind cools in the Himalayas" from 1730 are as fantastical as Nainsukh's 1735-40 "A Troupe of Trumpeters" is realistic. Striding in from the right, the musicians puff their cheeks as they blow into their instruments. The long horns splay across the page —you can almost hear them blaring.

This explosion of creativity continues until the story comes to an abrupt end with the introduction of photography in the late 1800s. Another pair of brothers, Shivalal and Mohanlal; another set of responses. The former rivals the camera with panoramic paintings, the latter turns photographer.

True to its message, the show ends with photographs of both artists, displayed across the room from a case containing pigments, brushes and papermaking tools. There is a slight irony in that this affirmation of individuality comes at a time when scholars of European art have called into question the notion of artist as genius. Still, given the anonymity and passivity assigned to Indian artists in the past, when curator John Guy quietly suggests that his show will change the way people think about Indian painting, one can't help but hope he's right.

Ms. Lawrence is a writer based in Brooklyn, N.Y.

Wonder of the Age:
Master Painters
Of India, 1100-1900

Metropolitan Museum of Art

Through January 8, 2012

Picture: Beg's 'A Sufi sage, after the European personification of melancholia, Dolor' (1615). Photo: MET.
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Tuesday, October 11, 2011

Teachings for the Modern World
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Ibn 'Arabi & Rumi: Teachings for the Modern World

Friday and Saturday, November 4 & 5, 2011

A Conference and Concert

A Rare New York Open Center & Ibn Arabi Society Conference

The the Middle East Institute and the Institute of African Studies
at Columbia University

For details and registration, please visit the Open Center .
or call the Open Center at 212-219-2527, ext 2

New York: A conference presented at Columbia University. It will include international scholars, from the U.S., Europe and the Middle East, on the works of mystics, Muhyiddin Ibn ’Arabi (Arabic) and Jalaluddin Rumi (Persian).

The program will include lectures, workshops, a panel discussion, and poetry readings in the original languages of Arabic and Persian and their English translation.

Speakers will include James W. Morris, Fatemeh Keshavarz, Michael Sells, Stephen Hirtenstein, Mahmud Kilic, Nargis Virani, and more, plus a special performance by renowned Turkish musician Omar Faruk Tekbilek.

The evening concert (a separate event) will include performances by leading American poet – Coleman Barks, Grammy Award winner, David Darling, rock star - Salman Ahmad , and whirling Dervish, Sakina.

This will be a unique and significant event.

Interview on WBAI 99.5 FM Radio with conference presenters Open Center Show.

Interview on WBAI 99.5 FM Radio with Fatemeh Keshavarz with Dr. Ali Majid

Conference Website

Conference Facebook
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Monday, October 10, 2011

The Impact of Sufism
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By Amy M, *Connecticut College to host symposium on Islam Oct. 13-14* - Zip 06 - New London, CT, USA; Wednesday, October 7, 2011

“Sufism as a Mediating Force in South Asia”: Connecticut College to host symposium on Islam: October 13-14

New London: Connecticut College and the American Institute for Sri Lankan Studies will bring together religion, anthropology and history experts from across the country to discuss the impact of Sufism — an ascetic, mystical dimension of Islam — on other forms of Islam.

The two-day symposium, “Sufism as a Mediating Force in South Asia,” will take place on Thursday, October 13, and Friday, October 14. All events are free and open to the public and will take place in the Ernst Common Room of the college’s Blaustein Humanities Center.

Event co-organizer Sufia Uddin, associate professor of religious studies at Connecticut College, said: “This symposium is a rare opportunity for students and members of our community to learn more about Islam and the connections it has with other religions from a group of pre-eminent scholars engaged in research and publications on Sufi Islam in South Asia.”

The scholars, Uddin said, are recognized for their contributions to areas including the study of religious boundary making, the history of Sufi Islam and contemporary practices.

Vasudha Narayanan, professor of religion at the University of Florida and past president of the American Academy of Religion, will deliver the plenary lecture on Thursday, October 13, at 7 p.m.

Charlie Hallisey, the Yehan Numata Senior Lecturer on Buddhist Literatures at Harvard University and president of the American Institute of Sri Lankan Studies, will give the opening remarks.

On Friday, October 14, there will be two sessions in which scholars will cover both historical and contemporary perspectives of this topic.

The morning panel (9 a.m. – noon) will explore the past in order to provide the necessary context for understanding the dynamic role of Sufism in contemporary South Asia.

The afternoon panel (2 - 5 p.m.) will consist of ethnographic studies of Sufism and focus on themes such as the careers of individual charismatic figures who advocate a tolerant and liberal form of Islam; the role of Sufi shrines in providing a venue for interaction among Hindus, Buddhists, Muslims and Christians; and the role of Sufi teachings informing a global vision of liberal Islam that focuses more on practice than doctrine.

“Those interested in learning more about Islam and communal interaction in South Asia or globalization and Islam should come to this symposium,” Uddin said.

Major funding for the symposium is provided by the Council of American Overseas Research Centers (CAORC) through a grant from the Carnegie Corporation of New York.

For more information, visit Connecticut College.
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Sunday, October 09, 2011

Spiritual Joyousness
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By Maha El-Sanosi *Sufi Orders and Practices in Sudan* - Islam Online - Doha, Qatar; Sunday, October 2, 2011

Sufi Orders and Practices in Sudan: At The Heart of Sufism (Part 1)

There’s a common belief in Sudan, “If a family does not have at least one Sufi member, it’s not Sudanese.” This may indubitably be the case, granted that Sudan has more Sufi Muslims than any other country in the world, and the number is expanding.

Sufism is noticeably entrenched in the Sudanese community, and many think of it as a way of life.

‘Zikir’ (exercises of remembrance) and ‘madih nabawi’ (poems in praise of the Prophet) are often heard on the streets, in public buses and taxis, in shops and restaurants, and on local radio stations and television channels.

‘Zikir’ and other Sufi practices form part of the weekly Sufi rituals which bring together Sufis from all walks of life, regardless of class and other differences.

Although these rituals are at times lengthy and strenuous, many engage in them with the belief that it is the ultimate form of spiritual worship, which will lead them to draw closer to God and to more fully embrace His divine presence in their lives.

The Emergence of Sufism in Sudan

Many historic accounts suggest that Islam made its impact in Sudan through the activity of Sufi orders. The orders first came to Sudan in the 16th century, and began to expand and take root two centuries later.

There are as many as a dozen Sufi orders in Sudan. While some are restricted to Sudan, others are widespread in Africa and the Middle East. Several orders are derivatives of older orders, and were established by men who made major or minor alterations to the practices of the orders to which they had formerly been linked.

Sufi orders reached all parts of Sudan until, according to some commentators, they reached about five main orders and several secondary ones. The most common ones are al-Qadiriyya with its multiple branches, al-Samaniyya, al-Shazaliyya, al-Tijaniyya, al-Mirghaniyya (al-Khatmiyya), al-Mikashfiyya, al-Majzoubiyya, al-Burhaniyya, al-Idrisiyya-al-Ahmadiya, al-Rashidiyya, al-Ismailiyya, al-Mahdiyya (al-Ansar) and the Naqshbandiyya.

Sufi Orders in Sudan

1) Al-Qadiriyya Order: Al-Qadiriyya is the most widespread and popular order in Sudan. It was founded by Abdelqadir al-Jilani in Baghdad, in the 12th century and was introduced to Sudan by sheikh Tajeldin al-Buhari at the beginning of the Funj state (a loose confederation of sultanates and dependent tribal chieftaincies drawn together under the suzerainty of the Kingdom of in southern Nubia in 1504).

2) Al-Samaniyya Order: A branch of the al-Qadiriyya order, the al-Samaniyya order was founded by sheikh al-Samani who is now buried in Medina. The order emerged in Sudan during the early decades of the Funj state via al-Sayed Ahmed al-Tayeb Wad al-Bashir.

3) Al-Shazaliyya Order: Founded by Imam Abu Hassan al-Shazali, the teachings of al-Shazaliyya order spread in Sudan before the reign of the Funj state, through Sheikh Khojali Abdelrahman.

4) Al-Tijaniyya Order: This order was established by Sheikh Ahmed al-Tijani in Morocco. It eventually penetrated Sudan in the mid-19th century via the western Sahel. It reached Northern Sudan, particularly the city of Berber, by the end of the Turkish reign through Sheikh Ahmed Mukhtar. It also spread in Darfur, west of Sudan.

5) Al-Mirghaniyya Order: Also referred to as al-Khatmiyya, the al-Mirghaniyya order is derived from both the Naqshbandiyya and the al-Shazaliyya orders. It was established in the early 19th century by Mohamed Othman al-Mirghani and settled in Sudan by the end of the Funj state’s reign through al-Sayed Ali Mirghani.

The order originates from Sheikh Ahmed Bin Idris, a religious teacher in Mecca who sent his student Mirghani to Sudan to spread the teachings of Islam. This order was well-received by political parties in Sudan and played a major role in the political history of the country.

The Sheikh, the Massiad and the Khalwa

In Sufism, a sheikh, a master or a ‘wali-Allah’ is believed to be divinely-guided and incapable of sin. An early Sufi sheikh, named Abu Yazid Al Bistami, is frequently quoted as saying, “He who has no sheikh, his sheikh is shaytan (the devil)”.

This is a common belief among Sufis who condemn and harshly criticize self-proclaimed Sufis who do not belong to a specific order and do not follow a particular sheikh. No different from Sufis of other nationalities, Sudanese Sufis believe the sheikh acts as an intermediary between them and God.

The ‘massiad’, (the home of the sheikh of the order), and the ‘khalwa’ (which translates to solitude) where the Quran is memorized and the secrets of the order are learned, are the centers of the order.

Each order has its own hierarchy with the sheikh at the top of the pyramid, usually followed by his successors.

At the ‘khalwa’, the elite of dervishes or ‘hairan’ (followers) completely devote themselves to the order, and isolate themselves from the outside world for the sake of learning the secrets of the order, under the guidance of their sheikh.

Sufi Rituals and Celebrations

Zikir (remembrance) represents the essence of Sufi practices. Some historic accounts suggest that Sudanese Sufi orders introduced distinctive African elements (that are not present in other Sufi countries) into zikir rituals of Sudan.

The ‘zikir’ exercises include reciting prayers and passages of the Quran and repeating the names or attributes of God while performing physical movements.

Each order’s ‘zikir’ varies from the other according to the modus operandi established by the founder. Singing and dancing are also incorporated, and the outcome of an exercise, which may extend to hours, is often a state of ecstatic abandon.

Sufi rituals of the al-Samaniyya order, one of the largest orders in Sudan, are performed for hours every Friday.

The al-Samaniyya followers meet during Friday prayers, all of them dressed in white ‘jellabiyas’ (traditional male garments) with leather belts across their chests, denoting their dedication to the order.

The ritual, held at the al-Samaniyya mosque and led by sheikh Mohamed al-Tayeb, marks the presence of dozens of male followers lined up in a highly organized fashion, chanting the words ‘la ilaha illa Allah’ (there is no god but Allah) while the women join in upstairs.

While some Sudanese people choose to gain religious zeal through the al-Samaniyya order’s somewhat orthodox ‘zikir’ practices, others tend to lean towards non-traditional Sufi rituals that, on the surface, may seem more fun, entertaining and appealing.

The Hamad al-Neel cemetery —a vast, dun-colored cemetery in Omdurman— is the headquarters of the al-Qadiriya order in Sudan and was founded by sheikh Hamad al-Neel, who is buried at a nearby mosque. The expanse serves as an attraction for tourists and photographers due to the nature of the order’s rituals, which combine African heritage, dance, music and colorful attire.

On Friday at 5 pm, the cemetery fills up with people of all ages, ethnicities and walks of life who come to be a part of the rituals, while tea sellers and pamphlet vendors surround the area around the tomb site.

The dervishes are dressed in red and green, patchwork, leopard-prints or flowing white ‘jellabiyas’ and ‘immas’ (turbans). Some sport dreadlocks, amulets and talismans, and others don on colorful hats and enormous strings of prayer beads.

Standing barefoot above the sand and under the heat of a sizzling sun, a few men pick up the rhythm on their ‘tambours’ (drums) and chant ‘zikr’ melodically while the crowd swells palpably, grooving to the rhythm.

A fragrance of rich and distinctive frankincense fills up the atmosphere.

As they sing harmoniously, the dervishes build up into a ritual frenzy and other followers crouch, bob and pump their arms in synchronization with the chants. Some spin in trances, some freestyle and some dance side-by-side in large circles.

As sundown approaches, the dervishes reach a final sustained and jubilant tempo then stop for prayers. Lying flat on the ground in a reverie-like state, some of them embrace what they refer to as spiritual ecstasy.

Remembering the Prophet (PBUH)—the Sufi way

One of the largest gatherings in Sudan is the annual celebration of ‘al-Mawlid al-Nabawi’ (the Prophet’s birthday).

Celebrated by Muslim countries around the world and marked as an official holiday in many of them, the ‘Mawlid’ in Sudan is commemorated in a festive ambience and involves ‘zikir’, ‘madih’, drumming sessions and other forms of performances.

The open-air venues are decorated with lights, floors are furnished with prayer rugs and Sufi flags are positioned all around the area.

From children who enjoy the assorted sweets and candy in the shapes of brides and knights in horses, to adults who sip sweet tea and engage in the Sufi ceremonials, to travelers, tourists and photographers who attend to experience the local religious carnival, the ‘Mawlid’ is attended by people from all ages, orders and ethnicities.

The ‘Mawlid’ even welcomes non-Sufis, who are often present in large numbers. The richer members of the community donate food, and the less fortunate mingle with the rest, enjoy free meals, juice and tea, and join in the chants.

While each Sufi order has its own distinct style, all are, to an extent, similar in terms of their impeccable hospitality, generosity and provoking a mood of spiritual joyousness among the masses.
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Saturday, October 08, 2011

A Simple and Spiritual Life
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By Essam Harrira, *Sufism and Reform (A Conf. Review)* - On Islam - ; Sunday, October 2, 2011

A galaxy of 300 renowned Muslim scholars, mostly Sufis, intellectuals, and community leaders from more than 35 countries from around the world gathered in Cairo in September 24 to 26 in order to discuss the Sufi contributions to reform.

The 3-day conference, which entitled “Sufism: An Authentic Way of Reform”, was held under the auspices of Dr. Ahmad At-Tayyeb, the Grand Imam of Al-Azhar and organized by Al-`Ashirah Al-Muhammadeyah, one of the Egypt’s leading Sufi bodies.

What Is Sufism?

To many people, the concept of Sufism is unclear and even distorted.

“Originally, Sufism ('Tasawwuf' in Arabic) started as an Islamic branch of knowledge that focused on spirituality and dedication to Allah.

Some Sufis say that Sufism derived its name from a group of Companions of Prophet Muhammad (peace and blessings be upon him) who were called “As-hab As-Suffah”. This was a group of poor Companions who were always in the Prophet’s mosque. So, they had a rough life, but very spiritual and very dedicated.

Abu Hurayrah, the famous Companion and narrator of Hadith, was one of them.

Sufis, according to this definition, also derived from a group of pious scholars, who used to wear rough wool (Souf), such as `Abdul-Qader Al-Jilani and Bishr Al-Hafi.

These scholars were not traditional faqihs, but rather a group of dedicated preachers who always reminded their followers of Allah and the hereafter and left a memory of a simple and spiritual life.

“Sufism, afterwards, evolved into an educational method, where students (called Mureedun, pl. of Mureed, i.e., a seeker) follow a certain teacher (Sheikh).

The Sheikh used to train those students according to a certain educational method, called Tariqah i.e., a way or method. The goal of this training was to attain a certain level of spirituality by mentioning Allah or one of his names a certain number of times, fasting for certain number of days, praying at night, reading specific chapters of the Qur'an a number of times, etc.

Before a student could join a Sheikh, he had to give an oath to obey the Sheikh and maintain a very high level of brotherhood between him and the rest of the students who follow the same Sheikh.

“Over the centuries, the Sufi Sheikhs started to form specific organized groups called Turuq Sufiyah based on the methods they used for spiritual education and on the loyal students. These groups, historically, contributed a great deal to the Islamic reform movements and Jihad against invading forces (examples: Al-Mahdiyun in Africa and Al-Murabitun in Andalusia, etc).”[1]

Urgent Need for Reform

Throughout the conference 10 sessions, more than 70 papers were presented covering the following main topics:

1. The urgent need for reform in the Arab and Muslim societies

2. Sufism as an authentic way of reform

3. The problems of Sufism and reform

4. Sufism and possibilities of reform

5. Models of Sufi reformers in past and present

Convening scholars and researchers emphasized that the Arab and Muslim world is in bad need of real and comprehensive reform to rescue both individuals and societies from the prevailing corruption.

Sufism, according to the gathering scholars, was and is still an authentic way of reform. It could reform both individuals and societies.

Moreover, they discussed major problems and obstacles that face Sufism as a way of reform and how the Sufis, either leaders or followers, can overcome such challenges.

Sufi Models

To practically prove Sufi contributions to reform throughout centuries, participants highlighted the efforts of eminent models of Sufi reformers from among the Companions of the Prophet (may Allah be pleased with them all), particularly Ahlus-Suffah, the early Muslims (as-Salaf as-Salih) such as Ibrahim ibn Adham, Hatim Al-Assam, Al-`Ezz ibn `Abdus-Salam, Imam Ash-Sha`rani, and `Abdul-Qader Al-Jilani, and contemporary figures such as Sheikh Muhammad Zaki Ibrahim, founder of Al-`Ashirah Al-Muhammadeyah, Sheikh Mahmud Khattab As-Subki, founder of Al-Jam`yah Ash-Shar`yah, Sheikh Hassan Al-Banna, founder of the Muslim Brotherhood, etc.

They also introduced good examples of Sufi rulers and leaders such as Saladin (Salahuddin Al-Ayyubi).

International Union for Sufis

In the conference recommendations, the participants called for the establishment of an international union that gathers all Sufi scholars and sects. They, moreover, proposed a launch of a TV channel to focus on moral and spiritual enhancement and to encounter violence and extremism.

The conference, moreover, urged Arab and Muslim countries as well as the world organizations to support the Palestinian people in establishing their independent state with its capital “A-Quds”. Arab rulers were also asked to take quick practical steps in reforming their regimes and polices.

[1] Dr. Jasser Auda, On Islam, “Sufism and Wahhabism”, October 2, 2011.
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Friday, October 07, 2011

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Diane Cilento passed away yesterday; may she rest in peace. See Sufi News,October 30, 2006: Interview with Diane Cilento.
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Let Us Grow Roses
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By TH Special Correspondent, *Let us get rid of the border: Burney* - The Hindu - India; Friday, September 30, 2011

Burney pleads for release of Pakistani virologist Dr. Chishty from Ajmer jail

Jaipur: Pakistan's human rights crusader Ansar Burney has asked both India and Pakistan to stop exchanging bodies, and consider sending people alive back home.

“The real goodwill would be in exchanging people live and not their dead bodies,” Mr. Burney, who visited the mausoleum of Sufi Saint Khwaja Moinuddin Chisti in Ajmer on Thursday, said.

The activist-lawyer, instrumental in creating a lot of goodwill between India and Pakistan in the past few years, could not meet Pakistani virologist Khaleel Chishty who is in Ajmer jail after a court sentenced him for life this January, though the main purpose of his visit this time appeared to be that.

“It is time that Pakistan and India do away with the borders dividing both the nations,” Mr. Burney told journalists at Ajmer Dargah.

“They should learn from the experience of the European Union countries and allow visa-free entry for their citizens,” Mr. Burney said. The nations in EU too were fighting detrimental battles in the past but now they co-exist in peace, he noted.

“Why don't we have a South Asia Union through which all the nations could exist in peace and prosper,” he asked. “Let us get rid of the border and grow roses there as mark of love and affection for each,” he suggested.

Mr. Burney's grand parents were from India (Bulandshahar, Uttar Pradesh). “For me, both the countries are important and I want peace between the two,” he said.

Ajmer-based Salman Chishty, who accompanied Mr. Burney in the Dargah, said the latter prayed for “peace and harmony” between the two countries.

“People are suffering on both the sides of the border; be it terrorism, human rights violation or other types of deprivation and misery. The present situation has to change,” Mr. Salman Chishty said quoting the Pakistani lawyer.

Mr. Burney, who echoed the sentiments of human rights activists in India over the release of 78-year-old Dr. Chishty — now a wreck with many ailments —appealed to the authorities here to facilitate his early release.

“If Dr. Chishty is sent back to Karachi to his ailing wife who has turned deaf as well, it would generate more goodwill between the two nations than any other major political or diplomatic move,” he suggested.

“In Pakistan, the impression is that Indian media has been very supportive to the cause of Dr. Chishty,” he said.

Mr. Burney felt that Dr. Chishty was being singled out for the kind of treatment being meted out to him when others involved in the case, including the co-convicts in the murder which had taken place some 19 years back, were out on bail.

He said the cases of Sarabjeet Singh and Dr. Chishty were different as the latter did not have any terrorism charges against him.

“Both cases cannot be compared. However, on my part, I am against death penalty,” Mr. Burney said.

Asked about the repatriation of Dawood Ibrahim, he said that if there were charges of terror acts against him he should be handed over to India. However, Mr. Burney added that he did not want to politicise issues. “I am a human rights activist. I don't want to do politics,” he asserted.

Mr. Burney, who later boarded a plane to Mumbai from Jaipur, told Kavita Srivastava, general secretary of the People's Union for Civil Liberties (PUCL) Rajasthan that he intended to seek an appointment with Rajasthan Governor Shivraj Patil.

“He has taken visas for Delhi, Jaipur, Ajmer, Mumbai and Chandigarh and plans to meet the Governor in Chandigarh,” Ms. Srivastava said. However, while in Jaipur, his thrust was on Rajasthan Chief Minister Ashok Gehlot pushing the case to its logical conclusion as the latter had cleared Dr. Chishty's clemency petition back in June,” she informed.

Picture: Pakistani human rights activist Ansar Burney paying a visit to the shrine of Khwaja Moinuddin Chishti in Ajmer on Thursday. Photo: PTI.
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Thursday, October 06, 2011

Deep Roots
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By TNI Correspondent, *South Asian network to fight extremism suggested* - The News International - Karachi, Pakistan; Friday, September 30, 2011

Karachi: Bangladeshi civil society activist and scholar Shahriar Kabir on Thursday underlined the need for an effective network of secular civil society forces at the South Asian level to counter the strong presence of religious extremism in the region.

Kabir, who is a senior journalist and a documentary filmmaker, was delivering a talk on “The Rise of Religious Extremism and Militancy in South Asia” organised by the Pakistan Institute of Labour Education and Research (PILER) at the PILER Centre.

A documentary titled, “Portrait of Jihad” prepared by Kabir and produced by the South Asian People’s Union Against Fundamentalism and Communalism covering the rise of Islamic militancy in Bangladesh, was also screened on the occasion.

“Most of the countries in South Asia are directly affected by religious extremism and militancy. Only secular elements can counter such forces,”

he opined, adding that a strong civil society was important to support the state to crush militancy.

He cited the recent ruling by the Supreme Court of Bangladesh that ordered to restore the secular provisions in the country’s constitution. Calling it a huge success, he said that this would pave the way for reclaiming the lost space from those espousing a violent brand of religion for the Bangladesh state.

“Sufism can also play an important role in countering Islamic militancy and creating a peaceful and harmonious atmosphere because Sufism has deep roots in the society of the Sub-Continent.

In fact, the spread of Islam in the region came through Sufism. Violent extremism never succeeded in spreading Islam at any point in time”.


He emphasised that militancy was a political issue and there was need for a strong political will and committed leadership to crush terrorism in the region.

“We can’t expect the people to rise up against militancy on their own. They need a strong leadership to lead this struggle. Thousands of people joined Anna Hazare’s movement in India because he took a stand on people’s issues.

A majority of the population of the region was anti-fundamentalism and anti-violence, he contended. Whenever given an opportunity, they have expressed their support for democratic forces and a secular and progressive political system.

In the recent elections in Bangladesh, there were 15 million new registered voters, mostly youth. A majority of them voted for the secular political forces now in power.”


He suggested holding a regional conference on Sufism in Pakistan. No single government can uproot religious extremism from the region. Everybody should be united to end religious militancy.

Kabir, who threw light on the causes of emergence of Islamic militancy in Bangladesh, as well as in the South Asian region, observed that the first constitution adopted by Bangladesh post-independence was secular in nature.

Militancy only increased after the assassination of Shaikh Mujeebur Rahman and it was later promoted by the regime of military dictator Ziaur Rehman that changed the secular provisions in the Constitution and declared Islam as state religion.

The Bangladesh Nationalist Party (BNP)-led alliance’s government by former Prime Minister Khalida Zia promoted the Jihadi elements in the country, since the major political party of the ruling alliance was Jamaat-e-Islami.

He said that in Bangladesh some elements in the government supported the militants.

The present Awami League government had arrested the chiefs of the secret agencies and their trial was underway, he added. “The secular nature of the Bangladesh Constitution has been restored and the government has introduced many reforms.”

Kabir said that the present government had introduced a new education policy under which it had initiated a uniform curriculum for all private and public Madressahs.

“All the Islamic religious schools (Madressahs) have been asked to follow a single curriculum.”

He said due to poverty, people are sending their children to Madressahs because these religious schools offered free education along with free food and residential facilities.

“Same is the case with Madressahs in Pakistan where a large majority of private Madrassahs get funding from the Middle East countries that seek to impose their brand of Islam in the region through these schools.

For encouraging a progressive education system the government must allocate more funds for the sector, while the budget for military expenditure needs to be rationalised.”


Kabir claimed that militancy in Pakistan increased after the 1971 war because the responsible generals of the military operation in East Pakistan got immunity from punishment for the genocide that they carried out in the former East Pakistan. They were given key positions in the post-1971 Pakistan that encouraged them to exploit Afghanistan as another battleground with the US support in the 80s.

Earlier, Sharafat Ali of PILER welcomed the guest and presented a brief introduction of the visiting. A large number of members of trade unions and peace activists attended the session.

[Picture: Pakistan Institute of Labour Education and Research (PILER) Centre. Photo: PILER.]
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Wednesday, October 05, 2011

A Sufi Tradition
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By Vit Wagner, *Mississauga mosque to offer free hot meals* - The Star - Toronto, Canada; Wednesday, September 28, 2011

A Mississauga mosque is out to prove that there is a free lunch —and dinner too.

Heeding the Qur’anic instruction to assist the needy, Jamia Riyadhul Jannah mosque will start offering free meals, seven days a week from noon to 7 p.m., starting Friday.

The Sunni/Sufi mosque, located in an industrial park near Credit View and Argentia Rds., is the first North American mosque to provide hot meals to all regardless of faith, organizers claim. The halal menu will vary daily, with the entrees ranging from burgers to pasta and other items.

“We follow a Sufi tradition. And if you look at the tradition of the Sufis, they have been quite strong on helping people, including feeding the poor and needy. This falls exactly in that tradition,” said imam Syed Soharwardy.

Community outreach was a founding principle of the mosque when it opened last August, Sohawardy said. Future plans include providing temporary shelter for recent immigrants.

“We don’t want it to just be a traditional place of worship,” he said. “That is one aspect. But we also want to make it a community centre and a place for interfaith dialogue. It is not just a place for Sufi Muslims. It is a place for all Canadians”.

The mosque has been putting the word out with flyers distributed through food banks and other community services.

Board member Imran Inamdar [pictured] concedes he doesn’t know how long it will take for the concept to catch on. He points to the success of Knights Table, a program founded by the Catholic Knights of Columbus that has operated for 20 years in nearby Brampton and provides 150 meals daily to people regardless of background.

“It will take about a month for people to get to know about this,” Inamdar said.

Initially, the food will be brought in, kept warm on site and be served in a small 18-square-metre dining room. But the mosque is equipped with a kitchen and additional dining space, leaving room for expansion.
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Tuesday, October 04, 2011

Growing
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By Bhavya Dore, *Mumbai to host its first convention on comic books* - Hindustan Times - New Delhi, India; Monday, September 26, 2011

Mumbai: The city will host its first comic convention this October. The two-day comic-intensive affair, featuring publishers, authors, and artists, will be open to the public for free.

Comic Con Express, a travelling version of the first Comic Con or comic convention held in Delhi earlier this year, will be organised in Mumbai on October 22 and 23.

Ten new books will be launched at the event including 1951 - a series of autobiographical sketches by Mario Miranda, 40 Sufi Comics and an adapted graphic novel version of Rudyard Kipling's Jungle Book.

"There has been no common platform for comic book lovers so far," said Jatin Vora, 27, founder of Comic Con. "As a business, comics still have some way to go. But a lot more variety is available now and many more people are liking it."

The convention will feature stalls exhibiting, promoting and selling comics, workshops and interactive sessions with authors and artists and film previews.

The comic book culture in India, still in its nascent stage, is taking off. "It has definitely progressed," said Akshay Dhar, who will release his book, Retrograde Novel, at the convention.

"People are setting up publishing houses and the number of people reading comics other than Amar Chitra Katha is growing."

[Picture: 40 Sufi Comics by Arif & Ali. Photo: Vakil.org.]
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Monday, October 03, 2011

Moderate Approach
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By SIS Reporter, *Azhar Grand Imam urges Islamic scholars to translate real meaning of Sufism to serve religion* - Egypt State Information Service - Sunday, 25 September 2011

Azhar Grand Imam urges Islamic scholars to translate real meaning of Sufism to serve religion

The Grand Imam of Al Azhar Sheikh Ahmed Al-Tayyeb urged Islamic scholars to have mutual cooperation with each other and translate the real meaning of Sufism to serve religion and to take advantage of Al-Azhar moderate approach.

He urged them to steer away from sectarian and political disputes to cope up with the current international challenges that face the Islamic nation.

The remarks were made in his address to the First World Conference of Sufism, which began its proceedings on 24/9/2011 under the rubric "authentic approach to reform".

The statement was delivered on his behalf by Dr. Hassan Al Shafie the Secretary General of the Conference.

Al-Tayyeb asserted that true Sufism is a humanitarian necessity. It calls for charity and work and struggle to serve humanity away from any sectarian disputes or partisan one and seeks to build an Islamic civilization under Islamic law and establish jihad in the way of Allah to liberate Muslim land that was usurped and not for aggression on anyone.
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Sunday, October 02, 2011

Delivering Allah's Message
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By Prabalika M. Borah, *Message delivered* - The Hindu - Chennai, India - Sunday, September 25, 2011

Sufi singer Fareed Ayaz loves his paan as much as he loves singing to deliver uparwala's message

Talking to Pakistani sufi singer and qawwal Fareed Ayaz is like sitting through an interesting class in music, general knowledge and a bit of math.

At an informal gathering in Lamakaan discussing music, Fareed takes turns to question the audience and test their general knowledge. His intention in doing so is “to explain what I am discussing better. I have a good command in various languages. But some things are best explained with examples,” says Fareed.

Ustad Ghulam Fariduddin Ayaz Al-Hussaini Qawwal better known as Fareed Ayaz is a Pakistani Qawwal but has his roots in apna Hyderabad.

“I was born in 1952 and in 1956 we shifted to Karachi. Since then I have been living there and visiting the city/country when I am invited to perform. In a way my music brings me back here,” he says.

Belonging to the Qawwal Bachchon Ka Gharana of Delhi, Fareed stresses that people take support of gharanas in the wrong way these days.

“Gharana is not a person or the famous person under whom you have been tutoring. Gharana is a school of thought. I don't feel the need to flaunt my gharana because I believe in my music and I have absolutely no ghalat feimi about myself and my performance. That's because as a child I was told by my father and guru, ‘leave music for one day, music will leave you for a month.'

Those who lack confidence in their work take the support of gharanas. I was awarded the title of ‘Pride of Performance' in Pakistan. At the award function I said, ‘my audience bestows me with this title at every performance, this title for me is a piece of gold,'”

Fareed explains as he sips chai. Dressed in his signature simple kurta and pyjama with a teliya rumal hanging from his neck and Fareed's stone studded sindhi topi, the singer also says, “while we are performing we are doing nothing but delivering Allah's message to the listeners. Qawwali or sufi music should be able to touch senses in a human being. Only then the singers know what they are singing,” he stresses and says he believes there is no language to Sufi music —“hain toh bas message.”

A heavy paan [betel leaf] chewer, on being asked how many paans he chews on an average, Fareed says, “A few years ago it was 150-200 a day. Now I don't count. Maybe this will give everyone a rough idea —‘I am awake for 12 hours but chew paan for 24 hours. How? When I sleep I nudge my wife, she understands, wakes from her sleep, makes my paan and nudges me back, then I understand and simply open my mouth, once the paan is in I fall back to sleep',” he laughs.

Along with his music and clothes, Fareed travels with his paan, because according to him God has only promised us food “uparwala Karachi paan ka wada toh nahin kiya, so I carry them with me.”
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Saturday, October 01, 2011

The Intangible
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By Nishaa Ishtiak, *Ta’wiz: an age-old delusion or science? * - The Express Tribune - Karachi, Pakistan; Saturday, September 24, 2011

Ta’wiz: an age-old delusion or science?

One man stood before 50 people on Thursday, in an attempt to prove to them that ta’wiz is a science.

It is not an offshoot of Sufism, insisted Asim Maharvi Chishti of the Chishtiya Ribbat Sufi Studies Centre, at the first of the four lectures organised by Kuch Khaas and Hast-o-Neest (Centre for Tradition Art and Culture in Lahore). The lecture was titled “Talismanic Science of Ta’wiz”.

Talismanic science (vajdani ilm) he explained, works at different levels of human existence or the five shells: there’s the outermost or the physical shell (treated with herbs or medicines), the electromagnetic, the psychic that invokes feelings such as fear and love, psycho astral and the innermost astral shell (Roh-e-Nisama).

The human body is surrounded by a certain “aura” that prevents negative energy from penetrating your body, although its intensity varies from person to person just like intelligence, Chishti said.

Modern science, he continued, is mostly concerned with the physical as it does not accept the concept of the intangible.

However, he continued, we often forget that the commonality that brings all humans together is the spirit – the essence of life which is not limited by time and space and still eludes the logic of modern day science.

Talismanic science is practiced through written numbers and alphabets. It’s foundations lay on Abjad numerals, a decimal numeral system in which the 28 letters of Arabic are assigned numerical values(Ibn-e-haroof) and numbers (1-9) that combine to form Ilm-e-Jaffar, explained the lecturer.

They are assigned values by spiritual leaders, and correspond to different elements; these cosmic and heavenly bodies have certain affects on the human existence.

Also universal shapes such as triangle, circle which have to be written down at prescribed time of the day, as for each shape only when the moon is the highest level will the ta’wiz have any effect.

He talked of the power embodied in Arabic alphabets such as ‘Alif’ which, he claimed, if repeatedly written can be destructive. This science, Chishti claimed, can reveal and treat illnesses at all levels of shells.

Ruqa, as referred to before the advent of Islam, existed since the time of Adam and was then taken up during Hazrat’s Idrees’s time, he said.

Resolute on his claim of ta’wiz being a science, he said it is being misused in our society and people have fallen prey to the pseudo professors of this science. The problem, he claimed, does not lie with ta’wiz but with its diagnosis.

The hows and whys

The lecture was followed by a question and answer session. Some of the questions:

Is ta’wiz a branch of magic?

No but it can be used to cure or remove destructive effects of the notorious black magic.

How do you receive this knowledge?

It is transferred in the four spiritual orders, Chishtia, Qadiriyya, Suhrawardiyya and Naqshbandi.

So are you saying this is a sectarian divide?

Not at all. It is a tailored solution which adopts different methods and has the same aims.

How much do you charge for one ta’wiz?

The question that was perhaps on most people’s mind was finally voiced amidst subtle laughter. That is a very important question. We are not allowed to charge anything, but we also cannot refuse whatever is being offered to us.

After the discussion

Chishti told The Express Tribune that the aim behind the talk was to educate the people and pave way for what he believed was an eventually imperative collaboration between modern and talismanic science.

Do alphabets and numbers contain the power to heal? How much truth lies in these cosmic and heavenly bodies affecting us? Will talismanic science ever be accepted by the modern scientist?

For some the answer will be a simple Google search; for others it will be a lifelong journey of exploration; some will not give it a second thought; others will swear by it; for those in between these two extremes, a proverbial question mark will hang over talismanic sciences, unwilling to submit to it, but vary of denying it outright.

Picture: The speaker explains ta’wiz in the light of work done by the early sufis or Islamic spiritual scientists. Photo: Kuch Khaas.
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Friday, September 30, 2011

Shajarat al 'Abid
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By Lamis Yahya, *A spiritual politics* - Al-Ahram Weekly - Cairo, Egypt; 22 - 28 September 2011, Issue No. 1065

Ammar Ali Hassan, Shajarat al 'Abid (Worshipper's Tree), Cairo: Nefro, 2011

Akif, the hero of this book -- the word means "recluse" -- lives in a Sufi ambience despite the politically, socially, and economically disturbed surroundings.

He is a rebellious student at Al Azhar, torn between changing the world and changing himself.

When he joins a coup attempting to replace the tyrannous sultan, his life changes. It is the danger and complexity of this experience that gives him access to hitherto unknown parts of himself, leading him on a new journey of connection with the divine, which is embodied in his search for the Worshipper's Tree, an inner as well as an outer quest.

Set in medieval Cairo, at its start the text evokes Hadith as Sabah wal Massaa (Morning and Evening Conversation) by Naguib Mahfouz, in which the borders between reality and dreams, human beings and djinn break down. Akif is in love with Namar, a genie very like a human woman, who guides him through a fantasy world similar to our own.

The rich, energetic world of medieval Cairo, of Sufi lodges, Coptic monasteries and bloody court intrigues, is colourfully evoked.

One touching detail in Akif's journey is his connection with Namar and Hafssa, her human counterpart as it were, which sheds light on the role of women in mysticism, evoking the great figure Rab'a al Adawiya.

Other characters too are searching for the tree, but there is no conflict in their interactions. And the verse from Surat an Nur (24, 35 of the Quran) becomes of particular relevance:

Allah is the Light of the heavens and the earth;
the example of His light is like a niche in which is a lamp;
the lamp is in a glass;
the glass is as if it were a star shining like a pearl,
kindled by the blessed olive tree,
neither of the east nor of the west --
it is close that the oil itself get ablaze
although the fire does not touch it;
light upon light;
Allah guides towards His light whomever He wills;
and Allah illustrates examples for mankind;
and Allah knows everything.

Dating all the way back to the Kabala, the tree as a symbol is a powerful locus for Akif's journey of self and homeland discovery, and not before the end do we find out if he is destined for life as a religious scholar, a revolutionary or a dervish.
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