Sapan News updates, art and interfaith in Mumbai, Kabir Festival, two films, and a train crash tragedy

Hello all, check out the work we’re doing at Sapan News, providing behind-the-headlines information with context and nuance, and syndicating pieces out to a growing media network.

Sapan News syndicated feature in The South Asia Times, page 27, 3-9 June.

The latest Sapan News features include this explainer about the implications of the state crackdown on the violent protests following Imran Khan’s arrest in Pakistan – by Abdullah Zahid in Karachi, published in The South Asia Times (image from their New York edition here) among others. Read it online here.

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Happening this Sunday in the Boston area, the second Kabir Festival, in Waltham, 4-7 pm – an event co-sponsored by Sapan, the Southasia Peace Coalition. For details see the Southasia Peace website.

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Joyland poster

On another note, I saw the banned-unbanned-censored (still banned in Punjab?) Joyland in Karachi a few weeks ago, and it haunted me – and my cousins who I saw it with – for days. This is the first feature film from Pakistan to screen at Cannes where it won two awards.

“What began as a small independent production among friends at Columbia University’s graduate film program became one of the year’s biggest success stories in world cinema — and a ground-breaking film about queer desire in a traditional Muslim society” reports NPR.

The film is showing at Coolidge Corner Theatre in the Boston area this week– writer-director Saim Sadiq has said the cuts made for the film’s showing in Pakistan were insignificant but I am curious to see the uncensored version.

A film I saw recently and enjoyed was Nandita Das’ Zwigato, that she showed in person at various cities in the US.

Even on the small screen I found it thought-provoking and beautifully done, with many layers, a great commentary on the changing society, its challenges and opportunities. Sensitively depicted relationships, humanity, and aspirations. Great poetry and soundtrack, with many nuggets and vignettes sprinkled throughout. The end credits with animations are particularly creative and a story in themselves.

This is the third feature film by Nandita Das that I’ve seen, after Firaaq and Manto. Each of them a labour of love, executed with courage and clarity.

Interesting that the posters for both films feature two-wheelers…

Ending on a sad note – the triple train crash in India that has claimed nearly 300 lives. As expected, authorities are trying to pass it off as ‘human error’ rather than admit to the systematic problems with the railways or the government’s financial choices.

(ends)

From the Zia dark years in Pakistan to the ‘hijab row’ in India

I was initially hesitant to add my two bits to the ‘hijab row’ in India about which so much has already been written. But I’m glad I did – gained a lot of insights and info that I tried to share with a wider audience. Thanks to Ullekh NP, Executive Editor at Open Magazine in India for prodding me. Published 25 Feb with the headline Hijab Row in India: Just Like Us, with a powchaerful illustration copied below. I’m thrilled that my SAWM sisters, the South Asian Women in Journalism, liked it enough to share it on their website under Article of the Day category. Posting the essay below with materials not used in the Open article, including my 1983 (or was it ’82?) piece in The Star with my own illustrations, HUNDRED AND ONE USES OF A CHADDAR, and link to Fahmida Riaz reciting her poem.

Illustration by Saurabh Singh for Open Magazine

WOMEN ACROSS SOUTH Asia and beyond have for centuries loosely covered their heads and bosoms, regardless of religion, shielding themselves from unrelated men as well as from the hot sun.

Those entering the work force in urban areas have been quicker to shed traditional attire. Those who find these changes threatening sometimes find ways to keep women in their place. Religion offers a convenient pretext.

The more conservative Muslim women in South Asia also traditionally wore a burqa, more all-enveloping than a chaddar or dupatta. My grandmother in Allahabad, U.P., used to wear a brown burqa that she discarded eventually in Karachi.

Growing up in Pakistan under the military dictatorship of Gen. Ziaul Haq, 1977-88, women like me have first-hand experience of such tactics. We watch in horror as shadows of the ZIa dark years seem to spread across the border into India.

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