Iconic play Kaifi Aur Main travels to Pune with star-studded cast, including Shabana Azmi
'It is also the story of the world in which these two people were born, the society in which they breathed. It was a society where there is oppression and injustice, and these two individuals unite to fight every breach of justice and tyranny. This is a story of a multitude, of every person who holds on to hope that, one day, the world will be free of oppression and there will be friendship and love,' he says about the play he wrote and, for many years, starred in.
Kaifi aur Main premiered in Mumbai in 2006 and, as it approaches its 20th year, the star-studded cast of Shabana Azmi, Kanwaljit Singh and ghazal singer Jaswinder Singh, who performs live, will be will be staged at Marigold Banquet and Conventions on August 3 at 7 pm.
The story arcs from Mijwan, a little-known village without a pincode in Uttar Pradesh, where the Urdu poet Kaifi Azmi was born, to his meeting with young Shaukat (mother of Shabana Azmi) to their 55-year romance that lasted till his death. 'The story is about love, the relationship of a husband and wife and how they support each other,' says Jaswinder Singh.
Kaifi and Shaukat's relationship unfolds against the background of sociopolitical upheaval as a newly Independent India strives towards great ideals. Shabana, the daughter of Kaifi and Shaukat, plays her mother while Kanwaljit has taken over from Akhtar to essay the role of the renowned poet. The personal narrative intersperses with the world context in a way that the play becomes a documentation of an era in a powerful female voice.
'Kaifi sahab was the president of the Indian People's Theatre Association (IPTA), a progressive cultural organisation that played a vital part during the freedom struggle. The progressive writers and artistes were from IPTA, and they met, wrote plays and poetry and sent out meaningful messages. As a child, I used to meet Kaifi sahab and we have grown up listening to his poetry, so it is a very personal for us to be doing this performance. It is inspired by love for him, his poetry and his philosophy,' says Jaswinder, in a phone interview from Mumbai.
Kaifi aur Main does not have the typical format of a play. Shabana and Kanwaljit sit and narrate on stage with Jaswinder and five musicians who perform timeless songs, such as Waqt Ne Kiya Kya Haseen Sitam, Tumhari Zulf Ke Saye Mein and Kar Chale Hum Fida – the multiple forms uniting to narrate the story.
'I think it is very important that we should do such kinds of plays and music programmes because, as a society, we are getting away from love. Kaifi sahab stood for his fellow being, the villagers and the poor, and the play gives the message where he says, 'Pyar ka jashan nai tarah manana hoga, Pyar ka jashan nai tarah manana hoga, gam kisi dil mein sahi, gam ko mitana hoga,' says Jaswinder.
Dipanita Nath is interested in the climate crisis and sustainability. She has written extensively on social trends, heritage, theatre and startups. She has worked with major news organizations such as Hindustan Times, The Times of India and Mint. ... Read More
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hindustan Times
6 hours ago
- Hindustan Times
A remarkable revival; celebrating 20 years of Dastangoi
In 2025, the world commemorates an extraordinary milestone, the 20th anniversary of the modern revival of Dastangoi, the centuries-old art of Urdu storytelling. Once presumed extinct after fading from the cultural landscape in the 1920s, this lyrical performance tradition has not only been brought back from oblivion, it has also become a symbol of artistic resilience, cultural memory, and collective imagination. Dastan-e-Mir in performance (Courtesy Dastangoi Collective) The celebrations by the Dastangoi Collective started with a series of festivals hosted at some of India's most iconic theatre spaces, including Prithvi Theatre in Mumbai and the India Habitat Centre in Delhi. The anniversary has become a multifaceted cultural tribute to this extraordinary revival, from curated performances and public lectures, to documentary screenings and global shows. Mahmood Farooqui in Dastan-e-Karn (Courtesy Dastangoi Collective) The modern journey of Dastangoi began in the early 2000s, when Mahmood Farooqui, inspired by the scholarly work of legendary Urdu critic Shamsur Rahman Faruqi, resurrected the tradition. SR Faruqi's multi-volume research on Tilism-e-Hoshruba and Dastan-e-Amir Hamza, texts once woven into the cultural fabric of the subcontinent, served as a vital foundation. Through his erudition, he decoded a forgotten universe of fantasy, intricate prose, and moral complexity that had shaped South Asian storytelling for centuries. In 2005, Mahmood Farooqui, an Oxford trained historian, and filmmaker Anusha Rizvi conceptualised the first modern Dastangoi performance at the India International Centre in New Delhi. This was not merely a re-enactment; it was an artistic reinvention. Farooqui introduced two significant innovations: dual performers instead of the traditional solo narrator, and a fully-designed stage production with lighting, costumes, and structured entrances and exits. He presented a gripping excerpt from the Tilism-e-Hoshruba corpus alongside theatre artist Himanshu Tyagi. The performance captivated audiences, marking not just a return, but a rebirth. For his pioneering efforts in reviving Dastangoi, Mahmood Farooqui was conferred the Bismillah Khan Yuva Puraskar by the Sangeet Natak Akademi. Two decades later, Dastangoi is not a relic but a living, breathing cultural phenomenon. Over 5,000 performances have been staged worldwide in cities like London, New York, Osaka, Dubai and Singapore, as well as in remote villages and towns across India. From the metropolitan halls of the UK to the intimate chaupals and informal stages of rural India, audiences have gathered in awe, drawn by the lyrical elegance of Urdu, the visual richness of descriptions, and the sheer theatricality of storytelling at its finest. Since the revival, the Dastangoi Collective's repertoire has expanded beyond its classical roots. While Tilism-e-Hoshruba remains sacred ground, new dastans have been created to speak to contemporary times. From folktales like Dastan-e-Chouboli and Dastan Raja Vikram Ki to literary masterpieces like Ghare Bhaire and Dastan-e-Ret Samadhi, and searing biographical narratives like Dastan-e-Raj Kapoor, Dastan-e-Gandhi, Dastan-e-Ambedkar, and Mantoiyat, each performance blends tradition with modernity, fantasy with truth. Dastan-e-Manto in performance (Courtesy Dastangoi Collective) Epics, too, have found their voice in this form. Dastan-e-Karnaz Mahabharata, one of the most celebrated dastans and Dastan Jai Ramji Ki, based on AK Ramanujan's 300 Ramayanas, bring mythological tales into modern sensibilities. Moreover, imaginative artistic tributes like Dastan-e-Raza about the life of the iconic artist Syed Haider Raza, Dastan-e-Naina Devi and works like Dastan-e-Billi, which is a tribute to art historian BN Goswami, offer innovative scholarly celebrations of their work and efforts. What breathes life into these stories are the storytellers, extraordinary performers, each with a unique voice. These include Darain Shahidi, an award-winning journalist and masterful narrator, Rana Pratap Senger, a veteran of Indian Theatre with deep ties to Habib Tanvir's Naya Theatre, Rajesh Kumar, who has worked in award-winning films like Parzania and Kavi, and Poonam Girdhani, a theatre and radio artist of rare depth and versatility, amongst many more. Dastan-e-Raj Kapoor in performance (Courtesy Dastangoi Collective) Being a dastango is not just about performances but research, authorship, and activism. Many in the Collective have also, over the years, been trained to become writers and scholars. Ainee Farooqui, now a PhD scholar at Princeton University, has authored powerful dastans like Dastan-e-Jallian (on the Jallianwala Bagh massacre) and Dastan-e-Bhagat Singh. Poonam Girdhani has written a dastan on Babasaheb Ambedkar and Dastan-e-Irrfan-e-Buddha. Namita Singhal has crafted a moving narrative on Jawaharlal Nehru, evoking the spirit of pre- and post-Independence India. Meera Rizvi has penned a dastan on celebrated feminist icons, Fahmida Riaz, bringing ideas like gender, women's agency, and freedom of thought and expression to the stage. Equally inspiring is the Collective's commitment to introducing the art to children. Farooqui's Dastan Alice Ki and Dastan Little Prince Ki, and Girdhani's Haroun Ki, adapted from Salman Rushdie's Haroun and the Sea of Stories, have enthralled young minds. These performances are not mere simplifications but carry the same layered narratives and poetic elegance, and they aim to instil in the next generation a deep love for storytelling. Dastan-e-Alice in performance (Courtesy Dastangoi Collective) Despite its success, sustaining an ancient art form in today's world comes with formidable challenges. Dastangoi's journey has not been easy, from logistical hurdles to navigating the complexities of political discourse. Yet, the Dastangoi Collective remains deeply committed. Their passion is sustained not by commercial rewards but by the emotional connection they cultivate with the audience through the exchange of stories, empathy, and shared humanity. In an age of shrinking attention spans, the willingness of audiences to immerse themselves in hour-long performances is a testament to its enduring magic. To ensure this connection is sustained, the Collective has extended its efforts into educational institutions through workshops and teaching engagements. Institutions such as the National School of Drama, Ashoka University, Jamia Millia Islamia, Delhi University, Punjab University, Christ University, The Doon School, and Woodstock School, amongst others, have all opened their doors to the art. To date, Mahmood Farooqui has trained over two dozen people in the art of Dastangoi, many of whom practice it professionally. I started my Dastangoi journey in 2014. I was then a student at the University of Delhi. I became passionate about learning the art form after watching a Dastangoi performance at the IHC. I approached Mahmood Farooqui who agreed to take me on as a student. He worked on my voice modulation, speech delivery, narration, and stage presence for a couple of years. During that time, I also learnt a new language – Urdu. Finally, the day came when I made my debut at IHC with a tale from Tilism-e-Hoshruba. The same dastan had once captivated me as I sat in the same auditorium as a member of the audience. Today, I have performed over 100 shows across the country. I have also represented India through Dastangoi at international forums, such as the International Bakshi Art Festival in Uzbekistan and performed Dastan-e-Aftaab along with Amina Syeda at the World Expo 2025 in Osaka, Japan. I have conducted several workshops and given Dastangoi lectures at various prestigious educational institutions in the country. At the Ashoka University, Girdhani and I have been teaching an undergraduate course on Dastangoi at the Centre for Performing Arts, inspiring students to perform and think, research, and create for several years now. Dastan-e-Aftab (Courtesy Dastangoi Collective) The future for Dastangoi remains as vibrant as its past, with new works underway. Mahmood Farooqui is developing a dastan on the life and films of the legendary Guru Dutt and Udit Yadav, a gifted storyteller, is working on a dastan on Kabir. Folktale adaptations and children's dastans are also in the pipeline, continuing the Collective's commitment to innovation and inclusivity. After 20 years, Dastangoi, which was once known as a whisper of the past, is now a roaring, poetic voice that spans continents. In reviving this tradition, Mahmood Farooqui & his Dastangoi Collective have not only preserved history but have also made it. Nusrat Ansari works in the social sector. She has been associated with Dastangoi for over 10 years and was awarded the 30 Under 30 Young Achievers Award by Hindustan Times for her achievements in Dastangoi
News18
a day ago
- News18
Kritika Kamra Reacts To Her Limited Role In Saare Jahan Se Accha: 'Female Characters Tend To…'
Last Updated: Kritika Kamra reveals many of her scenes were cut in Netflix's Saare Jahan Se Accha. She told News18 Showsha that she finds it hard to watch herself on the screen. Kritika Kamra played a pivotal role in the recently released Netflix series, Saare Jahan Se Accha. However, not a lot of her scenes made it to the final cut. In an exclusive conversation with News18 Showsha, Kritika spoke about the same. She also opened up about the challenges of watching herself on screen and how she prepared for her intense character. Speaking about self-criticism, Kritika Kamra admitted she finds it 'very difficult" to watch her own performances. 'I can't. Most actors I know have this issue. I only do it when I'm forced to, at screenings. It's hard to be objective. When I watch, I'm constantly judging myself and I go into a loop of 'I could have done this better.' That's why I rely on the director's vision and the audience's feedback instead," she told us. Kritika, who essays the role of journalist Fatima in Saare Jahan Se Accha, revealed that some of her scenes did not make it to the final cut. 'I wish there was more of me. I did shoot a lot more, but unfortunately, it didn't make the final edit. I was also a bit surprised to see that stuff that I shot for has not really made it, but happens sometimes. You, as an actor, don't really have control over the final edit. Often, the pace of a show takes precedence, and female characters tend to bear the brunt of it. Layers and complexities sometimes get compromised in the interest of speed," Kritika noted. Kritika Kamra on how she prepares for her roles On preparing for her character, Kritika says she drew inspiration from real-life journalists and public figures. 'Fatima is an intellectual elite, an editor who probably studied abroad. I wanted her to sound different from the other characters—her Urdu is touch-and-go, and she uses a lot more English. It helped me bring subtlety to the role," she explained. View this post on Instagram A post shared by Netflix India (@netflix_in) Kritika Kamra on sensitively portraying India-Pakistan backdrop Given the show's sensitive India-Pakistan backdrop, Kritika admitted she was initially cautious. 'When I met the makers for the first time, that's when I was quite careful about this. And instantly I realised that the makers were all on the same page and everybody understood how sensitive this is and they wanted to approach it with that sensitivity and sensibility and have a very balanced human view on people from both sides of the border." 'That's what drew me in. As someone interested in politics and history, the project felt both meaningful and ambitious," she said. Saare Jahan Se Accha has been streaming on Netflix from August 13, 2025. First Published: Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Time of India
2 days ago
- Time of India
Shraddha Pandit: Writing, composing and singing is what I want to do all my life
Shraddha Pandit, known for Bollywood hits like 'Aaj Raat Ka Scene,' has also become a lyricist. Her musical background provides an edge and she values the deeper connection when singing her own lyrics. She credits Salim–Sulaiman for her lyricist career, having penned over 60 songs for them. Shraddha Pandit has always been known for her Bollywood songs Aaj Raat Ka Scene, Pani Wala Dance, Sweety Tera Drama and others. But the singer has also carved out a distinct space for herself as a lyricist; something she admits happened quite organically. Excerpts from an interview... Was becoming a lyricist something you had always envisioned for yourself, or did it happen organically? Singing professionally and then writing songs for other composers professionally are two very different art forms. One cannot plan it. It definitely happened organically and I can say undoubtedly that God blessed me with 'more'. As a professional singer, how has your deep familiarity with music shaped the way you write lyrics? It makes it so much easier. It takes me a minute to understand the meter of a song, something many lyricists could struggle with because I've learnt music professionally. It's a crazy advantage. Also, today's lingo and writing style is very broad—people like just about anything. There are no rules or boundaries. I've heard songs which are super hits with wrong grammar and pronunciation (sad!). This never happened in the golden era but it's happening now. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Access all TV channels anywhere, anytime Techno Mag Learn More Undo The industry is pretty much open to all. When you sing a song you've written yourself, does it feel different from singing someone else's words? Yes, it does. Singing your own words hits differently. I love singing other people's lyrics too, as I get into the character of being just the singer, but doing both feels like more responsibility. I need to make sure that whatever I'm writing should reach the listeners as I have interpreted it. So it's a very deep artistic struggle—but I love the challenge! What was the most surprising thing you learned about yourself when you started writing lyrics? I realised that my pronunciation and grammar are good enough. I studied the pronunciation of words, especially in Urdu, as it was a must-have quality to be a good singer. But being born and brought up in Mumbai, my Hindi grammar being strong really surprised me—thanks to my Hindi-speaking parents. You've written lyrics for Salim–Sulaiman, who are known for their layered and emotive music. How did you approach writing for them? I owe my writing career to Salim–Sulaiman. I sang quite a few songs for them in films and then started touring extensively with them for concerts. That's where they figured I could write decently well. Sometimes on the go they would make a melody and I would write it then and there. They were taken aback and decided to give me a break as a lyricist. I've written more than 60 songs for them already. What's been one of the most challenging moments you've faced as a singer—and as a lyricist? Singing as a profession is far more challenging because singers are rarely given due credit. That's why everybody today wants to be the main character, and honestly, anybody can sing now thanks to software like Melodyne—which is far more superior to Auto-Tune. In a studio, with a genius engineer, even a non-trained person can sound flawless. The real test is only on stage. Three hours of non-stop live singing is rare as a unicorn! Writing, on the other hand, is a far more authentic job—at least a software is not doing it for me. Not yet! Do you feel more vulnerable putting your words out there compared to performing someone else's lyrics? In fact, as a lyricist I feel more powerful. Only words can take a song to its peak point. Imagine singing a tune with no words—no matter how good the music or the singer, it remains incomplete. I feel privileged to give a song direction with my words. Singing is a very difficult job, and I respect singers immensely, especially the few truly great ones. How did you develop your personal style as a lyricist? And how does it differ from your vocal persona as a singer? I'm inspired by many writers and my writing, I guess, is a mixture of them. My thoughts are, of course, my own and I try to write as authentically as possible. If that connects with the audience, then you've arrived! As a singer, it's more technical for me because I understand the nuances. If you're a trained singer and can deliver without depending on machines, that's a different world. My persona as a singer is therefore very different. As a lyricist, I'm not some great shayar or kavi, but I understand the craft of writing on a tune. Looking at your career so far, do you see yourself leaning more towards lyric writing, singing, or balancing both? I'm a perfect balance of both, and I also compose my own music. Writing, composing and singing is what I want to do all my life. Only get better with time and experience. It's a journey I've embarked upon and every day I learn and bow down to this art form. This combination of musicianship only humbles me whenever I'm compelled to act with pride or shut some haters down. Music is my strength—it keeps me calm and respectful towards everyone's journey. Creativity comes from the Creator, so it makes me more spiritual as I grow older. "Get the latest news updates on Times of India, including reviews of the movie Coolie and War 2 ."
