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Review of The Lost Heer by Harleen Singh
Review of The Lost Heer by Harleen Singh

The Hindu

time3 days ago

  • General
  • The Hindu

Review of The Lost Heer by Harleen Singh

There are as many Punjabs as there are its five rivers and their tributaries that course through its rich alluvial plains that have given it its name and fame. The very earth,mitti,or soil, brings with it a richness in the poetry of a Bulleh Shah, who spoke of the churning of the many kingdoms that it nurtured within its fold. Or the tragic refrains of Waris Shah's Heer Ranjha, the ill-fated lovers who merged their destinies with the River Sutlej that runs like a forked tongue on the eastern flanks of the Punjab. Every decade as the waters course down the rivers that merge with the mighty Indus on the west, a thousand Heers are born again. The same rivers that divided the Punjab during Partition continue to provoke the churning that Bulleh Shah predicted. They awaken a longing for the mythical land that some people like to describe as the Punjabiyat, an exclusive tract belonging to its people. Resisting the invader In Harleen Singh's epic re-telling,The Lost Heer: Women in Colonial Punjab, there are a myriad echoes of a storied past that situates the Punjab within the larger frame of the subcontinent's history. An archivist historian born in Delhi but living now in Toronto, Canada, Singh finds his focus in the lives of women in colonial Punjab. These are the women, mothers of famous sons who ruled and fought over royal fortresses and strongholds that defined the Punjab; their wives, consorts, courtesans and the daughters, who survived what Singh depicts as a stridently patriarchal society; and their hangers-on who made such lives possible. There are many references to the widows emerging from behind their veils sword in hand to exhort their subjects to resist the invader. There are also equally fascinating portrayals of the English women who arrived there either as the wives of missionaries, or of the 'memsahibs' married to the newly installed administrocacy, if one may coin a word, who arrived often from Bengal, the seat of power. They came bearing the imperial gaze of Empress Victoria, stamped on gold coins that became the status quo of those who could wear it round their necks as jewellery. They introduced their rule books of measurements of land and tenure, of systems of tax collection, with their babus, policemen and cantonments for the soldiers required to keep the whole show on the road. There's a marvellous sequence that describes the arrival of the first railway engine into Lahore; never mind that this is a set piece routinely evoked along with the telegraph and signalling network, to mark the advent of progress within the colonial era. The printing press While the missionary women brought the Bible and founded orphanages for girls, they also brought with them a printing press that would translate the sacred texts of the Sikhs and Muslims using an English script. Singh is most adept at describing how the young women in the Punjab were introduced to reading and writing almost by default, as the more progressive husbands wanted to have partners who could compete with their English counterparts in society. Singh also mentions how many different languages were on offer in those times — Farsi, Urdu, Punjabi, Gurmukhi and Braj. Singh's thesis is, however, much more complex than these examples might suggest. It's also an oft-trodden path with different outcomes being advanced to explain what happened during the year of the Great Uprising in 1857; the subsequent betrayals and re-alignments of those who took part or resisted the call to action, depending on who is telling the story. Were the Sikhs willing pawns used to quell the tide that shook the Raj? Would they pay for it during the later tragedies of Jallianwala Bagh and Partition when they lost their ancestral lands and lives? Partition's shadow The mass exchange of citizens from either side has been described as the largest population exchange of people — 11 million by some estimates and that's not counting the loss of lives and property. Do we add the loss of pride,izzat, self-respect that defines what it means to be a native of undivided Punjab? Yet for all that, it's not a victim narrative. That's what makes it so arresting. One would like to imagine him as a carpet weaver who has created a fabulous carpet with different motifs knotted into the weft of our colonial past. Like the gardens of paradise that are evoked by the motifs used by the carpet weavers of Central Asia and Persia, the colours and symbols are the signifiers. The primary colours here are of the three main communities, Sikh, Muslim, Hindu. With every chapter, he unravels a knot that has at its centre a woman's history that is hidden within the archives. To some of us, it's the chapter that describes how with the rising demand for freedom there arose several new interpretations to traditional beliefs. Within the Brahmo movement that found more adherents in Bengal, or the Arya Samaj of Dayanand Saraswati we are introduced to figures such as Mai Bhagwati that speak to a universal mind. Reading about the Kaka movement amongst Sikh women who wanted equal representation with the warrior men of their community, we realise how passionate such movements tended to be. Like the grains of wheat that the Punjab farmers continue to seed in times of drought, of war, or adversity, Singh's collection of fragments torn from the pages of history remind us that there is always love. Heer lives even without her Ranjha. The reviewer is a critic and cultural commentator.

Pakistani singer Abida Parveen to perform in Dubai
Pakistani singer Abida Parveen to perform in Dubai

Khaleej Times

time20-05-2025

  • Entertainment
  • Khaleej Times

Pakistani singer Abida Parveen to perform in Dubai

The legendary Pakistani singer Abida Parveen returns to the stage for a one-night-only performance at Dubai's Coca-Cola Arena on Sunday, June 15, 2025. The concert, presented by Milestone Events, marks Parveen's much-anticipated return to the UAE, following overwhelming demand from her global fanbase. A musical legend who transcends borders, known as the Queen of Sufi Music, Parveen has spent over four decades channelling the verses of revered mystic poets like Bulleh Shah, Rumi, Shah Abdul Latif Bhittai, and Kabir, transforming their words into powerful vocal journeys. Her ability to connect deeply with audiences through her spiritual energy and emotional intensity has earned her global reverence and accolades.

Sufi Sensation Heer Walia to Perform Live at Bonne Foi 65 This Saturday
Sufi Sensation Heer Walia to Perform Live at Bonne Foi 65 This Saturday

Fashion Value Chain

time09-05-2025

  • Entertainment
  • Fashion Value Chain

Sufi Sensation Heer Walia to Perform Live at Bonne Foi 65 This Saturday

Bonne Foi 65, one of East of Kailash's most vibrant dining and entertainment venues, is set to come alive with soulful rhythms and spiritual melodies as acclaimed Sufi singer 'Heer Walia' performs 'live this Saturday evening'. Sufi Sensation Heer Walia to Perform Live at Bonne Foi 65 This Saturday Known for her magnetic stage presence and mesmerizing voice, Heer Walia has captured the hearts of music lovers across the country with her heartfelt renditions of Sufi classics and contemporary fusion. From the poetic verses of Bulleh Shah to reinterpretations of timeless folk tunes, her performance promises an unforgettable musical journey. 'We're thrilled to host Heer Walia at Bonne Foi 65,' said the restaurant's event manager. 'Our rooftop ambiance, gourmet menu, and signature cocktails are the perfect setting for a night of soul-stirring music and celebration.' Event Highlights: Live Sufi Performance by Heer Walia* Date: Saturday Time:* 11:00 PM onwards Venue: Bonne Foi 65, East of Kailash, New Delhi Guests are invited to experience an evening that blends fine dining, elegant rooftop views, and the deeply spiritual essence of Sufi music. The restaurant's diverse menu-featuring Indian, Mediterranean, and Continental cuisines-will be available throughout the evening, along with curated drinks and desserts. Whether youre a die-hard fan of Sufi music or simply looking for a magical night out in Delhi, this performance is not to be missed. For Reservations: Call: 9557555263 / 9643536565 'Come for the cuisine, stay for the soul.' Bonne Foi 65 – Where Delhi Dines and Celebrates.

Khud-shabih: towards self-discovery and self-actualisation
Khud-shabih: towards self-discovery and self-actualisation

Express Tribune

time06-03-2025

  • Entertainment
  • Express Tribune

Khud-shabih: towards self-discovery and self-actualisation

Listen to article Dear AR Chughtai Sb, The world is familiar with Leonardo Di Vinci's approach towards "every work being an inevitable act in the autobiography of the artist". He believed that the artist is personified through his work. This makes a great aesthetic theory though, later, the ideals of the Industrial Revolution and mass production may have dampened the appeal of such a notion. On the other hand, in the opening statement of your Khud-shabih, the beginning chapter of Maqalat-e Chughtai you have exquisitely claimed that the "Artist is born the day he paints himself." I understand that you consider 'self-discovery & self-actualisation' as key features to one's very existence, actuality and reality. Rumi too renders thoughts on self-realisation when he says "it is your light that lights the world." Similarly, self-actualisation is about fulfillment and awareness. Allow me to mention Bulleh Shah who thinks of it in terms of abundance and scarcity at the same time and advises removing 'I' from the heart. In this sense, 'what I eat' or 'what I think' is not important but the vital question remains 'who am I?' Not with Bulleh Shah nor in the Eastern thought the question is fearful or frightening but it is intriguing and worthy of all the quests – material or immaterial, physical or metaphysical. You aim to initiate this quest by looking inward and recording the impressions on the canvas. What a delightful way to pursue knowledge and wisdom. I would also like you to draw light on your idea of perseverance in art. You insist on persistent effort in polishing and improving one's skill without worrying about the final object. However, I believe you do not endorse the ideals of Western 'process art' movements where the action itself is defined as art. I like that you claim to be the custodian of Eastern aesthetic traditions acknowledging Persian and Mughal painting as your inspiration and point of departure. In this way, your works befit the true ideals of modern art. One which is open to innovation and invention but is deeply rooted in tradition. Your work, indeed, is a product of conviction, patience and hard work and not just a consequence of networking. You admit that around the 1920s the centre of art in India had shifted to Calcutta. I wonder how and why Punjab got abandoned by the creative geniuses of the time. One reason that I find relevant is the strong resistance that Punjab showed against the British before its complete occupation and annexation in 1949. I keenly await the day when the history of Punjab that is provided by the egocentric Britishers shall be rewritten. Researchers believe that after the second Anglo-Sikh War, 'offended Britishers' ripped Punjab off its historic legacy in art and literature. Apparently, during the siege of Multan (1948), the libraries at the Multan fort adjacent to the existing sufi tombs were put on fire that burnt for three consecutive years destroying precious books. The treasured manuscripts are said to have been accumulated in two Jamias, one at Multan and the other at Uchh, since the Hulegu Khan's violent expedition to Baghdad. Also, Khawaja Abdul Samad, the Persian painter at the Emperor Akbar's atelier, spent three years in Multan. He has been recorded to be an active painter before and after his deputation in Multan. What exactly did he do at Multan other than overseeing the mint? Did his division of painters from the royal atelier move with him? Which manuscripts did he paint during his stay? History is silent here, except a bazar-e kaghzan near the old fort is reported to have survived even after the partition of India. A lot is missing from the popular historical narratives and then what is recorded is often misrepresented. Lastly, I acknowledge your genetic sense of wanderlust; please excuse my slang but there is no better phrase that explains your impulsive travelling in the Punjab Hills documenting the artistic practices of the region and collecting the paintings that would have also been lost otherwise. Your collections and archives are well-kept in Chughtai Museum, Lahore and is a treat for art lovers, researchers and academics. Bano March, 2025

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