Not just ‘like’ – LOVE the Preetlari Trust

Preetlari Trust, the publisher of monthly Preetlari, is catching a second wind via Facebook where Activist Shumita Didi Sandhu, Editor Poonam Singh, Publisher Ratikant Singh and other supporters are coming together to strengthen a lasting literary publishing tradition in the Punjab.

The trust was formed in 1984 in the aftermath of the killing by the militants of the then Editor of Preetlari, Sumeet Singh. Since then, Poonam and Ratikant have been publishing the magazine, and in that, the guiding roles of Sh. P.H. Vaishnav, Dr. Maan Singh Nirankaari, Smt. Mohinder Navtej Singh and Smt. Santosh Balraj Sahni are much appreciated.

With the publishing of Preetlari magazine, Preetlari Trust also organizes literary and social events in Preetnagar, Chandigarh and Delhi. It has presented puppet shows, poster workshops, street plays, dramatised story readings, art workshops, exhibitions, talks and readings; and has hosted artists, writers and cultural activists coming from diverse areas and backgrounds to develop dynamic spaces for discussions and dialogue to take place.

In 2011, the Trust expanded to include community building work for Preetnagar’s children by offering remedial education, nutrition information, computer literacy, and team building. The old community centre, Preet Ghar, has also been re-opened for villagers, visitors, artistes and volunteers.

To sustain its publishing and community building work, Preetlari Trust needs urgent support. Please donate through cheque/cash to:
Saanjhey Ranng Punjab De or ‘SRPD’
Payable at AXIS BANK, G.K.1, New Delhi
Account No: 049010100442916

Details here: Facebook Page
For more information contact Editor Poonam Singh: preetlarhi@yahoo.com

So, don’t just ‘like’ but LOVE the Preetlari Trust, and not only because it has such a beautiful name, ‘lovestring’.
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50,000 Views for Uddari Weblog in 2010

With 50,000 views in the past calendar year, at just over 4,000 a month, Uddari Weblog is perhaps the most visited blog on Blogosphere on Punjab/Panjab, Punjabis and Punjabi literature.

The busiest day of the year for Uddari was August 25th with 327 views.
The most popular post that day was ‘Autobiography of the Great Dada Amir Haider Khan (1904-1986)‘ May 2008, says ‘Your 2010 year in blogging’ by WordPress.com (offering Uddari Weblog a ‘Wow’ on it’s Blog Health-O-Meter).

Here is more from it:

Uddari Attractions in 2010
Most viewed posts and pages
1

Dada Amir Haider Khan 1904-1986

Visit the post:
Autobiography of the Great Dada Amir Haider Khan (1904-1986)
(22 comments/pingbacks)
2
April 2008 – April 2009 Cultural Events page
(14 comments/pingbacks)
3
Cultural Events
(5 comments/pingbacks)
4
Photo Album
(29 comments/pingbacks)
5
Punjabi MaaNboli Writers
(32 comments/pingbacks)

 

Uddari Top referring sites in 2010
en.wordpress.com, facebook.com, search.conduit.com, afzalsaahir.blogspot.com, and punjabibooksonline.com

Some Uddari visitors came searching for
amrita pritam, bhagat singh, punjabi poems, father of dada, and afzal sahir

And now, other Uddari blogs:

Uddari Art Exhibition
(Happy to have earned ‘You’re on fire!’ on the Blog Health-O-Meter of WordPress.com)

Uddari Art was viewed about 7,800 times in 2010.

The busiest day of the year for Uddari Art was June 13th with 222 views.
The most popular item that day was Punjab Landscape Page.

Uddari Art Attractions in 2010
1
Punjab Landscape
(28 comments/pingbacks)
2
People Punjab: Portraits and Groups
(27 comments/pingbacks)
3
Lord Krishna with Cow by Manjit Bawa, September 2008
4
Partition: The Punjab 1947
(5 comments/pingbacks)
5
Roopa Bheda, Nov 2009
(1 comment/pingback)

Uddari Art Top referring sites in 2010
were en.wordpress.com, sadapunjab.com, uddari.wordpress.com, facebook.com, and shots.snap.com.

Some Uddari Art visitors came searching for
risham syed, manjit bawa, indian modern art, indian trees, and punjab landscape.

And…

Love Life: the Story
was viewed about 8,800 times in 2010.

The busiest day of the year for Love Life was April 29th with 90 views.
The most popular post that day was ‘Gendercide in Pakistan: Women are a colonized population!’.

Love Life Attractions in 2010
1
Gendercide in Pakistan: Women are a colonized population! October 2008
(33 comments/pingbacks)
2
PhotosPage
(4 comments/pingbacks)
3
PAKISTAN: Police gang rape a teenage boy in custody and distribute footage on the Internet March 2009
4
Shaheed Bibi Iram Shahzadi: Rawalpindi November 2008
5
PAKISTAN: The killing of two Christian brothers July 2010

Love Life Top referring sites in 2010
en.wordpress.com, reddit.com, uddari.wordpress.com, search.conduit.com, and facebook.com.

Some Love Life visitors came searching for
dr aafia siddiqui, aafia siddiqui, iram shahzadi, dr aafia siddiqui pictures, and dr. aafia siddiqui.

This information is a compliment to Uddari visitors, authors and contributors.

P.S. If you have not yet subscribed to Uddari Weblog, please take a moment to go down the Sidebar and find at the bottom ‘Subscribe to Uddari’, click on ‘Sign me up!’ to take a free email subscription.
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‘Revealing the Invisible Heritage of Panjab’, Panjab Digital Library

Appeal for Support

‘What if you could give a book to the entire world? Well, now you can when you Adopt a Book for digitization through the Panjab Digital Library. Your simple, generous gift comes with the promise that a piece of history will be globally available forever.

About Panjab Digital Library (PDL)
‘We continue to preserve Panjab’s heritage for future generations. Today you can view one million pages free at www.PanjabDigitalLibrary.org. To date, PDL has digitally preserved more than five million pages of manuscripts, books, newspapers, magazines and photographs.

‘But we can’t keep it up without you, our supporters around the world. Will you join with others today who are dedicated to preserving the stories and truths of Panjab? Individual donations in support of our work is the best way to help in protecting the data for perpetuity.

‘You can also support PDL’s work through a direct donation to the organization. You will be amazed at how far even a few dollars today could go toward ensuring the strength of PDL’s work in 2011!

‘Your one US dollar ($1) helps us locate, digitize, publish online and preserve 4 pages

Archives Digitized
Kurukshetra University
Panjab Languages Department
Government Museum Chandigarh
Shiromani Gurduara Parbandhak Committee
Delhi Sikh Gurduara Management Committee

Let us preserve what remains

‘Panjab Digital Library was recognized as the “Best E-Content in Culture & Heritage”
of South Asia – 2010

‘All donations are tax-deductible in the US and Canada where Sikh Research Institute is accepting them on behalf of PDL.’

Panjab Digital Library
#867, Sector 64, SAS Nagar
Panjab – 160065
info@panjabdigilib.org
South Asia: +91-981-411-3047
North America: +1-210-704-7096
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Lahore’s First Punjabi Bookstore Deemed Shut

Kitab Trinjan (KT), the first dedicated shop of Punjabi books in Lahore, is due to close end of this month.

Kitab Trinjan was established in 1997 to encourage the publishing and dissemination of Shahmukhi Punjabi literature in a situation where Punjabi books were shunned away by the ‘regular’ bookshops that were happy instead to sell the more ‘lucrative/prestigious’ Urdu and English books. With regard to the privilege enjoyed by English and Urdu at the regular book shops, however, the situation in 2009 remains more or less the same.

In the last 12 years, thanks to the continuous and ongoing volunteer work of Zubair Ahmed Jan, Kitab Trinjan has sold more than 1,200,000 (12 Lakh) Punjabi books; bought 7,71,635 books from other publishers; published works created by modern Punjabi writers under various imprints; but most of all, has built a cultural community unique to itself. This community is built by extending regular interaction, support and contribution to literary communities of the Punjab, Panjab and the Diaspora. Zubair’s ongoing support to Sangat Shah Hussain in Lahore, to the online Punjabi news and cultural digest Wichaar.com, to the largest online archive of Punjabi Gurumukhi/Shahmukhi literature Apnaorg, to the only Punjabi literary quarterly magazine that prints simultaneously in Gurumukhi and Shahmukhi Temahi Sanjh, for example, has strengthened the respective organizations and cultural communities.

I had the opportunity to visit Kitab Trinjan in its very first year when Activist Zafaryab Ahmed told me in Islamabad about it, and later introduced me to Author Zubair Ahmed who was instrumental in establishing, and then managing it. Later, i went to the shop, a 1.4-roomed top floor of a depleted inner city building in Lahore, though inside, it was the most inspiring place to be. In fact, that was the first time that i had actually seen hundreds of Shahmukhi Punjabi titles in one place. It created a feeling of wonderment where i was enchanted also by the fact that the development of Punjabi literature was not in the hands of policymakers of Pakistan but us, the writers and readers of Punjabi.

Here is a 1998 photo of Kitab Trinjan from the outside, taken by Amarjit Chandan, a long time supporter of KT.

Kitab Trinjan. Lahore..1999. Pic Amarjit Chandan(2)

Detail, Kitab Trinjan by Amarjit Chandan, 1998

In 2006 and 2007, i found Kitab Trinjan in a newer, bigger and brighter place. It was doubtless the most well-organized and well-managed book shop of the three Punjabi book sellers on and around Mozang Chowk since Zubair had help from KT’s only paid worker, Ghulam Haider who worked as a full time sales associate.

The following are the reasons given for the closure of Kitab Trinjan: That there were no Punjabi book stores in 1997 and now there are two more that are operating as full time businesses; That there is duplication of services between Suchet Kitab Ghar and Kitab Trinjan; That KT is limited by its voluntary nature; and, that Zubair Ahmad, the Volunteer Manager of KT, wants to focus on his creative work.

The above reasons do not jell with me as they defy all logic; and in that, it seems that this decision is taken for the benefit of less than half a dozen people instead of the benefit of even those 6,896,000 Punjabis who were living in the city of Lahore just after Kitab Trinjan first opened its doors. In the 1998 Census, the total population of Lahore was counted as 6.8 Million, however, later estimates indicate that the population of Lahore was 10 million in 2006.

My problem is as follows:
The first reason encourages us to believe, in defiance of all demographic considerations, that perhaps there are no Punjabi speakers in the additional 3.2 Million people that were counted as living in Lahore in 2006; that may be there is no increase in the city population since 2006; or if the population increased it did no sprout any new buyers of Punjabi books; that there are no new students of Punjabi language; and, certainly no new lovers of Punjabi literature. Else, the simple fact of population increase would have been enough to justify the continued existence of, at least, these three Punjabi book stores. In other words, such reasoning suggests that 3 BOOK STORES are too many for 6 to 8 MILLION Punjabi speakers of Lahore.

The second reason perpetuates confusion as it meddles with the roles of Suchet Kitab Ghar a Publisher of books and magazines who operates as a distributor/retailer to support its primary role as a Publisher; and Kitab Trinjan, a Bookseller/Distributor who has published books only on occasion.

The third and the fourth reasons are issues that can easily be resolved by Zubair himself if given the chance. Having an outlet for Punjabi books at his home in one of the suburbs of Lahore will eliminate the daily hardship, and leave more time for creative work.

I also do not share the ‘expatriate’s politically correct’ statement forwarded by my friend and another long time supporter of KT, Ijaz Syed, in his response to the closure of Lahore’s first Punjabi book shop.
‘My heartiest felicitations to the Central Committee members for taking this timely decision! Kitab Trinjan played its historical pioneering role in the publication and distribution of punjabi books at a time when this service was most needed. In my view, along with other Central Committee friends, a lot of credit for maintaining and managing Kitab Trinjan for these twelve long years rightly goes to Zubair Jan. Of course, none of this would have happened without Najam Sahab‘s benevolent presence.’

In accordance with the ‘enlightened expatriate’s politically correct guide’, a non-critical acceptance and appreciation of this decision has duly been tendered by Ijaz, else, why would he call it a ‘timely decision’? Is it really the requirement of this time to close one of the three (progressive) Punjabi book centers in Lahore?
Na!
I think it’s time to relocate this one, and open the fourth.
Tell you why.
When Kitab Trinjan was selling an average of 1 lakh books per year, Suchet Kitab Ghar and Sanjh Publications were also registering sales, I am willing to bet on it! So, if in the last 12 years, all three have shown an increase in sales, i don’t see why Kitab Trinjan needs to shut. Also, if the establishment of a sales/distribution center by Suchet Kitab Ghar (and Sanjh) did not have a negative impact on Kitab Trinjan, why now, Kitab Trinjan needs to be eliminated in the interest of one or both?

Maqsood Saqib of Pancham/Suchet and Amjad Salim of Sanjh Publications have, for different reasons, earned my un-wavering respect and love as people and professionals; and, i fully support the work of both. The same, may be more so, is true for Zubair Ahmad of Kitab Trinjan.

In other words, Bawa Jees te Bawi Jees, please do not be presenting Lahore in such narrow terms. The City and its people need and deserve all three of these wonderful spaces to develop Punjabi literature; and still, a few more. Not less!
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Author Najm Hosain Syed

Najm Hosain Syed, Lahore 1999

Poet, Playwright, Linguist and Literary Critic Najm Hosain Syed is unique for having created the greatest positive impact on Punjabi literature, language, and the movement for the integrity of Punjabi in West Punjab.

The author of over 22 literary titles, Najm Hosain Syed runs weekly ‘Sangat Shah Husain’ since the Seventies, a literary gathering that is may be the highest school of learning that Pakistan can offer. Classic Punjabi poets such as Shah Madhulal Husain, Bulleh Shah, Gurunanak, Waris Shah and Damoodar are read, interpreted and discussed line by line over months and years.

Such schooling has produced most of what we now have in Punjabi writing and publishing in the West. Suchet Kitab Ghar and Monthly Pancham published by Editor Maqsood Saqib and Faiza, Kitab Trinjan operated by Author Zubair Ahmad, and Rut Leekha are the kind of fine organizations that are supported by Najm Syed. Earlier, he had encouraged the establishment of the first educational institution in Lahore to teach Punjabi at a graduate and post-graduate level, the Shah Husain College.

Below are links to the renderings of some of Najm Syed’s poetry and plays, and to more information about him.

Read excerpts from ‘Recurrent Patterns of Punjabi Poetry’ by Najm Hosain Syed at APNA

View the Cover Page of 1976 Edition of ‘Recurrent Patterns of Punjabi Poetry’

A Profile of Najm Hosain Syed by Zubair Ahmad (PDF)

Listen to a dramatic rendering of Najm Hosain Syed’s ‘Dullae de Var’ from his play ‘Takht Lhore’ at Lahore Chitrkar

Hear Ayesha Ali Sing Najm Hosain Syed’s ‘Kuchi Neendrae’ and ‘Va Sah Tainda’

More Photos in the Photo Album

‘Najm Hosain Syed: A Portrait’ by Iqbal Rashid at Uddari Art Exhibition

Photo by Amarjit Chandan.

What we have above is just the tip of the iceberg that does however satisfy Uddari Writers Page but there is a lot more that I like to share with you here.

Though we have seen ‘poet, playwright, linguist and literary critic’ with Najm’s name supported by about 20 titles containing poetry, stage plays, language development projects and literary criticism yet there is sufficient reason to add ‘Musician and Composer’ to it. In the past three decades, Najm has composed and recorded over 300 cassette-length UNPUBLISHED works of semi-classical and folk music. The best part is that most use classical Punjabi poetry. In this venture, he has had a solid partnership with his wife Samina Syed who is an ‘Ustad’ of her discipline of singing, and has a deep voice that has been honed by years of ‘riaz’ practice. Another person who has been singing on Najm Syed’s tunes with Samina Syed from the Seventies, is Yasoob Tahir, and in more recent years, Ayesha Ali. On the technical side, Abbas Sidiqui has been working to organize the music library; in addition, there are many musicians who have practiced and performed with Samina Syed in the past years. We can now hear Ayesha Ali at Lahore Chitrkar but the singing voices of Samina Syed, Yasoob Tahir and Najm Hosain Syed are still unavailable.

more …
View a developing list of Complete Works by Najm Hosain Syed being compiled with the help of Author/Editor Zubair Ahmad, who has been wrorking with Syed for over two decades on various language development projects. Here is the link: Punjabi Books

As well, a dedicated group of visual artists headed by Producer/Director Huma Safdar has staged some of Najm Syed’s plays in Lahore and Punjab, and have drawn admiration from critics and audiences. Most of Syed’s plays deal with themes of equality and re-interpretation of history in the context of the Punjab, and so are challenging to produce. Also, the plays are produced on volunteer basis. Ghazala Khan, Samiya Mumtaz, Farjad Nabi, Dr. Nusrat and many others have contributed their time, skills and talents to the development of Punjabi theater in Lahore.

Najm Hosain Syed takes a clear and strong stand against the growing societal trends of ‘commercialization’ by refusing to make profit from his work whether in the form of publications or plays. All his books are sold on the cost price, and the cultural organizations he supports are non-profit who do not seek funding from the government or other aid agencies. He abhors the growing influence enjoyed by the media, and stays away from media hypes about himself and his work.

Using a more intellectualized and structured version of Punjabi, Najm Syed’s poetic voice is aware and contained in its passions; and, his dramatic themes reach epic proportions as our past is brought to our present, and from their to a hope of a more enlightened future.

Author Royalties Down to Definitions in the Punjab

In the Punjab, not knowing what author royalties may entail nurtures the belief in some people that it will make the publisher liable to pay a percentage on all printed copies without consideration to sales. This view is held to with steadfastness, and in the face of evidence that the publishers are indeed well-protected under copyright laws worldwide, and that other than the publishers who are able to offer advances the rest pay royalties on the actual sale price of the actual number of copies sold.

This generated some heat around what author royalties really are, and i was enlightened indeed with some definitions. Top most among them is the one where it is suggested that since the word ‘royalty’ comes from ‘royal’ meaning ‘monarchy’, it is a bourgeois term, and so, it is hard for ‘progressive’ Punjabi publishers and intellectuals to support author royalties! The person may not be too far off as author royalties are indeed linked to monarchy in that it was Queen Anne of Britain who allowed the first legislation to pass that acknowledged such rights. This is Wikipedia:

“The Statute of Anne in 1709 was the first real copyright act, and gave the author in the new nation of Britain rights for a fixed period, after which the copyright expired. Internationally, the Berne Convention in 1887 set out the scope of copyright protection, and is still in force to this day.”

I was shocked by the discomfort i was causing my peers just by bringing it up, and then by the hostility that began to find its way to me. I was called ‘Greedy’, ‘Westernized’, ‘Individualistic’, ‘Selfish’ and ‘Destructive’ to mention a few common names; and, it also jinxed the publication of Gurumukhi edition of my novel ‘Skeena’ in Indian Punjab. All of this made me evaluate my position on author royalties several times in Lahore.

Until then, my interest in royalties was limited to enjoying the benefit of it for my anthology Aurat Durbar: Writings of Women of South Asian Origin in 1995 in Toronto (Sumach Press), and then hearing about it in Vancouver in the late Nineties from Author Susan Crean, now a co-Chair of Creators’ Rights Alliance Canada/Alliance pour les droits des créateurs (www.cra-adc.ca), who was then working on a policy paper titled “Intellectual Property and International Trade” (Crean, Edwards and Hebb) to contribute to the resolution of copyright issues arising from the expanding culture of Internet. Next, i heard about royalties and copyrights in 2006 from Poet Cesar Love in San Francisco who was working as a Contract Advisor for the National Writers Union.

Back in Lahore, I began way down the road but my vision was unobstructed; i also knew that author royalties and copyrights are acknowledged and implemented in Punjab and Pakistan by Urdu and English language publishers while Punjabi language publishers have extended these rights to ‘successful’ authors such as our wonderful poet Munir Niazi who received royalties from the more prosperous Urdu language publishers in Lahore.

The biggest criticism on my position is that i was being ‘individualistic’ by demanding money from publishers who are struggling to survive and cannot afford to pay; and, that I being a ‘Canadian’ should help out by donating dollars to the publishers instead of making such demands on them. This view is based on a myth and a misconception; the myth is that anyone who had been living in Canada or any other Western country must be rich even when they say that they are not; and, the misconception is that paying royalties to authors will weaken a publishing organization. Both the myth and the misconception are weapons to put away authors of any language.

I stopped working for money at the end of 1995 because i just could not do it anymore; for the next decade, i worked full time on my three novels that were in progress since 1991. However tough it had been, i feel i made an excellent choice. The myth cited above is a killer for me because it denies the reality of my life, and then obliterates it by making it the base of an argument that snaps my rights as a writer. As well, the toughness of my experience as a full time (woman) writer (of Color) of unpublished novels has made me wary of most myths and misconceptions.

The view that paying author royalties will weaken or threaten the publisher sounds almost the same as when the workers’ right to make trade unions was denied on the basis that it will kill the very industry that is providing employment to them or when a woman’s right to vote was negated to ‘protect’ her status in the society. Cloaked in many noble passions of anger and outrage, it remains what it is; an excuse to deny writers their right to earn money from the sale of their books.

Let us look at a standard case of publishing an original Punjabi work in, say, Lahore. The Author pays the Publisher the full cost of production including composing, cover art, lay out, design, processing, printing and binding. Once the book is published, usually 300 to 500 copies, the author gets about 20 to 50 copies for free. It is rare for a publisher to grace a title with a launch or to do anything to inform the larger group of Punjabi population. Over the first year, the same couple of hundred readers come to know about it through traditional channels as no concerted effort is usually made to let more people access the information about the new book. It sits in the shelf at the publisher’s own office/outlet, and in a few other shops and book shops that keep Punjabi books. The Publisher usually sells it at 50 Percent of cover price to a customer, and at 40 Percent to a distributor or re-seller.

This scenario tells us many things, this is one: At each and every step of the production and sale of a creative work, everyone including the Publisher who has not even invested cash in it, gets paid; some up front, some in smaller payments. The only person who does not ever get paid from the publication of her/his creative work is the Author. The situation is bad enough but it begins to erode the possibility of ever having full time writers and artists in our midst when a cultural community thinks that there is nothing wrong with this scenario or whatever is wrong is necessary or worse, that it is a ‘better’ or an ‘acceptable’ way to go about developing Punjabi language and literature.

In a larger environment where literary and arts communities are kept at a perpetual disadvantage caused by religious indoctrination and corresponding cultural values, Punjabi writers and artists are suffering double blows as the messages coming to them from their own communities also add to their projected valuelessness. It was amazing to see so many writers and artists writing, singing, dancing and painting while actually believing that no one really wants to read their books or see their creations. However, because the larger situation is discriminatory to Punjabi language and culture, we need to create more opportunities to value, appreciate and sustain Punjabi writers and artists. In that, there is no harm in looking at ourselves and saying, may be we can do a few things in a different manner and award some more recognition to creators because that will help bring Punjabi language and literature to the next level of its development.

I had the opportunity to ask a few questions via email from Safir Rammah of APNA.ORG who had been releasing information each year about the number of books published in Pakistani Panjab. I asked him if the number of published books increased in the last ten years, and why. Rammah Jee says: “… the total number of Punjabi books that were published during the 35 year period (1947-1982) were 1,528, or an average of about 42 books per year. During the last few years, my estimate is that an average of 100-120 Punjabi books are being published each year and that number is slowly growing.” (Early number from the bi-annual Khoj Magazine of Punjab University).

Rammah Jee goes on to say that “Book publishing, even in Punjabi, is a profitable business in Pakistan (of course, only if it is properly managed). A number of Punjabi book publishers are now well established (Suchet Kitab Ghar, Punjabi Adabi Markaz, Punjabi Adabi Board, etc., and now the Institute of Punjabi Language and Literature). In the absence of government’s support, the Punjabi magazines have played a major role in bringing more and more writers towards writing in Punjabi and in introducing new Punjabi writers while also playing the critical role of language planning. Both the number of writers and their readership has been growing, albeit slowly.”

Not so bad.

Please keep in mind, these numbers are for Pakistani Punjab; we will get a sense of what has been happening in terms of Punjabi books in Indian Punjab where Punjabi enjoys a better status, and in the Diaspora, by the next post.

Authors and Publishers Page
Fauzia Rafiq

more on Author Royalties

Lost and Found

LOST UNESCO REPORT
Lost and Definitely Not Found is the citation on Punjabi in the UNESCO report referred to by Author Activist Kuldip Nayar that lists Punjabi as one of the languages set to disappear in fifty years. We are getting frantic messages at Uddari from all types of flustered Punjabis to the following effect:

“I have wasted much time in locating the alleged report on Punjabi. It does NOT exist. The language spoken by 120 million people can NOT disappear in 50 years. It is a simple logic.” Poet Amarjit Chandan in an email message from London, Britain.

“For quite some time now reference is being made on both Pakistani and Indian Punjabi Internet networks to a UNESCO report that allegedly predicts that in the next 50 years the Punjabi language will become extinct. I have tried in vain to get hold of the report to make sure it is not a hoax” Author Ishtiaq Ahmed in The News, 5/24/2008 previously Stockholm and now from Singapore.

“Early last month Prof. Ishtiaq Ahmed had asked me about such report and source was Mr Kuldip Nayyar. I checked with several persons including Mr Nayyar. He said he had seen some such report and did not remember where and when. He was quoted in The Tribune of March this year. Accordingly I informed Prof. Ishtiaq” Journalist Gobind Thukhral from Chandigarh, India.

I first heard of this report and Kuldip Nayar’s initiatives from Rights Activist Mohammad Tahseen in Lahore. Now, though unsuccessful in locating Punjabi either in the ‘UNESCO Red Book on Endangered Languages’ or in the UNESCO report ‘Our Creative Diversity’, i did FIND a March 2008 news report where Kuldip Nayar seems to be in the same situation as the rest of us.

“I have gone through a report prepared by Unesco which says the Punjabi language will disappear from the world in 50 years. It shocked me. I am out to save Punjabi language and culture,” he said. He was invited by the Punjabi Bachao Manch seeking his help to save Punjabi in Chandigarh, capital of Punjab, a state carved on the basis of Punjabi language.” (http://www.sikhsangat.org/news/publish/social_issues/Punjabi_language_will_disappear_in_50_years_Unesco_report.shtml)

I must tell you that the FINDING of such a report is an issue of mere academic interest to me because i, coming from the West Punjab, do not need UNESCO or Kuldip Nayar from East Punjab to tell me that Punjabi is an endangered language; and that, if appropriate actions are not taken it will for sure become extinct in the near future. Here is a criteria that United Nations has developed to find the survival state of a language.
“Languages were originally divided into five categories; a sixth, potentially endangered languages, was added later:
(i) extinct languages other than ancient ones;
(ii) nearly extinct languages with maximally tens of speakers, all elderly;
(iii) seriously endangered languages with a more substantial number of speakers but practically without children among them;
(iv) endangered languages with some children speakers at least in part of their range but decreasingly so;
(v) potentially endangered languages with a large number of children speakers but without an official or prestigious status;
(vi) not endangered languages with safe transmission of language to new generations.”
(Source: http://www.helsinki.fi/~tasalmin/europe_index.html)

The status of MaaNboli Punjabi languages in Pakistani Punjab hovers between these two:
(iv) endangered languages with some children speakers at least in part of their range but decreasingly so;
(v) potentially endangered languages with a large number of children speakers but without an official or prestigious status;

And so, i would say to find a way to multiply Kuldip Nayar in both his male and female incarnations, at the rate of Thousand-A-Minute-Aggregate, and give tenacious support to all Kuldip Nayars and Nayara Kuldips in both the Punjabs and the Diaspora, to pull our Maanboli Mothertongue out of this rut.

Still, that UNESCO report needs to be FOUND.

Meanwhile, i like to take this opportunity to log a few other cases of Lost & Found but this time, i will be brief and do it later.

Feel free to make use of this space if you have lost something that you can not do without, something that is not a pet but still has to be found. If there is something of immense cultural value that you have found that was lost and it is not your pet…

Writings of Kuldip Nayar
Endangered Languages

2. Royalties for Punjabi Language Authors

After the first post, i received some feedback questioning the need to raise the issue of royalties for authors of MaaNboli mothertongue languages, and asking why even after getting royalty on my novel Skeena, i am still keeping on about it.

It is the historic discrimination faced by MaaNboli languages in Pakistan where most of the meager resources earmarked for the development of languages, art and literature are awarded to the ‘national’ language Urdu at the expense of all local languages. So now the MaaNboli literary organizations, authors and publishers of Punjab (Punjabi, Seraiki, Potohari), Sind (Sindhi, Behari), Balochistan (Balochi, Brahvi) and the NWFP (Pushto, Pukhto) face depreciation due to the persistent non-recognition of native languages by national and provincial cultural agencies. It is a miracle performed by writers, intellectuals and publishers of maaNboli literature that any of our languages have survived the last sixty one years of Pakistani politics.

Punjabi writers and publishers, artists and patrons, musicians/dancers and producers are facing decreasing markets and lesser value for their creative work and hardship because of the ever-increasing conservatism of the political environment that does not encourage or allow creativity in art and literature. Nahid Siddiqui, a master of Kathak classical dance, and i assure you there aren’t many left in the country, does not get a chance to perform on stage or on television very often; and so, she sustains herself with a percentage of student fees from her dance classes with a community-based non-profit cultural organization that struggles each month to pay its own bills in the absence of any core funding or structural support.

The perpetual lack of government funding and public resources has pushed Punjabi cultural communities to operate at ‘charitable’ levels from before the Partition of 1947; and, now the defensive strategy once adopted to help the ailing art and literary institutions recover, has become the only ‘possible’ way to continue. This has flung most Punjabi literary organizations into an overall low-lying introvert stance where work is valiantly carried on even in the absence of ‘basic necessities’ such as scanners and printers. A living example of it appeared in my inbox yesterday in the form of a general request to help fundraise for Publisher/Distributor Kitab Trinjan to get a UPS, a printer and a scanner (For more information and to extend your support, email Zubair Ahmed at kitab.trinjan@gmail.com).

I had the unique opportunity to travel within Pakistan from May to August last year to launch my novel Skeena; and, it was most rejuvenating to meet poets, fiction writers, prose writers, publishers, musicians and cultural/social activists in nine different places including my own city of Lahore. This was made possible by many individuals and organizations but most of all by Amjad Salim of Sanjh Publications who took a big step forward by launching what may well be the first actual promotion campaign for a Punjabi book in the Punjab; Columnist Hasan Nisar who gave the campaign his unconditional support by dropping the first cash donation; Mohammad Tahseen of South Asia Partnership (SAP) who supported the Campaign by approving funds for it. I am most grateful to the cultural communities of Gujranwala, Kot Adu, Multan, Sargodha, Islamabad, Jhung, Karachi, Hyderabad and Lahore who supported this action by organizing the events to launch ‘Skeena’ in their cities.

My gains are unlimited. Just getting the feel of different places and meeting some of the most inspiring people there would have been enough for me but i got luckier than ever; great exchange of ideas, strong cultural impacts, heated discussions, hot and cold weathers, home-cooked foods, great Hasheesh, and no kidding. On the question of royalties, most authors and publishers said that since Punjabi books do not sell it will be meaningless to ask for or grant royalties to authors; some reject the very idea of running a self-sustained Punjabi publishing business as being a ‘commercial’ and so negative activity while others feel it will be impossible to make a Punjabi literary publishing business a commercial success in a market catering to Urdu and English.

The most important factor in resolving this situation is to push for language reforms as has been suggested by Shahid Mirza in his comment on Uddari-Home: “It is so unfortunate that in the new provincial assembly there is no party/individual/group to voice the right of children to study in the mother tongue. maybe we need to start a signature campaign to promote the cause”; and, the comments made by Shumita Madan Didi here, and there. As well, this is the reason for Publisher Amjad Salim and I to launch an extended promotion campaign for Skeena that included discussion on language rights, and for Mohammad Tahseen, and others to support it. I believe that winning author royalties for Punjabi writers is an important part of developing Punjabi language and literature.

The sentiment behind rejecting the concept of author royalties is well expressed by Author Amarjit Chandan in his comment on the previous post: “…In principle there can’t be any debate about royalty rights for Punjabi writers. A Punjabi writer should assert his/her rights while dealing with big publishers, but sadly we don not have any in Punjabi book industry.” I understand this view but do not share it; to me, its not a question of whether a publisher is big or not, an author is ‘successful’ or not, a publisher is ‘commercial’ or not. “Everyone has the right to the moral and material interests resulting from any scientific, literary or artistic production of which (s)he is the author.” (UN Universal Declaration of Human Rights, Article 27). It is a matter of human rights; of how creative work is used and valued in a society; of how creators of art and literature are recognized for their work. To me, it is important to see that a system contains at least a semblance of the ‘possibility’ for writers and artists to sustain ourselves through our creative work; and, may also improve the quality of our work as suggested by Jatinder in her comment.

Amarjit Jee further says, “I belong to the old tribe of writers who wrote and published for the love of it without asking for any reward.” Yes, in South Asia as elsewhere, writing has been a noble profession and the profession of the nobility as it required not just intellect but also education, a commodity still inaccessible to a large majority of people. I shirk from it also because it reminds me of all those other ‘recommended’ and ‘favored’ roles that are created to dupe people into feeling good about themselves while they are made to serve larger vested interests; for example, the ‘sublime motherhood’ concept for women where a woman is prompted to negate all other aspects of her person to fulfill that one role.

In the absence of royalties, what do writers do? Depend on local monarchs where available, find affluent patrons and befriend wealthy printers; Have dual careers, self-publish through an established publisher, and stay in a position of acute valuelessness for being an author who is often reminded that her/his creative work is not read by many; few want to buy it; and, the publisher is taking a loss by printing it. That reminds me of Poet Arshad Malik in Sargodha who would not publish his collection of poetry because “Ke faida? whats the use?” he said; Mushtaq Sufi, a poet of unique sensibilities who has stopped writing poetry; Painter Shahid Mirza who may have canvases ready for six exhibitions but has not exhibited his work in years outside of his own Lahore Chitrkar, “ke faida?” he says.

In every city, i met some creative artists, poets, writers, singers, dancers who are working on their art day and night without hope to publish, perform or exhibit their creations. I am clear that this situation is caused by larger political realities where literary and cultural communities suffer as a whole regardless of their role in it. But the publishers and producers of Punjabi art and literature in Pakistani Punjab though miraculous in sustaining maaNboli languages, can not continue to overlook the negative impacts on their communities of their non-recognition of creative and intellectual rights. Seen from my perspective, this non-recognition mirrors the same model of projected valuelessness to authors of native languages and literature that is projected by the larger mainstream society in relation to native languages and cultural communities; the model that we are all fighting against.

Meanwhile, we are all in a bind and at this end, even authors who are not dependent on Punjabi publishers feel slighted by them, “Lugda ai Punjab de publishraaN agay sadee koi value nahiN” (It seems punjabi publishers do not value us) says Poet/Playwright Ajmer Rode of Vancouver who has worked with publishers both in India and Canada.

Punjabi Authors and Publishers Page brings this discussion together.
books on Punjab

1. Royalty Rights in Punjabi Publishing

I had the opportunity to publish my novel Skeena in Punjabi (Sanjh Publications, Lahore 2007) last year, and while it was one of the most creative and inspiring experiences for me, it did include, and still does, confrontations with my peers around royalty rights and promotional strategies.

All the wonderful things began happening with Ijaz Syed in California who after reading the English manuscript of Skeena, recommended it to a publisher in Lahore; who in turn, offered to publish it in Punjabi and invited me to come to Lahore to translate it. This was a wonderful opportunity for me, and Ijaz Syed again stepped up by bringing me over to California where i enjoyed his hospitality and that of his family and friends. I am most grateful for the time and attention i received there from Nusrat Syed, Sarmad Syed, Vidhu Singh, Sanjeev Mahajan, Shaista Parveen, Salma, Cesar Love, Nidhi Singh and Rob Mod. Later, Ijaz, Sanjeev and Shaista were prevailed upon to buy me a one-way ticket to Lahore.

This also meant a chance for me to live in Lahore for a meaningful length of time in 2006 after having left it for Canada in 1986.

This was a dream situation for me also because Skeena is a character and story rooted in Pakistani Punjab, that then reaches out into the Punjabi communities of Toronto and Surrey. The very diversity of our communities had shackled the English manuscript with sentences upon sentences of Punjabi while the living culture of Muslim characters had laiden it with shots of Arabic. This was pointed out by most of its readers, and by Editor Michele Sherstan in Vancouver who had worked with me on Skeena in 2004. At that time, I knew that the novel had to be re-expressed in Punjabi before the English can ever be published; yet i had been away for so long that many sounds and words shivered below the surface of my mind as i looked for the courage to draw them out in the open again.

It will be an understatement to say that i am grateful to Skeena’s Punjabi Editor Zubair Ahmed for giving me the courage, the skills and the environment to rewrite Skeena in Punjabi. Zubair is a rare friend who cares for me and my work, and challenges me to do better. He spent countless hours of volunteer work to edit more than three hundred manuscript pages of Skeena as he supported me to shape my voice in Punjabi. Zubair also provided a comfortable and creative environment at Kitab Trinjan, a Punjabi bookstore on Temple Road that he manages on permanent part time voluntary basis for over a decade now. I was also happy to know Trinjan’s only full time employee Ghulam Haider; as well, Zubair introduced me to some most wonderful people there including his wife Samina, and Amjad Salim of Sanjh Publications who later published Skeena in Punjabi.

The publisher who had originally offered to publish Skeena was excited about the submission of the Punjabi manuscript, and we were beginning to discuss production and promotion when i realized that nothing had been mentioned about royalties yet. After a while, i asked the publisher as to how much royalty i was going to get; the question set off a wave of double headed culture shock hitting both the publisher and the writer. The publisher nearly fell off of his chair, so to speak, telling me that the top most Punjabi authors in Lahore pay the production cost to get their books published, where I, a mere writer of unpublished novels, am asking for royalty when my book is being published for free. Across from him, my eyes were popping out of my forehead because years of living in Canada had made me unprepared to deal with a situation where a small or medium level literary publisher was apparently operating for many years without recognizing an author’s right to royalty.

That culture shock helped me to figure out that royalty is NOT one of the rights accepted by Punjabi publishers or writers. So, this was the beginning of many inspiring discussions and fiery confrontations on royalty rights, book promotion strategies and maaNboli language issues in Lahore and other cities. I am aware that fighting for royalty rights for Punjabi writers/creators, and generating a debate on this issue by pushing it on the Net is not going to make me popular in Punjabi literary circles on either side of the border. Still, i will continue to share my ideas and experiences in Uddari Weblog because i think that the non-recognition of royalty rights is central to the ailments of Punjabi publishing industry.

Before i end this post, let me put your mind to rest: Yes, Sanjh did accept, and respect, my royalty rights.

Fauzia Rafiq
2. Royalties for Punjabi Language Authors
3. Author Royalties Down to Definitions in the Punjab

Royalties and Copyrights