Dhahan Prize 2017 Awards Ceremony – November 4 – UBC Vancouver

Pargat Singh Satoj won this year’s Dhahan Prize for Punjabi Literature for his novel Khabar Ik Pind Di (News From A Village), with Co-finalist Ali Anwar Ahmad for his short story collection Tand Tand Maili Chaadar (Filthy Chador (Sheet)) and Nachhattar Singh Brar for his novel Kaagzi Viaah (Paper Marriage).

As well, this year, DhahaN prize has begun Youth Awards for short stories written by grade 11 & 12 students of British Columbia. Stories are submitted in Punjabi and translated into English in order to build ‘bridges between communities and cultures.’

Post-ceremony reception with winning authors
Saturday, November 4, 2017
7:00 PM – 11:00 PM PDT
Robert H. Lee Alumni Centre, UBC
6163 University Blvd.
Vancouver, BC V6T 1Z1

More information about the event
eventbrite.com/e/dhahan-prize-2017-awards-ceremony
Visit Dhahan Prize website
dhahanprize.com/news

Contact The Dhahan Prize
1058–2560 Shell Road
Richmond, BC V6X 0B8, Canada
+1 604 831 6831
contact@dhahanprize.com
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Punjabi Poetry: Ustad Daman

Trans.daman

Written by Randeep Purewall

Ustad Daman (né Chiragh Din) was born in Lahore in 1911. As a boy, he worked at his father’s tailoring shop while also attending school. Daman learned classical Punjabi poetry at home and was educated in Urdu. He also learned Persian and English including Shakespeare, Keats and Hardy.

Having participated in school poetry recitals, Daman began attending musha’ara in the parks, fairs and bazaars of Lahore as a teenager during the 1920s. The movement for India’s independence had already begun. In 1929, the Indian National Congress made its Declaration of Independence from Lahore. The city was also home to Marxist groups like the Kirti Kisan and anti-colonial and revolutionary groups like the Hindustan Socialist Republican Association.

858340751-indian-national-congress-independence-movement-lahore-independence-concept

Daman recited his own revolutionary and anti-colonial poetry at the musha’ara. While attending one such gathering, Jawaharlal Nehru referred to Daman as the “Poet of Freedom.”

‘In China the Chinese are grand,
In Russia they do as they have planned.
In Japan its people rule over its strand.
The British rule the land of England,
The French hold the land of France,
In Tehran the Persians make their stand.
The Afghans hold on to their highland,
Turkmenistan’s freedom bears the Turkmen’s brand,
How very strange is indeed this fact,
That freedom in India is a contraband’
(Trans. F. Sharma)

Daman remained in Lahore upon the creation of Pakistan in 1947. The riots of the Partition had consumed his shop and library and he lost his wife and son to illness. His first act of political defiance came in 1958 when he made fun of Pakistan’s first military coup under Ayub Khan. Daman’s arrest however did little to temper his criticism of Pakistan’s military dictatorships and the corruption of its civilian governments in his poetry.

Daman wrote in Punjabi and the form, rhythm and metaphor of his poetry bears the influence of the classical and folk Punjabi tradition. If he could be sober and thoughtful in writing on the Partition, he could also adopt a more comic and satirical note in criticizing General Zia. He maintained a friendship with poets like Faiz Ahmed Faiz and Habib Jalib, but lived unassumingly in an old apartment in the precinct of the Badshahi Mosque.

Daman died in 1984. His poetry was published after his death by his friends and followers. The room he lived in near the Badshahi Mosque has since become an academy in his name.

Selected Poems (Trans. F. Sharma)

We may not say it but know it well
You lost your way. We too.
Partition has destroyed us friends.
You too, and us.
The wakeful have quite plundered us.
You slept the while, and we.
Into the jaws of death alive
You were flung. We too.
Life still may stir in us again:
You are stunned yet, and we.
The redness of the eyes betrays
You too have wept, and we.

What a house, this Pakistan!
Above live saints, down thieves have their run
A new order has come into force
Up above twenty families, below the hundred million.
Other people conquered mountains,
We live under the divisions heavy ton.
Other people may have conquered the moon.
But in a yawning precipice a place we’ve won.
I ran and ran and was aching all over,
I looked back and saw the donkey resting under the banyan.


Two gods hold my country in their sway
Martial law and La Illaha have here their heyday.
That one rules there over in the heavens
Down here this one’s writ runs.
His name is Allah Esquire.
This one is called Zia, the light of truth in full array.
Hurrah, General Zia, hip hip hooray,
Whoever can make you go away.

Ecstacy does my land surround
All around the Army is to be found.
Hundreds of thousands were surrendered as POWs.
Half of the land was bartered away in the fray.
Hurrah, General Zia, hip hip hooray,
Whoever can make you go away.

On TV you give recitations from Quran
With fables and traditions you go on and on.
Here we are engulfed in a brouhaha
While up there you are still there, my Allah
A pretender has staked his claim today
Hurrah, General Zia, hip hip hooray,
Whoever can make you go away.

Thankful are some if they can chop wood
The others, on them, their orders bestow.
Why have the people lost their mind?
For every one the Almighty has a loving glow.
People are the real masters of this world
Orders do not from the handle of a sword flow.
The ones, Daman, who have forsaken God,
Those Nimruds are laid low at the very first blow.

Urdu Poetry: Sauda

lucknow-mosque

Written by Randeep Purewall

To many of his contemporaries, Mirza Muhammad Rafi Sauda (1713-1781) was the embodiment of the ideal mirza. He served in the army and was a courtier and man of letters. His friendship among the nobility won him patronage as a poet and the audience of the likes of the Emperor Shah Alam (r. 1759-1806).

The eighteenth century however was a time of political disorder and confusion in Delhi. The Mughal Empire had begun to disintegrate after the death of Aurangzeb in 1707. In 1719, the Emperor Farrukhsiyar was blinded and imprisoned by his own generals. The city was sacked by Nadir Shah in 1739 and later suffered invasions by the Afghans, Jats and Marathas:

How can anyone close his eyes in sleep these days?
For fear of thieves even mischief keeps awake during the night.

The devastation of Delhi prompted an exodus from the city. In 1754, Sauda left Delhi and went in search of patrons in the Kingdom of Awadh. He took service in the courts of prominent nawabs  in Farrukhabad and Faizabad before settling in Lucknow in 1774 at the court of Nawab Asaf-ud-Daula.

Under Asaf-ud-Daula, Lucknow experienced an age of cultural splendor. Poetry, music and calligraphy flourished while mosques, gardens and gateways were built. Sauda was named Poet Laureate by Nawab Asaf-ud-Daula and remained in Lucknow until his death in 1781.

mirza-rafi-sauda

Sauda is the greatest non-ghazal of the eighteenth century and one of the three pillars of Urdu poetry. He helped refine the language through mushairras in Delhi. He made Urdu the language of panegyric (qasida), narrative (masnavi), satirical (hajv) and elegaic verse (marsiya). He also composed one of the first shahar-e-ashob in Urdu upon leaving Delhi for Farrukhabad:

How can I describe the desolation of Delhi?
There is no house from where the jackal’s cry cannot be heard
The mosques at evening are unlit and deserted
And only in one house in a hundred will you see a light burning

Sauda’s poetry is bold, vigorous and earthy. It reflects the spirit of a man of this world who, while prone to exaggeration, was also funny and playful in his verse. His satires reveal much about the society and culture of 18th century India with its corrupt officials, decadent nawabs, greedy merchants and cunning maulvis.

On the gluttony of Mir Zahik, a Delhi poet and rival of Sauda:

He only has to hear a saucepan rattle
And like a soldier digging in for battle
He’ll take up his position by the door
Nothing can shift him then: that god of war,
Rustam himself, might rise up from the tomb
And try his strength against him. He’d stand firm
He’d fight to the last breath and never yield
Until his corpse was carried from the field.

I am not the fairest flower in the garden
Nor am I thorn in any man’s path
I am neither famous for virtue
Nor notorious for vice
I seek nobody’s favours
And want nobody to seek mine
People may think well or ill of me as they please
I act as my nature prompts me
(Trans. R. Russell)

On Fulad Khan, the Police Officer

O my friends, where are those days
When the hand of a person stealing a lemon was cut off!
What peace and tranquility reign then
And how happily the people lived!
The police officer was above corruption
And not a single thief was to be found
But alas! corruption creeps everywhere now
And the city is full of thieves, loafers and cut-purses …
(Trans. M. Sadiq)

Ridiculing The Times (Tazhik-e-Rozgar)

Should one give up all and take
to Sufism, his fate is then to become
a laughing stock for the poets –
They compare his turban’s end
To a donkey’s tail, the turban itself
To a dome.

If in ecstatic dance at songs divine
He shouldn’t keep time, they whisper
“How silly, to be out of step!”
And if he moves to time, they say,
“What the hell! Is this a nautch-girl’s dance?”

Forsaking the world and trusting in God
If you sit at home, the wife believes
You to be an idle, feckless wastrel
Your son’s sure in his heart that you
Are in his dotage. Your daughter thinks
“The old man’s mad for sure”.
(Trans. S.R. Farqui; R. Purewall)

Sources:

Ahmed Ali, The Golden Tradition: An Anthology of Urdu Poetry (Columbia University Press, New York, 1973).

Shamsur Rahman Faruqi, The Satires of Sauda (1706-1781), University of Heidelberg, September 2010.

Muhammad Sadiq, A History of Urdu Literature (Oxford University Press, London: 1964)

‘Tellers of Short Tales’ – Fauzia Rafique with Nasreen Pejvack – Feb 16 New Westminster

tellersofshorttales

RCLAS presents
Tellers of Short Tales
Featured Author Fauzia Rafique
Open Mic.
Host Nasreen Pejvack

Thursday, February 16
18:00–20:00
Anvil Centre
777 Columbia Street
New Westminster

Fauzia Zohra Rafique writes poetry, fiction and nonfiction. She has published two novels: ‘The Adventures of SahebaN: Biography of a Relentless Warrior’ (Libros Libertad, Nov 2016) and ‘Skeena’ (Libros Libertad 2011); an ebook of poems ‘Holier Than Life’ (Purple Poppy Press 2013), a chapbook of English and Punjabi poems ‘Passion Fruit/Tahnget Phal’ (Uddari Books 2011), and an anthology of writings of women of South Asian origin, ‘Aurat Durbar: The Court of Women’ (Toronto 1995). In Pakistan, Fauzia worked as a journalist and screenwriter. She is the coordinator of Surrey Muse, an art and literature presentation group. At Tellers of Short Tales, Fauzia will present short fiction from her published work. More is here:
gandholi.wordpress.com

Royal City Literary Arts Society (RCLAS)
A New Westminster arts organization offers Tellers of Short Tales, a program of monthly readings designed to engage fans of the short story genre with emerging and published short story writers. Also, an open microphone will be available for writers who would like to share their stories. The program is free for fans.

Facebook Event Page
facebook.com/events/1404442066242062

Organized by
Royal City Literary Arts Society (RCLAS)

Contact Nasreen Pejvack:
nasreenpejvack@rclas.com
..

The Literatures of India

mughalpic

Written by Randeep Singh

Unlike England or China, India has no national language or literature. One cannot speak of a golden age in literature in India as one can speak of the Elizabethan Age or the Tang Dynasty. Instead, there have been different periods of flourishing across India’s many literatures. Here are just five of those periods summarized.

Tamil: The Sangam Age (c. 1st and 2nd century CE)

The Sangam Age was characterized by a secular poetry composed at academies (‘sangam’). The age saw the composition of the five Tamil epics (including the Silappadikaram), eighteen major anthologies of poetry and the Tolkaapiyyam, a treatise on poetics, grammar and rhetoric.

The Sangam poets wrote on love, war and kingship while the aesthetics underlying their poetry tied emotions to particular landscapes, mood and imagery.

In the thicket
Of fresh lotuses rising from the ponds
Caressed by splendid paddy fields
And sugarcane are heard, as on a battlefield
Where two kings fight for victory
Various kinds of clamorous sounds
Made by waterfowls, screaming cranes,
Red-footed swans, green-footed herons,
Wild fowls, cormorants, snipes,
The ural water birds, large herons
And other birds. Buffaloes enter and immerse
Themselves in the soft, unploughed mire
With the hair on their bodies unwashed, eyes
Red, they come and rub
Their itching backs against the unspoilt, straw bins
Thus loosening the twisted strands that hold them
The bins come apart spilling the rich grain
Stored inside with sheaves of excellent paddy
That resemble cowries.
One heard the noise of the loud talk of labourers
With strong arms and farmers standing
In knots. One heard the sound
Of songs in new styles by low born women
Who turned on by strong wine worked in the fields.
Eyes wide like red minnows,
They bandied indecent words and looked
Singularly charming in their clothes splashed
With mud that also glazed their breasts and shoulders
Clasped by armlets. From their hair they picked
The fragrant flowers and thrust seedlings instead.
One heard the ploughmens’ song of praise
As they stood by their ploughs and worshipped
With folded hands. They appeared to break open
The earth radiant with wreaths bound
With shining ears of rice, plaited
With blue lotuses and the thick, vine-like hariali grass

(from Shilappadigaram, tr. R. Parthasarathy).

Sanskrit: The Gupta Dynasty (4th-5th century)

The Gupta Dynasty is the classical age of Sanskrit literature. The plays and poems of Kalidasa blend romance, fairy tale and visions of nature. The epic poems Mahabharata (including the Bhagavad Gita) and the Ramayana were reworked into their final form during this era. Sanskrit fiction also saw the composition of Pancatantra, a collection of animal tales and fables which influenced world storytelling.

In former days we’d both agree
That you were me and I was you
What has now happened to us two
That you are you and I am me
(Bhartrhari, Trans. John Brough)

Blow, wind, to where my loved one is
Touch her, and come and touch me soon
I’ll feel her gentle touch through you
And meet her beauty in the moon.
These things are much for one who loves –
A man can live by them alone
That she and I breathe the same air
And that the earth we tread is one
(Ramayana, Trans. John Brough)

May her path be safe and gracious
As gentle breezes blow,
Pleasant be her way dotted by lakes
Where green lotus-creepers grow;
May the burning rays of the sun
Filter mellowed through thick shade-trees;
Let the pollen of water lillies drift
To lie as softest dust beneath her feet
(Kalidasa, Abhijnanasakuntalam, Trans. Chandra Rajan)

Kannada: The Rashtrakuta and Chalukya Dynasties (9th and 10th century)

old-kannada-inscript
Above: Kannada Inscription (983 CE)

Kannada literature of this period integrated local literary traditions with Sanskritic models and Jain themes. The Vaddaradhane (9th century) is a collection of Jain morality tales and fables and is the earliest prose work in Kannada. The poets Adikavi Pampa and Sri Ponna (c. 950) wrote Jain epics in Adipurana (941) and Santipurana (950) respectively while the court poet Ranna is best remembered for his elegy Sahasa Bhima Vijaya on the battle between Bhima and Duryodhana in the Mahabharata.

Urdu: The Late-Mughal Period (18th and 19th century)

Urdu poetry flourished in the courts and assemblies of Delhi and Lucknow during this time. Its greatest masters were the plaintive Mir (1722-1810) and the philosophical Ghalib (1797-1869). The marsiya (a Shia elegy) flourished in Lucknow under Anis and Dabeer, while Delhi produced poetry at once mystical (Khwaja Mir Dard), satirical (Mirza Sauda) and tragic (Bahadur Shah Zafar).

How long is the life of the rose?
The bud just smiles (Mir Taqi Mir)

The free are not trammeled by any ties
The flower’s fragrance emits itself a thousand ways (Zauq)

I feel as if you are with me
When no one else is around (Momin)

Desire in thousands – each so strong it takes my breath anew
And many longings were fulfilled – many, but even so, too few (Ghalib)

The world goes on changing, Zafar, with the changing times
What sights it then displayed, what now it now provides (Zafar)

Bengali: Colonial and Modern Period (19th and 20th century)

fort-wiliam

Above: Fort William College. The Bengali Renaissance witnessed a flowering in arts, culture and science, with its literary branch starting at Fort William College.

Modern Bengali literature adapted the Victorian novel and the English sonnet and epic to Indian themes and realities. Michael Madhusudan Dutt’s (1824-1873) retold the battles of the Ramayana in the style of Paradise Lost in his epic Meghnad Badh Kabya. Rabindranath Tagore (1861-1941) wrote socially realist novels like Ghaire Bhaire and poems like those in Gitanjali exploring love, nature and the divine. Sarat Chandra Chattopadhyay (1876-1938) too wrote realist novels on revolution in Pather Dabi and the experience of women in Srikanta.

Dhahan Prize 2016 Awards Gala – Vancouver – October 29/16

uddari-dhahan-2016

Join us in celebrating excellence in Punjabi literature.

DATE AND TIME
Sat, October 29, 2016
6:30 PM – 10:00 PM PDT
LOCATION
Museum of Anthropology
6393 Northwest Marine Drive
Vancouver, BC V6T 1Z2

In 2014, the Dhahan Prize took flight, and in 2016 we return to recognize the achievements of Punjabi writers at our 3rd annual event with keynote speaker, Giller Prize winner, M G Vassanji.
For work in the Punjabi scripts of Gurmukhi and Shahmukhi, this prize recognizes one outstanding writer with a $25,000 award, as well as two finalists with awards of $5,000. Forging meaningful relationships with writers, community organizations and educational institutions in Pakistan, India and the diaspora, the Dhahan Prize is the world’s signature prize for Punjabi literary works.

This year’s winning book, Kaale Varke (Dark Pages), is a collection of short stories about the lived experience of immigrant Punjabis in North America by Jarnail Singh. The title story of the book probes the links between the colonization of India, and the suffering of abuse and violence of the Canadian indigenous communities via the residential school system. Through a dialogue between an Indo Canadian counsellor and an indigenous man, who is a residential school survivor, the deep impacts of their experiences are explored.

Co-finalist, Tassi Dharti (Thirsty Land) by Zahid Hassan, is a gripping representation of existential concerns of the valiant people of the undivided Punjab, known as Bar, and their hardy struggles in the context of evolving social and political environment during the colonial period and beyond.

Our other finalist, Us Pal (That Moment) by Simran Dhaliwal, is a collection of short stories that deal with the rapidly fraying social and cultural fabric of contemporary Punjab. These short narratives provide fresh insight into the complexity of moral struggles and emotional relations of the common people.

Please join us for an evening of celebration in a glorious venue; enjoy the pre & post ceremony reception and also a stroll through the Museum’s multitude of exhibits.

We hope you can make and look forward to seeing you.

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Confucius in Urdu

Teachings of Confucius

Written and Compiled by Randeep Singh

Confucius (551-479 BCE) is one of most influential teachers and thinkers in history. His sayings are simple, profound and timeless. Here are a few selections translated into Urdu by Yasir Javid from Mukalamaat-e-Confucius  (English translation by D.C. Lau, A. Charles Muller).

Kya ye bais-e-khushi nahin ki tum ne jo kuch sikha hai us ko zer tahqeeq o amal laaya jae?
Kya ye bhi baais-e-massurat nahin ki door door se dost tumhein milne aaenn?
Agar log mujhe na pahchaanen to mujhe takleef nahin hoti, kya main ek bartar insaan nahin hoon? (1:1)

學而時習之、不亦說乎。 有朋自遠方來、不亦樂乎。人不知而不慍、不亦君子乎。

Isn’t it a joy to study and practice what one has learned?
Isn’t it also a joy to have friends come from afar?
If people do not recognize me, and it does not bother me, am I not a sage?

Main har roz teen hawaalon se apna tajz yeh karta hoon:
Kya main doosron kee khidmat mein belos raha hoon?
Kya main doston ke saath ta’aqaat mein na qaabil bharosa raha hoon?
Kya mera amal mere qaul ke mutaabiq nahin tha? (1:4)

吾日三省吾身、爲人謀而不忠乎。與朋友交而不信乎。傳不習乎。

Everyday, I examine myself on three points:
In what I have undertaken for others, have I failed to do my best?
In my dealings with my friends, have I failed to be sincere?
Have I passed on to others anything that I have not tried out myself?

Woh kehne se pehle amal kar ke dekhaata hai aur baad mein amal kee baat karta hain (2:13)

子貢問君子。子曰。先行其言、而后從之。

The noble person acts before speaking and then speaks according to his action

Bartar insaan sab ko saath le kar chalne vaala aur ghair jaanib daar hota hai
Kamtar insaan ghair jaanib daar sab ko saath le kar jaane vaale nahin hota (2:14)

君子周而不比、小人比而不周

The noble person is all-embracing and not partial. The petty person is partial and not all-embracing.

Ghor o fikr ke beghair mataala’a bekaar hain
Aur mataala’a ke beghair ghor o fikar khatarnaak (2:15)

攻乎異端、斯害也己。

Learning without thinking is useless. Thinking without learning is dangerous.

https://rekhta.org/ebooks/mukalmat-e-confucius-confucius-ebooks