In a recent web dialogue Outlook editor, Chinki Sinha, made an observation, to which both interviewees 바카라 Kashmiri poets Pune-based Amit Bamzai and Srinagar-based Huzaifa Pandit 바카라 agreed. That it is the poet바카라s burden to fight against forgetfulness, and based on this very thought, Kashmir has spurred an entire generation of resistance poets.
Both the poets say this has to do with the fact that most of the classical poetry coming out of Kashmir is based on sadness and longing, and the deep-seated empathy present in every Kashmiri. 바카라It's exactly how we Kashmiris have turned out. Even with the poems of the greatest, most loved poet of Kashmir바카라Habba Khatoon바카라her sheer volume of work has been translated and sung by all great singers but melancholy remains her main theme when she sings of her husband,바카라 says Bamzai. Khatoon바카라s words have lived with him, first being passed on from his mother to him then through him to his daughter. In the recent Outlook issue, Kashmir Memory Files, Bamzai speaks of a Rubaiyya Aunty, who constantly hums a Khatoon poem. 바카라I was born during the conflict, and throughout my growing years, I heard about Kashmir from my grandparents, and other family members, some of whom are historians and wrote books on the subject. About Rubaiyya aunty, she바카라s a combination of bubbliness and spirituality, a walking-talking representation of god. Most importantly, she displayed empathy, towards animals, towards the poor.바카라
It is easy to feel empathy when you are a 바카라co-sufferer, sharing common experiences of trauma바카라 feels Huzaifa. He grew up hearing his mother grieve about her Kashmir Pandit (KP) friends, who lived on the land opposite of their house, still occupied by abandoned KP houses. 바카라My first encounter with a KP was in 2009, and it turns out we were quite similar. Once you know the pain of being uprooted or losing a house, you can well imagine another person바카라s loss. One of my translations is about a KP house in Jawahar Nagar that belonged to a professor as evident by the English nameplate on the door. I remember going to the house with a camera, taking a picture of it, and posting it alongside a translation by poet Nazir Kazmi. It was a call for sheer empathy,바카라 says the author of Green is the Colour of Memory.
Huzaifa says his translations of Urdu poetry stem from his love for the language. While he completed his entire education till PhD in English, he became hooked on Urdu poetry in the gap year before pursuing a BA degree. 바카라It was during 2009-10, landmark years for cyclical violence, when I was sitting at home, and downloaded this ghazal by Faiz Ahmad Faiz. One of the couplets reflected my deep disappointment with the politics on both sides. Kashmir has a long history of leaders who promise but then falter. I ended up translating that ghazal, and the engagement with Urdu texts started from here. I have translated works by Faiz, Agha Shahid Ali, Parveen Shaukat바카라 almost 50-60 poets.바카라
Ask Bamzai to comment on why the paintings by acclaimed artists Masood Hussain and Veer Munshi, and the poetry coming from him and Huzaifa are a departure from the beautiful landscapes of Kashmir one is exposed to in the media, and he says, 바카라I prefer to steer from such labels. It바카라s my choice, a desire to sublimate my experience. No one put a gun to my head. One has a burden before they write. When you start to write, you share that burden with the intention of converting people. It바카라s true, there are limitations. Recently, Jeet Thayil brought out an anthology on the best of Indian poetry, and before that Sudeep Sen did. To my knowledge, there is no Kashmiri poet in any of these. An exclusion from the cannon,바카라 says Huzaifa, who adds that he writes to remember. 바카라I feel that is the purpose of poetry바카라To become a safeguard against forgetfulness by default.바카라
In a previous issue some years ago, Huzaifa had told Outlook that the poem The Country Without A Post Office by famed poet Agha Shahid Ali would arguably inaugurate the spectrum of resistance poetry. 바카라But now I don바카라t agree with that line of thought. Agha Shahid Ali is a fantastic, but has now become an 바카라exotic marginality, an eclectic mix of Hinduism, Muslim바카라.whole cosmopolitan바카라. Also, his idea of Kashmir was very elitist. His grandfather and father enjoyed a specific amount of privilege from the various systems he contradicted.바카라
Bamzai also shares Huzaifa바카라s views and explains his thoughts by citing the reactions of Kashmiri poet Mahjoor and Dinanath Nadim (Boomaro Boomaro fame) to events in Indian history. He says, in 1947, after Jammu and Kashmir바카라s accession to India, when Sheikh Abdullah came to power, his J&K National Conference workers (JKNC) started getting richer, and took over plum businesses, including the salt depots. JKNC workers started artificially inflating salt prices, and soon Kashmir faced a salt shortage. 바카라Mahjoor experienced the highhandedness of these workers at a salt depot, which he narrates in a poem: 바카라I wanted salt, and went to a National Conference shop. But they put a mandate that first I should say I am an Indian. After hearing this, I am shaking because my heart is with Pakistan.바카라 This is a national icon, India has realised stamps on his name, and he바카라s here speaking about this resistance towards this highhandedness. When you move a couple of decades ahead to Nadim, when there are tensions of a war between India and Pakistan, he says, 바카라When everybody is gunning for a war and want to destroy each other바카라s country, he says, I am hopeful about tomorrow, that people will be better, and things will get better.바카라 This in itself is resistance, of hope. So you see, resistance poetry did not start with Agha Shahid Ali and will not end with him.바카라 In conclusion, Bamzai says a writer belongs nowhere. 바카라A writer belongs to the whole world. Faiz Ahmad Faiz is as relevant in Manhattan, as he is in Sialkot, Lahore.바카라
