The Friday Times


22nd SAFDAR HASHMI MEMORIAL
1st JANUARY 2011


Remembering Faiz Through Safdar’s Memories



Raat yun dil mein teri khoee hui yaad aai
Jaise veerane mein chupke se bahaar aa jaye,
Jaise sehraon mein haule se chale baad-e-naseem,
Jaise beemar ko be-wajh qaraar aa jaye.



JANUARY 1, 2011: The beginning of the New Year bringing to us the memory of our beloved Safdar --- a poet, theatre worker, an exemplary political activist. Asking us to renew our pledge of creativity. The day of warmth and love again saw a gathering of poetry, music and dance.
This year, the audience on the occasion also remembered their unparalleled bard of revolution, Faiz Ahmed Faiz, with a new hope and outspokenness --- singing him, feeling proud of his legacy.
We are now in the birth centenary year of Faiz Ahmed Faiz, a great progressive poet of Asia, nay of the world, who was born in Sialkot (now in Pakistan) in the year 1911. A favourite poet of martyr Safdar Hashmi, and of all of us. The New Year this time was thus a very special occasion. The Safdar Hashmi Memorial Trust (SAHMAT) has decided to observe the whole Faiz Centenary Year in a special way and began the process on the New Year itself. The day, thus, turned to be a memorable one.
People, one and all, were invited this year too, like the years gone by, to this Jashn-e-Yaaran, and much before the scheduled time they began to throng the huge people’s pandal, a covered big tent, put up in the lawns of Vithalbhai Patel House in New Delhi. Full of vigour and enthusiasm, a play by Act One as if came to us as a revolutionary song. Like the earlier years, a street theatre troupe coming from Rohtak was permeated with the same emotions. Manu Kohli regaled the audience with Faiz’s ghazals and nazms. Next, Dr Anju Raina took to the stage and, in her heart-moving voice, presented “Dasht-e-tenhai mein ai jaan-jehan larzan hai,” a moving piece of romantic poetry by Faiz Ahmed Faiz. The following stanza of the poem


Is qadar pyaar se ai jaan-e-jehan rakkha hai
Dil ke rukhsar pe is waqt teri yaad ne haath
Yun guman hota hai, garche hai abhi subh-e-firaaq
Dhal gaya hije ka din, aa bhi gayee qasl ki raat


intensely brought to the audience the fond memories of Faiz as well as Safdar, and thus set in motion the caravan of colour and music.
The audience felt spellbound as soon as Astad Deboo, an Indian dancer of international renown, came to the stage. The music descending down into the souls and the dance presentation by Astad Deboo --- time was moving moment by moment, giving new dimensions to Faiz’s poetry. The atmosphere was getting surcharged with emotions. As soon as Astad concluded the ‘bol’ of his dance, the temperature inside began to rise even though the polythene-made roof of the tent was getting affected by chilly winds. Maybe it was something like what Ghalib had called “raqs-e-sharar” (the dance of sparks). Modern art experiments in the East have received their sheen from the struggle for independence, and revolutionary poets like Faiz have played a notable role in this process. It would not be out of place if we situate the dance experiments by Astad Deboo in this very tradition.
Sentiments further deepened when the high-pitch voice of Rekha Raj began to call the years gone by, through her rendering of the poetic creations by Faiz Ahmed Faiz. Rekha received her training from her maternal grandmother, Khursheed Begum of Sheikhupura (Pakistan), and from Vasant Lal Ji of Rajasthan (India). She presented the well known poem “Mujh se pehli si muhabbat meri mehboob na maang” and some other pieces including “Rabba Sacchya,” a Punjabi poem by Faiz Ahmed Faiz.
The offspring of a Muslim mother and a Hindu father, Rekha presents an image of the Ganga-Jamni (syncretic) culture of this country. However, Inder Salim of Kashmir did not lag behind. With his toy-like puppet, he linked our life today with Faiz’s legacy.
Then came the storytelling pairing of Mehmood Farooqi and Daanish Hussain, Reading out their prepared script for about an hour. Teasing all of us. Telling us something. Making us laugh. The way the pair, with perfect ease, took the audience through Fiaz’s legacy and Faiz’s period, was a novel experiment by itself. With their presentation, Mehmood and Daanish introduced the audience to a new art-form, full of vitality, whose importance will no doubt be recognised in the days to come.
The evening was progressing. The cold was intensifying outside but the people in the pandal were feeling increasingly warm. Now they were waiting for Vidya Shah, a renowned singer. On her part, by her very first presentation, Vidya took music to new heights. Her rendering was, on the one hand, a dialogue with the world gone by; on the other, it presented a new, intensive understanding of Faiz’s poetry. She again and again appeared to be talking to several of the renowned figures of yore; in particular, the images of Begum Akhtar, Malika Pukhraj and Iqbal Bano came to us several times. Her presentation of “Saath raho” and “Aaiye haath uthayen hum bhi” left a deep impact on all those present.

A member of the Planning Commission Syeda Hameed not only recited Faiz’s poems in her inimitable voice but also brought out the nuances by explaining the meanings for the non-Urdu speaking audience.

The evening was at its height when young Pakistani novelist Ali Sethi, clad in jeans and a jacket, came to the stage. Many of the audience could not even think that he would present something traditional. Ali Sethi highlighted in detail the times in Pakistan’s history which he had himself gone though or which his near and dear ones had experienced. In particular, his narration of the history behind the rendering of “Mujh se pehli si muhabbat” by Nurjehan was not only binding but also highlighted an episode of revolutionary resistance. Ali Sethi’s musical presentations added lustre to his narration.
In the end, Madan Gopal Singh paid his tributes to this great poet by presenting two Punjabi pieces by Faiz in the Punjabi sufi style.
Suhel Hashmi admirably discharged the responsibility of conducting the programme, presenting in between some selected nazms and ghazals by Faiz, which brought to the audience the depths of Faiz’s legacy in a clear-cut manner.
Another significant event of the evening was the release of a special number of Naya Path, brought out by Janvadi Lekhak Sangh. Renowned Hindi poet Kunwar Narayan Singh released this issue that was dedicated to Fiaz Ahmed Faiz. Kedar Nath Singh, another notable Hindi poet, was present on the dais on the occasion. About 200 copies of this magazine of 450 odd pages were sold out on the spot. Earlier, Qamar Azad Hashmi, martyr Safdar Hashmi’s mother, released the New Year’s calendar brought out by SAHMAT; this too was dedicated to Faiz Ahmed Faiz. The calendar is based on colour and line drawings by M F Hussain to picturise Faiz.
While going home in this chilled night of Delhi, I recalled my meeting with Safdar 30 years ago. Safdar Hashmi was then the information officer in West Bengal Information Bureau and his office in a small room had got very soon converted into a cultural hub. Poets, fiction writers, playwrights, film-makers, students of art and culture, and saddened lovers --- everyone passed this way. Once Mani Kaul, a leading light of New Wave cinema, and me were having tea with Safdar in his office when he opened a book, as he often did, and began to recite a nazm containing the line “Koi ujra hua benoor purana mandir.” Though we both were fond of Faiz’s poetry, this nazm in Safdar’s voice left upon us a unique impact and we found ourselves dumbfounded for some time. The following lines of the nazm


De koi sankh duhai, koi payal bole
Koi but jaage, koi sanwali ghunghat khole,


remained with us for long after we came out.
Faiz Ahmed Faiz, the people’s poet, comes to us in this very manner --- carrying everybody with him, celebrating our common identity, forming a fraternity of revolution!




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PRESS RELEASE OPPOSING THE NEO-LIBERAL THRUST IN EDUCATION

Date: 08-08-2009
The Safdar Hashmi Memorial Trust held a one day seminar Against the Neo-Liberal Thrust that is being given to the education policy by the UPA government. The seminar focused on the recently passed Right to Education Bill and the hundred days agenda of the new HRD minister Kapil Sibal.

Eminent educationists, teachers from Central Universities , Representatives of School and College Teachers’Associations attended the seminar and highlighted the dangers of the UPAs agenda in school and higher education.

The inagural session of the seminar was addressed by Sitaram Yechury, Prabhat Patnaik ( Jawaharlal Nehru University ), Muchkund Dubey (President, Council for Social Development), Yashpal and Zoya Hasan (National Commission for Minorities). All speakers in this session spoke of the need for having an equitable and publically funded educational system which also met the need of socially and economically disadvantaged groups.

Prof Patnaik stated that the university needed to be oriented towards intellectual engangagement which was not subservient to the market. This could not be achieved without fighting the neo-liberal context. Sitaram Yechury hightlighted the need for expanding state responsibility in education and increasing social control over all private educational institutions, both in terms of their fee structures and admission policies. The dangers of privatisation of educational institutions was highlighted by Prof Yashpal, while Prof Zoya Hasan emphasised the need for increasing access of minorities to state funded institutions and reducing their dependence on minority educational institutions.

The second session of the seminar focused on school education and was chaired by Arjun Dev (formerly of NCERT) and addressed by Jayati Ghosh (Jawaharlal Nehru University), Ashok Agarwal (Social Jurist), Ravi Kumar (Jamia Millia Islamia) and Mr Rajendran (School Teachers Federation of India). This session highlighted the problems in the Right to Education Act and the Minister’s proposal to make 10th class examinations optional. Prof Jayati Ghosh highlighted the silences within the Right to Education Act in terms of absence of financial responsibility of the state for providing education, and on the norms for educational institutions. Ashok Agarwal used his vast experience in dealing with private schools for evaluating the ways in which the current Right to Education Bill created and institutionalised a discriminatory system against disadvantaged groups and diluted Article 45 of the Constitution guaranteeing right to education to all children from 0-14 years. This aspect was also taken up by Mr Rajendran who stressed the need to include children from 0-6 years within the ambit of the act and the need to struggle against the current neo-liberal educational agenda through a broad mobilisation of ordinary people. He also demanded a National Commission on Education and a debate on Kapil Sibal’s proposals in the CABE so that the federal structure of education was respected. Ravi Kumar highlighted the basic contradiction between the goal of achieving an equitable educational system and the broader neo-liberal context and said that the Right to Education act needs to be seen in this context.

The third session of the seminar focused on higher education and was chaired by C.P Chandrasekhar ( Jawaharlal Nehru University ). Speakers in this session included Sudhanshu Bhattacharya (NEUPA), Dhruv Raina and Soumen Bhattacharya ( Jawaharlal Nehru University ), Vijender Sharma (Democratic Teachers Forum, Delhi University ), N Raghuram ( Indraprastha University ) and Dinesh Abrol (National Institute of Science Technology and Development Studies). The session highlighted the limitations of the National Knowledge Commission and Yashpal Committee with respect to their recommendations for reforming higher education. Sudhanshu Bhattacharya said that the government needed to set up a National Commission on Higher Education to check malpractices and privatisation of education. Vijender Sharma showed how the Yashpal Committee had created space for private education and why there was a need to oppose foreign investment in education. This could only be done by increasing social control over private capital. Dhruv Raina highlighted the need to democratise education and research in institutions of higher learning. Dinesh Abrol argued that technical education needed to be subservient to social goals and control and not to the market. Thus market and not overregulation was the problem. The seminar ended with a resolve to oppose the current neo-liberal agenda and called for a sustained fight to amend the right to education act for achieving equity in educational opportunities.

Press Release condemning ban

Date 3.08.2009
We are shocked to learn from press reports that the BJP government of Chhattisgarh has banned Charandas Chor, a classic of the modern Indian theatre, written and produced by Habib Tanvir. The play was first done in the 1970s, and is originally based on an oral folk tale from Rajasthan. Habib Tanvir worked on this tale, introducing into it elements of the art and beliefs of the Satnami community. Satnami singers and dancers have performed in this play, and it has been seen by members of the community several times. In Chhattisgarh and Madhya Pradesh, there are several rural troupes who are today performing some version of this play.

The play itself is the story of a thief who, under the influence of a guru, pledges never to tell a lie. He sticks to his pledge, even at the cost of his life. This superb tragic-comedy, in a thoroughly entertaining and artistic manner, brings into focus the moral and ethical degeneration of our society, in which, paradoxically, it is a thief who ends up being more honest than those who supposed to be the custodians of our morality.

Charandas Chor remains Habib Tanvir’s best-known play, and has been performed literally hundreds of times by his world-renowned Naya Theatre troupe all over India and in several countries across the world. It was made into a film by Shyam Benegal, with Smita Patil in the lead, in 1975, and was the first Indian play to win the prestigious Fringe First award at the Edinburgh Theatre Festival in 1982. It then did a successful run on the London stage.

We demand that the Chhattisgarh government immediately revoke this absurd ban.

Act One, M.K. Raina, Arvind Gaur, Moloyashree Hashmi, Asmita Theatre Group, N.K. Sharma, Bahroop Art Group, Sahmat, Brijesh, Shahid Anwar, Govind Deshpande, Sudhanva Deshpande, Jana Natya Manch, Vivan Sundaram, Jan Sanskriti, Wamiq Abbasi, Janvadi Lekhak Sangh, Javed Malick, Madangopal Singh

Press Statement Date 29.07.2009

We are deeply disturbed by attempts being made by interested quarters to take over several historically important and protected monuments in different parts of the country, in clear violation of The Ancient Monuments and Archaeological Sites and Remains Act, 1958, on the excuse of offering worship there. Many of the monument are parts of the precious legacy of the country and under the rules framed under the Ancient Monuments Act, there can be no installation of worship wherever it had ceased.

We call upon the PM, who is also in-charge of the ministry of Culture to initiate immediate action to save these monuments from encroachment. We also call upon the Chief Minister of Delhi to rein in all such elements who are aiding and abetting the violation of the Ancient Monuments and Archaeological Sites and Remains Act, 1958. We also call upon the authorities to initiate immediate steps to evict the encroachers and to take all steps to ensure the protection of all listed monuments. This should set a model for official action against law-breakers irrespective of the religious community or ritual concerned.

Irfan Habib, Ram Rahman, Amar Farooqui, D. N. Jha, Prabhat Shukla, Arjun Dev, Sohail Hashmi, Zahoor Siddiqui, Shireen Moosvi, Suraj Bhan, Suvira Jaiswal, Archana Prasad

Released to the press
To celebrate the life, theatre, politics and creativity of

Habib Tanvir

(1923-2009) join us at the memorial meeting at

6.00 p.m. 10 June 2009 Muktadhara Auditorium Banga Sanskriti Bhavan 18-19 Bhai Veer Singh Marg, near Gol Market

Jana Natya Manch Sahmat Janvadi Lekhak Sangh Directions: This is the road between Gol Market and St. Columba’s School. From south and east, take Ashok Road up to Gol Dak Khana, then Kali Bari Marg, and turn immediately right. From west and north, take Mandir Marg, Gol Market, turn right on Bhai Veer Singh Marg. Most bus routes for Shivaji Stadium take this road and will drop you in front of Muktdhara. From west and south-west, from RML Hospital, take Baba Kharag Singh Marg where there is the construction of the express metro, Gol Dak Khana, then left at Kali Bari Marg, and turn immediately right.
9868301864 (Sudhanva), 9868254822 (Moloyashree), 23711276 and 23351424 (Sahmat)

jananatyamanch@gmail.com, sahmat8@yahoo.com, jlscentre@yahoo.com

Statement
Habib Tanvir, the legend of contemporary Indian theatre, was also a writer, poet, actor, organiser of progressive writers and people’s theatre - passed away on June 8, 2009 at Bhopal. Habib Tanvir, whose plays make him a true citizen of the world will always be remembered for his abiding commitment to the values of secularism and progressive ideas.

For us at SAHMAT, Habib Saheb was an inspiring presence as its founder trustee and its chairman after Bhisham Sahni’s passing away in 2003. His was one of the most militant voices in the spontaneous protest after Safdar Hashmi’s brutal murder in 1989. Habib Tanvir had earlier collaborated with Safdar Hashmi in dramatizing Premchand’s story

“ Mote Ram Ka Satyagraha”. Habib was an important organizer and participant in SAHMAT’s Hum Sab Ayodhya exhibition and the Mukt Naad cultural sit-in in Ayodhya in 1993, after the Babri Masjid demolition.

Habib Tanvir was born on September 1923 at Raipur, Chattisgarh. After initial education at Nagpur, he went to RADA in 1955 and travelled in Europe during 1956-57. He became the organiser, secretary, playwright and actor-director of IPTA during 1948-50.

In 1954 he had directed ‘Agra Bazar’ which he himself described as “the first serious experiment integrating song with drama and rural actors with urban” For the last 55 years ‘Agra Bazar’ has been performed all over the country countless number of times. He founded Naya Theatre in 1958. Habib’s abiding contribution to contemporary culture will be his remarkable incorporation of traditions of folk and tribal theatre, music and language into his modern formal craft. The power of his plays delighted and moved audiences cutting across all class boundaries from the man on the street to the powerful elite.

During the last two decades Habib Tanvir had through his plays invited the ire of the Sangh Parivar and the reactionary forces for firmly standing against fundamentalism and obscurantism through plays like “Ponga Pandit”, “ Zamadarin”.

Habib Tanvir will be missed by progressive artists all over the country. His passing marks the end of an era.

To Nagin and the artists of Naya Theatre we convey our heart-felt condolences.


Statement on 14-04-2009

Press Statement on Tendentious Reporting in Media

We are deeply disturbed by the tendentious reports in the media of the Supreme Court proceedings on April 13 dealing with the S I T report on the Gujarat carnage of 2002.

This unhealthy trend in the media reporting is going to seriously compromise the credibility of the media and undermine “ freedom of expression” enjoyed by the media which we all cherish.

An impression being created in a section of the media that the former CBI director R K Raghvan who led the S I T has “told” the court that Teesta Setalvad “ cooked up macabre tales of wanton killing” is mischievious. Only the Supreme Court, the amicus curiae and the Gujarat government have access to the report. The S I T has not filed any other document in court to which the media has access nor was Mr. Raghvan in the Court. It is therefore obvious that the media is only uncritically reporting what the Gujarat government’s lawyer said in the note liberally distributed to the press outside the Court.

While the Supreme Court observed that there was no room for allegations and counter allegations at this late stage, the media coverage has brazenly flouted this observation by reporting the totally baseless allegations against social activist Teesta Setalvad and the organisation she represents Citizen for Justice and Peace on the basis of the Gujarat government’s note circulated in the Court. This is all the more reprehensible because Teesta Setalvad and Citizen for Justice and Peace have neither been given a copy of the S I T report nor has their response been sought in the matter.

The proceedings in the Supreme Court related to the response of the Gujarat government and the amicus curiae Shri Harish Salve to the S I T report. The very fact that the Supreme Court had to set up the S I T to correct the miscarriage of justice due to the tardy investigation by the state of Gujarat was highlighted in the court’s observation that but for the S I T investigation many more accused, who were freshly added, would not have been brought to book. It was the untiring efforts of Teesta Setalvad and the CJP and the National Human Rights Commission that persuaded the Supreme Court to set up the S I T and on the basis of its findings further arrests have been made of persons who held administrative and ministerial positions in the government of Gujarat.

M.K.Raina
for
SAHMAT

Statement on 23.3.2009

Open Letter to NDA Allies condemning Varun Gandhi’s hate speech

Press Release March 23, 2008

Open Letter to NDA Allies

The Citizens for Justice amd Peace (CJP) and SAHMAT urge the various allies who constitute the NDA coalition and who believe in Constitutional Governance to not only condemn outright, the communal hate-ridden speeches of Varun Gandhi while campaigning in Pilibhit in Uttar Pradesh but to ensure that the Bharatiya Janata Party (BJP) does not nominate him as a candidatefort he forthcoming Lok Sabha elections.

The letter has been written to Nitish Kumar of JD(U), Om Prakash Chautala Indian National Lok Dal, President Assom Gana Parishad and Ajit Singh of the RLD.

Varun Gandhi’s hate speech epitomises the core of the BJP’s supremist and ultra nationalist ideology that has always targeted India’s syncretic civilisational ethos and specifically (and crudely) targets Muslims, Christians and others sections of Indian.

The BJP’s core ideology stems from its politcal heart the Rashtryiya Swayamsevak Sangh (RSS) and is openly being backed by the BJP party.

The allies of the NDA who swear by the Indian Constitution need need to make their position clear on Varun Gandhi’s speech and his possible prospective nomination as a Lok Sabha candidate from Pilibhit. Not to oppose his nomination and candiadture as Lok Sabha candidate is to support not just Varun Gandhi but the BJP that has grown from strength to strength through flagrant violations of the Indian Constitution and the rule of law.

In the past, prime minsterial aspirant Shri LK Advani has been known to have indulged in similar hate mongering (en route to Ayodhya in December 1992); senior party leaders like Shri Murli Manohar Joshi have also committed similar offences; Gujarat chief minister Naremdra Modi’s statements on the internally displaced refugees livng in pathetic conditions in relief camps of the state in 2002 were not just violations of the law, but shocking; fratermal organisations like the Vishwa Hindu Parisgad (VHP) and the Bajrang Dal (BD) have taken the entire content and tempo of hate speech to the levels of a cynical game and continue to indulge in these criminal violations because they escape the long arms of the law.

It is about time that all those political players who have a stake in the future of Indian democracy, who are fighting the elections and especially those who have in the past and still continue to support the BJP-driven NDA come clean on Varun Gandhi’s speech and oppose his nomination as a BJP canbdidate. Not to do so would be to support the content of the violence ridden speech made by him.

Teesta Setalvad, Javed Akhtar, Javed Anand, Rahul Bose, Vivan Sundaram, Ram Rahman, MK Raina, Shakti Kjak, Archana Prasad, Madhu Prasad, CP Chandrashekhar, Indira Chandrashekhar, Badri Raina, Prabhat Patnaik, Utsa Patnaik, Chanchal Chauhan

Minister of Information & Broadcasting
Govt. of India
New Delhi
Dear Minister,

We are deeply shocked at the decision to cancel the screening of a documentary made by the eminent Indian painter M.F. Husain, after it had been scheduled for November 25 at the ongoing International Film Festival of India in Goa. We are also profoundly alarmed at the wider implications of this act of blatant censorship imposed on artistic production. You are surely aware of the background to this decision by the Directorate of Film Festivals. On November 22, the Hindu Janajagruti Samiti (HJS) and an affiliated body that calls itself the Sanatan Sanstha, petitioned the chief minister of Goa and the director of the film festival, urging that the screening be cancelled since it involved a person who had allegedly caused offence to the “religious and National sentiments of crores of Hindus and Indians (sic)”. Almost at the same time, activists of the same two bodies carried out a series of protests in the city of Mumbai, in the vicinity of the Films Division office. As the website of the HJS puts it: they made a “representation with a warning” to the Films Division officials, about the plan to screen the Husain documentary. Then, in the narration on the HJS website: the official at Mumbai had “a long discussion with the Chief Officers in the Film Division”, “tried to contact the officers in Goa and New Dehli (sic) again and again and finally told the delegation at 3.30 in the evening that the screening of the abovementioned film was cancelled”. The craven and unprincipled capitulation by the film festival organisers has been portrayed by the HJS as “one more feather” in its cap (http://www.hindujagruti.org/news/5830.html). At the same time, the official response has been to either feign ignorance or pretend that the issue is of little consequence. The chief minister of Goa has reportedly said that he had no knowledge of the entire process and the director of film festivals has taken the position that the screening was being “deferred”. Frankly, we are appalled at this abject failure of principle and the thorough abdication of responsibility by officials entrusted with safeguarding the autonomy of cultural and artistic production. The HJS and its affiliated organisation, the Sanatan Sanstha are, as you would know, under investigation by police and intelligence agencies for their possible complicity in a number of terrorist actions in the country. Indeed, the option of declaring them “unlawful” organisations, is reportedly under active consideration. You would also be aware that the HJS has for years been the central switching-board for a number of cases against M.F. Husain, lodged on the grounds of “obscenity”, “causing ill-will on grounds of religion” and “incitement”. This entire range of charges was considered by the Delhi High Court and in a historic verdict of May 8, held to be completely without substance. The Delhi High Court finding was upheld by the Supreme Court. However, the HJS and its associates have managed to effectively mobilise a sufficient number of complainants scattered all over the country, and the Supreme Court is yet to decide on a petition requesting that all cases be brought within its jurisdiction. You would appreciate then, that the continuing harassment of one of India’s greatest living artists, is a consequence of technical procedures involved in the administration of justice and most importantly, the failure of the administrative authorities to stand up to the coercive strategies of bodies that are currently under investigation for terrorism offences. We urge you to reflect upon the consequences that this would have, for the faith that the common man places in the system of administration he lives under. We urge you moreover, to reflect upon the consequences for artistic production in this country. Husain’s documentary was produced in 1967 and has been widely recognised and awarded by the most discerning judges. It is a sad day for creative activity everywhere, when work of such calibre is deprived of an audience, because of the power of the mob. In the interests of cultural freedom, we urge you to rescind the ban on Husain and allow his documentary to be screened at the ongoing film festival. In anticipation,

Yours,

Vivan SundaramRam Rahman

ATTACK ON SAHMAT exhibition!

Protest meeting at 11 am on 25 August, at SAHMAT

SAHMAT had organized an exhibition of reproductions of eminent artist M.F. Husain’s works on 22, 23 and 24 August 2008, to coincide with the three-day Art Fair at the India Art Summit, Pragati Maidan, Delhi , at which galleries had been advised not to show the artist’s work. The exhibition had on display, apart from reproductions of Husain’s paintings, eight photographs of Husain by Parthiv Shah, two photographs of Husain painting a hoarding by Madan Mahatta, and three photographs from Husain’s ‘Mughal-e-Azam’ series from the Village Art Gallery, Delhi.

On Sunday, 24 August, at around 3.30 pm, the exhibition, which was being held in a shamiana outside the SAHMAT office, was attacked and vandalised by 8 to 10 miscreants. The television channel ETV, whose crew was present, has recorded the entire episode. The vandals ran away from the scene after destroying the framed photographs and prints, a television set and DVD player (on which Husain’s films were being screened), and furniture. The artist Arpana Caur, and Anil Chandra and Santosh Sharma, SAHMAT members, were witnesses to the episode.

In protest against the attack on SAHMAT and the vandalism, the exhibition has been extended, in ‘as-is’, vandalised condition, for a day – till the evening of 25 August.

A meeting to protest against this cowardly attack, and the attempt on the part of rightwing forces to impose a narrow, majoritarian view of our culture, was held on Monday, 25 August, at 11 am, outside the SAHMAT office at 8 Vithalbhai Patel House, Rafi Marg. Those present at the protest meeting, and those who have sent messages of solidarity, include:


Abhijeet Tamhane, Aditi Magaldas, Aditi Raina, Ajay Srivastava, Akila Jayaraman, Albeena Shakil, Ali Abbas Yakutpura, Aman Farooqi, Amar Farooqi, Anant Raina, Anil Chandra, Anjali Raina, Anup Karar, Arpana Caur, Asad Zaidi, Ashalata, Ashok Kumari, Ashok Rao, Aziz Ahmed Khan, Badri Raina, Bani Joshi, Brinda Karat, C.P. Chandrasekhar, Chanchal Chauhan, Dadi Pudumjee, Danish Ali, Dayanand Singh, Dhiresh, Faizan Farooqi, Gautam Navlakha, Geeta Kapur, Geetanjali Shree, Hannan Mollah, Inder Salim, Indira Chandrasekhar, Irfan Habib, Jatin Das, Jauhar Kanungo, Javed Malick, Javed Naqvi, Jayati Ghosh, K. Bikram Singh, Kalpana Sahni, Kamakumar Hirawat, Kanishka Prasad, Kanti Mohan, Kumi Chandra, Lima Kanungo, M.K. Raina, M.M.P. Singh, Madan Gopal Singh, Madhu Prasad, Maimoona Mollah, Manjira Datta, Martand Khosla, Mithilesh Srivastav, N.D. Jayaprakash, N.K. Sharma, N.S. Arjun, Nalini Taneja, Nandita Narayan, Nandita Rao, Naslima Shahana, Neeraj Malick, Nilotpal Basu, Nina Rao, P. Madhu, P.K. Shukla, Parth Tiwari,
Parthiv Shah, Prabhat Patnaik, Preeti Bawa, Pushpamala N., Qausar Hashmi, Radhika Menon, Rahul Verma, Raj Chauhan, Rajendra Prasad, Rajendra Usapkar, Rajinder Arora, Rajinder Sharma, Rajiv Jha, Rajni B. Arora, Ram Nivas Tyagi, Ram Rahman, Riyaz Ahmed Bhat, Romi Khosla, S. Kalidas, S.M. Mishra, Saeed Akhtar Mirza, Sahba Farooqi, Sahba Husain, Sahiram, Samar S. Jodha, Sania Hashmi, Santosh Sharma, Sashi Kumar, Shabi Ahmad, Shakeel Ahmed, Shamim Farooqi, Shamshad, , Shamsul Islam, Shankar Chandra, Shanta Chopra,
Sheena Bhalla, Shireen Moosvi, Shruti Singhi, Shubha Mudgal, Sitaram Yechury, Sohail Hashmi, Sravan Kumar, Subhashini Ali, Sudha Sundararaman, Sudhir Chandra, Sudhir Suman, Sukumar Muraleedharan, Suneet Chopra, T.S. Johar, Utsa Patnaik, Uzma Mollah, V. Srinivasa Rao, Vandana Sharma, Veer Munshi, Vidya Shah, Vijay S. Jodha, Vijender Sharma, Vivan Sundaram.

Press Statement

We are surprised and unhappy at the decision of the organisers of the first India Art Summit to exclude the works of MF Husain from the displays of all the participating galleries from across India . The Art summit and three day fair, which opens at the Trade Fair venue in Delhi on the 22nd, is also supported by the Ministry of Culture. While the organisers may have made this decision out of a fear of attacks or protests against the work of Husain, by giving in to such threats by extremist political groups, they are playing into the hands of these forces. It is the duty of the state and the police to protect our institutions and citizens against threats of violence and surely the Trade Fair authorities and the Delhi police are capable of confronting any such threat. An earlier exhibit by Husain continued at the India International Centre last December under just such assurances by the Delhi police.For the artists community, Husain is the reigning father-figure, commanding enormous respect. In fact, Husain has been single-handedly responsible for putting Indian art on the world map and equally responsible for creating the world market boom in Indian art, without which such a summit and fair would not be taking place in Delhi at this moment. It is therefore deeply ironical that his work is being excluded by dictat. We request the organisers to rethink this decision. In solidarity with Husain, Sahmat will show Images of his work on all three days of the summit outside its office at 8 Vithalbhai Patel House, Rafi Marg. We invite all the citizens of Delhi and all artists to come view his work at Sahmat.
Ram Rahman, MK Raina, Madan Gopal Singh, Sohail Hashmi, Parthiv Shah, Vivan Sundaram, Indira Chandrasekhar, Geeta Kapur, K Bikram Singh