Faridoon Shahryar's Blog


Sunday, January 13, 2019

Mayoos Sannaata

Mayoos Sannaata
By Faridoon Shahryar


Jungle tabah hua
Aag nahin lagi thi
Na zalzala aaya, aur na sailaab
Ajeeb si khamoshi hai
Suna hai kuch cheekhon ki Awaazen, musalsal goonjee
Kai roz
Phir aadat pad gayi
Pattiyan tooteen
Phir shaakhein juda hueen
Aur sabza murjha gaya
Ab vahan reigistan hai
Aur mayoos sannata bhi...

Monday, January 7, 2019

Kaanton ka geet

Hairat ki baat hai
Jhooth ka beej bone 
Se faayda hua
Pedh bhi bada hua
Phal bhi hue
Pattiyan bhi muskurayin
Afsos ye tha ki 
Ye kisi ke tasavvur ki upaj thee
Zameen banjar thi
Kaanton ne mil kar geet gaaya
Ab, andhera hai
Aur khamoshi bhi

Sunday, January 6, 2019

Ujaale ki aahat

Ek tasveer aisi
Jo kabhi bani hi na ho
Ek khayal aisa 
Jise sochna bhi mumkin nahin tha shayad 
Umeed ka aaina
Dhundla hi sahi
Lekin khwab ki khwahish ko
Sajaata hai
Aankhon mein aasoo hi sahi
Haqeeqat se vabistgi to hai
Raat din se door sahi
Ujaale ki aahat ka gumaan to hai

#FaridoonShahryar

Saturday, January 5, 2019

Tryst with Urdu Poetry begins....

Jo baat bahut pehle karni thi, ab ki hai

This was the Misra of Abba's Ghazal that Javed Akhtar sahab wrote on the copy of his first collection of poetry #Tarkash when he presented it to my father. Javed sahab started writing poetry rather late in his life and hence the first collection of his Ghazals/Nazmz was published late (Published in 1995, and he was born in 1945). 

The reason why I am writing this post is the urge that I am having off late to write poetry in Urdu. I started writing poetry in English at the age of 12 and was getting published in literary magazines by the age of 18. While I was still pursuing BA honours in English at AMU my poems were getting published along with celebrated writers of Indian English like Kamla Das, Keki Daruwala, Shiv K Kumar, Tabish Khair etc. Poetry in English doesn't sell and once you get involved with the practical side of life, pragmatism takes over. Flair for poetry helped me in journalism, I ghost wrote a couple of books (that helped me buy my first house) and there was a period of time where I was involved with advertising. I was producing jingles for radio and television. I wrote 100s of Ads in English as well as Hindustani. 

I have been asked many a times that why don't you write in Urdu. People who have followed my father's work would know that he was a rare poet. He sacrificed a lot to stay honest to his Art. We were very close. I understood early in life that it's important to compartmentalise: Father is father and an Artiste is an Artiste. It's not correct to mix the two. That would lead to a conflict. We discussed anything and everything under the sun. And by that I mean Anything! He was brutally frank with me. 

Now when I look back, I realise that he didn't want me to have an easy, cushioned life. He said, "Tumko samandar ke paas bhej diya hai ab terna tum khud seekho." I never used Abba's name to get ahead in life. Never! I have no respect for people who drop names of influential people during their conversation just to add value to themselves. If you need crutches all the time then what's the point. I am grateful to Abba that he imparted a lot of knowledge directly or in a subtle manner. That knowledge continues to be of immense help. I always say, parents leave behind property, money, but my father left behind a wealth of knowledge, quotes, jokes, sayings that continue to help me at various crucial moments in life.

 I always felt that when my father has already contributed so much to the world of Urdu literature then what more can I add to it. While researching for the session with Vishal Bhardwaj sahab at Jashne Rekhta, I indulged in a very detailed research. I read Bashir Badr sahabs poetry (since Vishal sahab was very close to him). I read Faiz Ahmad Faiz' poetry since he had Faiz in Haider. I read Vishal sahab's Nazmz again and again. He has a lot of honesty in what he says. Vishal sahab told me that "Since you speak such good Urdu, why don't you write as well?" I have never prepared for any interview the way I prepared for my session with Vishal sahab. Since we speak English and asaan Hindustani in our day to day life, chaste Urdu gets left behind. The script for my questions was drafted by Aarefa Faridoon who's a very fine writer as well. Ammi Najma Mahmood is a widely known writer in Urdu and she incorporated some solid Urdu words like 'Ibhaam', 'Parda-e-Seemi' etc. I had to get the talaffuz right. Most of it came naturally since I've grown up in an Urdu speaking household and then I worked on a few words that had phonetic subtleties involved. The session with Vishal sahab went well. 

I listen to songs on my mobile while travelling. Ear phone is one of my closest friends. Literally! Now I am listening to Mirza Ghalib, Faiz, Iqbal and it's a beautiful world. I wrote a few Nazmz recently and I was surprised by the good response. Something tells me from within that it's time for me to turn back to my roots and write in the language that comes most naturally to me. I know I'd be compared with Abba but that's fine. He was very honest to his craft. I shall try and follow that. I know there are a lot of honest people out there who'd give their reactions. If poetry makes a difference in people's lives then they make it a part of their day to day life. 

Abba said, "You must read classic Poets. You should know what all has been written in the past, the subjects especially. It shouldn't be the case that you may feel that you've written something unique but someone had already said the same thing 200 years back." So that's the endeavour, to try and say what hasn't been said before and say it in a unique manner. I am nervous but something within tells me that, now is the time. 

Jo baat bahut pehle karni thi, ab ki hai.

Monday, December 24, 2018

Be your own critic, ignore the self proclaimed well wishers

I asked Abba once that how does he deal with criticism. "I don't respond to criticism at all. If it's coming from a well meaning source then I incorporate what I feel will help me in future, otherwise I just ignore it," he replied. Tell me more about how you don't let the critics affect you, I requested Abba. "Well there are times when I get letters where it's written that the meter of a particular couplet in any of my Ghazals is incorrect. I just simply throw the letter in the dustbin. My reasoning is that the person who is writing that letter and trying to criticise me is wasting his and my time. He should have rather tried and written a Ghazal that people would have loved unanimously. Why should I pay heed to someone who hasn't proved himself/herself in the world of Art? If someone makes a mark for himself/herself then he/she wouldn't be having so much of time to send a letter to me expressing criticism. People should rather invest their time and energy to hone their own craft," he said. 

Abba was a very harsh critic of himself. He used to write and recite his Ghazals/Nazmz to me (I was his first audience for the15-18 years before he passed away). He used to rework on them and then recite the corrected version. He would himself know where he has gone wrong. There were occasions where I felt a Ghazal or Nazm was excellent but Abba rejected it. People haven't read some of his works because he didn't approve of it. He didn't want people to know of it. 

Moral of the story is that be a harsh critic of yourself and ignore the self proclaimed 'critics' who may not be having the best of intentions. And they may be jealous of you as well.

Monday, November 5, 2018

Tashi Dzong: An Art Work of excellence in Thimphu, Bhutan

As we enter the Tashi Dzong crunchy Red maple leaves greet us with a welcome dance as they sway in the cool breeze. The long rows of roses line up the walls of the Dzong and are a delightful treat to eyes. 

Tashi Dzong or the (temple of goddess rain) is said to be a very important place in Thimphu. It has historical, political as well as religious relevance. The Dzongs were generally built as a place of protection from invaders, but now this is a place of religious learning as well as for public administration and housed a lot of offices in its premises. The palace of the Bhutanese king and queen is also a stone throw distance away from here. 

The artwork of Dzong is unique, it was told to us that the carpenter did not use any nails to create these huge structures. They are created by interlocking pieces of wood. We were left marvelling... 

The walls are wooden with relief work and colourful paints... seem to have borrowed abundantly from Chinese and Tibetan art and of course it has its own unique character. 

Photography is strictly not allowed in the Dzong and as you enter the inner portion of the temple it is mandatory to remove all caps, hats and shoes and locals wear a white shawl. To our surprise, you are allotted different colours of Chawla for wearing in the Dzong based on your social position. While commoners wear white and royalty yellow, other people are allotted other colours like orange ( ministers), blue and green (judges) based on their social status. 

Dzong is also special because this was the Place where the constitution of bhutan was Written and signed when Bhutan decided to become a democratic country in 2008. 

 100000 Buddha small statues along with a huge Buddha lead you into a mesmerising trance like state. A spiritual treat for those who genuinely care!!!

Text by Aarefa Faridoon
Pics by Faridoon Shahryar

#Thimphu
#Bhutan 


#FaridoonInBhutan

The peace evoking splendour: Memorial Chorten, Thimphu, Bhutan

The morning greeted us with a bright sunny smile. The nip of the November Himalayan morning was quite palpable as our car sped through the clean roads of Thimphu. Within no time we reached the Memorial Stupa also known as Thimphu Chorten that is right in the centre of the beautiful city. Built in 1974 it is a prominent landmark in the city with its golden spires and bells. 

The stupa was erected in the memory of third Druk, Dorji Wangchuk. A beautiful pristine white structure decorated with very opulent golden pillars carved  to perfection. Unfortunately photography is strictly prohibited inside the temples inner areas. 

There is a huge statue of Buddha facing east, east because the sun rises from this direction and lights up the world and Buddha itself is a symbol of enlightenment. The hand painted religious scenes adorn the walls and the three floors of the chorten depict the esoteric teachings of Buddhism hinging more on the dragon and old school. 

A monk sat in a corner and chanted prayers while his voice echoed in all directions. The chanting can give you goosebumps moments. It was a spiritual experience powerful enough to bring you closer to God.. whichever one you might believe in!!!

Text by Aarefa Faridoon
Pics by Faridoon Shahryar

#Bhutan



#FaridoonInBhutan