October 2024 Issue

  

The Awakening

By Rita Chhablani

 

 

Proclaimed as a child prodigy at the age of ten, Kumudini stood at the podium after

having received the highest national award for the unusual ballet, a dance drama, she had produced and choreographed single-handedly. After years of sheer hard work, she stood now at the acme of success with camera bulbs flashing away continuously in her eyes.

 

Ministers, top government officials, businessmen, journalists from leading national

newspapers--all her loyal patrons and faithful fans were present.

 

Brought up in an orphanage and now look where she was. Pride filled her heart.

 

It happened while she was coming down with the award in her hand. She stumbled,

and would have fallen if a hand had not reached out and steadied her. Kumuduni detested the idea of someone helping her. She considered herself at the peak of good health maintained by a daily regimen of tough yoga postures and a proper diet managed by world renowned dieticians,

 

“I am a retired doctor. If I were you, I would go see a doctor, dear daughter,” she

heard a weak and feeble voice say.

 

Kumudini felt submerged by humiliation when she saw it was an old bent woman

with kind concern on her face.

 

The other woman said gushingly, “I have been a great fan of yours…have seen all

your performances. My granddaughter, Alka learns from you and praises you a lot.”

 

Kumudini felt like screaming, “Stop talking!” snatch her hand away and rush out to

the cool confines of her luxurious Mercedes waiting outside in the porch. But she knew there were a hundred eyes watching her. She felt faint once again. Maybe she should go see her doctor, as suggested by the old lady, she thought reluctantly.

 

Next evening, she reached the doctor’s clinic. Cheerfully, she greeted, “Good

evening.” She was confident he would give her a clean bill of health.

 

She was shocked when the doctor insisted, she undergo a battery of tests. Reluctantly,

she went through it all.

 

The very next day, she was back in his clinic. “I have made an appointment with a specialist,” announced the doctor on seeing her. “Must go right away.”

 

She felt her heart flutter with an unknown fear for his face looked rather grim.

 

Minutes later, she heard her death sentence. “Kumudini, you have a rare form of brain

tumour. It’s incurable. You have to stop dancing.”

 

Speechless, she sat listening to the salt and pepper haired sadist’s words hitting her

like blows to her solar plexus. She visualized the world, she had built with such effort,

crumbling around her like a pack of cards. Not to be able to dance? She’d rather die. She put her head down on the table and started weeping like a child. She had thought she was invincible.

 

Pushing her chair back she rushed out as a ball of tears choked her throat. Numb, she

drove around aimlessly till she felt another of ‘those’ dizzy spells return. She headed back home and went straight to her dance studio. Absentmindedly, her hand reached out for her favourite, Pandit Jasraj’s chant Om Namo Bhagwate Vasudevaya. The divine words never failed to provide her solace. Today there was no comfort in those strains. An impending doom pervaded her being.

 

Hours crept by. It grew dark. She didn’t know how she found herself crawling

towards the statues. Clutching the feet of the God with the flute, she burst into tears. “Me, your ardent bhakta, devotee and this is what you give me in return,” she complained, like a child to its mother. “I am scared.”.

 

That night she had a dream in which she saw a retreat, an ashram perched high up in

the Himalayas. It seemed to be beckoning her. Her eyes opened at that moment. An unknown power seemed to be pushing her, propelling her to leave.

 

She jumped out of bed. Quickly, she changed into one of the simplest saris in her

extensive wardrobe, a white Bengali silk with a bright red border. She selected a small car, the grey Fiat from her garage. Then the same force took charge of her hands and the steering wheel and veered the vehicle in the direction of the hills. She drove for three hours continuously through small towns till she reached the holy town of Hardwar.

 

After an hour or so, she noticed something blue glimmering in the distance. Mystified

she went closer. It was a mountain spring, its bubbling sky-blue waters reflecting the glory of the overhead sun. She alighted from the car and walked downhill when her eyes fell on a structure nestled far away in one of the distant mountains. It was the place of her dreams! The same white structure with the red roof!

 

She rushed back to her car accelerating it up the slopes and through a narrow-pebbled

path, landing right into a small pond with sharp stones in it. Her car refused to budge. Out of nowhere a saffron robed man appeared and a gentle push it was out of the water and on the dry road again.

 

Kumudini looked around to thank the man but he seemed to have vanished into thin

air. Very carefully as she went around one of the circuitous bends there appeared a black iron gate right out of the dense clouds that had suddenly appeared. A smiling young ascetic came running to open the gate. As though he had been expecting her.! He was the same person who had helped her earlier. He guided her to a space under the shade of a banyan tree. She parked her car and quietly followed him as he led her to one of the rooms. It was small and clean. Not a word did the man speak. Neither did she. She instantly felt at home.

 

After he left, she lay down on the bed in deep thought and fell asleep. It was dark

when she woke up with a start. Stifling a yawn, she opened the door and peeped out to see a face peering at her. It was the same ascetic with the glowing face.

 

“You have been asleep for two days,” he said to her. “I will get you some milk and

some breakfast,” and vanished.

 

In an instant he was back with some food that looked quite bland. Kumudini almost

asked him to take it away. But she heard her stomach growl.

 

“You can keep the empty plates outside the room,” he said, and was gone.

 

After she was done eating this simply delicious meal, she walked around the ashram.

There was total silence around her in the large place. She settled down on the parapet and watched the twinkling lights of what must be similar ashrams in the distance. Away from the arc lights, the cameras, the press hounding her. But didn’t she love all that? Did she?

 

The sound of bells aroused her from her reverie. It seemed to be emanating from a

small temple at the far end. She stepped over some boulders to reach it. Her feet touched icy water and she realized they were right on the river bank.

 

When she reached her destination, it was packed with young and old saffron clothed

men clapping and singing in unison the evening devotions in praise of the Goddess Ganga,

the deity whose statue was housed within.

 

Her feet started shaking and she collapsed on one of the steps. The energy in the place

was too much to bear -yet such peace. What had she been chasing all these years? Shadows, an empty...

 

“Mirage?” said a deep voice, filling the word she had been searching for.

 

Dumbfounded, she looked up. It was an old saffron robed man with a flowing white

beard. She stared into his eyes, mesmerised. They were twinkling and were pools of such

depths, like the river on whose banks she sat.

 

“You have been chasing shadows all your life, my daughter,” continued the man and

she listened, hanging to each precious word. She had found her guru. She felt secure,

cocooned.

 

“We know deep in our hearts that everything is fleeting, goes away and when malaise

or ill fortune strikes you, who is there for you? No friends, no money no power can help you. Go, help the world for that is the purpose of our lives. One becomes eternal when one sees oneself in every human being. Nothing ends for it always leads to a new beginning.”

 

Saying which he turned and walked away leaving a lingering fragrance behind. After

imparting the lesson, she had needed to learn, she thought.

 

She looked out for him the next few days but caught only brief glimpses. He never

spoke to her again, merely acknowledged her presence when she sometimes went for an

evening walk. One thing she knew, he had touched her and had changed her into a person she liked and felt happy to be with.

 

She cheerfully mingled with everybody. The rest of the time she meditated. Thereby

she felt healed.

 

There came the day when she, instinctively knew it was time to leave. She took leave

of her guru brothers, said goodbye to the young ascetic who had greeted her so lovingly when she had arrived here. She thought she caught a brief glimpse of him on the upper floor of his hut, his hand raised in blessing.

 

That filled her heart with ecstasy. Next morning, she was waiting in her studio when

Alka, her most conscientious student arrived on the dot. Little did the young girl know it was her grandmother who had been the first link in the chain of her transformation! For that Kumudini would remain eternally grateful to her.

 

There was joie de vivre about her when she taught her students that day, holding back

nothing, fearing nothing. This was her final gift to them.

 

And in return they poured their love on her so gushingly that she felt she was once

again plunging into the icy cold waters of the holy river Ganges.

 

The fundraiser that evening was a stupendous success. It was sheer magic, the like of

which people had not seen before.

 

At the end of the show, she requested Alka to accompany her grandmother to the

podium. “I want you to do me the honour of presenting the entire proceeds to the President of the Cancer Foundation urging her devote it to the research of children afflicted with this dreaded disease, “she said to the baffled lady.

 

The auditorium resounded with unending claps. Quietly, Kumudini walked away from

a scenario she had once revelled in, got into her car and asked the driver to take her home. She was done with accolades, recognition. Through her disciples her dance would continue.

 

By handing over the baton, she had vanquished her ego. Her purpose in life was served. She took a deep breath. Now she was not afraid of death.

 

Nothing ends for it always leads to a new beginning.

The Lost Homeland of Sindh:

About the Artworks and Installations

Submitted By Aruna Madnani

 

A map of the River Indus, the fountainhead of the Sindhi community, ushers visitors through

the vintage portals of The Lost Homeland of Sindh into the courtyard of a Sindhi haveli

rebuilt from the fragments of displaced Sindhi heritage. Heritage objects and artefacts were

donated by benefactors who were once refugees themselves. The artisanal Shikarpuri

carvings on Burma teak door frames, balcony (muhari) railings, bannisters, and swings

(pingas) are an unmistakable throwback to the ornate yet solid and functional Sindhi

ancestral homes. 

 

Ajrak, an ancient block-printing technique dating back to Moenjodaro in the Indus Valley

civilisation, highlights the regions of Sindh in an unusual map of the province, with the Indus

rendered in signature Sindhi mirrorwork. 

 

The painstakingly researched Sindhi Global Banking and Network Map tracks the two

primary trading routes used by Sindhi Hindu businesses over land and sea. Rendered on

fabric, the border has been hand-embroidered by 6 Katchchii tribes with origins in Sindh.

 

The artisanal Shikarpuri carvings on locked Burma teak doors, bannisters, and a

quintessential double bed-sized swing (pinga) are an unmistakable throwback to the ornate

yet solid and functional Sindhi ancestral homes.

 

Central to the exhibition is Windows to Sindh, a 45-minute journey into Sindh viewed through

the archways of a Muhari—a carved wooden balcony—letting visitors virtually travel through

Sindh’s natural landscapes and cities, syncretic religious sites and shrines, ancient,

mediaeval, and colonial monuments and historical landmarks; conceived and compiled by

the renowned artist group CAMP (Ashok Sukumaran, Shaina Anand, Rohan Chavan, and

Zinnia Ambapardiwala), with images by vloggers from Sindh. 

 

The Freedom Fighters Panel is representative of many freedom fighters who fought

passionately for independence. The research was undertaken by writers Nandita Bhavnani

and Saaz Aggarwal, and the video by CAMP.

 

Some of the other artwork on display includes Artist Reena Kallat’s evocative video, inspired

by the directory of 1932 prominent residents in Karachi, which tells a story of life and loss

and life after loss.

 

The history of Sindh and the refugee narrative post-partition is brought to life through

archival film footage of Sindh in the 1930’s, the arrival and settling of Sindhi refugees in

India, their literary and cultural footprint, and their efforts to get Sindhi recognised as a

language by the Indian constitution while retaining the Perso-Arabic script as theirs. Clips

from India’s first Sindhi Language film Abana (1956) depict both the exodus from Sindh

using archival footage as well as the spirit and optimism of the refugees, who are seen

singing and jiving their strife away, in the iconic Hede Hede Hede that was filmed in the

Ulhasnagar camp. The archival timeline is by the artist group CAMP and their allied archive,

Indiancine.ma. 

 

Amongst the most compelling displays is a room that depicts what was possibly India’s

earliest and most prolific refugee colony in Ulhasnagar, a World War II military transit camp

that housed scores of Sindhi refugees post-Partition. The Ulhasnagar Matrix comprises

journeys of people “via Ulhasnagar"—their movements, work trajectories, and social paths, rendered in LED profiles, custom electronics, and handwritten text. This was created by

CAMP along with Vandana Govindani, Seema Menghani, Manthan Bachani, and Gurpreet

Kaur.

 

Inauguration of

The Lost Homeland of Sindh Gallery in

Delhi’s Partition Museum by

The Arts and Cultural Heritage Trust and

The Sindhi Culture Foundation in

Collaboration with Embassy Group

 

Submitted By Aruna Madnani

 

The Sindhi Culture Foundation, the Embassy Group, and the Partition Museum invite you to step back in time and into the homes and lives of our ancestors. The Lost Homeland of Sindh pays homage to the resilient but, above all, enterprising forefathers and mothers who lost everything in the 1947 Partition and rebuilt their lives in new lands across the world, relying on their wits, skills, and business acumen. Weaving architecture, crafts, memorabilia, and oral history with archival material and contemporary art, the gallery provides a living discourse of a displaced culture, which went on to integrate and thrive in its new avatar across the globe. 

 

This gallery is made possible by the Embassy Group, one of India’s leading real estate

developers, The Arts and Cultural Heritage Trust (TAACHT), which set up the Partition

Museum, and The Sindhi Culture Foundation.

 

The festivities were graced with a musical performance by Kaajal Chandiramani, famously known as the Nightingale of the Sindhi Community.

 

“It fills me with immense pride to be associated with The Arts and Cultural Heritage Trust and Sindhi Culture Foundation and witness their dedicated efforts in preserving and promoting our understanding of this crucial chapter in history,” said Jitu Virwani, Chairman & Managing Director, Embassy Group. “As part of the lakhs of families that were displaced during the partition of India, I'm honoured to have contributed to the restoration of this significant monument and the creation of The Lost Homeland of Sindh gallery—a space that not only echoes architectural beauty but also resonates with memories of a cherished homeland.”

 

“When we, at The Arts And Cultural Heritage Trust, set up the world’s first Partition Museum in Amritsar in 2017, and later the second one in Delhi in 2023, we had deeply felt the need for a full-fledged Sindhi narrative — and it was crucial for us to create a space where the Sindhi community could come together to commemorate their lost homeland. We are very grateful that after years of struggle we have found wonderful partners in Embassy Group, with Jitu Virwani and the Sindhi Culture Foundation, with Aruna Madnani, to create the world’s first and only gallery dedicated to the Lost Homeland of Sindh. Just as other communities come to the Partition Museums to commemorate the world’s largest migration in 1947, we are sure that the Sindhi community will find healing and reconciliation and cultural recognition in this beautiful new gallery at the Partition Museum in Delhi.” added Lady Kishwar Desai, Founder, Partition Museum and Chair of The Arts and Cultural Heritage Trust (TAACHT). 

 

The Lost Homeland of Sindh offers itself as a bridge between generations—a memorial to those who have remained connected to their roots and an invitation to the ones who yearn to discover or revisit them. “This is an attempt to share the tangible and intangible heritage, the trials and triumphs of the displaced Sindhi community," says Aruna Madnani, Founder – Managing Trustee, Sindhi Culture Foundation and Gallery Curator, “while offering the younger generation a way to connect and interact with their roots.”

 

Visitors are welcomed into The Lost Homeland of Sindh by a map of the River Indus, the

heart of the Sindhi community, guiding them through vintage portals into a meticulously

reconstructed Sindhi haveli. This space, built from the remnants of displaced heritage,

showcases artifacts donated by former refugees.

 

Ornate Shikarpuri carvings on Burma teak—door frames, railings, bannisters, and

swings—evoke the architecture of ancestral Sindhi homes. The exhibition also highlights

Ajrak, an ancient block-printing technique dating to the Indus Valley civilization, featured in a unique map of Sindh embroidered with mirrorwork. A hand-embroidered Sindhi Global Banking and Network Map traces historical trading routes by land and sea, created by Katchchii tribes.

 

Windows to Sindh, a central feature, offers a 45-minute virtual journey through Sindh’s

landscapes, religious sites, and historical landmarks, conceived by CAMP artists and

vloggers from Sindh. The Freedom Fighters Panel, researched by Nandita Bhavnani and

Saaz Aggarwal, showcases freedom fighters' contributions, accompanied by a video by renowned artist group, CAMP.

 

Other notable displays include Reena Kallat’s poignant video inspired by Karachi’s 1932

directory, and archival footage of Sindh Pre-Partition. The exhibition delves into the Sindhi refugee narrative, with clips from Abana (1956), the first Sindhi-language film, capturing the refugees' spirit of resilience. A highlight is the Ulhasnagar Matrix, which portrays the journeys of Sindhi refugees post-Partition through LED profiles, electronics, and handwritten text, created by CAMP and collaborators.

 

Immersive multi-media displays, video interviews, films, talks, poetry readings, and festivals aim to bring alive a vibrant culture that has held on to their identity despite the mass displacement. More than a repository of art and artefacts, The Lost Homeland of Sindh is a platform for dialogue and understanding.

 

The gallery is located within the Partition Museum at the Dara Shukoh Library in old Delhi. Focussing on the national movement leading up to Independence and Partition, the mass migration of 20 million refugees, and the subsequent stories of survival and rehabilitation, each gallery in the Partition Museum features a collection of people’s oral histories, objects, and archival material. The museum was set up by TAACHT, led by the Founder and Chair, Kishwar Desai, under the Union Ministry of Tourism’s Adopt a Heritage scheme. The Partition Museums in Amritsar and Delhi are both people’s museums created through the generous support from the people to preserve this crucial part of India’s heritage. 

 

The gallery will open to the public on October 6th, 2024.

 

 

 

**********

 

 

Submitted By Ashok Lalwani

 

**********

 

Submitted by Romola R Motwani

 

 

A Sindhi couple are driving through Canada and stoped at a gas station to fuel up.

 

As the man goes into the station to pay, his wife calls out to him, “ask them where we are!” So the husband walks in, pays and asks, “by the way, where are we?”

 

To which the attendant answers, “Saskatoon, Saskatchewan.”

 

The man goes back to his car and the wife asks, “where are we?”

 

“He doesn't speak English" replies the husband.

Aloo with Puri

Ingredients:

 

1 Onion

1 teaspoon Mustard Seeds

2 Potatoes

1 teaspoon Haldi

2/3 Green Chillies

Bunch Curry Leaves

 

Method

 

Boil Potatoes and cut into small bite size pieces.

 

Cut 1 onion and fry in pan. Add mustard seeds. Add potatoes, haldi, green chillies and curry pasta till cooked through.

 

Serve with Puris

 

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Launched with love for everything Sindhi, our newsletter, Sindhi Samachar, aims to be circulated amongst our Sindhi family and friends intended to forge unity and interaction within our community. We hope our brothers and sisters globally participate and contribute towards it with your views, Sindhi news, Sindhi jokes, or Sindhi recipes, which we will be happy to publish under your name.

 

Editor-In-Chief

Vini Melwani

 

Editorial Content

Raj Daswani

Geeta Raj

 

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