Monday, April 9, 2007

Osho

Rajneesh Chandra Mohan Jain (December 11, 1931 – January 19, 1990), better known during the 1970s and 1980s as Bhagwan Shree Rajneesh and later taking the name Osho, was an Indian spiritual teacher. He lived in India and in other countries including, for a period, the United States, and inspired the Osho movement, a controversial spiritual and philosophical movement.

Osho claimed that the greatest values in life are (in no specific order) awareness, love, meditation and laughter. He said that enlightenment is everyone's natural state,[1] but that one is distracted from realizing it – particularly by the human activity of thought, as well as by emotional ties to societal expectations, and consequent fears and inhibitions.

He was a prolific speaker (in both Hindi and English) on various spiritual traditions including those of Buddha, Krishna, Guru Nanak, Jesus, Socrates, Zen masters, Gurdjieff, Sufism, Hassidism, Tantra and many others. He attempted to ensure that no "system of thought" would define him, since he believed that no philosophy can fully express the truth.

An experienced orator, he said that words could not convey his message[2], and that his basic reason for speaking was to give people a taste of meditation:[3]

I am making you aware of silences without any effort on your part. My speaking is being used for the first time as a strategy to create silence in you.

This is not a teaching, a doctrine, a creed. That’s why I can say anything. I am the most free person who has ever existed as far as saying anything is concerned. I can contradict myself in the same evening a hundred times. Because it is not a speech, it has not to be consistent. It is a totally different thing, and it will take time for the world to recognize that a tremendously different experiment was going on.

Just a moment … when I became silent, you become silent. What remains is just a pure awaiting. You are not making any effort; neither am I making any effort. I enjoy talking; it is not an effort.

I love to see you silent. I love to see you laugh, I love to see you dance. But in all these activities, the fundamental remains meditation.[4]

He was often called the "sex guru" after some speeches in the late 1960s on sexuality. These were later compiled under the title From Sex to Superconsciousness. According to him, "For Tantra everything is holy, nothing is unholy",[5] and all repressive sexual morality was self-defeating, since one could not transcend sex without experiencing it thoroughly and consciously. In 1985, he told the Bombay Illustrated Weekly,

“ I have never been a celibate. If people believe so, that is their foolishness. I have always loved women – and perhaps more women than anybody else. You can see my beard: it has become gray so quickly because I have lived so intensely that I have compressed almost two hundred years into fifty.[6] ”

Osho said he loved to disturb people – only by disturbing them could he make them think.[7] Accordingly, his discourses were peppered with offensive jokes[8] and outrageous statements lampooning key figures of established religions such as Hinduism, Jainism or Christianity. Concerning the virgin birth, for example, he said that Jesus was clearly a bastard, since he was not Joseph's biological son, and that the Holy Ghost was a rapist – or God's genitalia.[9] An attempt on his life[10] was made by a Hindu fundamentalist in 1980. Osho, however, said that the only thing he was serious about in his discourses were the jokes – they were the main thing, and everything else was spiritual gossip.[11]


[edit] Osho on meditation
According to Osho, meditation is a state of watchfulness that has no ego fulfillment in it, something that –

... happens when you are in a state of not-doing. And that is the question: how to do that non-doing? If you ask how, you have missed the point, because "how" means doing. ... You will have to understand that no doing is going to help. In that very understanding, non-doing happens.[12]

He said it is very difficult for modern man to just sit and be in meditation, so he devised so-called Active Meditation techniques to prepare the ground. Some of these preparatory exercises can also be found in western psychological therapies (i.e. gestalt therapy), such as altered breathing, gibberish, laughing or crying. His most significant meditation techniques are known as "Dynamic Meditation", "Kundalini Meditation", "Nadabrahma" and "Nataraj". They have a strong physical element. He said Dynamic Meditation was –

... absolutely necessary for the modern man ... If people are innocent there is no need for Dynamic Meditation. But if people are repressed, psychologically are carrying a lot of burden, then they need catharsis. So Dynamic Meditation is just to help them clean the place. And then they can use any method ... It will not be difficult. If they, right now, directly try, they will fail.[13]

He also reintroduced minimal parts of several traditional meditation techniques, stripped of what he saw as ritual and tradition, and retaining what he considered to be the most therapeutic parts. He believed that, given sufficient practice, the meditative state can be achieved and maintained while performing everyday tasks and that enlightenment is nothing but being continuously in a meditative state:

Nature has come to a point where now, unless you take individual responsibility, you cannot grow. More than this nature cannot do. It has done enough. It has given you life, it has given you opportunity; now how to use it, it has left up to you.

Meditation is your freedom, not a biological necessity. You can learn in a certain period of time every day to strengthen meditation, to make it stronger – but carry the flavor of it the whole day.

First, while you are awake – the moment you wake up, immediately catch hold of the thread of remaining alert and conscious, because that is the most precious moment to catch the thread of consciousness. Many times in the day you will forget – but the moment you remember, immediately start being alert. Never repent, because that is a sheer wastage of time. Never repent, "My God, I forgot again!"

In my teachings there is no place for any repentance. Whatever has happened is gone, now there is no need to waste time on it. Catch hold again of the thread of awareness. Slowly, slowly you will be able to be alert the whole day – an undercurrent of awareness in every act, in every movement, in everything that you are doing, or not doing. Something underneath will be continuously flowing.

Even when you go to sleep, leave the thread only at the last moment when you cannot do anything because you are falling asleep. Whatever is the last thing before you fall asleep will be the first thing when you wake up. Try it. Any small experiment will be enough to prove it. Just repeat your own name while you are falling asleep: half awake, half asleep, go on repeating ... Slowly, slowly you will forget repeating, because the sleep will grow more and more and the thread will be lost. It is lost only because you are asleep, but underneath your sleep it continues. That's why in the morning when you wake up and just look around, the first thing you will remember will be [the sound of your name]. You will be surprised: Why? What happened? You slept eight hours, but there has been an undercurrent.

And as things become deeper and clearer, even in sleep you can remember that you are asleep. Sleep becomes almost a physiological thing and your spirit, your being, becomes a flame of awareness, separate from it. It does not disturb your sleep; it simply makes your sleep very light. It is no more the sleep of the old days, when your house was on fire and you went on sleeping – that was almost like a coma, you were so unconscious.

Your sleep will become thin, a very light layer, and your inside will remain alert. Just as it has been alert in the day, it will be even more alert in the night, finally, because you are so silent, so relaxed. The whole nuisance world becomes completely silent.

Patanjali, the first man in the world to write about meditation, says that meditation is almost like dreamless sleep, but with only one difference. In dreamless sleep you are not aware; in samadhi, in the ultimate state of meditation, there is just a little difference – you are aware.[4]

Early life
Osho was born Chandra Mohan Jain in Kuchwada, a small village in the Narsinghpur District of Madhya Pradesh state in India. At the time, an astrologer predicted that he might die before he was seven years old according to the birth chart.[14] His parents, who were Taran Panthi Jains, sent him to be with his maternal grandparents until he was seven years old.

Osho said this was a major influence on his growth because his grandmother gave him the utmost freedom and respect, leaving him carefree; without an imposed education or restrictions.

At seven years old he went back to his parents. He explained that he received a similar kind of respect from his paternal grandfather who was staying with them. He was able to be very open with his grandfather. His grandfather used to tell him, "I know you are doing the right thing. Everyone may tell you that you are wrong. But nobody knows which situation you are in. Only you can decide in your situation. Do whatsoever you feel is right. I will support you. I love you and respect you as well."[15]

He was a rebellious, but gifted student, winning the title of All-India Debating Champion.[1]

He started his public speaking at the annual Sarva Dharma Sammelan held at Jabalpur since 1939, organized by the Jain community into which he was born. He participated there from 1951 to 1968.[16] Eventually the Jain comunity stopped inviting him because of his radical ideas.

Osho said he became spiritually enlightened on 21 March 1953, when he was 21 years old. He said he dropped all effort and hope and after an intense seven-day process went out at night to a garden, where he sat under a tree:

The moment I entered the garden everything became luminous, it was all over the place – the benediction, the blessedness. I could see the trees for the first time – their green, their life, their very sap running. The whole garden was asleep, the trees were asleep. But I could see the whole garden alive, even the small grass leaves were so beautiful.

I looked around. One tree was tremendously luminous – the maulshree tree. It attracted me, it pulled me towards itself. I had not chosen it, god himself has chosen it. I went to the tree, I sat under the tree. As I sat there things started settling. The whole universe became a benediction.[17]

He finished his studies at D. N. Jain College and Saugar University, receiving a B.A. (1955) and an M.A. (1957) in philosophy. He then taught philosophy, first at Raipur Sanskrit College, and then, until 1966, as a Professor at Jabalpur University. At the same time, he traveled throughout India, giving lectures critical of socialism and Gandhi, under the name Acharya Rajneesh (Acharya means "teacher"; Rajneesh was a nickname[18] he had acquired). In 1964, he led his first meditation camp. He resigned from his teaching post in 1966.

In 1968, he offended Hindu leaders with his non-traditional views on sex; at the Second World Hindu Conference in 1969, he enraged Hindus by criticizing all organized religion and the very institution of priesthood.[19]

In 1969 a group of Osho's friends established a foundation to support his work. They settled in an apartment in Mumbai where he gave daily discourses and received visitors. The number and frequency of visitors soon became too much for the place, overflowing the apartment and bothering the neighbors. A much larger apartment was found on the ground floor (so the visitors would not need to use the elevator, a matter of conflict with the former neighbors).

On September 26, 1970 he initiated his first disciple or sannyasin at an outdoor meditation camp, one of the large gatherings where he lectured and guided group meditations. His concept of neo-sannyas entailed wearing the traditional orange dress of ascetic Hindu holy men. However, his sannyasins were not expected to follow an ascetic lifestyle.


[edit] 1971–1980
From 1971, he was known as Bhagwan Shree Rajneesh. Shree means Sir; the Sanskrit word Bhagwan, which can also be used to refer to an aspect of the supreme being, means "blessed one"[2]. It is commonly used in India as a respectful form of address for spiritual teachers[3][4][5][6]

The new apartment also proved insufficient and the climate of Mumbai was deemed very bad for his delicate health. So, in 1974, on the 21st anniversary of his enlightenment, a caravan of cars departed from the Mumbai apartment to the newly purchased property in Koregaon Park, in the city of Pune, a four-hour trip from Mumbai. Pune had been the secondary residence of many wealthy families from Mumbai because of the cooler climate (Mumbai lies in a coastal wetland, hot and damp, Pune is inland and much higher, so it is drier and cooler).

The two adjoining houses and six acres of land became the nucleus of an Ashram and those two buildings are still at the heart of the present-day Osho International Meditation Resort. This space allowed for the regular audio and video recording of his discourses and, later, printing for worldwide distribution, which enabled him to reach far larger audiences internationally.

During one of his discourses in 1980, an attempt on his life was made by a Hindu fundamentalist.[20]

Osho taught at the Pune Ashram from 1974 to 1981.


[edit] 1981–1990
On 1 May 1981, having discoursed daily for nearly 15 years, Osho entered a three-and-a-half-year period of self-imposed public silence[7], and satsangs (silent sitting, with some readings from his works and music) took the place of his discourses.[21]

In mid-1981, Osho went to the United States in search of better medical care (he suffered from asthma, diabetes and severe back problems). His followers bought (for US$6 million) a ranch in Wasco County, Oregon, previously known as "The Big Muddy", but later renamed Rajneeshpuram where they settled for the next several years.[8]

Osho stayed in Rajneeshpuram as the commune's guest, living in a trailer.[22][9] Over the coming years, he acquired fame for the large number of Rolls-Royces[10] his followers bought for his use.

Osho ended his period of silence in October 1984. In July 1985, he resumed his daily public discourses in the commune's purpose-built, two-acre meditation hall. According to statements he made to the press, he did so against the wishes of Ma Anand Sheela, his secretary and the commune’s top manager.[23]

Increasing conflicts with neighbours and the state of Oregon,[24] as well as serious and criminal misconduct by the commune's management (including conspiracy to murder public officials, wiretapping within the commune, the attempted murder of Osho's personal physician, and a bioterrorism attack on the citizens of The Dalles, Oregon, using salmonella), made the position of the Oregon commune untenable. When the commune's management team guilty of these crimes left the U.S. in September 1985, fleeing for Europe, Osho convened a press conference and called on the authorities to undertake an investigation.[11]

In late October 1985, Osho himself was arrested in North Carolina as he was allegedly fleeing the U.S. Accused of minor immigration violations, Osho, on advice of his lawyers, entered an "Alford plea" – through which a suspect does not admit guilt, but does concede there is enough evidence to convict him – and was given a suspended sentence on condition that he leave the country.

Osho then began a world tour, speaking in Nepal, Greece and Uruguay, among others. Being refused visas by several dozen countries, he returned to India in July 1986, and in January 1987, to his old Ashram in Pune, India. He resumed discoursing there.

In 1989, he said he no longer wished to be referred to as Bhagwan Shree Rajneesh, and took the name Osho.

On January 19, 1990, four years after his arrest, Osho died, aged 58, with heart failure being the publicly reported cause. Prior to his death, Osho had expressed his belief that his rapid health decline was caused by some form of poison administered to him by the U.S. authorities during the twelve days he was held without bail in various U.S. prisons. In a public discourse on 6 November 1987, he said that a number of doctors that were consulted had variously suspected thallium, radioactive exposure, and other poisons to account for his failing health:

“ It does not matter which poison has been given to me, but it is certain that I have been poisoned by Ronald Reagan's American government.[25] ”

His ashes were placed in his newly built bedroom in one of the main buildings (LaoTsu House) at his last place of residence, his Ashram in Pune, India. The epitaph reads, "OSHO. Never Born, Never Died. Only Visited this Planet Earth between Dec 11 1931 – Jan 19 1990."

Today, excerpts and quotes from Osho's works appear regularly in the Times of India newspaper.[12] [13] His Ashram in Pune has become the Osho International Meditation Resort, a popular tourist destination.[14]

Osho is one of only two authors whose entire works have been placed in the Library of India's National Parliament in New Delhi. The other is Mahatma Gandhi.[15]


[edit] Controversy and criticism
Osho had a penchant for courting controversy.[26]

His libertarian views on sex and emotional expression, and the resulting unrestrained behavior of sannyasins in his Pune Ashram,[27] at times caused considerable consternation, dismay and panic among people holding different views on these matters, both in India and the U.S.[28] A number of Western daily papers routinely, and falsely,[29] claimed that Bhagwan, a traditional title[16][17] for spiritual teachers in India, meant "Master of the Vagina", and focused their reporting on sexual topics.

Osho claimed that he was "the rich man's guru",[30] and that material poverty was not a spiritual value.[31] He was photographed wearing sumptuous clothing and hand-made watches.[26] He drove a different Rolls Royce[18] each day – his followers wanted to buy him 365 of them, one for each day of the year.[32] Publicity shots of the Rolls-Royces (more than 90 in the end) appeared in the press.[33] Yet Osho himself said about the Rolls Royce collection:

And do you think a certain simple law of diminishing returns...? If you get one Rolls Royce, you are immensely happy. I have ninety. What difference does it make to me that in the garage there are ninety-one? The number of that one will come in three months' time only for one day for ninety minutes. What does it matter to me? For that I will commit suicide?

I have never gone to the garage. I have never looked into the garage, how many cars are there, what kind of cars are there. And that too belongs to a trust.

I had declared that all those cars should be given to the commune. They are basically commune property. I don't own anything. For thirty years I have not owned a single cent.[34]

In his discourses, Osho consistently attacked organizational principles embraced by societies around the world – the family, nationhood, religion.[35] He condemned priests and politicians with equal venom,[36] and was in turn condemned by them.[37]

In a 1998 preface to Osho's book Books I Have Loved, his personal dentist, Swami Devageet, stated that Osho dictated three books while undergoing dental treatment under the influence of nitrous oxide (laughing gas): Glimpses of a Golden Childhood, Notes of a Madman, and Books I Have Loved. This led to widespread allegations that Osho was addicted to nitrous oxide gas. In addition, on the American CBS television show 60 Minutes, his former secretary, Ma Anand Sheela, claimed that Osho took sixty milligrams of Valium every day.

When questioned by journalists about the allegations of daily Valium and nitrous oxide use, Osho categorically denied both, describing the allegations as "absolute lies".[38]


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Desmond Morris

Desmond Morris is a member of SIRC's panel of advisors. A world-renowned zoologist, author and painter, Dr Morris was born in Wiltshire in 1928 and educated at Birmingham and Oxford universities.

Desmond Morris – Career
Zoological research worker. University of Oxford 1954-56
Head of Granada TV and Film Unit at Zoological Society of London 1956-59
Curator of Mammals at Zoological Society of London 1959-67
Director Institute of Contemporary Arts, London 1967-68
Privately engaged in writing books, 1968-73
Research Fellow Wolfson College Oxford 1973-81
Privately engaged in writing books and making television programmes 1981-1998.
Hon. D.Sc. Reading University, 1998.
Desmond Morris – TV Series
Zootime (weekly, 1956-67)
Life (fortnightly, 1965-67)
The Human Race (1982)
The Animals Roadshow (1987-89)
The Animal Contract (1989)
Animal Country (1991-96)
The Human Animal (1994)
The Human Sexes (1997)

Desmond Morris – Books
The Reproductive Behaviour of the Ten-spined Stickleback (1958)
The Story of Congo (1958)
Curious Creatures (1961)
The Biology of Art (1962)
Apes and Monkeys (1964)
The Big Cats (1965)
The Mammals, a Guide to the Living Species (1965)
Men and Snakes (with Ramona Morris, 1965)
Men and Apes (with Ramona Morris, 1966)
Men and Pandas (with Ramona Morris, 1966)
Zootime (1966)
Primate Ethology (ed, 1967)
The Naked Ape (1967)
The Human Zoo (1969)
Patterns of Reproductive Behaviour (1970)
Intimate Behaviour (1971)
Manwatching: a Field-guide to Human Behaviour (1977)
Gestures: Their Origins and Distribution with Peter Collett, Peter Marsh and Marie O'Shaughnessy, 1979)
Animal Days (autobiography, 1979)
The Soccer Tribe (1981)
Inrock (fiction, 1983)
The Book of Ages (1983)
The Art of Ancient Cyprus (1985)
Bodywatching, a Field-guide to the Human Species (1985)
The Illustrated Naked Ape (1986)
Catwatching: The Essential Guide to Cat Behaviour (1986)
Dogwatching (1986)
The Secret Surrealist (1987)
Catlore (1987)
The Animals Roadshow (1988)
Horsewatching (1988)
The Animal Contract (1990)
Animalwatching (1990)
Babywatching (1991)
Christmas Watching (1992)
The World of Animals (1993)
The Naked Ape Trilogy (1994)
The Human Animal (1994)
Illustrated Catwatching (1994)
Bodytalk: A World Guide to Gestures (1994)
Illustrated Babywatching (1995)
Illustrated DogWatching (1996)
Christmas Traditions (1996)
Desmond Morris, a Surrealist World (1997)
Catworld, a Feline Encyclopedia (1997)
The Human Sexes: a Natural History of Man and Woman (1997)
Illustrated HorseWatching (1998)
Cat Breeds of the World: A Complete Illustrated Encyclopedia (1999)
Body Guards; Protective Amulets and Charms (1999)
Dogs: The Ultimate Dictionary of Over 1000 Dog Breeds (2001)
Peoplewatching: The Desmond Morris Guide to Body Language (2002)
The Nature of Happiness (2004)
The Naked Woman (2005)
Watching: Encounters with Humans and Other Animals (2006)
Fantastic Cats (2006)
For out-of-print books by Desmond Morris, check the Amazon list.

Desmond Morris – Solo exhibitions (paintings)
Swindon Art Centre 1948
London Gallery 1950
Ashmolean Museum, Oxford 1952
Stooshnoff Fine Art, London 1974
Quadrangle Gallery, Oxford 1976
Wolfson College, Oxford 1976
Lasson Gallery, London 1976
Public Art Gallery, Swindon 1977
Galerie d'Eendt, Amsterdam 1978
Mayor Gallery, London 1987
Shippee Gallery, New York 1988
Keats Gallery, Knokke-le-Zoute 1988
Mayor Gallery, London 1989
Mayor Gallery, London 1991
Galerie Michele Heyraud, Paris 1991
Public Art Gallery, Swindon 1993
Mayor Gallery, London 1994
Public Art Galleries, Stoke and Nottingham 1996
Mayor Gallery, London 1997
Charleston Gallery, Sussex 1997
Public Art Gallery, Buxton 1997
Clayton Gallery, Newcastle 1998
Keitelman Gallery, Brussels 1998
Rossaert Gallery, Antwerp 1998
Witteveen Gallery, Amsterdam 1999

Desmond Morris has been a highly valued advisor and contributor to the Social Issues Research Centre for many years, and is centrally involved, with the other members of our Advisory Panel, in guiding the work of SIRC.

Desmond Morris

1928 Born in the village of Purton, near Swindon, Wiltshire, England on January 24th, the son of Harry Morris (an author of children's fiction) and Marjorie Morris (nee Hunt).
1933 Moves to Swindon, which remains his home until 1951. During this period he develops a strong interest both in writing and natural history. An important family influence is that of his great grandfather, William Morris, who had founded the local newspaper and was also an enthusiastic Victorian naturalist.
1941 Goes as a boarder to Dauntsey's School, Wiltshire, where his interest in zoology is intensified and where he also develops a fascination for the modern movements in the visual arts.
1946 Conscripted into the army for two years National Service. During this period he becomes a lecturer in Fine Arts at the Chisledon Army College and begins painting seriously.
1948 Holds first one-man-show of paintings at the Swindon Arts Centre. In the autumn he enrolls as an undergraduate at the Zoology Department of Birmingham University, following his demobilization from the army.
1950 Shares his first London exhibition of surrealist paintings with Joan Miro, at the London Gallery, organized by Belgian Surrealist Edouard Mesens. Writes and directs two Surrealist films: 'Time Flower' and 'The Butterfly and the Pin'.
1951 Exhibits paintings at an International Arts Festival in Belgium. In the autumn moves to the Zoology Department at Oxford University, having obtained a First Class Honours Degree in Zoology from Birmingham University. At Oxford he begins research for his doctorate in animal behaviour, working for Dr. Niko Tinbergen. His studies are centred largely on reproductive communication systems.
1952 Holds a one-man-show of his paintings at the Ashmolean Museum, Oxford. In July marries Oxford history graduate, Ramona Baulch. In this year his first scientific paper on animal behaviour is published in the journal 'Behaviour'. This will be followed by 47 other scientific papers during the next 15 years.
1954 Is awarded a D.Phil. degree by Oxford University for his doctoral thesis on the Reproductive Behaviour of the Ten-spined Stickleback. Begins post-doctoral research at Oxford on the reproductive behaviour of birds.
1956 Moves to London to become Head of the Granada TV and Film Unit at the Zoological Society of London, making films and television programmes on animal behaviour and other zoological topics. Begins research project to study the picture-making abilities of apes.
1957 Organizes an exhibition of chimpanzee paintings and drawings at the Institute of Contemporary Arts, London.
1958 Co-organizes 'The Lost Image' exhibition at the Royal Festival Hall, London, comparing pictures by apes, human infants and human adults. First scientific book published: 'The Reproductive Behaviour of the Ten-spined Stickleback'. (Brill, Leiden). Also, first children's book published: 'The Story of Congo'. (Batsford, London.)
1959 After acting as host for Granada TV's weekly 'Zootime' programme for three years, he leaves the TV and Film Unit at the London Zoo, to become the Zoological Society's Curator of Mammals. During the eight years he holds this post, he continues to present television programmes both for Granada and the BBC, scripting and hosting a total of approximately 500 'Zootime' programmes for Granada and 100 'Life in the Animal World' programmes for BBC2. In addition, he takes part in many BBC radio programmes on natural history subjects and is a regular reviewer of animal books for the Times Literary Supplement. He also becomes co-editor of the International Zoo Yearbook for its first four volumes (1959-1962).
1961 Book published: 'Curious Creatures' (Spring Books, London).
1962 Book published: 'The Biology of Art' (Methuen, London), a study of the picturemaking behaviour of the great apes and its relationship to human art. Later editions appeared in The United States, Sweden, France, Germany, Portugal, Japan, Denmark, Mexico, and Hungary.
1964 Children's book published: 'Apes and Monkeys' (Bodley Head, London). Later editions in The United States and Japan.
1965 Reference work published: 'The Mammals, a Guide to the Living Species' (Hodder and Stoughton, London). Also 'Men and Snakes' (Hutchinson, London), with Ramona Morris as co-author. Later editions in The United States and France. Children's book published: 'The Big Cats' (Bodley Head, London). Later editions in The United States, Japan and Holland.
1965 Reference work published: 'The Mammals, a Guide to the Living Species' (Hodder and Stoughton, London). Also 'Men and Snakes' (Hutchinson, London), with Ramona Morris as co-author. Later editions in The United States and France.
1966 Book published 'Men and Apes' (Hutchinson, London), with Ramona Morris as co-author. Later editions in The United States, France, Germany, Japan and Portugal. Also published: 'Men and Pandas' (Hutchinson, London), with Ramona Morris as co-author. Later editions in The United States and Japan. During this period he establishes an informal research unit at the London Zoo comprising Ph.D. students undertaking doctoral work in animal behaviour and other visiting scientists.
1967 Editor: 'Primate Ethology' (Weidenfeld and Nicolson, London), a collection of papers on recent advances in the study of monkeys and apes. Later editions appear in The United States and France. Also published: 'The Naked Ape' (Cape, London), a zoologist's study of the human animal. This is the first of a number of books he produces on the subject of human behaviour. Later editions of The Naked Ape include: The United States, Germany, Switzerland, Spain, Argentina, Portugal, Brazil, Finland, France, Italy, Turkey, Greece, Israel, Japan, Poland, Iceland, Slovak, Czech, Holland, Sweden, Norway, Denmark, Sinhalese, and Malayalam. In the spring of this year, he resigns his curatorship at London Zoo and becomes the executive director of the Institute of Contemporary Arts in London, with the initial task of seeing the ICA of its old home and into its new, enlarged premises in The Mall.
1968 Following the unexpected success of 'The Naked Ape', he leaves the ICA and moves with his wife to live in Malta where he can concentrate on writing a sequel and return to his own painting activities. He remains in Malta, writing and painting, for the next five years, with occasional visits to his old university at Oxford. Son Jason is born in Malta.
1969 Book published: 'The Human Zoo'(Cape, London), the sequel to 'The Naked Ape', in which he examines the behaviour of city-dwellers. Later editions in The United States, Japan, Germany, Spain, France, Finland, Turkey, Israel, Holland, Italy, Portugal, Brazil, Norway, Sweden, Denmark, Iran and Greece.
1970 Collected scientific papers published: 'Patterns of Reproductive Behaviour' (Cape, London). Later edition in the United States.
1971 Book published: 'Intimate Behaviour' (Cape, London), a study of physical contact behaviour among human beings. Later editions in The United States, Japan, Sweden, Portugal, Holland, Brazil, Spain, Italy, Germany, France, Norway, Denmark, Finland. Sets up research headquarters in Malta to undertake ambitious project to produce a comprehensive classification of all human action-patterns, with a view to producing an encyclopedia of human actions
1973 Returns to take up Research Fellowship at Wolfson College and to work again in Niko Tinbergen's animal behaviour research group at the Department of Zoology, Oxford University, continuing his studies of human action-patterns.
1974 Holds one-man-show of Surrealist paintings at Stooshnoff Fine Art Gallery, London, his first exhibition for over 20 years.
1976 Holds four more exhibitions of paintings, following period of intense work in his new Oxford studio: One-man-show at Wolfson College, Oxford; One-man-show at the Quadrangle Gallery, Oxford; One-man-show at the Lasson Gallery, London; and a large retrospective exhibition of 61 works covering 30 years of painting (1946-1976), at the Public Art Gallery in Swindon.
1977 Book published: 'Manwatching, a Field-Guide to Human Behaviour' (Cape, London), a popular presentation of his major investigation into human action-patterns. Later editions in The United States, Sweden, Finland, Denmark, Holland, Germany, Italy, France, Norway, Japan. Is elected to the Board of Directors of Oxford United Football Club.
1978 Holds one-man-show of paintings at the Galerie D'eendt in Amsterdam. Is elected Vice-Chairman of Oxford United Football Club.
1979 Book published: 'Gestures, their Origins and Distribution' (Cape, London)with co-authors Peter Collett, Peter Marsh and Marie O'Shaughnessy, a report on a three-year field research project undertaken for the Harry Frank Guggenheim Research Foundation in New York. The project involved a survey of the gestural similarities and differences of forty locations in twenty-five different countries, across Europe and the Mediterranean. Later editions in The United States, Holland, Japan, Italy, Sweden, Portugal and Israel. Also published: 'Animal Days', a first volume of autobiography, covering the early part of his life up to the end of his curatorship at London Zoo in 1967. Later editions in The United States, France, Holland, Germany, Denmark, Sweden, Italy, Spain, Portugal, Israel and Japan. Undertakes a new television series for Thames TV, London, on the subject of human behaviour, called 'The Human Race', to be filmed in 1980 and 1981 for screening in spring of 1982.
1981 Book published: 'The Soccer Tribe', an analysis of the world of professional football. Later editions in The United States, Holland, Germany, Italy, Sweden, Norway, Italy, Spain, and Japan.
1982 Presents the television series 'The Human Race' for Thames TV. Later shown in many other countries. Visits Japan to make a television production called 'Manwatching in Japan', for showing on Japanese TV in autumn 1982. Begins archaeological research for a new book on 'The Art of Ancient Cyprus'.
1983 Novel published: 'Inrock', his first work of fiction, a science fantasy based on the surrealist world portrayed in his paintings. Intended primarily but not exclusively for children. Book published: 'The Book of Ages', a year-by-year survey of human life from birth to death.
1984 Completes work on 'The Art of Ancient Cyprus'.
1985 Book published: 'The Art of Ancient Cyprus'. Also a sequel to 'Manwatching', called 'Bodywatching'.
1986 Books published: an 'Illustrated Naked Ape' edition and two books on pets: 'Catwatching' and 'Dogwatching'. Starts work on a new TV series called 'The Animals Roadshow', co-presented with Sarah Kennedy. A total of 40 of these programmes are made over the next three years.
1987 Book published: a sequel to 'Catwatching' called 'Catlore'. Also published this year was the first book about his paintings, called 'The Secret Surrealist'. In Scotland he covers the Edinburgh Festival for Japanese Television. In France, the French editions of 'Catwatching' and 'Dogwatching' win the Prix Literaire de 30 Million Amis.
1988 Published: the book of 'The Animals Roadshow' TV series. He also carries out a research project on the colours used in decorating human homes. The results published as a report called 'The Human Nestbuilders'. Also produces another book on animals called 'Horsewatching'. Exhibition of paintings at the Shippee Gallery in New York. Starts filming a new TV series called 'The Animal Contract', for Australian television. Exhibition of paintings in Belgium.
1989 Makes two videos on Dogs and Cats. Completes the final programmes for the 'Animals Roadshow' TV series. Starts work on 'Animalwatching' book. Exhibition of paintings at the Mayor Gallery in London.
1990 Books published: 'The Animal Contract', based on the TV series; and 'Animal-watching', a sequel to 'Manwatching', but dealing with the behaviour of non-human animals.
1991 Book published: 'Babywatching'. Exhibition of paintings at the Mayor Gallery in London to coincide with the publication of Michel Remy's book 'The Surrealist World of Desmond Morris'. Also co-presents 13 TV programmes with Sarah Kennedy for ITV called 'Animal Country'.
1992 Co-presents a second series of 'Animal Country' with Sarah Kennedy. (14 half-hour programmes). Makes a Video of 'Babywatching'. Also makes a set of four videos on 'Body Language'. Holds first one-man-show of paintings in Paris. Book published: 'Christmas Watching'.
1993 Retrospective exhibition of paintings, from 1946 to 1993, at the Public Art Gallery in Swindon. Co-presents a third Series of 'Animal Country' with Sarah Kennedy (13 half-hour programmes). Book published: 'The World of Animals'.
1994 Co-presents a fourth series of 'Animal Country' with Sarah Kennedy. Exhibition of paintings at the Mayor Gallery in London. Writes and presents 'The Human Animal', a series of six one-hour TV programmes for BBC-1. Books published: 'The Human Animal'; 'The Naked Ape Trilogy'; 'Illustrated Catwatching'; and 'Bodytalk: a World Guide to Gestures'.
1995 Book published: 'Illustrated Babywatching'. "The Human Animal" wins the Cable Ace Award in Los Angeles for best documentary series. Final (fifth) series of 13 'Animal Country' programmes made for ITV with Sarah Kennedy.
1996 Starts work on new TV series, a sequel to 'The Human Animal' called 'The Human Sexes'.
Books published: 'The Illustrated Dogwatching' and 'Catworld, a Feline Encyclopedia'.
Retrospective exhibition: 'Fifty Years of Surrealism' first at Stoke and then at Nottingham public galleries.
1997 Completes TV series 'The Human Sexes'.
Solo exhibition at the Mayor Gallery to coincide with the publication of Silvano Levy's book: Desmond Morris - Fifty Years of Surrealism.
Book published: The Human Sexes'. Son Jason marries Annie Reeves.
Grand-daughter Matilda is born.
1998 Makes a 37,000 mile journey around the world visiting 21 countries in three months, researching new books and TV series.
Solo exhibitions were held in Newcastle, Brussels and Antwerp.
Awarded Hon. D.Sc. at Reading University.
Book published: The Illustrated Horsewatching.
1999 Three new books published: Cool Cats, the 100 Cat Breeds of the World; Body Guards, Protective Amulets and Charms; The Naked Ape and Cosmetic Behaviour (with co-author Kaori Ishida, in Japanese).
Solo exhibitions in Amsterdam and London, and a fourth volume about the paintings: Desmond Morris - Naked Surrealism, by Silvano Levy.
2000 Publication of THE NAKED EYE, Travels in Search of the Human Species.
Grand-daughter Madeline is born.
2001 Sets off on another round-the-world trip with his wife, visiting 23 different countries.
Publication of DOGS; THE ULTIMATE DICTIONARY OF OVER 1000 DOG BREEDS. Exhibition of paintings at the Galerie Pack-Huys in Mechelen, Belgium.
Publication of the CATALOGUE RAISONNE, by Silvano Levy, of the paintings of Desmond Morris, with over 1300 colour plates.
2002 Holds exhibitions at the Museum of Modern Art in Ostend, Belgium, at the Mayor Gallery in London and at the Art Consultancy Witteveen, Amsterdam.
Publication of PEOPLEWATCHING, a revised, updated and enlarged version of his 1977 book MANWATCHING.
2003 Makes a three-month journey around the world, visiting the Caribbean, Central America, North America, South Pacific, Australasia, the Far East, Asia, the Middle East, and the Mediterranean.
Grand-daughter Annabelle is born.
Exhibition of paintings at Solomon Gallery, Dublin.
2004 Three new books published: 'The Silent Language' (in Italian), 'The Naked Woman; a study of the female body', and 'The Nature of Happiness'.
Holds solo exhibition of paintings at the Mayor Gallery in London.
Grandson Evan is born.
2005 Holds solo exhibitions of paintings in Amsterdam, Madrid and Stratford-upon-Avon. Also organizes an exhibition of paintings by great apes - 'Ape Artists of the 1950s' - at the Mayor Gallery in London.
2006 Makes a three-month journey around the world, visiting the Middle East, Asia, the Far East, Australia and Africa. Publication of a volume of memoirs: WATCHING; Encounters with Humans and Other Animals. Exhibition of paintings at Galerie Pack-Huys in Mechelen, Belgium.

http://www.desmond-morris.com

Saturday, April 7, 2007

Kaifi Azmi: Symbol of resistance -- RANJIT HOSKOTE remembers a poet of extraordinary gifts.

RANJIT HOSKOTE remembers a poet of extraordinary gifts.

THE radical and the poet do not always occupy the same personality with ease. The rival personae can contradict each other, so that the poetry is pulled one way and the other, between the extremes of sterile formalism and sloganeering. It takes a poet of extraordinary gifts, like Kaifi Azmi, to craft a poetic idiom capable of projecting grief, anger and exaltation while also maintaining a high degree of stylistic vigour. For Azmi, who died in Bombay on May 10, poetry was a form of resistance, an articulation of the self's protest against the dominance of stifling orthodoxies and the pathologies of power.
The celebrated Urdu poet, who also reached a wide pan-Indian public through his contribution as a film lyricist of distinction, was a member of the Progressive Writers' Movement, which also included his contemporaries, Sahir Ludhianvi, Majrooh Sultanpuri and Ali Sardar Jafri. Urdu poetry had made a transition from the courtly Mughal era into the epoch of colonial modernity after the Great Uprising of 1857; but it received a vital shock of contemporaneity with the advent of the Progressives, who brought into their writing an awareness of the sufferings of the colonised masses, an empathy with a proletariat oppressed by the triple yoke of feudalism, colonialism and industrialism.
The background from which Azmi emerged would seem, at first sight, to be an unlikely matrix for a poet of resistance. He was born more than eight decades ago as Syed Athar Hussain Rizvi, into a zamindar family at Mizwan, Azamgarh, in what was then the United Provinces (the nom de plume that he adopted celebrates his birthplace). His early education followed the traditional pattern laid down for male children of his class: he studied Arabic and Persian with a maulvi at a madrassa, a training in the classics that was to serve his writing as a bed-rock, even though he was to depart widely from Urdu classicism in terms of his choices of subject and tone.
The Quit India movement of 1942 was a formative experience of political radicalisation for the young Azmi. He was fired equally by the nationalist zeal to oppose the British colonial regime and the socialist desire to overturn the deep-rooted feudalism of Indian society and redress the poverty of the Indian masses. Not surprisingly, he joined the Communist Party of India at the age of 19, and wrote for its organ, Qaumi Jung (People's War). Moving to Bombay in the 1940s, he lived, at first, in communes in Andheri and Nagpada, before shifting to Janki Kutir, in what used to be the garden suburb of Juhu, where a number of poets, artists, film and theatre people lived.
The Bombay of 60 years ago was on fire with the Communist labour movement, which formed, alongside the Congress-driven nationalist movement, an important strand in the widespread unrest that confronted the British in the last decade of the Raj. Bombay's Communist labour movement was later systematically destroyed by the city's Congress politicians and the regionalist-communitarian thugs they created, but the 1940s were years of boundless optimism. Azmi and his fellow poets took active part in rallies and marches, agitating shoulder-to-shoulder with the workers to whose cause they lent intellectual support. When the Leftist Indian People's Theatre Association was set up, the poet was one of the earliest members.
Azmi's immediate audience, in this period, was the Urdu-reading public of Bombay, especially the residents of the inner-city areas of Madanpura and Nagpada. Many inhabitants of these enclaves, wedged between the markets and the docklands, were descended from refugees from the United Provinces, who had escaped famine, poverty and the British reprisals after the Uprising of 1857. The only link these people had to the lifeworld of their ancestors was their language. To these readers, Azmi spoke in the voice of immediacy, honing a poetic sensibility that would challenge the demons of injustice, bigotry and exploitation in a series of collections, including Jhankar, Aakhri-e-Shab, Awara Sajde and Sarmaya.
We may observe, parenthetically, that one of Bombay's tragic narratives is the story of the shrinkage and disappearance of Urdu as one of that cosmopolitan city's languages. A variety of factors have conspired to bring about this disappearance, not least of which is the ghettoisation effect that brands Urdu as a language for Muslims alone (which has not, historically, been true). On the other hand, the felicities of Urdu poetry and prose entered the consciousness of a vast, national audience through the medium of the popular Hindi cinema; for which masters of Urdu prose, such as Sadat Hasan Manto, wrote scripts, while many of the Progressives, Azmi included, provided lyrics.
While necessity may have led Azmi to compose lyrics for the movies, this did not result in a dilution of his adherence to literary standards. His lyrics, especially those written for films directed by the legendary Guru Dutt, endure in the mind and on the tongue: among these memorable songs are "Waqt ne kiya kya haseen sitam" (from "Kagaz ke Phool") and "Kar chale hum fida jaan-o-tan saathiyon" (from "Haqeeqat").
The last decade was shadowed, for Azmi, by the double violation of the values that had been integral to his life. The globalisation process brought with it an unprecedented consumerism, an insensitivity of privilege towards dispossession, an abdication of social responsibility towards those without opportunity and entitlement. Neo-tribalism, in the form of the savage forces of Hindutva, mounted a systematic assault on the secular charter of the Republic.
Like a great many Indians of sensitivity, Azmi was shaken by the destruction of the Babri Masjid in Ayodhya on December 6, 1992, and was prompted to write a deeply moving poem, "Doosra Banwas" (Rama's Second Banishment to the Forest). Ayodhya marked the beginning of the end of the secular Republic, as envisaged by the Constituent Assembly, a process that has culminated in the hideous triumph of the murderers and rapists who have challenged Constitutional order with impunity in Gujarat.
No film has captured the predicament of the Indian Muslim after Partition as compassionately as M.S. Sathyu's film classic, "Garm Hawa" (with which Azmi was associated), did. The film ends with the young son of a Muslim family electing to stay on in India; symbolically, he joins a protest march, marking his participation in the wider national public sphere outside the community. After Ahmedabad, many Muslims must wonder what place they have in a future national public sphere dominated by the Hindu Right; and it is heart-breaking to think that such questions must have confronted Kaifi Azmi in the final months of his life.


Comment posted by Maqsood Qureshi
at 4/9/2007 7:36:00 AM
Ranjit Hoskote -- I DID NOT write this!

Here's the URL

http://www.hindu.com/thehindu/mag/2002/05/19/stories/2002051900280300.htm

Thanks for visiting. I'm not on blogbharti either! How did you get my URL?


Comment posted by muhaafiz
at 4/9/2007 6:13:00 AM
Hi!

Came to your blog through www.blogbharti.com

This is a deeply moving post. Great writing.

Kaifi Azmi

Kaifi Azmi (Urdu: کیفی اعظمی) (b. 1919 - d. May 10, 2002) was an Urdu and Hindi lyricist, poet and songwriter.
Kaifi Azmi was born as Akhtar Hussain Rizvi into a family of landlords in the small town of Mejwaan, in the district of Azamgarh, Uttar Pradesh. His father, Syed Fateh Hussain Rizvi, though a landlord, took up employment first in a small native state called Balharah as a tahsildar and later, he worked in other areas of Uttar Pradesh. He decided to send his sons to schools imparting modern education, including English, against the stiff opposition of his relatives. However, Azmi could not get this opportunity because his elders wanted him to become a theologian. He was admitted to Sultan Al-Madaris, a reputed seminary in Lucknow. However, his nonconformist nature created many problems for the authorities of the seminary. He formed a Students' Union and asked all the students to go on strike to get their demands fulfilled. The strike continued for a year and a half. Though the strike was called off, he was expelled from the seminary. This was the end of his elder's dream of training him to become a theologian. Azmi could not seek modern education but he passed various examinations in Lucknow and of Allahabad universities that helped him acquire command over Arabic, Persian and Urdu.
During this period, the leading progressive writers of Lucknow noticed him. They were very impressed by his leadership qualities. They also saw in him a budding poet and extended all possible encouragement towards him. Consequently, Azmi began to win great acclaim as a poet. His initiation into poetry was even more interesting. At the age of eleven, he somehow managed to get himself invited to a Mushaira and over there, he recited a ghazal, rather a couplet of the ghazal which was very much appreciated by the President of the Mushaira, Mani Jaisi, but most of the people, including his father, thought he recited his elder brother's ghazal. When his elder brother denied it, his father and his clerk decided to test his poetic talent. They gave him one of the lines of a couplet and asked him to write a ghazal in the same meter and rhyme. Azmi accepted the challenge and within no time, he completed a ghazal. This particular ghazal was to become a rage in undivided India and it was sung by none other than the legendary ghazal singer, Begum Akhtar. He, however, abandoned his studies of Persian and Urdu during the Quit India agitations in 1942 and shortly thereafter became a full time Marxist when he accepted membership of the Communist Party of India in 1943. At the age of 24, he joined the Communist Party and started activities in the textile mill areas of Kanpur. As a full time worker, he left his life of comfort, though he was the son of a zamindaar. He was asked to shift his base to Bombay, work amongst the workers and start party work with a lot of zeal and enthusiasm and at the same time would attend Mushairas in different parts of India. In 1947, he reached Hyderabad to participate in a Mushaira. There he met a beautiful woman named Shaukat, the two fell in love and were married. Shaukat Kaifi later became a renowned actress in theatre and films. They had two children together. They are Shabana Azmi (b. 1950), a renowned actress of Indian cinema and Baba Azmi, a film cameraman.
Like most of the Urdu poets, Azmi began as a ghazal writer, cramming his poetry with the repeated themes of love and romance in a style that was replete with clichés and metaphors. However, his association with the Progressive Writers' Movement and Communist Party made him embark on the path of socially conscious poetry. In his poetry, he highlights the exploitation of the subaltern masses and through them he conveys a message of the creation of a just social order by dismantling the existing one. Yet, his poetry cannot be called plain propaganda. It has its own merits; intensity of emotions, in particular, and the spirit of sympathy and compassion towards the disadvantaged section of society, are the hallmark of his poetry. His poems are also notable for their rich imagery and in this respect, his contribution to Urdu poetry can hardly be overstated. He published three anthologies of poetry, Aakhir-e-Shab, Jhankaar, and Awaara Sajde.
Azmi's stint in films includes working as a lyricist, writer and actor. His early work as a writer was mainly for Nanubhai Vakil's films like Yahudi Ki Beti (1956), Parvin (1957), Miss Punjab Mail (1958) and Id Ka Chand (1958). But perhaps his greatest feat as a writer was Chetan Anand's Heer Ranjha (1970) wherein the entire dialogue of the film was in verse. It was a tremendous achievement and one of the greatest feats of Hindi film writing. Azmi also won great critical accolades for the script, dialogues and lyrics of M.S. Sathyu's Garam Hawa (1973), based on a story by Ismat Chughtai. Azmi also wrote the dialogues for Shyam Benegal's Manthan (1976) and Sathyu's Kanneshwara Rama (1977). As a lyricist and songwriter, though he wrote for numerous films, he will always be remembered for Guru Dutt's Kaagaz Ke Phool (1959) and Chetan Anand's Haqeeqat (1964), India's greatest ever war film. Some notables films for which he wrote lyrics include Uski Kahani (1966), Bawarchi (1972), Pakeezah (1972), Hanste Zakhm (1973) and Razia Sultan (1983). He also played the memorable role of Naseem's grandfather in Naseem (1995), a touching film centered around the destruction of the Babri Masjid at Ayodhya.
Kaifi Azmi has won various awards and has been honoured by various national and international awards. This include the Uttar Pradesh Urdu Academy Award, the Soviet Land Nehru Award, the Sahitya Academy Award for his collection Awaara Sajde, the Maharashtra State Urdu Academy's Special Award for his contribution to Urdu literature and the Afro-Asian Writers' Committee's Lotus Award. He has won the National Award and the Filmfare Award for the screenplay and dialogue of Garam Hawa. Azmi was also the subject of a documentary film called Kaifi Azmi (1979), directed by Raman Kumar.
Kaifi Azmi died on May 10, 2002, following various cardiac and respiratory infections. He left for the Hereafter leaving behind his wife, daughter and son. His death has been a terrible loss for all of us, especially for Urdu literature.

Javed Akhtar: Profile

Son of well-known Urdu poet and film lyricist Jan Nisar Akhtar and Safia Akhtar, teacher and writer, Javed Akhtar belongs to a family lineage that can be traced back to seven generations of writers. The highly respected Urdu poet, Majaz was his mother’s brother and the work of Muzter Khairabadi, his grandfather, is looked upon as a milestone in Urdu Poetry.
Javed Akhtar's body of work can be categorized under three distinct categories:
a) Script Writer b) Lyricist c) Poet
Alongwith his ex-partner, Salim, he scripted super hits like, 'Zanjeer', 'Deewar',' Sholay', 'Haathi Mere Saathi', 'Seeta Aur Geeta', 'Don', 'Trishul', etc. Salim-Javed as a writer-duo gave to and to Indian Cinema the memorable persona of the ‘Angry Young Man’.
After the split from his partner Salim (in 1981), he has written a list of successful films, notable amongst them are; 'Sagar', 'Mr. India', 'Betaab', 'Arjun' and Lakshya etc.
AWARDS: FOR FILMS
National Awards for Best Lyricist, five times. Film Fare Award for Best Script seven times. Film Fare Award for Best Lyricist seven times. Screen Award for Best Lyricist four times. Zee Award for Best Lyricist, five times. IIFA Award for Best Lyricist three times.Sansui Viewers Choice Award four times.
AWARDS FOR ACTIVISM
Padmashri in 1999 by the Government of India, given to eminent citizens for excellence in their field and distinguished contribution to society.
Avadh Ratan from Government of Uttar Pradesh in 2000.
National Integration Award from All India Anti-Terrorist Association 2001.
National Integration Award from Mewar Foundation 2001.
Nagrik Samman by Mayor of Bhopal 2002 amongst countless other awards.
UNIVERSITIES addressed
Harvard University – Keynote speaker on Secular element in Urdu poetry.
Columbia University – Keynote speaker on Social Justice and Communal Harmony.
University of Mary Land – Keynote speaker on Forces to counter fundamentalism.
Berkeley Califonia – India Politics & Divisive Forces
University of London – Modern Urdu Poetry
University of Cambridge – Indian Society – Indian Cinema
University of Oxford – Indian Cinema & New Icons.
Jawahar Lal Nehru University
Aligarh Muslim University
Vishwa Bharati University
Javed Akhtar started writing Urdu poetry in 1980. His first collection of Nazms and Ghazals entitled, ‘TARKASH' has had a very successful release in 1995. It is already in its ninth edition in Hindi, and fifth edition in Urdu. It has received rave reviews both as a book and as India's first audio book (available on cassettes and CD) brought out by PLUS MUSIC. The audio book has sold more than a hundred thousand copies. Dr. David Matthews, formerly Senior Lecturer in Urdu and Nepali at the School of Oriental and African Studies (SOAS), London University have translated TARKASH in English. The book, entitled as "QUIVER" was released by Prof. Amartya Sen. TARKASH was translated in Bengali by the noted Bengali author Sunil Gangopadhyaya. The book is also translated into Gujarati. The celebrated painter M.F. Husain has painted sixteen canvases based on Javed Akhtar's poems in Tarkash.Javed Akhtar has written a large number of poems against communalism, social injustice, National Integration and for Women's Rights. Ministry of Human Resource Development has declared his song, beckoning the misguided youth to come forward and build the country, the National Anthem for Youth in 1995.On the initiative of President Abdul Kalam, Javed Akhtar has written five poems on the Indian flag. Pandit Jasraj, Pandit Shiv Kumar Sharma, Ustad Zakir Hussain, L Subramaniam and E Srinivas have interpreted these musically. Two books “Talking Films” & “Talking Songs” published by Oxford University Press have featured Javed Akhtar in conversation with Nasreen Munni Kabir a London based journalist. These have been hailed by film critics as the most definitive works on Indian Cinema. “Talking Songs” also carry translations of 60 Javed Akhtar’s songs. He is a founder member of the respected Muslim Intelligentsia-a group that has been vocal against fundamentalism of all hues and seeks to lead the Muslims to concentrate on education and women's rights.On the occasion of Gandhi Jayanti 2nd October 2003 Javed Akhtar released the declaration of MUSLIMS FOR SECULAR DEMOCRACY. MFSD, of which Javed Akhtar is president, was formed after consultation with large numbers of organizations and intellectuals from all sections of society. MFSD has not only taken a secular, liberal and progressive stand, but to a great extent has succeeded in building a consensus on controversial issues of Muslims such as Uniform Civil Code, Triple Talaq, Haj Subsidy etc. It is heartening to note that MFSD has found support amongst both Teachers and Students Associations of Aligarh Muslim University. Chapters of MFSD have been launched in cities like Aligarh, Allahabad, Lucknow, Kanpur and Mumbai. It is an ongoing process. He is an active member of “Citizens for Justice and Peace”. CJP is an organization for eleven people that has kept the Gujarat Genocide issue alive and has taken Gujarat government to court. India Today a weekly magazine equal to Time and News Week has included Javed Akhtar’s name in a list of 50 Most Powerful people in the Country. Javed Akhtar is an avid reader with a keen interest in politics. His poetry reflects both his political awareness and his literary concerns. He is married to Shabana Azmi, India's most respected actress and social activist and Ex-Member of Parliament.

Javed Akhtar: About Myself

When people write about themselves they usually begin with their hometown. Which city should I call my own? Born in Gwalior, it was in Lucknow I came to my senses only to lose them a little later in Aligarh. In Bhopal I sharpened my wits but it was in Bombay that I really came alive. So whydon't I just go into a small flashback, it will be easier for you to read and for me to write my story.City-Lucknow... Characters: My maternal grandparents, other relatives and I.I am eight. My father is in Bombay and mother in her grave. The day is spent playing cricket with my younger brother in the courtyard. A fierce looking tutor comes every evening. That he is being paid Rs 15 a month is a fact I am reminded of every day. Each morning I get a half anna and every evening an anna to spend. In the mornings I buy coloured sweets from Ramjilal, the neighbourhood grocer and in the evenings the one anna gets me chaat from Bhagwati the hawker from across the road. It's a wonderful life! School has reopened. I am admitted in class six in a well known schoolof Lucknow-Calvin Talukadar College. Once upon a time it was only the sons of the aristocracy who could study here but now mere mortals like me also can but still it is an expensive school with a monthly fee of Rs.17 (a fact which is..well)! Many classmates have wristwatches-they come from wealthy families. They wear beautiful sweaters.One even has a fountain pen. These kids buy eight anna chocolates during recess (Bhagwati's chat is not appetizing anymore). Just yesterday Rakesh announced that his father was sending him to England to study. And yesterday my grandfather chided,"At least pass your matriculation, you may find a job stamping letters in a post office." At an age when boys dream of becoming engine drivers, I had decided to become rich when I grew up.City Aligarh... Characters: My Aunt,other relatives and I.My younger brother continues to stay in Lucknow with my grandparents. I have been assigned to my aunt who has come away to Aligarh.Obviously one family cannot be burdened with two orphans. In front of her home beyond a sprawling ground ahead is my school.Aged fourteen I am in class nine. In Aligarh's winter is for real. The school bell strikes at seven. I am on my way there. Razor sharp wind-chill cuts across the face sniping at the nose and ears. School is another story. Somehow I manage to pass. My uncle had remarked to my teacher the day I was admitted to this school, Minto Circle,"Be watchful, this lad has more interest in film songs than his studies."I have so far seen Dilip Kumar's "URAN KHATOLA" and Raj Kapoor's "SHREE 420".I know a lot of film songs but no one is even allowed to listen to them at home forget about singing them.So I sing aloud while returning home from school (Excuse me but the early morning chill on way to school would have permitted warbling of only classical ragas).Since my school is near the university except for some classfellows I am more friendly with boys from the University with whom I like to sit around in cafes. Often I play truant and the school authorities complain and I get a hiding at home though it doesn't make much of a difference. I don't care for school books but love reading novels inspite of being reprimanded at home. Whenever there is a contest of Urdu poetry at the University it is I who represents my school and win prizes. All the boys and girls of the university can identify me.I am happy at this recognition more so by the girls....I am fifteen and growing up. For the first time helped by my friend Bilu I write a letter to a girl. I encounter the girl next day in an empty Badminton court and bravely hand over the letter. It's the first and last love letter of my life (I cannot remember what I wrote in that letter though I remember the girl well). I am leaving Aligarh after my matriculation. My aunt weeps as she bids me farewell prompting my uncle to say that I was going to Bhopal and not to war. (It's another matter none of us realized then that I was going to war in a way.)City Bhopal...Characters: Innumerable benefactors,several friends and I.En route Aligarh to Bombay my father almost drops me midway at Bhopal. I stay a few days with my step mother but soon move out. I study at Safiya College and live off friends whose list if I were to compile I would end up with a telephone directory. I am in BA 2nd year and live with a friend Ejaaz. He pays the rent, I just live. Although a student, he earns by giving tuition hence friends have nicknamed him "Master". I have quarreled with Master and we are not talking to each other so I cannot ask him for money. I help myself by delving into the pockets of his trousers hanging on the wall or sometimes he leaves behind a rupee or two by my bedside.It's my fourth year in college and I am in my BA final. I have never paid my fees and no one has ever asked.This can happen only in Bhopal.I have been given a vacant room in the college campus to live. After classes are over I pull over a few benches lay my bedding to sleep.It's quite comfortable except for the bugs in the benches.The restaurant where I have my meals on credit has closed down unable to sustain freebooters anylonger. There's a shoe shop in its place. Where will I eat now? I am lonely,ill with a high fever and famished. Two collegemates with whom I am hardly acquainted bring some food for me in a tiffin. Strange fools those two but I'm clever by half. I hide my tears till they leave. I recover frommy illness and become friends with them. I am a keen debater in college and have won the Rotary Club Prize for three years running. I have also won several Inter-college debates and have represented Vikram University at the National Youth Festival in Delhi. During college elections two opposing groups want me to speak on their behalf. I have no interest in elections but am keen on public speaking so I end up canvassaing for both groups. I have lost the vacant room in the campus and now live with Mushtaq Singh who earns even as he learns andd is also the President of the College Urdu Society. I am good at Urdu. He is better. I know countless couplets. He knowsmore. I am away from my family. He has no family. He seems to be better than me every which way. For a year our friendship has thrived on food and clothes. He provides for both. He is a true Sikh yet buys my cigarettes for me.I have begun to drink occasionally. Mushtaq and I sit drinking one night as he tells me tales about the partition and its horrors. Although he was very young yet he remembers: In Delhi's Karol Bagh two Muslim girls were thrown in a scalding drum of coal tar and another Muslim. I interrupt him asking whether he was trying to turn me into a Muslim fundamentalist with his horrific tales!Every story of terror has two sides.What about the other point of view?Mushtaq Singh smiles.What do you want to listen? "My story" or a general account.Your story, I say. "We were a family of eleven. Ten of them were hacked in front of my eyes..."Mushtaq remembers a lot of Urdu couplets-I have been staying with him for over a year. I fail to understand one thing. Good guys , whatever their faith, always end up on the gallows. How was he spared? Nowadays he lives in Glasgow. While we were he were parting I took off his "kada" and have worn it on my wrist ever since. Whenever I think about him he seems right there with these lines on his lips."You pride a lot on your failures, you are unaware about my shortcomings." City Bombay...Characters:The Film Industry,Friends,Foes and I.On October 4,1964 I alight at the Bombay Central station. This is the court where my fate will be sealed. Within six days of my arrival I have to leave my father's home. I have 27 paise in my pockets. I am happy that if I am able to add another paisa to my riches I will be the winner and life a looser.It's been two years in Bombay. There's still no certainty of either food or shelter. I have managed to write dialogue for a minor film for Rs100. Sometimes I get some work as an assistant or otherwise but often even this work eludes me. I go to a film producer's office at Dadar to collect money for some comic scenes I have ghost written but which will be credited to a famous screen writer in the film. The office is shut. I think about the long trudge back to Bandra. I have just enough money to either grab a bite or a bus ride. I buy some gram and start walking. Ambling past the gate of Kohinoor Mills I think that things may change but this gate will remainand one day I will drive by in my own car. I have got an assignment to write dialogue in another film. I reach the directors' home with the scenes. He is having pineapple for breakfast as he takes and reads the scenes. Throwingthe papers at my face he dismisses me by saying I would never become a writer. Walking out into the blazing sun I wipe a tiny tear. I shall show this director someday but suddenly a strange question comes to my mind, "Does this fellow have pineapple for breakfast everyday?"It is perhaps two in the morning. The Bombay Monsoon is at its worst fury. The sea seems to be pouring from the sky. I am sitting under the pale light of a weak lamp on the steps of Khar Station's portico.Closeby three men sleep on the floor oblivious of the storm.In a distant corner a wet dog shivers away. Incessant rain pours on dark empty streets. The lights have gone out in the noiseless highrises. People must be sleeping in their homes. My father too has a home in this city, what a large metropolis is Bombay and how insignificant am I? Once in a while even the bravest can feel fear.For a year now I have been living in Kamaal Studio (present day Natraj Studios). I sleep wherever I fancy-sometimes in some verandah, sometimes in some corridor, sometimes under some tree. There are several homeless, jobless people like me who live here. I befriend one such man Jagdish. Everyday he has a new plan to get a free meal and a free drink.Infact Jagdish has turned survival into an art-form.I have become acquainted with a second hand bookseller on the pavement outside Andhei Station so there's never a shortage of books to read which I do late into the night in the dim light of the studio compound. Friends often mock saying I would soon go blind with all this reading. I get a chance to sleep inside a room. This has the studio wardrobes where costumes of the film Pakeezah are stored. The shooting of this film has been suspended as Meena Kumari and Kamaal Amrohi have separated. One night I open one of the wardrobes and amidst assorted shoes and sandals lie the three FILMFARE trophies which Meena Kumari has won. I dust them and keep them aside. This is the first time I have touched a film award trophy. Every night I bolt the door and with the trophy in my hands I stand before a mirror imagining the day I would be receiving these awards; amidst all the applause how I would wave to the audience. Even as I battle with my fantasies a notice is put up in the studio prohibiting non workers from staying in the compound. Jagdish suggests an interim arrangement of shifting to the Mahakali Caves (these ancient Budhist Caves in crowded East Andheri near Kamalistan Studio were a part of a desolate landscape in those days where hemp smoking mendicants lay about). The mosquitoes here are monstrous and they wake you up by just sitting on your body forget their bites. In one night I figure out that to sleep here you need the stupor of hashish. Somehow I pass three days before a friend asks me to stay with him at Bandra. As I leave for Bandra Jagdish says that he too will find a new abode in a couple of days (This was my last meeting with Jagdish. In the years to come life took me to new heights but for eleven years Jagdish languished in those caves in a haze of pot-smoke and hooch. He was cremated with the sadhus and neighbouring slum dwellers pooling together some money. The End. My friends and I learnt of his death much later. I often reflect what is so special in me which Jagdish lacked? There is always the possibility that a friend of Jagdish's could have invited him to stay at Bandra and I left behind to perish in those caves. Why the vanity then?).The friend with whom I am living in Bandra is a professional gambler. He and his two accomplices are card sharps. They teach the tricks to me too. For a few days the cards provide the means of survival but then the three men leave Bombay and once again crops up the question of next month's rent. A famous and successful writer calls and offers me a job at Rs 600 per month. The work is to ghost write for him. I contemplate. If I accept I may end up doing the job for entire my lifetime. On the other hand there's is the rent to pay. I reject the offer after three days of thought. Days, months, years roll by. It's been five years in Bombay. "Roti" is a moon and fate stormclouds. The moon reveals itself on somedays and is elusive on others. These have been five difficult years for me but I have retained my dignity. I not disillusioned. I have faith I shall overcome. I am not born to just survive. At last in November 1969 I get some work which in film parlance is called a "break".Success is like Alladin's magic lamp. Suddenly the world is a beautiful place and the people good. In a matter of just more than a year I have got a lot and more is on its way. I see the dust I touch turn to gold. My first house, my first car. Dreams are coming true but life is still lonely. I meet Honey Irani on the sets of "SEETA AUR GEETA". Open hearted frank she has a cheerful demeanour. Within four months we are married call many of father's friends to my wedding but not my father (Even the genie of Alladin's lamp cannot heal all wounds. It takes time.) In two years we are proud parents of a daughter Zoya and a son Farhan.The next six years see a string of blockbusters. Awards and acclaim. Fame and fortune. Parties and write ups. Travel around the world. Bright days and dazzling nights. Life is a technicolour dream and like all dreams it shatters. For the first one of my films flops (there have been several hits and misses subsequently but the joy with its innocence is lost somewhere).My father dies on August 18, 1976 (Nine days before his death he had given me his last book. He had autographed and inscribed it with these words "You will remember me when I am gone. "He was right.) Until then I had thought of me as a rebellious and angry son. What am I now? I look at me and the world with a different point of view and ask myself whether I have got what I wanted from life? Others do not realize it but I am no longer enamoured or content with things which hitherto gave me much joy. I am attracted to things more abstract. I have poetry in my genes and an abiding interest in it as well. I have always known even in my adolescence that I could write poetry but have not done so thus far as a symbol of my angst and rebellion. I write my first poem in 1979 and make peace with both my father and my inheritance. During this period I meet Shabana. Kaifi Azmi's daughter is too perhaps retracing her roots. She too is troubled by new questions and doubts. It's not surprising that we come close. I am being metamorphosed. Even my professional relationship ruptures. My friends are noticing my transformation. Honey and I are separated in 1983.(Our marriage may have fallen apart but even a divorce does not diminish our friendship. And if our children do not have the bitterness of a broken home it is more to Honey's credit than my doing. Honey is today a successful screen writer and a good friend and there are but a few in this world for whom I have as much respect as I have for her).Although I had moved ahead but life was becoming a journey which goes from a hotel room to a hospital bed. I always used to drink but began drinking more. This is one phase of my life I am ashamed of and if people tolerated me during this time it was their benevolence. It was quite possible that I could have died during one of my drinking bouts. However someone's remark one morning touched me so much that I have never touched alcohol since and will not in the future.Today when I look back at life I see a river emerging from the mountains, battling with rocks, meandering through gorges, bubbling and frothing, creating ripples as it flows. Where once it broke its banks the river has now reached the plains. Tranquil with waters running deep.My children Zoya and Farhan have grown up and are embarking on their journey in worldly life. In their eyes twinkle dreams of tomorrow. Salman, my younger brother is a successful psycho-analyst in America. He has written several books, is a good poet, a loving husband and a doting father of two intelligent kids. Life was no easy journey for him either but with his hard work and dedication he has reached his destination and beyond. I am happy and so is Shabana who is not just my wife but also my beloved who has a noble heart and an invaluable mind. "She is a woman of my times", my uncle Majaaz could be talking about Shabana when he wrote these lines.Today I have nothing to complain to life but still I remember one particular day-January 18,1953. Place: Lucknow, my grandparent's home, aweeping aunt takes my six year old brother to a a large room in the house where many women are seated on the floor. I can see the uncovered face of my mother lying wrapped in a white shroud. My old grandmother held gently by two women sobs silently besides her. My aunt takes us two brothers close to bed and bids us to have a last glimpse of our mother. I had celebrated my eighth birthday just yesterday. I am intelligent and know what death is all about. I gaze intently at my mother's face so that I can freeze it in my memory. My aunt asks me to promise my mother that I would do something in life, become something in life. I cannot say a word but just keep staring till someone covers my mother's face with the shroud.It is not that I have not done anything in life but I have done just a quarter of what I can. This thought makes me restless. Always...

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Comment posted by Vinayak Razdan
at 4/7/2007 10:14:00 AM
The story of Meena Kumari.
http://8ate.blogspot.com/2007/04/poetess-and-actressmeena-kumari.html