About Shiraz Hassan
Shiraz Hassan is a magazine reporter and feature writer for Sunday Magazine in Lahore, Pakistan, where he covers social issues, art and culture. At the magazine, he has published more than 400 features related to social problems, culture and 'show biz.' Shiraz has also worked as a news editor at the radio network “MAST FM 103” in Lahore.
He writes about culture and heritage of South Asia, particularly Pakistan. He advocates rich culture of this land and tries to explore facts. Recently he was given an award from the Federal Ministry of Population Welfare for his article on population crises. Writers Guild also awarded him a Medal of excellence for his work.
Latest Posts by Shiraz Hassan
Celebrating the Festival of Colors in Pakistan
March 30, 2013 by Shiraz Hassan
Share: 
Holi – the festival of colors – celebrated across Pakistan by the Hindu community of the country. In Rawalpindi, there are hardly 600 Hindu families, most of them belong to Valmiki sect of Hinduism. There are two Valmiki and a Krishna Mandir in Rawalpindi. As colors of Holi are in the air, here, sharing some photographs of Holi celebration at a Valmiki mandir in Rawalpindi. The curator of mandir Jagjit Bhatti says that tell the world that Hindus in Pakistan are celebrating Holi with its full colors, we are safe here. This Valmiki mandir, located at Chaklala area of Rawalpindi is a pre-partition temple. It was built in 1935 and since that time it is active. After the partition most of the Hindus migrated from the area reducing Hindu population to the minimum in the city. This Valmiki mandir is of the three active temples of the city where Hindus pray and celebrate their religious festival on regular basis.
A friend comments that these are sad pictures, these faces demonstrate their minority status rather religious freedom or festivity, as Holi is not a ‘temple festival’, it is celebrated outdoor during day time. I have no words to argue but all I have these photographs that I would to share with you.
‘
Trekking Through Old Rawalpindi and the Kalyan Das Temple
March 24, 2013 by Shiraz Hassan
Share:
A trek through the old areas of Rawalpindi reveals to us many examples of old architecture: silent testimonies of our heritage, narrating tales of our past, stories of our land. Unfortunately, these exponents of our history are in a state of utter neglect and cry out for immediate attention by the authorities.
In the middle of the area that is commonly known as Kohati Bazaar, one can see the dome of a temple which is almost blinded by the high walls of an academic institution. Here stands one of the beautiful, historic landmarks of the city: Kalyan Das Temple.
Outside this building, you can see the board of Government Qandeel Secondary School for visually impaired children. On entering the main gate of the school, one is at once confronted with the sight of a magnificent architectural form which stands right in the middle of the school courtyard
As I entered the building, I turned to the security guard, and queried him casually, “I just want to see.” He nodded his head in agreement and asked me to go ahead.
This temple was named after a generous resident of Rawalpindi, Kalyan Das, who laid its foundation stone in 1850s, and it is said that it was completed in 1880. The Kalyan Das temple is believed to have had more than 100 rooms and was spread over an area of about seven acres, besides a vast pond around the main temple building.
According to some reports, Kalyan Das had no children but his brother had. One of the grandchildren of his brother is Saghir Soori, the owner of Saghir Apartments — the tallest residential tower in Delhi. Kalyan Das’ family had a residence by the name Soori Building in Kartarpura (a locality near Kohati Bazaar), which is now known as Noori Building.
One of the significant facts of the Kalyan Das Temple is linked to the Amarnath Yatra, which is an important religious ritual in Hinduism. Hindu pilgrims used to stay at this temple en route to Amarnath in the mountains of Jammu and Kashmir, making it a very important place for Hindu worshippers
Like many other temples of the city, in 1947, during the partition of India, Kalyan Das temple was also left abandoned as the Hindu population left the city. Today this magnificent architectural piece still stands tall but the complex has been brutalised and vandalised over decades and is in a state of decay.
The beautiful paintings engraved on the walls of the temple are fading away; the damp roof of the main architecture pours in rainy days. The rooms of the main complex are used as store rooms and are kept locked. The idols are missing but their marks attract the attention of visitors. The many spires in the temple complex are still imposing but 60 years of neglect has made them colourless. The white paint used to brighten a canopy inside the complex has, in fact, buried its original floral work.
After the partition and migration of the Hindu population from Rawalpindi, the temple remained functional. In 1956, it was taken over by the Auqaf Department and survived as a place of worship until 1958 when a school for the blind, started by Begum Farooqi, was shifted into the complex. At that time it had a Baradari with rooms for worshippers, a pond and an Ashram.
In 1973, the school was taken over by the Punjab government. A new building was erected for the school in 1986 during the time of General Mohammad Zia-ul-Haq, when the wave of Islamisation was in full boom. It was the time when the original buildings surrounding the temple, the rooms and the pond were demolished and deprived of their beauty. A seminary nearby acquired almost half of the temple land.
The security guard at the school’s gate said that Muslims vandalised the temple at the time of partition. In 1992, in the wake of the demolition of the historic Babri Mosque in Ayodhya (Uttar Pradesh) by Hindus, when several Hindu temples were demolished across Pakistan, luckily the school administration prevented this temple from meeting the same fate.
“Its our national heritage and we should preserve it,” the security guard asserted!
According to him, some people in the school’s administration are thinking of demolishing the temple to increase the space for the school. But there are some good people too who do not wish so, he added, urging that this heritage building should be renovated so that it doesn’t meet any mishap.
The Punjab government has constructed some new rooms and hostels for the visually impaired students of the school in the complex. It can be claimed that despite its decaying condition, this temple is still much better preserved as compared to other abandoned temples of the city.
I saw some visually impaired kids playing cricket in the school yard. I asked one of them named Mustansir, “What are you doing here?” He said, “I am studying.” On asking what he was studying, he said, “ABC and 123.” It made me smile. When I was leaving, he urged me, “Where are you going, stay here!”
In my view, this is the best use that an abandoned temple can be put to: for providing shelter and home for visually impaired kids. And I think Kalyan Das will also not be annoyed with us, seeing this magnificent building being used for a good cause.
That said, it is also true that this architectural marvel is in desperate need of renovation and restoration work and the government must take notice of this need; this is not just an abandoned place of worship, but also an important heritage site of the city. And given the noble cause that it endorses now, this place serves to provide a huge symbolic impetus to people to open up their eyes blinded by hatred.
The Art of Storytelling and the Tale of Dastangoi
February 19, 2013 by Shiraz Hassan
Share:
.jpg) |
It’s a silver moon setting. An ethereal throne on a luminous floor, flanked on either side by thick cushions and ‘paan-daan’, with two celestial beings in velvety white clothes adorning the throne. A whiff of a gesture and a gentleman gets water in dazzling silver bowls for the duo. They both take little sips of water and clear their throat…and then one of them begins, spinning a yarn: (above: Danish Hussain and Mahmood Farooqui performing Dastangoi)
These times when the heart is nobody’s destination
When stones are used to pay respects to glass
In these times, the infidel voices of the heart, with defiance
The one who kept voicing, he was called Manto
Manto, who kept consuming poison all his life,
And kept calling for ‘life’ all his life
Peeling the layers of culture’s wounds of deception
He kept avenging for us humans all his life
(‘Ye daur jisme dil ka nahi hae koi maqaam
Patthar se kar rahaa hae jo sheeshe ka ehteraam
Is daur mein bajurrate rindaanaa dil ki baat
Kahtaa rahaa thaa koi to Manto thaa uskaa naam
Manto ki jisne zahar piyaa hae ba har nafas
Aur zindagi ka naam liyaa hae tamaam umr
Tahzeeb ka khurach ke harek gaazaa e fareb
Insaan ka inteqaam liyaa hae tamaam umr’)
In response, the second Dastango (a person delivering the Dastangoi performance) continues: “Manto was a 14-15-yr-old boy when I first saw him. A thin boy with a broad, black-framed pair of spectacles, ruffled hair, fair complexion, medium height, and an attractive voice. He would say things off the beaten track and think out of the box. He spoke and wrote fluently in English…” And thus the story begins. The audience is already listening with rapt attention, mesmerized by the scene and the performance.
.jpg)
Dastangoi, an ancient form of theatrical art in the subcontinent, is a special genre which presents both sad, epic tales and romantic stories. The genres of stories and novels in Urdu literature can be said to have developed from this art form, which could even be called a lost and forgotten metaphor in Urdu literature. The legendary Urdu poet Mirza Ghalib said: “Dastangoi is a fine art which is a good source of entertainment (‘Dastaan taraazi mann jumla funoon-e-sukhan hai, sach hai ke dil behlaane ke liye achcha funn hai’).” According to Urdu writer Kalimuddin Ahmed, Dastangoi is a long, detailed and complex style of storytelling. Famous Urdu scholar Gian Chandra Jain says that the literal meaning of Dastangoi is that of a story, a tale, a narration, whether it involves a poetic form or prose or opinion making. The story always has a relation to the past/history–it could be a natural and realistic tale or unnatural and fictional. According to famous writer Shams-ur-Rahman Farooqi, Dastangoi is basically a form of ‘performance’. In the Preface of his work Saahiri, Shahi, Sahib-e-Qurani, Dastan Ameer Hamza ka Mutaala (Volume 4), he says that a Dastan (story) might be written and published several times, but its language and form has to be essentially that of the oral tradition of storytelling. It is meant to be narrated verbally and heard.
Storytelling is a tough art. A Dastango is expected to have an ocean of words and expressions at his fingertips. He creates an entire milieu through voice modulation, painting various scenes. Sentences with punch, enticing language and an ability to sketch such images that keep the audience at the edge of their seats, curious about what will happen next––this, in a nutshell, is the art of Dastangoi.
The practice of translating Persian stories or Dastans to Urdu began in Lucknow at the end of the 19th century. It was during this time that Mir Baqir Ali was famous in his art of Dastangoi. His maternal grandfather Mir Aamir Ali and his maternal uncle Mir Kaazmi Ali, both of them acclaimed Dastangos, were associated with the Dilli Durbar. But after Mir Baqir Ali, for a very long time, we don’t find any major name connected to the art of Dastangoi. And in the present time, one has to look hard to even find the traces of this art form, which was once believed to be the pride of Awadh and Dilli.
Mahmood Farooqi and Danish Hussain, two young men in Delhi, were so moved by this loss that they tried to revive the tradition and within a few years, they were successful in their attempt to infuse a new lease of life into this theatrical genre. Their group that presents Dastangoi recently visited Lahore from Delhi and staged performances at various places. They had a candid, detailed conversation with this reporter about the art of Dastangoiand its revival in the contemporary world.
.jpg)
Much of the credit for the revival of Dastangoi can be given to Mahmood Farooqi. Talking about his first brush with this art from, Farooqi said that he heard the Dastans (stories) from his granduncle, famous Urdu writer and critic Shams-ur-Rahman Farooqi, who has also authored a book on Dastangoi. It was Shams-ur-Rahman Farooqi’s book Saahiri, Shahi, Sahib-e-Qurani, Dastan Ameer Hamza ka Mutaala that influenced him immensely with regard to the art of Dastangoi. “I have always been interested in theatre and films but this book opened up the doors of the new world of Dastangoi for me. Initially I was preparing to make a documentary film on Dastangoi. For that I started investigating the history of this art form. I read many Dastans and wrote quite a lot on the subject. I was immensely impressed by the art form and was totally in the grip of its magic,” Farooqi, who has a Masters in History from Oxford University, confessed, adding that much before he presented the Dastans on the stage, he was deeply moved by the elements of humour, drama and the lucidity and succinctness with which so much was said in the Dastans in so few words. “I was very influenced by the story of Ameer Hamza and his heroic fight with various negative forces, and the stories of Afra Sayaab and Umroo Ayyaar. I strongly felt that the Dastans could be presented on the stage in the manner of Dastangoi.”
Farooqi said that he got a chance to undertake detailed research on the tradition of Dastangoi when a Delhi-based non-government organization, Sarai, granted him a fellowship for this work. “During that time, I also gave a lecture on Dastangoi at India International Centre in Delhi, and that was when I got an opportunity to present this art form before common people,” he said. As a student of history and a theatre artist and a student of this art form, Farooqi believes that many idioms went into making the genre of Dastangoi–literature, theatre, history and a novel way of presenting history. Dastan Ameer Hamza, which is in 46 volumes, helped the art of Dastangoi reach its peak. These stories, which are hundreds of years old, still interest the audience, but the art from was becoming extinct and hence they decided to put in efforts to revive it, he mused.
Initially, Farooqi staged Dastangoi performances alone. But following Shams-ur-Rahman Farooqi’s advice, in May 2005 he decided to have two persons present these stories and after that Danish Hussain joined him in the performances. Farooqi feels that this change increased the entertainment value of the performances since it included dialogue between the two Dastangos and the atmosphere became more interactive. He gave his firstDastangoi performance with Danish Hussain in Mumbai in 2006 and from then, Dastangoi, the art form, embarked on a fresh journey. The two performers have already enthralled audiences with over 500 spellbinding performances in India and other countries. They are also currently training some 15-20 youngsters in this theatrical form, and each one of the students has already staged some 30 performances!
Farooqi and Hussain suggest that the theatrical art of Dastangoi should also receive patronage and be developed in Pakistan. Since at present there is no group in the country that performs Dastangoi, they offer to guide any Pakistani artist who wishes to be trained in this form.
.jpg)
Regarding his own journey vis a vis Dastangoi, Danish Hussain said that Marsia goi (elegy performance) was at the root of his interest in Dastangoi, adding that Marsia-goi of the works of classical Urdu elegy (‘marsia’: elegy) writers, Mir Anis and Mir Dabir, is quite similar to Dastangoi in its impact. “I have read and have been impressed by marsia writers since my childhood. But there is a little difference between Marsia goi and Dastangoi–as an art form, Dastangoi has similarities with Marsia goi but the former is very secular in its core. It is not associated with any specific community or group. Anyone can present it anywhere,” Hussain explained. He said that till mid1990s, he was associated with Marsia-goi and theatre, and was also employed in a bank. But in 2002 he left his job with the bank and since then has been totally dedicated to Dastngoi and theatre. He also shared that a radical turning point in his theatrical journey came when he acted in legendary playwright Habib Tanvir’s famous play ‘Agra Bazar’, which was adopted from the life story of Nazir Akbarabadi and is one of the finest theatre plays in Urdu.
The two Dastangos recalled that when they first started performing, this art form had almost gone extinct in India and they had to go through a tough phase to revive this beautiful part of the subcontinent’s literary and cultural heritage. Initially they were not very optimistic about succeeding, they confess, but with time, they managed to win the hearts of the audiences and got them interested in their storytelling. They also pointed out at another crucial aspect of the revival of Dastangoi. Urdu, about which once upon a time the famous Urdu poet Dagh Dehlavi had said, “It is us who know the language called Urdu, the language that is so immensely popular worldwide (‘Urdu hai jiska naam humi jaante hain “Daagh”/Saare jahan mein dhoom hamari zabaan ki hai’), has now been unfortunately overshadowed by English and Hindi in India and does not enjoy such popularity and favour. In such an atmosphere, presenting Dastangoi in Urdu is a very encouraging step for the Urdu language too, they noted. Farooqi further observed that although the status of Urdu in India is almost like a minority language now, they perform Dastangoi in Urdu and have done so in many cities where the audience’s Urdu proficiency would be low, but still they have received considerable appreciation and acclaim.
Regarding their performances in Pakistan, they said that they have performed 5 times in the country and the greatest joy in performing here comes from the fact that the audience here is more proficient in Urdu as compared to India and so they relish the language and the dialogues much more and understand the contexts better. As a result of the their understanding and enjoying the performances more, the appreciation received here is also more.
Expanding further on their journey with Dastangoi, Mahmood Farooqi said that they initially used extracts/stories from ancient epics like Tilasm Hoshruba and Dastan Ameer Hamzain their performances. Presenting these stories before modern audiences was a unique scene and a successful experience, and their art form received a lot of appreciation in cosmopolitan cities like Mumbai and Delhi. However, they slowly started creating newDastans (stories) too. This was a difficult task which required not only a high level of proficiency in the language, but also the art of creating a story and retaining the story element in the narrative–all these skills had to be woven together. But they did it. Some of the Dastans that they created and presented as Dastangoi were: The Partition Tale, Mantoiyat, Chauboli, Sedition, and Ghare Baire (based on Rabindranath Tagore’s novel).
.jpg)
The enthusiasm of the two artistes, however, is tempered with pragmatism. Danish Hussain believes that it may not be possible to fully revive the art from of Dastangoi to the extent of making it mainstream. But he feels that through their efforts, they are increasing people’s awareness of their heritage and history and creating in them a love for a lost art form and tradition. This is their biggest achievement. Hussain also pointed out that as an art form,Dastangoi is more difficult than regular theatre, but the benefit is that one doesn’t require any special sound system or other infrastructural elements for this. As an example, he reminisced about his Dastangoi performance on the stairs of Delhi’s famous Jama Masjid, and underlined that it was one of the most memorable experiences of his personal theatrical journey.
Elucidating further on the art form, Mahmood Farooqi observed that after being lost for a long time, the traditional art of Kissagoi (“kissa”: story) or Dastangoi was now emerging as a new genre of theatre, a parallel theatre form. In this regard, he touched upon the ever persistent debate about mainstream cinema and theatre versus serious/parallel cinema and theatre. He said that the audience for the latter is limited in numbers everywhere in the world and it would be unfair to compare the two. Bollywood has its own place and characteristics and serious cinema and theatre shouldn’t be compared to it. There is more scope for experiments in serious theatre and films and it is in these that people get to see unique things. Notably, Mahmood Farooqi was also an assistant director and writer of the critically acclaimed film ‘Peepli Live’ produced by Aamir Khan and Kiran Rao. He had assisted the film’s director Anusha Rizvi.
.jpg)
Highlighting the egalitarian nature of Dastangoi, Hussain said that this art form can be appreciated by all sections of society, which is how it should be, since no art form should be made niche and reserved for any specific section. Having sad that, he affirmed that a look at history will reveal that various traditions that began in the subcontinent at the grassroots and were meant to cater to all sections of the society (like various types of performances that happened in Dargahs, village squares (chaupals), or as street theatre) suffered utter neglect and were now becoming extinct. The persistent quest should be to not let that happen.
The Pearl of Hasan Abdal: Gurdwara Panja Sahib
February 18, 2013 by Shiraz Hassan
Share:
Color Meets Culture in Rawalpindi
February 2, 2013 by Shiraz Hassan
Share:
 |
| Colorful lights and chromatic atmosphere at Jamia Masjid road |
Sharing some glimpses of Eid Milad un Nabi (saww) in Rawalpindi. Colorful lights and Smiling faces. A treat to watch. Delight to see smiling faces of kids, women and old men.
 |
| At Jamia Masjid Road |
 |
| At Jamia Masjid Road |
| At Jamia Masjid road |
 |
| At Jamia Masjid Road |
 |
| At Jamia Masjid road |
 |
| At Jamia Masjid road |
 |
| At Jamia Masjid road |
 |
| At Jamia Masjid road |
 |
| At Jamia Masjid road |
 |
| Free food, at Jamia Masjid road |
 |
| One of 100s of stages, at Banni Chowk |
 |
| Halwa – Free food corner, at Banni Chowk |
 |
| Commonly known as Pahari – Kids activity |
 |
| At Jamia Masjid road |
 |
| At Jamia Masjid road |
 |
| At Jamia Masjid road |
 |
| Jamia Masjid |
 |
| at Raja Bazaar |
 |
| at Raja Bazaar |
 |
| at Raja Bazaar |
 |
| at Raja Bazaar |
 |
| at Raja Bazaar |
 |
| at Fawara Chowk |
 |
| Raja Bazaar |
 |
| 4 no. Chungi |
 |
| 4 no. Chungi |
 |
| Eid Gah Mosque |
The Abandoned Mandirs of Rawalpindi
January 28, 2013 by Shiraz Hassan
Share:
 |
|
Ambardaran mandir, Bohar Bazaar. All Photographs by Shiraz Hassan
|
In the early 19th century, the British made Rawalpindi the central seat of military power as they aimed towards Afghanistan. This was in line with their strategic approach towards the Russian Empire in order to enjoy and retain complete control over central Asia. Known as the Great Game, the conflict continues today in another form.
 |
|
In Chungi no. 4
|
After the Partition in 1947, Rawalpindi continued to be the General Headquarters of the Army. But Pindi has a lot more to tell than just martial tales. The city has been known for its heritage and culture. Its multi-religious character changed when almost all of its Hindu and Sikh inhabitants left for India. Sixty five years after the Partition, I went looking for their temples and Gurudwaras.
 |
|
A temple in Chungi no. 4
|
Walking around the old city, in areas like Krishanpura, Akaal Garh, Mohanpura, Amarpura, Kartarpura, Bagh Sardaraan, Angatpura, you can see Pindi’s heritage. There are about ten temples and Gurudwaras which are no longer functional and are in a very bad shape. One temple located at Kohati Bazaar is in good condition. Its premises are used as a government school for disabled children. Another beautiful Gurdwara known as Bagh Sardaraan is used by the Punjab Police as their main office.
 |
| A detail in a temple in Ganjmandi |
The temple located at Govt. Asghar Mall College is used as a scrapyard. A Shiva temple at Gunjmandi now houses storerooms or shops. There are some more abandoned temples scattered around College Road, Bohar Bazaar, Purana Qilla, Bagh Sardaraan and then some outskirts of Rawalpindi which are on the verge of collapse.
 |
| In Ganjmandi |
In the old area of Lunda Bazaar, there used to be three temples, a Gurdwara, a Khalsa School and many Havelis of Hindus and Sikhs. Of the three temples, two have survived. The third, of goddess Kali in the main bazaar, no longer exists. It has been converted into living quarters and extensions have been made, thus changing the original structure entirely. In Lunda bazaar there is a tall structure of a temple known as Mohan Mandir. This temple is believed to have been built by two Hindu Hakims in 1930, Hakim Asa Anand and Hakim Moti Ram.
 |
| In Ganjmandi |
It is sad that even though there are so many abandoned temples in Rawalpindi and Islamabad, there is not a single place for the Hindus living in the twin cities to celebrate their festivals like Diwali, Shivratri or Holi. There are more than 25,000 Hindus living in Rawalpindi and Islamabad. Some of them have migrated from other parts of Pakistan, mainly the Sindh province.
 |
| The entry to a temple in Gunjmandi. |
Recently, following a request from Ramesh Lal, a Hindu parliamentarian of the ruling Pakistan People’s Party, Prime Minister Raja Pervez issued a directive to the chairman of the Capital Development Authority to build a new temple for the Hindu community. That is no doubt a good gesture but the government must also urgently restore and preserve the old heritage of the city.
 |
| In Ganjmandi |
 |
| Gurdwara Bagh Sardaraan |
 |
| Mohan mandir at Lunda Bazaar |
 |
| A detail in Mohan mandir, Lunda Bazaar |
 |
| In Purana Qilla area |
 |
| In Bagh Sardaraan |
 |
| In Sagri village, Rawalpindi |
 |
| A temple near Rawal lake in Islamabad |
 |
| A temple near Rawal lake in Islamabad |
 |
| Twin temples in Sagri village, Rawalpindi |
 |
| In Purana Qilla area, Rawalpindi |
This post was originally published at Kafila
Pakistan’s Kartarpur, a Historical & Sacred Place: Aiming for Peace for Southeast Asia
January 7, 2013 by Shiraz Hassan
Share:
You can divide a piece of land but you cannot divide a belief. This was my first impression when I reached Kartarpur, a historic and sacred place, located just three kilometres away from the Indian border in the north-eastern city of Narowal, in Pakistani side of the Punjab.Kartarpur is the city of Baba Guru Nanank Ji, the founder of Sikh religion. He is equally respected by Muslims and Hindus. But why I decided to visit Kartarpur? This was the question I asked to myself many times even during the journey. But when I reached there, I finally found the answer.
My journey started from Lahore and it was one of the most exciting journeys of my life. It offered some wonderful natural views. Both sides of the road were adorned with lush green fields of rice crops. It was a single lane road and there wasn’t much traffic during early morning hours, so the journey was quite relaxing and amusing.
Finally, I reached Narowal in some two and half hours. The road from Narowal to Shakargarh sub-district, where Darbar Kartarpur Sahib is located, is a newly-built double road so I reached there in half an hour.
Gurdwara Darbar Sahib Kartapur is about 100-km from Lahore and 180 Km, from Nanakana Sahib via Lahore. Before the Partition of 1947 it was part of district Gurdaspur but later became part of District Sialkot. But then the Sialkot was bifurcated and Narowal carved out as a district. It is also called Dera Nanak Baba.
There is a nearby railway connection which is named ‘Darbar Sahib Kartarpur’ on the Lahore-Chak Amru line. On the Indian side it is opposite to: Village & Post Office, Police Station Dera Baba Nanak, Tehsil Batala, Distt. Gurdaspur Dera Baba Nanak is 54 Km from Amritsar, 35 km from Batala and 39 Km from Gurdaspur
The gurudwara (Sikhs’ temple) is located next to a small village called Kothay Pind on the west bank of the Ravi River. The original abode established by Guru Nanak was washed in floods.
The present gurdwara was originally built at a cost of Rs.1,35,600, from funds donated by Sardar Popindar Singh, the Maharaja of Patiala. It was repaired by the government of Pakistan in 1995 incurring expenditure in millions of rupees. It has a spacious and beautiful building.
The gurudwara at Kartarpur can be seen from another gurudwara located across the border in the historical town of Dehra Baba Nanak in India
From the main road to the village where this gurdwara is located, upon turning towards Gurdwara Kartarpur Sahib, one experiences being close to the nature. The beautiful sight of green fields welcomes you.
The village kids running around, the bull-carts moving slowly on the road. Mud houses, tube-wells drawing water to irrigate fields and then you will see the white structure of the gurudwara standing silently amid green fields and under a blue sky.
This was the sight I may never forget. I felt like that a dove is sitting among the fields or a ‘father’ is standing tall in the middle looking for his lost and estranged sons.
Unlike other holy places of Sikh religion in Pakistan, this gurdwara is one of its own kinds, especially, because of its scenic location. According to the Sikh history, Kartarpur is the historical place where Baba Guru Nanak Ji departed from this world on 23rd Assu, Samvat 1596 (22nd Sept. 1529 AD).
The history of Kartarpur is very fascinating. According to Sikh historians in the year 1520, Mughal King Babar attacked India. His troops slaughtered thousands of innocent civilians. Women and children were made captives and all their property looted at Amiabad. Guru Nanak Sahib challenged this act of barbarity in strong words. He was arrested and released, shortly after Babar realised his highhandedness. All the prisoners were also released.
After the release, Guru Nanak Sahib settled down at Kartarpur city which was founded by him in 1522 and spent the rest of his life there (1522-1539). There started daily kirtan and langar (free food for the poor) was introduced. Knowing that the end was drawing near, Guru Nanak Sahib, after testing his two sons and some followers, installed Bhai Lehna Ji (Guru Angad Sahib) as the Second Nanak in 1539, and after a few days passed onto Sachkhand on 22nd September, 1539.
According to Sikh history when Guru Nanak died, Hindus and Muslims disagreed on how to perform his last rites. A samadh (Hindu tradition) lies in the Gurudwara and a grave (according to Muslim traditions) lies on the premises as a reminder of this discord.
When it became clear that the death of Guru Nanak Dev was near, a dispute is said to have arisen amongst his followers. His Hindu followers wanted to cremate the remains as per Hindu tradition, while his Muslim followers wanted to bury the body as per Islamic traditions.
Nanak brokered a compromise by suggesting that each group should place a garland of flowers beside his body, and those whose garland remained fresh after three days could dispose of his body according to their tradition. It is said that the next morning, upon raising the cloth under which the Guru’s body lay, only the flowers shared between his followers were found. The Hindus cremated their flowers whereas the Muslims buried theirs.
There are historical references that Guru was against division of society on the lines of Muslims and Hindus (and Sikhs). Guru insisted that both Muslims and Hindus should observe the values of the respective faiths and that leading truthful life was important. Muslims treated him like a ‘murshad’ and the Hindus referred as the guru.
Sikhs believe that since Guru Nanak never tolerated divisions on the lines of religions, Kartarpur can’t be divided. You can’t keep it in a sectarian way. This aspect was well demonstrated in 1947 when Sir Ceril Radcliffe drew boundary-line between India and Pakistan. According to June 3, 1947 division plan the whole of Gurdaspur had gone to Pakistan. That meant Kartarpur going deep in the Pakistani territory. But the plan didn’t work and had to be amended. Now the District of Gurdaspur was bifurcated and the line that bisected Kartarpur finally worked — hence two of the temples going to Pakistani side and one remaining in the Indian.
The plan worked but Kartarpur remained abandoned for 56 years and wild shrubs have grown all around its building, just like the political animosity between the two countries.
Later, Both India and Pakistan governments reached an agreement to build the corridor from Dera Baba Nanak to Kartarpur Sahib, about 4 kilometer distance, sometime in 1998, in order to enable the Sikh pilgrims to visit Gurdwara Kartarpur Sahib in Pakistan without visa or passport. But there has been no progress in that regard and both the sides are to be blamed for that officialdom. Various organisations had been taking up the issue for the construction of the corridor.
Sikh devotees often gather near border fence and offer prayers while looking at Gurdwara Kartarpur Sahib in Pakistan. The Border Security Force has specially constructed ‘Darshan Sthal’ by providing binoculars to the visiting devotees for a clear view of the gurdwara.
No doubt it is a high time when Kartarpur Dera Sahib Gudwara could play a vital role for a long-term peace in the region, as some experts say that Kartarpur-Dera Sahib can be used as corridor to peace in the region.
Sixty seven years has passed since the Partition and finally India and Pakistan moved one step ahead toward peace. Recently the foreign ministers meeting in Islamabad regarding visa liberation may be remembered as a landmark but it is not just enough. We need to move further close and should welcome each other with open arms. It is time to make your voice heard since peace alone could end hatred that has been growing over the years. This is the cause we all should advocate.
As a Punjabi poet Surjit Patar has said:
As a Punjabi poet Surjit Patar has said:
“Kal Waris Shah nu wandeya si Ajj Shiv Kumar di waari hai
Oh zakham tuhanu bhull vi gaye Je navean di hore tiyari hai”
(Yesterday we divided Waris Shah, today it is the turn of Shiv Kumar Batalvi, have you forgotten the old wounds that you are looking for more, anew?)
This article was originally published in monthly The Rationale
This article was originally published in monthly The Rationale
Lahore’s Shahi Hammam: Where Royals Got “Refreshed”
November 30, 2012 by Shiraz Hassan
Share:
In Lahore, the Shahi Hammam or also known as the Wazir Khan Hammam is the only public place for bathing or refreshment of the Mughal period. The hammam was used by the royal families including emperors in the time of Shah Jahan, the fifth emperor of the Mughal Empire from 1628 until 1658.
The Shahi Hammam was built inside the Delhi Gate by Hakim Sheikh Ilmuddin Ansari, a native of Chiniot, commonly known as Wazir Khan, who rose to be the court physician to the emperor and a governor of Lahore. The Delhi Gate, one of the twelve gates of Lahore, was built by Jalal-ud-Din Muhammad Akbar, the third Mughal emperor.
The Delhi Gate is one of the most well-preserved gates and one of the liveliest with numerous markets. One of the most interesting features of the historically significant site is its Turkish style bath that is popular throughout the Islamic world, which provided reservoir fountains, dressing rooms, a hot room, and a warming room, additional latrines, and facilities for hot water.
Pakistan is among the three countries (other two being Turkey and Greece) where hammams like these still existed. Beauty of the historical remnant had mainly been ruined because of encroachments. Before and after the partition, people occupied the land surrounding the Shahi Hammam. The encroachment severely damaged the walls and beauty of the historical heritage, destroying the mosaic work on the walls and ceilings of the hammam.
However, the Punjab government has finally turned its attention to the deteriorating historical heritage, and successfully removed encroachments from its surroundings. The Archaeology Department is taking measures so as to renovate the hammam. The government had provided Rs 3.6 million for the first phase of renovation process while the World Bank had provided Rs 50 million for the removal of encroachments. The first phase (of the renovation) would include complete preservation and renovation of the outer walls.
In the next phase, the marble flooring of the structure (laid down in 1990), would be broken to reveal its original floors and the water channels underneath. The water system would be fully explored and restored with special focus on water routes, linking of hot and cold baths to channels underneath, route of the water drains, etc. The shops that were built around the hammam would also be dug to reveal what lay underneath them. A proper map of the hammam would be made, guiding the visitors about each and every corner of the place.
Nowadays, encroachments removing work is in progress. Besides that its the the fact that not many people know about Shahi hammam, one of the important landmarks of the Mughal period. Next time when you visit Lahore, don’t forget to visit this place.
