FILM LYRICIST RAJINDRA KRISHEN AND PUNJABI FOOD

                                                                       

               PUNJABI FOOD , " RANG DIL KI DHADKAN BHI LAATI  TAU HOGI " AND RAJINDRA KRISHEN..(1919-1987)

 

( Rajindra Krishen with Sunil Dutt )..

 

 

During the making of Patang ( a film that was co produced by Hargovind Duggal, brother of Rajindra krishen ) there was a little delay from Rajindra Krishen ‘s side with regard to writing two songs, tunes for which were already composed by Chitragupta . Chitragupta told Rajindra krishen that he can not wait anymore and he needed two songs for the tunes that he had already composed . As usual , Rajindra krishen (who would always complete screenplays and dialogues on highest priority ) tried to put him off with some excuse . To get things expedited , Chitragupta worked on a plan. He told Rajindra krishen about his discovery of a very good Punjabi restaurant in Dadar .Amused , Rajindra krishen wanted to visit that restaurant there and then . Together they went to Sher e Punjab restaurant in Dadar ,Mumbai . Chitragupta had already fixed with the restaurant manager for some good Punjabi food . The restaurant had a Tandoor as well.

 

While they were having their food , Chitrgupta asked Rajindra Krishen to listen to two tunes that he had composed and wanted him to add lyrics to these tunes .And Rajindera Krishen liked both the tunes . After he was free from his meals , Rajindra krishen said :

 

“ Yaar harmonium kahaan hai “

 

“Meray Ghar pe “

 

“Chalo vaheen chaltay hain”

 

“Kaagaz kaapi hai vahaan “

 

“Nahin “

 

“Chalo dekhte hain raaste mein le leinge . Pakdo taxi .”

 

On their way , they tried to find some stationery shop but could not locate one . Rajindra Krishen saw a typing institute and asked the taxi driver to stop. He went inside and requested for a sheet of paper . Now he needed a pen or pencil. The typing institute man gave him an old pencil that needed to be sharpened . A new blade was purchased from a nearby shop as suggested by the typing institute owner. Back in his taxi , Rajindra Krishen asked Chitragupta to repeat the tune and  he immediately wrote opening lines for two songs “Rang Dil Ki Dhadkan Bhi Laati To Hogi “and “Teri Shokh Nazar Ka Ishara “ for Patang , a 1960 super hit film. The opening lines were written while the taxi was speeding towards the residence of Chitragupta. Once inside Chitragupta’s house , Rajindra Krishen wrote complete songs in half an hour .Both the songs turned out to be hit numbers .Next day , he completed the remaining songs in another sitting with Chitragupta.

 

It may be pertinent to add that Chitragupta had worked with Rajindra Krishen in AVM’s Bhabi , a super hit film of 1957 . Rajindra Krishen had composed two songs for that movie that went straight to the lips of millions in India. These songs were hummed by them in their work, journey, homes , everywhere and anywhere. The songs were “Chali Chali Re Patang” and “Chal Udd Ja Re Panchhi “ .Rajindra Krishen also wrote the dialogues of Bhabi . Chitragupta knew that while Rajindra Krishen was quick and prompt with screenplays and dialogues , he was a bit casual when it came to lyrics . He also knew that Rajindra Krishen was fond of Punjabi food . Rajmah , Maah Ki Daal , rice , Naan , chicken , Saag meat , Allu Parantha , Methi Parantha , Baingan Ka Burtha , Makki Ki Roti and Lassi and so many other things . 

 

At a point of time, any song that Rajindra Krishen wrote would become popular and add to Box office revenue of the producers. And this genius and his talent remained largely noticed.

 

"There was only one lyricist in this industry from the '40s to the '60s after whom producers, financiers, directors, composers and even stars ran as if he was a mega-star, just to get him to work with them, and that was Rajendra Krishan...!" so says his son.

 

A low profile was his trade mark. He did not create much literature apart from what he wrote for films . He wrote songs for more than 350 ( his son says 386) films, dialogues for more than 100 films and screenplays for an equal number of films . Though he wrote most melodious songs of his time that created musical sensation , he always maintained a low profile and lived a family life.

In Mumbai’s film world , any person who worked with Rajindra Krishen would say that he was an “ Invisible Giant “.

 

Fond of smoking, playing cards and going to the race course, he once won a jackpot of Rs 48 lakh in a derby race and contributed generously to the Prime Minister's Relief Fund.

 

On September 23, 1987, he felt uncomfortable at home and was taken to Breach Candy Hospital, where doctors examined him. Nothing serious was diagnosed and he was asked to go home. But just as he was leaving the hospital, he collapsed and couldn't be revived.

 

 

I end this post with some lines from the song "Rang Dil Ki Dhadkan Bhi Laati To Hogi " that was almost conceived and composed in a moving Taxi.....

 

 

"Pyaar ki kushbu kahaan Aati thi kaliyon se

Ho ke Aayi hai havaa bhi unki galiyon se

Chhu ke unke daaman ko aati to hogi ....

Rang Dil Ki Dhadkan Bhi Laati To Hogi

Yaad Meri Unko Bhi Aati To Hogi..."

 

( Avtar Mota )

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DID WE BELONG TO THAT LAND ?

                                                                             

                   ( A  Kashmiri Pandit  woman outside her refugee tent in Muthi Jammu   )

 

 

My eyes are moist. The exile is tormenting, painful and real. So are the deaths of so many innocents. Today I am reminded of some couplets of poet Jaun Elia's. 

 

 

 

 

"Hum to jaise wahaan ke thay hi nahin

Be-amaan thay amaan ke thay hi nahin

un ko aandhi mein hi bikharna tha

baal o par aashiyan ke thay hi nahin

Ab hamara makaan kissi ka hai

hum to apne makaan ke thay hi nahin

hum ki hain teri daastaan yaksar

hum teri daastaan ke thay hi nahin

dil ne daala tha darmiyaan jin ko

log vo darmiyaan ke thay hi nahin.

ho teri Khaak-e-astaan pe salaam

hum tere astaan ke thay hi nahin

hum ne ranjish mein ye nahin socha

kuchh sukhan to zubaan ke thay hi nahin

us gali ne ye sun ke sabr kiyaa

jaane wale yahaan ke thay hi nahin"

 

 

( Avtar Mota )

  

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SAIF UD DIN KITCHLOO : THE UNSUNG HERO OF INDIA'S FREEDOM STRUGGLE

                                              

THE HERO OF JALIANWALA  BAGH , AMRITSAR......DR SAIF UD DIN KITCHLOO ( 1888-1963)

" The story of humanity is never a story of religion alone. our history is full with details as to how assertive religious identities have brought gloom and misfortune for human beings..I oppose the very idea of partition as It is neither in the interest of Musims nor Hindus.It can only be delivered with blood of millions of Indians and mad violence. It is against the idea of lasting peace in the subcontinent and Asia. Generations of Indians will pay the price for this blunder on our part. A wall and institutionalised hatred can never deliver peace and stability. I am surprised that my friends in Congress have also opted favourably for this resolution. I can only feel sad and lonely in case you surrender Nationalism to communalism."

(Dr.Saif ud Din Kitchloo)

                                       

           ( Dr Kitchloo with Sardar Patel )

     ( Dr Kitchloo with freedom fighters at Amritsar)

Dr Saif ud Din Kitchloo was out and out a nationalist leader who fought against British Raj.He was from a well settled Kashmiri Muslim family of Amritsar.He was General . Secretary AICC and also headed Punjab unit of AICC before partition.A hero of Jalianwala Bagh , he spent more than 14 years in prison during British Raj.A Gandhian, he built Swaraj Bhawan in Amritsar that became a hub of Hindu Muslim unity.

After 1947, he lived in Delhi and associated himself with the Communist Party of India. He is the unsung architect of' Indo Soviet Friendship ' at its initial stage. The Russians awarded him with Lenin Peace Prize. He was a close friend of Madan Lal Dingra and Dr Satyapal , great freedom fighters from Punjab. Toufique, his only son , survives from his family.Toufique lives in Delhi and worked previously in Poland ,Germany and Ethopia.Toufique (born 1932) has also written a book on his father. Dr Saif ud Din Kitchloo died in 1963.

In 2002, I was informed by one Dhani Ram Sharma , (age 85 years at that time , who would call on Punjab National Bank, Lawrence Road ,Amritsar where I was posted ) as to how on every Ram Navmi day Dr Kitchloo would lead Ramnavmi procession of Hindus in the city. In fact I came to know many things from this elderly person.He also informed that there was a Kashmiri Brass Band owned by a Kashmiri Muslim family in the city that was always in demand during marriage season for its excellent Shehnai players. According to him, Dr Kitchloo had a huge mansion in the old city in Karmuwali Deohri .After 1947, he never claimed the property and desired that it be allocated to some Hindu refugee from Lahore while he himself moved to Delhi. The property was damaged in 1947 communal frenzy.This gentleman also informed me that Kashmiri Shias in Amritsar had an Imambara and graveyard in Sultanwind Road area .The Kashmiri Muslims of Amritsar were educated and engaged in Shawl business and other government jobs.Some leading lawyers of the city were from the Kashmiri Muslims community who later moved to Lahore. Two famous lawyers of Amritsar were Kashmiri Muslims who belonged to Manto family.Then you had the well known Dar and Butt families . There was a Zargar family who were well known goldsmiths .Sh Dhani Ram Sharma also informed me that Pandit Dwarika Nath Kitchloo of Amritsar belonged to a wealthy Kashmiri Pandit family engaged in Saffron and Shawl business .Tikoo family was another reputed family apart from Mattoos who built the Kashmiri Shivala at Farid Chowk ,he informed.

(Avtar Mota )

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BOOK REVIEW. BAHARISTAN I SHAHI ( A CHRONICLE OF MEDIAEVAL KASHMIR )

                

                                             

BOOK  REVIEW….Baharistan-i-Shahi (A Chronicle of Mediaeval Kashmir)
by Kashinath Pandit,
2nd edition., paperback, pages 312,
published by Akshaya Prakashan, Delhi-110052,
(E-mail: harish@akshayaprakashan.com)

Not everybody can be a good translator. Translation is more than linguistic knowledge or accuracy. A good  translator must possess some basic qualities like proficiency in source and target  language ,  writing skills , enthusiasm to appreciate other cultures, a passion for  details and above all professionalism . From my study of the book under review  , I am convinced that Kashinath Pandit  possesses many more qualities apart from the ones  listed by me. From the study of the  book , it becomes  amply  clear that  Kashinath Pandit  is a traveller , historian , writer , teacher and above all a translator par excellence . 

 
Let us delve a little  into the background of the translator . At  Teheran university , Kashinath  Pandit  had been a  favourite student of   the world renowned  scholar  Prof. Dr Zabiollah Safa ( 1911-1999)  , a doyen of Persian literature.  Dr Safa was an author , teacher , polyglot , philosopher, writer , translator and editor. Kashinath Pandit did his doctorate under the guidance of Dr Safa . Studies relating to  Central Asia have been an area of specialization for Kashinath Pandit. He has  extensively travelled to various countries in the Central Asia , Europe and also visited the US many times .He retired as  Director  Department of Central Asian Studies , University of Kashmir . Author of books like ‘My Tajik Friends ‘, ‘Avicenna – An Introduction’ ,  ‘Iran and Central Asia ‘,  ‘Ladakh, Life and Culture (edited )’ , ‘Hafiz of Shiraz (Urdu)’, ‘Ten Studies in Kashmir’ ,  Kashi Nath Pandit has also translated ‘Tohfatul Ahbab’ into English from Persian. He has also been awarded Padamshri by Government of India .

The book under review is the  second edition of the well known “ Baharistan I Shahi “ translated  from Persian into English by Kashinath Pandit. Baharistan I Shahi is a Farsi manuscript that deals with the history of  Kashmir brought down to 1614 A.D.  The manuscript remained inaccessible to non Farsi knowing scholars and historians . The first translation of the Farsi manuscript was done in 1991 by Kashinath Pandit from a collated text of the two existing and reliable manuscripts held by India Office Library  and  British Museum . This Farsi text deals with the early Hindu period in a summary manner  ( giving it just 11 out of a total of 212 folios )and essentially focuses on the rule of  Shahmiri Sultans and Chaks . Translating this work has been a tough job on account of many factors. The  Farsi manuscript of the chronicle is a single  long narrative without segregation of rulers or period of their rule . The translator has done a value addition by segregating  this text into chapters that make it easy for the readers to understand the events and happenings period wise . This segregation has been done with a skill that leaves no scope for overlapping of events or their  dislocation from the flow .The translator has also taken great pains to correct  some incorrect names of the places mentioned in the Farsi manuscript.  For this he has consulted  relevant historical texts like Rajatarangini ,   Nilamata Purana , Ain I Akbari ,  relevant  Gazeteer  of Kashmir , Buhler’s Report , Tarikh I Hasan , Tarikh I Malik Haider Chadura and many more books . The transliteration of  the Persian or Arabic or Sanskrit words and phrases has been done in accordance with the accepted system with diacritical marks wherever necessary . The translator has also taken pains to convert Hijra years of the Farsi manuscript  into Christian years .

The greatest quality of this translation remains the  footnotes  of the translator . These footnotes reveal the deep study ,  the  erudite scholarship  and  the  knowledge of  history that the translator has.  The footnotes help even a layman in understanding the  events in a proper historical perspective .

Baharistan I Shahi  is an important historical  document  that needs to be widely read and  known. The author of this work appears to have been close to the rulers of his time and some events are thus first hand account of the rule of Chaks . He also appears to have been very close to Sayyids  whom he praises lavishly .The book also gives a fair  glimpses of the events , style of governance ,  court intrigues , political rivalries. personal enmities ,  battles for power , general  outlook of  Shahmiri and Chak rulers, role of  Mughal rulers  , role of Baihaqi Sayyids  and Mir  Shamasu‘d- Din Iraqi in Kashmir .

One amongst the major issues dealt in this book is the large-scale  conversion of  the Hindus  of Kashmir and demolition and destruction  of their  places of worship..  What Jonaraja has said in a summary manner , the author of Baharistan I Shahi provides the same  information with  details  .The book also informs the reader about the contempt  that the  Sayyids had for the local Kashmiri population. The Kashmiri Hindus who were converted to Islam also did not venerate the Sayyids who claimed high birth and at times told publicly that they were “ Musalman Brahmans “ as against “ Hindu Brahmanas “ .   Baharistan I Shahi endorses that greatness and virtues of Sultan  Zain ul Abdin whom Jonraja calls as incarnation of Vishnu .  Although  the author of Baharistan I Shahi is not happy with Sultan Zain ul Abdin for his liberal policy towards   the Hindus , he praises the Sultan for his splendid work in all other areas.

 
Bahiristan I Shahi is important  historical document on account of its numerous references to geography and topography of Kashmir. The book makes ample mention of lakes, villages , mountains , passes , routes , springs , rivers and boundaries of Kashmir. The chaos created by the death of Sultan Zain ul Abdin also finds detailed mention in the book .  According to the author , the enmity between various groups of  Kashmiri chieftains  led finally to the arrival of Mughals on the scene . The visit of Sheikh Yaqoob Sarfi to Akbar’s court proved as catalytic agent to the Mughal rule in Kashmir .

Concluding this review , it shall be purposeful for every reader of history to go through this translation and have a glimpse of Kashmir’s troubled history with first hand account of some period  to which the author of this chronicle has been a witness. The  erudition , research and hard work of the translator is visible at every page and its footnotes .

( Avtar Mota) 

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LEELA MANDALI ,THE ANCIENT TRADITION OF GROUP SINGING IN KASHMIR..

                                                                                

LEELA  MANDALI ,THE ANCIENT TRADITION OF GROUP SINGING IN KASHMIR..

 

 

Music has been a part of Kashmir’s social life since ancient times. During every festivity, whether religious or semi religious or seasonal ( sowing , harvesting spring ,and new snowfall ) , the main item of celebration has been music ; vocal and instrumental .The Nilamata Purana makes mention of professional singers and dancers active in ancient Kashmir . The Nilamata Purana also makes mention of Vadya ,Vaditra and Vadya Bhanda as the category of key musical instruments .If one reads Vishnudharmottara Purana , one finds mention of Ghana ( cymbal ) , Vitata ( percussion ) , Tata ( stringed instruments ) and Susira ( wind instruments ) . So musical instruments of ancient Kashmir are altogether different from what we see presently . The Harmonium , Tabla , Sitar , Banjo , Sarangi , Rabab and some more musical instruments in use currently have nothing to do with ancient musical tradition of Kashmir that had Venu, Veena ,Pataha, Shankha, Damru, Muraja, Dundhubi and other musical instruments. Even Tumbaknaar is not the ancient Kashmiri musical instrument. The Santoor may have been the ancient musical instrument of Kashmir as we find mention of Shat Tantri Veena ( hundred stringed percussion instrument ) in ancient scriptures like Taittiriya Samhita although the Nilamata Purana is silent about it .

 

The Leela singing by a group of singers/musicians popularly known as Leela Mandali is very old tradition of Kashmir. It finds mention in the Nilamata Purana ,Kathasaritsagar and some more tex'ts apart from works of Biilhana and Kshemendra.These texts hint at the existence of 'Sangeet Mandala' apart from Nritya Mandapa' in the ancient temples of Kashmir . These books also inform about the presence of Devdasis in some temples of Kashmir.The practice of sacred devotional singing finds mention in Acharya Abhinavgupta's Tantraloka.It finds mention in Mahabharata ,Vedas and many other ancient scriptures. The style, instruments,  and  lyrics may have changed drastically but the purpose and occasion remain unchanged. 

 

Group singing in temples or shrines during social or religious festivities has been a part of the civilizational ethos of Kashmiris . We come across many reference in ancient texts and religious scriptures about group or Mandali singers performing on festivities like Sri Krishna's birth day, Shivratri celebrations, spring festivals, marriages and other socio- religious events.

 

Coming to Mandali singing , we find this practice in vogue in temples, shrines and homes in ancient, mediaeval and modern Kashmiri society. Every temple or shrine in Kashmir had musical instruments . Professional or amateur singers would perform at these places on special occassions. These musical groups would also perform in houses carrying their own instruments . The ancient instruments were replaced by Chimta, Matka or Gaagar, Khasoo, Thaal, Harmonium, Tumbaknaar, Banjo and many more. Some temples or shrines in Kashmir had a regular night long Mandali singing sessions which extended till morning hours . There was a practice of Mandali singing at Hari Parbat temple on every Saturday. It was attended by people from all parts of the city . Similar practice was in vogue at Pokhribal temple and even inside Mohalla temples in Kashmir valley. Many families also had regular Mandali singing sessions attended by their friends and relations. Leelas of Krishen Joo Razdan, Parmanand and Lal Vaakh were quite popular in these sessions. The Mandali singing would begin with Vaakhs of saint poetess Lal Ded. This Mandali tradition had a great role in civilizational continuity and preservation of heritage amongst Kashmiri Pandits.

 

The Mandali singing tradition that had evolved over centuries in the Kashmir valley is fast disappearing after the displacement of Kashmiri Pandits from their original homes and hearths. Serious efforts are needed at all levels to preserve and protect this rich tradition . We need to remember and know how effectively the Bengali society has fought the onslaughts of modern living ,urban migration and other issues to preserve its rich heritage of Baul singing. Every musical tradition in the world is nothing but a part of the Intangible Cultural Heritage of Humanity.

 

 

( Avtar Mota )

  

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HARI TALKIES ,JAMMU..

                                          

HARI TALKIES, JAMMU...

Hari Talkies is owned by the well known KC ( Mahajan ) family of Jammu . The family bought Uttam Talkies also whereat they raised the KC Residency( Hotel ) with a rooftop revolving restaurant .Apart from taking the major lead in activating the industrial activities in the state, the K.C. family gave two modern cinema halls, a cineplex, a good public school and a revolving restaurant to the Jammu city. Through their hotels and various industries, this group was the biggest private-sector employer in the state .

Uttam group was owned by the family of Sardar Uttam Singh. The Uttam group owned a flour milll apart from the famous Uttam Talkies located on the Residency Road,Jammu

When KC, Shakuntala, Swarn and Apsara were not opened,Hari, Uttam and Shankar were the main cinema halls of the Jammu city. Hari was much sought after by family visitors. It was centrally located at Raghunath Bazaar close to Raghunath Ji Temple. One could walk to the cinema from any corner of the old city. I remember O P Ralhan's 'Talash' was shown in this hall.It was distributed by a Jalandhar based distribution company at an exorbitant price. The proprietors of Hari had purchased a single print of the film that was shown in two halls ; Uttam and Hari .The show at Uttam would start half an hour later. The employees from Hari would physically carry the cinema reels in parts in a box to Uttam Talkies . Some very good movies would be screened at Hari and Uttam Talkies . Later ,only B grade movies were screened at these cinema halls.Hollywood movies were also shown at Hari cinema sometimes during the morning show . After the renovation of 1980, the cinema bought some new releases for screening but later on this practice was withdrawn.

A cinema lover from Jammu told me this :-

" The location of this cinema has been the key attraction. Seats in the hall are very old and torn . Ticket prices are certainly very low in this cinema hall. A balcony ticket over here costs just eighty rupees.That way you get the value of money. New films are not released in this hall. The crowd visiting the cinema hall creates lot of noise and disturbance. For some time, it became a place of lovemaking for young boys and girls. That looked very cheap. I wish it opens with some new release and restores its past glory with immediate repairs and renovations . "

The cinema needs extensive repairs and renovation although some renovations were carried out in1980 . I believe the land upon which Hari Talkies was built remains leased to the owners by the trust that manages Raghunath Ji Temple of Jammu. .

Due to Covid-19 restrictions, the cinema lies closed. Since long ,the vacant land around the hall has been converted into paid vehicle parking space . I also park my car over here as and when I visit Raghunath Bazaar.

Unfortunately, some prime cinema halls of Jammu are closed since long due to litigation . Swarn cinema at Gandhinagar and Jewel Cinema in Jewel Chowk fall in this category. Swaran was owned by two families ;Khurana and Bhallas from Jammu.The Khurana family did petrol business under the name and style of Sital Singh Issar Singh while the Bhallas were promoters of NITCO transport company . 

 

Shankar cinema stands converted into a cold storage . Shankar was owned by Wahi family of Jammu who also owned the Jewel cinema. I happened to know one elderly person from this Wahi family who would come to the bank in an elegant Achkan and a Churidaar Pyjama. I was posted at Canal Road branch of the bank and the family lived nearby. He was a thorough gentleman. On certain days, Shankar cinema would keep one show exclusively for ladies . It was known as 'Ladies Show ' . Tiger cinema at Satwari was also open to civilians although it was well inside the army area. 

 

Hari cinema would issue concessional tickets to students on production of proper Identity Card. I believe some more cinemas in  Jammu  provided this concession to students.

Hari Talkies needs to be preserved and managed in a better way once it opens after the Covid-19 restrictions. It needs some urgent repairs and renovations..

( Avtar Mota)

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OUR WOMEN LIVED LIKE THAT SOME DECADES BACK

                                             

Some  decades  back, In Kashmir  , every  Rani, Lakshmi, Janki, Parmeshwari, Chaanda,  Gauri ,Dhanwati ,Shubhawati, Benjigir,  Raj Dulari  or Benitaeth was poor. These women were engaged in   service , sacrifice and implementation of ruthless  selflessness.  They  had to work from 6 a.m. till 11 p.m. All these women  cooked food, washed utensils, washed clothes, did house cleaning and  other allied domestic work apart from maintaining family ties  .They were the  first to get up  from sleep and the last to sleep in their families .Even if they were  unwell, they  followed this routine. 

 A set of Pherans or Sarees , a sandal  and a Dejhoor given by  parents was their  material possession in the family.  They ate last of all and quite often there was little food left for them  to eat.  Their worry was to provide for all except their  own self. They would   burn wood and cowdung  for cooking and inhale the harmful  smoke . They inhaled the harmful smoke of the saw dust  burner known as Kosh Dammchul .Displaying an affectionate smile even in pain, everyone in their family expected service and comfort from them .They believed in nothing beyond selfless service and personal sacrifice. That was their  Dharma and Karma. During  some serious crisis in the family, these simple  women  passed on endless  love, affection, compassion and comfort to all. Even if they  were illiterate, these women remembered every line of AdI Sankara's Devi Stuti  or   Panchastavi or Hanuman Chaleesa. They  remembered Lal Vaaks and lyrical verses of Arin Mal,Habba Khatoon and  Rasool Mir. Tears trickled down   their eyes when they sang some Leela of  Krishen Joo Razdan or Parmanand. These women remembered everyone's birthday. They  remembered  the Shraada of every deceased member of their family. None knew when they were born. 

The plight of women from the  Muslim families  was not different. It was almost similar. I have seen many Muslim ladies in our neighbourhood  or in the families of my friends living a similar life. 

The conjugal bliss was unknown to them . For them , married life meant service ,surrender,child bearing , sacrifice, compromise  and self neglect. They had no time to think beyond  these things.

These women were from my family . They were related to me . A mother, a grandmother,a Maasi ,a Maami ,a Bua or an aunt. They lived in my neighborhood or in the families of my friends. We don't make such   people anymore in a world that is driven by values of utility and expediency .

(Avtar Mota)

..
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