Dilip Kumar and Noor Jehan..

मैं और ग़ालिब

मुझ को दियार-ए ग़ैर में मारा वतन से दूर

रख ली मिरे ख़ुदा ने मिरी बेकसी की शरम 

A Celebration of Progressive Urdu Poetry:Ali Husain Mir and Raza Mir

Introductory materials

• One: Over Chinese Food: The Progressive Writers' Association
• Two: Urdu Poetry and the Progressive Aesthetic
• Three: Saare Jahaan se Achcha
• Four: From Home to the World: The Internationalist Ethos
• Five: Dream and Nightmare: The Flirtation with Modernity
• Six: Progressive Poetry and Film Lyrics
• Seven: Woh Yaar hai jo Khushboo ki taraah, jis ki zuban Urdu ki taraah
• Eight: An Exemplary Progressive: The Aesthetic Experiment of Sahir Ludhianvi
• Nine: Javed Akhtar's Quiver of Poetic Arrows: A Legacy Survives
• Ten: New Standard Bearers of Progressive Urdu Poetry: The Feminist Poets
• Eleven: A Requiem ... and a Celebration

Collection of work on Faiz Ahmed 'Faiz'

• Victor G. Kiernan, Poems by Faiz (New Delhi: OUP, 1971): *text*
• Daud Kamal, trans., Khalid Hasan, ed., "Faiz on Faiz," inThe Unicorn and the Dancing Girl: Poems of Faiz Ahmed Faiz (Ahmedabad: Allied Publishers, 1988), pp. l-lxvi: *text*
• Ralph Russell, "Faiz Ahmad Faiz--Poetry, Politics and Pakistan," in The Pursuit of Urdu Literature: A Select History (London: Zed Books, 1992), pp. 229-247: *text*
• FWP, "The Sky, the Road, the Glass of Wine: On Translating Faiz,” Annual of Urdu Studies 15 (2000): I,57-76. Available through the *Annual's website*. Here's my own version: *on this site*.
• Ali and Raza Mir, Anthems of Resistance: A Celebration of Progressive Urdu Poetry (New Delhi: Roli Books, 2006): *text*
• Faiz's birth centenary, 2011: *a compilation of essays*
• "Subsumed by history and nation," by Afsan Chowdhury, *Himal Magazine, Jan 2011*
• *tanha'i* from 'Naqsh-e faryadi', 1943
• *mujh se pahli-si muhabbat* from 'Naqsh-e faryadi', 1943
• *yad* from 'Dast-e saba', 1952
• *sub'h-e azadi* from 'Dast-e saba', 1952
• *mulaqat* from 'Zindan-namah', 1956
• *ham jo tarik rahon men* from 'Zindan-namah', 1956
• *rang hai dil ka mire* from 'Dast-e tah-e sang', 1965; my article on this nazm is listed above
• *tire gham ko jan ki talash hai* (a ghazal) from 'Dast-e tah-e sang', 1965
• *kab thahrega dard* (a ghazal) from 'Dast-e tah-e sang', 1965

Source:http://www.columbia.edu/itc/mealac/pritchett/00urdu/3mod/#faiz

"The Wind,One Brilliant Day."-Antonio Machado

The wind, one brilliant day,
called to my soul with an odor of jasmine.

'In return for the odor of my jasmine,
I'd like all the odor of your roses.'

'I have no roses; all the flowers
in my garden are dead.'

'Well then, I'll take the withered petals
and the yellow leaves and the waters of the fountain.'

the wind left. And I wept. And I said to myself:
'What have you done with the garden that was entrusted to you?'

Chhota Nagpur.A little known province of the empire

Greed Is Back and Even More Wolfish Than Ever

Sudarshan Ramani 

For a lot of Indian cinemagoers, The Wolf of Wall Street will be familiar yet strange. It’s based, like most of Martin Scorsese’s films, on a real-life figure, a wealthy stockbroker named Jordan Belfort who has since abandoned his flamboyantly wayward high-lifestyle to re-engineer himself into a much-sought-after motivational speaker. What makes the film exceptional, however, is that it projects the corrupt financier as a different kind of criminal altogether.

Belfort starts out as an “honest” broker, one who hopes to make a living through commissions from every stock his client purchases. The young Jordan, who is cast out of paradise on the Black Monday of 1987 when Wall Street famously crashed, lives in a small apartment with his first wife, scouring classified ads for job listings for unemployed stockbrokers. Now if that picture of a jobless stockbroker looking up jobs in his trade (under classifieds literally listed as “Wanted – Stockbroker”) reminds you of a political cartoon, then you’re watching the right film.

काया परिवर्तन की टीक टीक घड़ी........

See the movie clip

काया परिवर्तन की टीक टीक घड़ी,
जब मेढकों ने पहनी थी घोड़े की नाल,
जहाजों में किया था सफ़र,
ढूंढें थे नगर जहाँ सापों का डर  नहीं था,
जब अंगूठे पे छापा था भविष्य पुराण,
टैडपोलों ने प्रश्न किये थे 
किसी अक्ल की क्या वजह है,
किसी  शक्ल की क्या वजह है,
क्या इस दादुर की हरी खाल के भीतर,
किसी टैडपोल  का मन बसा है,
उन जातीय स्मृतियों  के रिवर्स यात्रा के दौरान,
मैं आतंककारी टैडपोलों  के संपर्क में आया,
वहा टर्रों के सम्राट कम्पयूटर  का  साम्राज्य था.
आतंककारी टैडपोलों ने मेंढक बनने से इनकार कर दिया था,

Gharib -E- Ashena(Familiar Stranger) an Iranian Song by Googoosh

You came from an unknown city, a city without any sign
You came on a white horse of kindness
You came from far way lands across dusty roads
You came looking for someone who understands you
As soon as you arrive covered in dust
All my waiting ends with spring
It's so good seeing you, it's so good you staying
It's so good when I wipe away the dust off your body

Familiar stranger, come. I love you
Take me away with you, to the land of fairytales
Take my hands in your hands
How good is our roof, when its one for two of us
I'll be waiting till you come back to me again
I'm in a prison, but with you I am free

ZAMEEN

ZAMEEN is the first major performance from The DAM(N) Project, a large-scale interdisciplinary art venture that connects Australian and Indian communities around the common concern of global water security. ZAMEEN presents the lives of remote communities in the Narmada Valley of North India, displaced by large-scale dam development securing hydropower for Indian cities. This holistic project integrates innovative technology, diverse community perspectives and true stories of resilience to create an immersive performance combining projections, choreography and multi-channel soundscapes.