As part of a week-long celebration of the centenary of Urdu writer Saadat Hasan Manto, The Hindi Urdu Flagship at the University of Texas at Austin hosted a series of lectures by the renowned Urdu critic and historian, Shamim Hanfi. In this informal talk, Hanfi discusses some interesting moments in the complicated history of Urdu and Hindi. Hanfi is widely regarding as a leading Urdu literary critic in contemporary India. He is Professor Emeritus of Urdu Studies at Jamia Milia Islamia University in New Delhi. Hanfi’s separate talk on Manto can be found at https://hindiurduflagship.org/manto

As part of a week-long celebration of the centenary of Urdu writer Saadat Hasan Manto, The Hindi Urdu Flagship at the University of Texas at Austin hosted a series of lectures by the renowned Urdu critic and historian, Shamim Hanfi. In this informal talk, Hanfi discusses some interesting moments in the complicated history of Urdu and Hindi. Hanfi is widely regarding as a leading Urdu literary critic in contemporary India. He is Professor Emeritus of Urdu Studies at Jamia Milia Islamia University in New Delhi. Hanfi’s separate talk on Manto can be found at <a href="https://hindiurduflagship.org/manto" rel="nofollow" target="_blank">https://hindiurduflagship.org/manto</a>

Shamim Hanfi – On Urdu and Hindi

The Hindi Urdu Flagship hosts this fascinating exploration of Quranic Exegesis and the development of Urdu by the renowned historian, Mehr Farooqi. Farooqi is Assistant Professor of Urdu at the University of Virginia at Charlottesville. “The Secret of Letters: Chronograms in Urdu Literary Culture,” which appeared in Edebiyat: The Journal of Middle Eastern Literatures, is her most recent publication. She is currently translating a voluminous selection of women’s writings in Urdu, spanning the last several centuries, for Oxford University Press. Prior to joining the University of Virginia, Dr. Farooqi taught Hindi, Urdu, and Persian language and literature at the University of Pennsylvania. She completed both her undergraduate and graduate studies at Allahabad University in India and has numerous publication translations to her credit.

The Hindi Urdu Flagship hosts this fascinating exploration of Quranic Exegesis and the development of Urdu by the renowned historian, Mehr Farooqi. Farooqi is Assistant Professor of Urdu at the University of Virginia at Charlottesville. “The Secret of Letters: Chronograms in Urdu Literary Culture,” which appeared in Edebiyat: The Journal of Middle Eastern Literatures, is her most recent publication. She is currently translating a voluminous selection of women’s writings in Urdu, spanning the last several centuries, for Oxford University Press. Prior to joining the University of Virginia, Dr. Farooqi taught Hindi, Urdu, and Persian language and literature at the University of Pennsylvania. She completed both her undergraduate and graduate studies at Allahabad University in India and has numerous publication translations to her credit.

Mehr Farooqi – The Development of Urdu

Renowned Urdu satirist, Mujtaba Hussain, reads selections from his extensive catalog of Urdu journalism and humor to an audience composed of Hindi Urdu Flagship students and the wider South Asian studies community at UT Austin. The recording should be wonderful listening comprehension practice for intermediate to advanced students of Urdu and/or Hindi. Mujtaba Hussain is a prolific and critically acclaimed Urdu journalist and creative writer. Over the past forty years he has produced fifteen volumes of incisive, humorous journalism and creative writing. His work has been widely translated into English, Hindi and various other regional languages of India. In 2007, he received a Padma Shree, India’s prestigious presidential award, for his contributions to Urdu literature. Kushwant Singh describes Hussain as “rare among Indian writers of humour. While he is unable to say anything unkind about others, he is equally unable to say anything in his own praise. His piece Apnee Yaad Mein is a sort of self written in memoriam. He recalls his younger days in Hyderabad, his love of wandering about on full moonlit nights, playing kabaddi on the first night of his marriage when his friends forced him to go home to his bride. He was commissioned to write light pieces for Siasat on the sudden death of the man who wrote the column. He never looked back. He has reason to rest on his laurels: whenever the subject of humour in Urdu writing comes up, the first name that is mentioned is of Mujtaba Hussain of Hyderabad.”

Renowned Urdu satirist, Mujtaba Hussain, reads selections from his extensive catalog of Urdu journalism and humor to an audience composed of Hindi Urdu Flagship students and the wider South Asian studies community at UT Austin. The recording should be wonderful listening comprehension practice for intermediate to advanced students of Urdu and/or Hindi. Mujtaba Hussain is a prolific and critically acclaimed Urdu journalist and creative writer. Over the past forty years he has produced fifteen volumes of incisive, humorous journalism and creative writing. His work has been widely translated into English, Hindi and various other regional languages of India. In 2007, he received a Padma Shree, India’s prestigious presidential award, for his contributions to Urdu literature. Kushwant Singh describes Hussain as “rare among Indian writers of humour. While he is unable to say anything unkind about others, he is equally unable to say anything in his own praise. His piece Apnee Yaad Mein is a sort of self written in memoriam. He recalls his younger days in Hyderabad, his love of wandering about on full moonlit nights, playing kabaddi on the first night of his marriage when his friends forced him to go home to his bride. He was commissioned to write light pieces for Siasat on the sudden death of the man who wrote the column. He never looked back. He has reason to rest on his laurels: whenever the subject of humour in Urdu writing comes up, the first name that is mentioned is of Mujtaba Hussain of Hyderabad.”

Mujtaba Hussain – Urdu Satire

Rupert Snell

In this fascinating talk, Hindi Urdu Flagship Director, Rupert Snell, presents his recent work on the diverse genre of autobiographical writing in Hindi. The talk, entitled Autobiography is Another Story: “Lives” in Hindi, features audio recordings of a number of Hindi Urdu Flagship students and faculty reading from a wide variety of Hindi autobiographies. According to Snell, his research “looks at several kinds of autobiographical writing in Hindi – revisiting a genre in which I have previously done translations and literary analysis.The texts included here vary widely, from self-consciously literary works to more spontaneous memoirs by ‘amateur’ writers. Most of the examples were written in the second half of the 20th century, but their narratives typically pertain to its first half and hence show a natural intertextuality in shared themes such as the Independence movement. Just as there are similarities of theme, so are there wide differences in literary conventions, narrative technique, and tone, and my aim is to compare and celebrate these in an exploratory overview of the genre.” Snell’s published work includes numerous textbooks and readers in Hindi and its pre-modern dialects. His research interests focus on the poetics of Braj Bhasha poetry from temple and court, and he is preparing a translation of the Satsai of Biharilal for the Murty Classical Library of India (Harvard University Press). His interests in Hindi autobiography stem from his translation of Harivansh Rai Bachchan’s 4-volume memoirs as a single volume with the title, In the Afternoon of Time (1998).

In this fascinating talk, Hindi Urdu Flagship Director, Rupert Snell, presents his recent work on the diverse genre of autobiographical writing in Hindi. The talk, entitled Autobiography is Another Story: “Lives” in Hindi, features audio recordings of a number of Hindi Urdu Flagship students and faculty reading from a wide variety of Hindi autobiographies. According to Snell, his research “looks at several kinds of autobiographical writing in Hindi – revisiting a genre in which I have previously done translations and literary analysis.The texts included here vary widely, from self-consciously literary works to more spontaneous memoirs by ‘amateur’ writers. Most of the examples were written in the second half of the 20th century, but their narratives typically pertain to its first half and hence show a natural intertextuality in shared themes such as the Independence movement. Just as there are similarities of theme, so are there wide differences in literary conventions, narrative technique, and tone, and my aim is to compare and celebrate these in an exploratory overview of the genre.” Snell’s published work includes numerous textbooks and readers in Hindi and its pre-modern dialects. His research interests focus on the poetics of Braj Bhasha poetry from temple and court, and he is preparing a translation of the Satsai of Biharilal for the Murty Classical Library of India (Harvard University Press). His interests in Hindi autobiography stem from his translation of Harivansh Rai Bachchan’s 4-volume memoirs as a single volume with the title, In the Afternoon of Time (1998).

Rupert Snell – Autobiography is Another Story: “Lives” in Hindi

Ali Asani

Ali Asani, professor of Indo-Muslim and Islamic religion and cultures at Harvard University describes the modern Sufi rock phenomenon epitomized by Salman Ahmad and his band Junoon. Asani outlines Ahmad’s personal musical, religious, and political journey and attempted to place Sufi rock in the broader tradition of Muslim devotional literature. A native of Kenya, Asani received both his undergraduate degree summa cum laude in the comparative study of religion and his Ph.D. in Near Eastern languages and civilizations from Harvard University. He currently directs the university’s Ph.D. program in Indo-Muslim Culture and chairs the department of Near Eastern Languages and Civilizations. He also serves as the associate director of the Prince Alwaleed bin Talal Islamic Studies Program. A scholar of Islam in South Asia, Dr. Asani’s research focuses on Shia and Sufi devotional traditions in the region. In addition, he is interested in popular or folk forms of Muslim devotional life, and Muslim communities in the West. His books include The Bujh Niranjan: An Ismaili Mystical Poem; The Harvard Collection of Ismaili Literature in Indic Literatures: A Descriptive Catalog and Finding Aid; Celebrating Muhammad: Images of the Prophet in Muslim Devotional Poetry (co-author); Al-Ummah: A Handbook for an Identity Development Program for North American Muslim Youth; Ecstasy and Enlightenment: The Ismaili Devotional Literatures of South Asia; Let’s Study Urdu: An Introduction to the Urdu Script and Let’s Study Urdu: An Introductory Course. Dr. Asani has been particularly active post-Sept. 11 in improving the understanding of Islam and its role in Muslim societies by conducting workshops for high school and college educators as well as making presentations at various public forums. More recently, he has been involved in the Islamic Cultural Studies Initiative, an international professional development program for high school teachers in Kenya, Pakistan and Texas intended to promote a culturally and historically based approach to the study of Islam and Muslim societies. He has also served on the American Academy of Religion’s Task Force on the teaching of religion in schools. In 2002, he was awarded the Harvard Foundation medal for his outstanding contributions to improving intercultural and race relations at Harvard and in the nation.

Ali Asani, professor of Indo-Muslim and Islamic religion and cultures at Harvard University describes the modern Sufi rock phenomenon epitomized by Salman Ahmad and his band Junoon. Asani outlines Ahmad’s personal musical, religious, and political journey and attempted to place Sufi rock in the broader tradition of Muslim devotional literature. A native of Kenya, Asani received both his undergraduate degree summa cum laude in the comparative study of religion and his Ph.D. in Near Eastern languages and civilizations from Harvard University. He currently directs the university’s Ph.D. program in Indo-Muslim Culture and chairs the department of Near Eastern Languages and Civilizations. He also serves as the associate director of the Prince Alwaleed bin Talal Islamic Studies Program. A scholar of Islam in South Asia, Dr. Asani’s research focuses on Shia and Sufi devotional traditions in the region. In addition, he is interested in popular or folk forms of Muslim devotional life, and Muslim communities in the West. His books include The Bujh Niranjan: An Ismaili Mystical Poem; The Harvard Collection of Ismaili Literature in Indic Literatures: A Descriptive Catalog and Finding Aid; Celebrating Muhammad: Images of the Prophet in Muslim Devotional Poetry (co-author); Al-Ummah: A Handbook for an Identity Development Program for North American Muslim Youth; Ecstasy and Enlightenment: The Ismaili Devotional Literatures of South Asia; Let’s Study Urdu: An Introduction to the Urdu Script and Let’s Study Urdu: An Introductory Course. Dr. Asani has been particularly active post-Sept. 11 in improving the understanding of Islam and its role in Muslim societies by conducting workshops for high school and college educators as well as making presentations at various public forums. More recently, he has been involved in the Islamic Cultural Studies Initiative, an international professional development program for high school teachers in Kenya, Pakistan and Texas intended to promote a culturally and historically based approach to the study of Islam and Muslim societies. He has also served on the American Academy of Religion’s Task Force on the teaching of religion in schools. In 2002, he was awarded the Harvard Foundation medal for his outstanding contributions to improving intercultural and race relations at Harvard and in the nation.

Ali Asani – From Qawwali to Sufi Rock: Contemporary Expressions of Muslim Devotional Literature

As part of its festival celebrating the living tradition of song and performance dedicated to the poet Kabir, HUF hosts a live musical performance by an acclaimed traditional Kabir folk ensemble led by Prahlad Singh Tipanya.  Tipanya sings and plays the tambura, a five-stringed plucked and strummed instrument originally from Rajasthan, and kartal a wood and metal instrument consisting of two pieces struck together to make a tambourine-like sound, played with the fingers of the left hand. His younger son, Vijay Tipanya, sings with him and plays manjira (small cymbals); his older son, Ajay Tipanya, plays dholak (two-headed drum); his brother, Ambaram Tipanya, plays manjira, kartal and sometimes harmonium; Devnarayan Sarolia plays violin. This is the second half of the performance. The first half is available as a separate podcast episode and online at: https://hindiurduflagship.org/resources/lectures-performances/tipanya-sings-kabir/

As part of its festival celebrating the living tradition of song and performance dedicated to the poet Kabir, HUF hosts a live musical performance by an acclaimed traditional Kabir folk ensemble led by Prahlad Singh Tipanya. Tipanya sings and plays the tambura, a five-stringed plucked and strummed instrument originally from Rajasthan, and kartal a wood and metal instrument consisting of two pieces struck together to make a tambourine-like sound, played with the fingers of the left hand. His younger son, Vijay Tipanya, sings with him and plays manjira (small cymbals); his older son, Ajay Tipanya, plays dholak (two-headed drum); his brother, Ambaram Tipanya, plays manjira, kartal and sometimes harmonium; Devnarayan Sarolia plays violin. This is the second half of the performance. The first half is available as a separate podcast episode and online at: <a href="https://hindiurduflagship.org/resources/lectures-performances/tipanya-sings-kabir/" rel="nofollow" target="_blank">https://hindiurduflagship.org/resources/lectures-performances/tipanya-sings-kabir/</a>

Prahlad Singh Tipanya – Kabir, Part 2

As part of its festival celebrating the living tradition of song and performance dedicated to the poet Kabir, HUF hosts a live musical performance by an acclaimed traditional Kabir folk ensemble led by Prahlad Singh Tipanya.  Tipanya sings and plays the tambura, a five-stringed plucked and strummed instrument originally from Rajasthan, and kartal a wood and metal instrument consisting of two pieces struck together to make a tambourine-like sound, played with the fingers of the left hand. His younger son, Vijay Tipanya, sings with him and plays manjira (small cymbals); his older son, Ajay Tipanya, plays dholak (two-headed drum); his brother, Ambaram Tipanya, plays manjira, kartal and sometimes harmonium; Devnarayan Sarolia plays violin. This is the first half of the performance. The second half is available as a separate podcast episode and online at: https://hindiurduflagship.org/resources/lectures-performances/tipanya-sings-kabir/

As part of its festival celebrating the living tradition of song and performance dedicated to the poet Kabir, HUF hosts a live musical performance by an acclaimed traditional Kabir folk ensemble led by Prahlad Singh Tipanya. Tipanya sings and plays the tambura, a five-stringed plucked and strummed instrument originally from Rajasthan, and kartal a wood and metal instrument consisting of two pieces struck together to make a tambourine-like sound, played with the fingers of the left hand. His younger son, Vijay Tipanya, sings with him and plays manjira (small cymbals); his older son, Ajay Tipanya, plays dholak (two-headed drum); his brother, Ambaram Tipanya, plays manjira, kartal and sometimes harmonium; Devnarayan Sarolia plays violin. This is the first half of the performance. The second half is available as a separate podcast episode and online at: <a href="https://hindiurduflagship.org/resources/lectures-performances/tipanya-sings-kabir/" rel="nofollow" target="_blank">https://hindiurduflagship.org/resources/lectures-performances/tipanya-sings-kabir/</a>

Prahlad Singh Tipanya – Kabir, Part 1

Harish Trivedi

As part of his visit to the Hindi Urdu Flagship, eminent Hindi scholar Harish Trivedi conducts a roundtable discussion on issues of Hindi-Urdu translation with a diverse set of students and faculty. This second half of the discussion focuses on a stanza from the Kavitavali of Tulsidas and a mystery piece provided by Trivedi. The first half (featured in a separate podcast episode) focused on Premchand’s Rangbhumi.  The passages under discussion are downloadable as a PDF compilation at https://hindiurduflagship.org/assets/pdf/Trivedi_Passages.pdf Viewers will benefit from having a print-out of the pdf compilation on hand. Trivedi is Professor of English at the University of Delhi. Here is how he describes his remarkable career:  “Glamoured by modernist British Literature while a student in a high-colonial university in a small town in north India in the innocent 1960s, I felt fortunate to get a scholarship to go to the UK and to write my doctoral thesis there on Virginia Woolf. But the experience cured me, and I returned to India with the belated epiphany that English literature was not, and never could be, my literature. This was some years before Said’s Orientalism, so the first door I knocked on was that of Comparative Literature — followed by Translation Studies, Postcolonial Studies and a critical reading of British Writing on India. When my turn came to serve as the Head of the Department of English at the University of Delhi (1997-2000), I made it my one-point agenda to catalyse a radical reform of the syllabus through which we chopped off much British dead wood in order to make room for (a) literature in English not only from the UK and the USA but from all around the globe, and (b) literature in English translation not only from Europe but also from other parts of the world, especially India. As a result, I can now spend a whole semester teaching a 1st century AD Sanskrit play, a 4th century Tamil epic, a Hindi poet from the 15th century and an Urdu poet from the 19th, not to mention a couple of trenchantly postcolonial Hindi novels. In alternating semesters I still teach Shakespeare, just to keep my hand in, while in an M. Phil. class in translation, my students and I actually soil our hands with several Indian languages as we work together on translating them into English. This is a bed of roses of liberated postcolonial pedagogy and research that I myself helped to make, and it is gratifying to lie in it.”

As part of his visit to the Hindi Urdu Flagship, eminent Hindi scholar Harish Trivedi conducts a roundtable discussion on issues of Hindi-Urdu translation with a diverse set of students and faculty. This second half of the discussion focuses on a stanza from the Kavitavali of Tulsidas and a mystery piece provided by Trivedi. The first half (featured in a separate podcast episode) focused on Premchand’s Rangbhumi. The passages under discussion are downloadable as a PDF compilation at <a href="https://hindiurduflagship.org/assets/pdf/Trivedi_Passages.pdf" rel="nofollow" target="_blank">https://hindiurduflagship.org/assets/pdf/Trivedi_Passages.pdf</a> Viewers will benefit from having a print-out of the pdf compilation on hand. Trivedi is Professor of English at the University of Delhi. Here is how he describes his remarkable career: “Glamoured by modernist British Literature while a student in a high-colonial university in a small town in north India in the innocent 1960s, I felt fortunate to get a scholarship to go to the UK and to write my doctoral thesis there on Virginia Woolf. But the experience cured me, and I returned to India with the belated epiphany that English literature was not, and never could be, my literature. This was some years before Said’s Orientalism, so the first door I knocked on was that of Comparative Literature — followed by Translation Studies, Postcolonial Studies and a critical reading of British Writing on India. When my turn came to serve as the Head of the Department of English at the University of Delhi (1997-2000), I made it my one-point agenda to catalyse a radical reform of the syllabus through which we chopped off much British dead wood in order to make room for (a) literature in English not only from the UK and the USA but from all around the globe, and (b) literature in English translation not only from Europe but also from other parts of the world, especially India. As a result, I can now spend a whole semester teaching a 1st century AD Sanskrit play, a 4th century Tamil epic, a Hindi poet from the 15th century and an Urdu poet from the 19th, not to mention a couple of trenchantly postcolonial Hindi novels. In alternating semesters I still teach Shakespeare, just to keep my hand in, while in an M. Phil. class in translation, my students and I actually soil our hands with several Indian languages as we work together on translating them into English. This is a bed of roses of liberated postcolonial pedagogy and research that I myself helped to make, and it is gratifying to lie in it.”

Harish Trivedi – A Translation Roundtable, Part 2: Tulsidas and a mystery

As part of his visit to the Hindi Urdu Flagship, eminent Hindi scholar Harish Trivedi conducts a roundtable discussion on issues of Hindi-Urdu translation with a diverse set of students and faculty. This first half of the discussion focuses on the opening paragraphs of Premchand’s Rangbhumi. The second half (featured in a separate podcast episode) shifts the discussion to Braj Bhasha (Tulsidas) and a ‘mystery piece’ provided by Trivedi.  The passages under discussion are downloadable as a PDF compilation at https://hindiurduflagship.org/assets/pdf/Trivedi_Passages.pdf Viewers will benefit from having a print-out of the pdf compilation on hand. Trivedi is Professor of English at the University of Delhi. Here is how he describes his remarkable career:  “Glamoured by modernist British Literature while a student in a high-colonial university in a small town in north India in the innocent 1960s, I felt fortunate to get a scholarship to go to the UK and to write my doctoral thesis there on Virginia Woolf. But the experience cured me, and I returned to India with the belated epiphany that English literature was not, and never could be, my literature. This was some years before Said’s Orientalism, so the first door I knocked on was that of Comparative Literature — followed by Translation Studies, Postcolonial Studies and a critical reading of British Writing on India. When my turn came to serve as the Head of the Department of English at the University of Delhi (1997-2000), I made it my one-point agenda to catalyse a radical reform of the syllabus through which we chopped off much British dead wood in order to make room for (a) literature in English not only from the UK and the USA but from all around the globe, and (b) literature in English translation not only from Europe but also from other parts of the world, especially India. As a result, I can now spend a whole semester teaching a 1st century AD Sanskrit play, a 4th century Tamil epic, a Hindi poet from the 15th century and an Urdu poet from the 19th, not to mention a couple of trenchantly postcolonial Hindi novels. In alternating semesters I still teach Shakespeare, just to keep my hand in, while in an M. Phil. class in translation, my students and I actually soil our hands with several Indian languages as we work together on translating them into English. This is a bed of roses of liberated postcolonial pedagogy and research that I myself helped to make, and it is gratifying to lie in it.”

As part of his visit to the Hindi Urdu Flagship, eminent Hindi scholar Harish Trivedi conducts a roundtable discussion on issues of Hindi-Urdu translation with a diverse set of students and faculty. This first half of the discussion focuses on the opening paragraphs of Premchand’s Rangbhumi. The second half (featured in a separate podcast episode) shifts the discussion to Braj Bhasha (Tulsidas) and a ‘mystery piece’ provided by Trivedi. The passages under discussion are downloadable as a PDF compilation at <a href="https://hindiurduflagship.org/assets/pdf/Trivedi_Passages.pdf" rel="nofollow" target="_blank">https://hindiurduflagship.org/assets/pdf/Trivedi_Passages.pdf</a> Viewers will benefit from having a print-out of the pdf compilation on hand. Trivedi is Professor of English at the University of Delhi. Here is how he describes his remarkable career: “Glamoured by modernist British Literature while a student in a high-colonial university in a small town in north India in the innocent 1960s, I felt fortunate to get a scholarship to go to the UK and to write my doctoral thesis there on Virginia Woolf. But the experience cured me, and I returned to India with the belated epiphany that English literature was not, and never could be, my literature. This was some years before Said’s Orientalism, so the first door I knocked on was that of Comparative Literature — followed by Translation Studies, Postcolonial Studies and a critical reading of British Writing on India. When my turn came to serve as the Head of the Department of English at the University of Delhi (1997-2000), I made it my one-point agenda to catalyse a radical reform of the syllabus through which we chopped off much British dead wood in order to make room for (a) literature in English not only from the UK and the USA but from all around the globe, and (b) literature in English translation not only from Europe but also from other parts of the world, especially India. As a result, I can now spend a whole semester teaching a 1st century AD Sanskrit play, a 4th century Tamil epic, a Hindi poet from the 15th century and an Urdu poet from the 19th, not to mention a couple of trenchantly postcolonial Hindi novels. In alternating semesters I still teach Shakespeare, just to keep my hand in, while in an M. Phil. class in translation, my students and I actually soil our hands with several Indian languages as we work together on translating them into English. This is a bed of roses of liberated postcolonial pedagogy and research that I myself helped to make, and it is gratifying to lie in it.”

Harish Trivedi – A Translation Roundtable, Part 1: Premchand’s Rangbhumi

An undergraduate program at the University of Texas at Austin designed for students who wish to achieve advanced professional proficiency in Hindi and Urdu.

The Hindi Urdu Flagship at the University of Texas at Austin » Lectures and Performances

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