Qaum ke gham mein dinner khaate hain hukkam ke saath,Ranj leader ko bohot hai magar aaram ke saath.(Saddened over the plight of the masses, we eat dinner with the head of governmentThe leader has a lot of anger, but it is laced with comfort.)Urdu poet Akbar Allahabadi’s couplet was a dig at the Indians who hobnobbed with British government officials for pecuniary gains. Tinkered with humour...
Qaum ke gham mein dinner khaate hain hukkam ke saath,
Ranj leader ko bohot hai magar aaram ke saath.
(Saddened over the plight of the masses, we eat dinner with the head of government
The leader has a lot of anger, but it is laced with comfort.)
Urdu poet Akbar Allahabadi’s couplet was a dig at the Indians who hobnobbed with British government officials for pecuniary gains. Tinkered with humour and sarcasm, the otherwise caustic attack on ‘collaborators’ was successful in conveying a serious message gently.
At Jashn-e-Rekhta this year stand-up comedian Rehman Khan used humour in a similar vein. Khan reshaped his language and style with HumourBaaz, mixing it with humour and satire in the Urdu language to expand the reach of his message. Khan blended Urdu literature with storytelling, stand-up comedy, and satire to spice up his performance.
The solo play HumourBaaz, which Rehman Khan describes as the literary soiree of humour and satire, premiered at Mumbai’s Mukti Cultural Hub last month. But humour and satire have been companions of the Urdu language, bringing thoughtful commentary to its colourful stories. Urdu offers the uncanny space for expressing satire in a way that makes the listener smile.
Urdu, in fact, has two important elements. First, there’s gentle satire, which uses humour to point fingers at problems with the aim to usher in positive social change. Second, there’s poetry that makes one laugh but also makes people think about important social or political issues. Urdu writers, political commentators, theatre artists and now stand-up comedians have richly used this aspect of the language.
It is, perhaps, this aspect which has allowed Urdu to find a connect with younger generation despite the many upheavals it has suffered.
“Urdu, originally called Rekhta, developed naturally in the Indian subcontinent over 600-700 years. It was a mix of the Khari Boli dialect with influences from Persian, Arabic, Turkish, and even words from local languages like Punjabi and Gujarati. For about 200 years, Urdu served as a common language in north India. Despite facing criticism in the past 75 years, people still connect with Urdu, thanks to its deep roots in our linguistic heritage,” says Danish Husain, who runs the theatre company, The Hoshruba Repertory.
Husain points out two examples of Urdu’s popularity: Jashn-e-Rekhta and the revival of Dastangoi. Jashn-e-Rekhta is a celebration that draws a positive response, and Dastangoi, a form of Urdu storytelling, has revived its place in theatre, becoming a popular way to generate interest in the Urdu language.
Humour/satire and Urdu
From the classical wit of Mirza Ghalib to the contemporary brilliance of satirists like Anwar Maqsood, Urdu literature has been a fertile ground for exploring the lighter side of life. This linguistic heritage reflects the resilience and creativity of a culture that finds laughter in the complexities of existence.
In the realm of popular culture, Hyderabad-based magazine Shagoofa stands out as a unique institution dedicated entirely to humour and laughter, having played a significant role for decades. Fikr Taunsvi, renowned for his regular humorous pieces in newspapers, authored columns that became synonymous with the era, enjoying immense popularity, particularly in Delhi. Notable figures such as Zareef Lakhnawi, Furqat Kakorvi, Hilal Seoharvi, Dilip Singh, Dilawar Figar, Saghar Khayyami, Mujtaba Husain, and numerous other writers have masterfully employed satire, contributing to the enrichment of literature.
Cultural Historian, Rakshanda Jalil says, “There is a long history of wit, humour and satire in Urdu. The most well-known example is the poetry of Nazeer Akbarabadi, the ‘people’s poet’ from Agra where humour and satire is intertwined with social commentary in long poems such as Rotinama, Adminama, etc. Satire is a valuable tool for the political commentator. When things are awry, when the world is in turmoil, when an old order is changing and a new one is waiting to be born, it is the satirist’s finest hour. This explains why the shahr ashob (lament of the city) genre of poetry is streaked with satire. One of the earliest proponents of this genre was Mir Jafar Zatalli who lived during the reign of Emperor Farrukhsiyar and was executed for making fun of the emperor.”
According to senior journalist Shams ur Rehman Alvi, the charm of satirical and humorous Urdu literature extends beyond Urdu speakers to include individuals from non-Urdu backgrounds. He emphasises that the works of Urdu writers are not only embraced but also actively used, recited, and repeated by a diverse audience, showcasing the universal appeal of Urdu's comedic literary gems.
For instance,
Barbaad gulistaan karne ko bas ek hi ullu kaafi tha
Har shaakh pe ullu baitha hai anjaam-e-gulistaa.n kya hoga
(For destroying the wonderful garden, even one owl is sufficient
Here there is an owl on each branch, wonder what would happen to the garden)
This couplet by Shauq Bahraichi is used on a regular basis in articles and editorials, leaders use it in their speeches and movements, people quote it to express dismay at broken systems in any department or wing.
Takhallus Bhopali, a great humourist, came up with a fictional woman character, ‘Paandaan Waali Khaala’, who speaks Bhopali Urdu and through her, he turned focus of citizens and government towards subjects ranging from inflation to excessive taxes and administrative reforms, women's suffering, need for grievance redressal or highlighting injustice with a class or citizens, Shams ur Rahman Alvi added.
Retracing Urdu theatre
The history of Urdu dramas has its roots in various influential figures and movements. It’s often traced back to Wajid Ali Shah's Radha Kanhaiya Ka Qissa, but many critics consider Amanat Lakhnavi's Inder Sabha as the starting point for Urdu dramas.
Agha Hashr Kashmiri, who was associated with Parsi theatre, played a crucial role in shaping Urdu dramas. He wrote plays in both Urdu and Hindi, catering to the demands of Parsi theatre.
The Indian People’s Theatre Association (IPTA) marked a new era in Urdu theatre, focusing on the common people and being non-commercial. This period brought about a significant shift in the themes and objectives of Urdu dramas.
In 1944, Prithviraj Kapoor established Prithvi Theatre which blended political and social elements in its plays. Kapoor, along with writers like Lai Chand Bismil and Inder Raj Anand, presented organised and impactful plays such as Deewar, Pathan, and Ghaddar. Prithvi Theatre also introduced renowned actresses like Zohra Segal and Uzra Butt to the Urdu stage.
Urdu theatre saw a revival of musical forms under Sheila Bhatia and her Delhi Art Theatre between 1969 and 1990. Bhatia's productions, including Ghalib Haun Hai? (Who is Ghalib?), Dardayega Dabe Paon (Pain Will Creep in Quietly), Yeh Ishq Nahin Asan (This Love Isn't Easy), and Amir Khusro, gained popularity among Urdu poetry enthusiasts.
Eminent playwright Tanvir made significant contributions with plays like Agra Bazar (Bazaar in Agra) in 1954, which brought the 18th-century environment to life, and Shatranj ke Mohre (Chess Pieces) in 1951, based on Premchand. Tanvir remained a key figure in Urdu theatre since Independence, with notable works like Mere Baad (After Me) in 1969.
Contemporary Urdu theatre
In the rich tapestry of artistic expression, luminaries such as Danish Husain and Sayeed Alam have become torchbearers, offering profound insights into the intricate dance of language and narrative. Their vision underscores the transformative power of storytelling and theatre, particularly in the context of Urdu literature’s contemporary resonance. Danish Husain, a luminary in acting, storytelling, and theatre direction, contends that the essence of artistic pursuit transcends mere language propagation, emphasising instead the art of crafting compelling narratives.
Amid the challenge of reviving Urdu literature for a young audience deeply embedded in the flux of modernity, the intersection of tradition and contemporaneity becomes paramount. It requires a delicate balance, as highlighted by Sayeed Alam of Pierrot’s Troupe, whose endeavours to stage a play on Maulana Azad opened a gateway for those unable to read Azad’s writings in Urdu. The challenge is not just to make Urdu appreciated but to seamlessly weave it into the fabric of daily life, making it more than a language, a cultural tapestry that resonates with the pulse of the young generation.
Yet, as Alam acknowledges, the journey to make Urdu economically viable is an uphill battle. While the language may not be a direct route to financial success, its allure lies in its ability to transcend monetary metrics. The intrinsic charm of Urdu, accentuated by its daily use, positions it as more than a language of communication—it becomes an art form, a cultural experience that transcends the transactional, fostering a profound appreciation for the beauty of linguistic and artistic expression. In this delicate interplay of tradition and contemporary relevance, the hope is not just for Urdu to be liked but to be embraced, becoming an integral part of the cultural identity of the ever-evolving artistic landscape.
Challenges for Urdu theatre
Prominent figures in the world of theatre, Danish Husain and Sayeed Alam, highlight challenges faced by the Urdu language. They discuss the distance of the masses from spoken Hindustani and the growing prejudice against Urdu, viewing it as foreign. Despite these hurdles, they express concerns and hopes for the language's revival.
Danish Husain points out two challenges in the revival of Urdu. First, he says, the masses are moving away from spoken Hindustani, losing words that were once common. Second, there is a rising prejudice against Urdu, mistakenly perceived as a foreign language, despite being deeply rooted in Indian history and culture.
Sayeed Alam emphasises the limited reach of drama, typically witnessed by a small audience of 200 to 250 people. He questions how Urdu, as a language, can revive under such circumstances. Moreover, he notes that those attending Urdu plays often do not have a direct connection to Urdu's written script, known as rasm ul-khat. Alam sees a crucial link between the revival of Urdu language and the resurgence of its written script.