Postscript, 15 March 2018: This manuscript has now been digitised and is on line here. The images below have been updated with hyperlinks.

Editor

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The British Library’s sole Judaeo-Urdu manuscript is a copy in Hebrew script of the well-known Urdu theatrical work, the Indar Sabha, written by Agha Sayyid Hasan ‘Amanat,’ a poet at the court of Vajid Ali Shah of Awadh.

Opening folio of the Indar Sabha (Or.13287, f. 7r)

Our manuscript bears a colophon dating its creation to 1887, perhaps by a member of the Baghdadi Jewish community of India. Originating in the Arabic-speaking regions of the Ottoman Empire, the Baghdadi Jewish community settled in India from the late 18^th into the 19^thcentury and was primarily centred in two major urban centres of India, Calcutta and Bombay. A printing industry in Judaeo-Arabic grew in both locations to cater to the religious needs of the community as well as its appetite for news and entertainment, producing devotional treatises, gazettes, and also the occasional historical novel, murder mystery and romance (Musleah, On the Banks of the Ganga, p. 522-531). The British Library’s collections are a rich resource for these publications and for the history of the Baghdadi Jewish community in India, and our Hebrew curator has previously written about a Judaeo-Arabic serial issued in Bombay for our blog.

The Emerald Fairy (Sabz Pari) at the heavenly court of Indar (Or.13287, f. 17r)

As for the contents of the manuscript, while many elements of the play itself are reminiscent of fabulous Urdu dastaans or legends, such as the Sihr al-Bayan by Mir Hasan (1727-86), the plot itself is relatively simple, avoiding the complex story-within-a-story structure of its predecessors. The play opens with a sensuous depiction of the court of the king of the gods, Indar, populated by fairies bearing the names of jewels (Emerald, Topaz, Sapphire and Ruby).

Left (f. 18r): the Sabz Pari (Emerald fairy) and the Kala Dev; right (f. 19v): the Sabz Pari and her earthly lover, prince Gulfam (Or.13287)

As with many dastaans, a story of forbidden love ensues when the Emerald fairy (Sabz Pari) falls in love with a mortal prince, Gulfam, and conspires with the help of the Black Demon (Kala Dev), to sneak her beloved into Indar’s heavenly court. When this transgression is discovered, the Emerald fairy’s wings are clipped, and she is ejected from the paradise of Indar’s court and falls to earth, while her lover is imprisoned in a well (Hansen, ‘Indar Sabha Phenomenon,’ p. 83).

Left (f. 22r): the Sabz Pari, having been shorn of her wings; right (f. 26r): Gulfam is punished in a well for his transgression of entering the heavenly court of Indar (Or.13287)

In addition to the echoes of Urdu dastaans, the multi-coloured fairies bring to mind the Haft Paykar of Nizami, in particular, the images of the main character’s fantastical adventures , and the Hasht Bihisht of Amir Khusraw, of which an example can be viewed online, while the unlucky prince hidden in a well as a result of his trangressive love is reminiscent of the story of Bizhan and Manizheh from the Shahnamah, creating a further layer of intertextuality and adaptation of visual motifs from the Persian epics from which the Urdu poetry of the 19^th century clearly drew much of its inspiration. However, the story takes a more Indic turn when the Emerald fairy, ejected from heaven, wanders as a yogini or female ascetic, playing music that tells of her love and charms her way back into Indar’s court, wins his favour and secures her lover’s release.

The Sabz Pari wanders on earth as a female ascetic or yogini, charming the wild animals with her beautiful music (Or.13287, f. 26v)

Establishing a direct link between the Baghdadi Jewish community and theatrical production of the Indar Sabha has proven elusive. According to the gazette of the Baghdadi Jewish community from the early twentieth century, social clubs in both Bombay and Calcutta staged events, such as films, plays and musical performances, and hosted amateur dramatic clubs from within the Jewish community (The Jewish Advocate, 1932, p. 425; 1933, p. 9). It also seems that Baghdadi Jewish female actresses took part in early productions of the play and other Urdu-language theatrical productions, establishing a possible connection between the Indar Sabha and the Jewish community. While such a conclusion is purely speculative at this point, it might be the case that this Judaeo-Urdu manuscript was created for (or by) one of the actors or theatre producers of the Baghdadi Jewish community.

Fortunately, due to the generosity of the Hebrew Manuscripts project, this unique Judaeo-Urdu manuscript will be digitised and made freely available online, which we hope will encourage further research into the language, cultural context, and history of this fascinating manuscript.

Bibliography and Further Reading
Kathryn Hansen, ‘The Indar Sabha Phenomenon: Public Theatre and Consumption in India (1853-1956)’ in Pleasure and the Nation: The History, Politics and Consumption of Public Culture in India, edited by Rachel Dwyer and Christopher Pinney (Oxford, 2001): 76-114.
Rabbi Ezekiel Musleah, On the Banks of the Ganga: The Sojourn of the Jews in Calcutta (North Quincy, Massachusetts: Christopher Publishing House, 1975).
Aaron D. Rubin, A Unique Hebrew Glossary from India: An Analysis of Judaeo-Urdu (Piscataway, NJ: Gorgias Press, 2016).

Nur Sobers-Khan, Lead Curator for South Asia

Connecting Stories: Our British Asian Heritage, the joint Library of Birmingham and British Library exhibition exploring Britain's enduring connections with South Asia opened on July 15th. Featured in the exhibition is a rather lovely portrait of the children of Sir John Spencer Login (1809-63)  with their ayah (governess) painted in Lucknow, India in 1846.

Login and his family's lives changed in the aftermath of the Anglo-Sikh war and annexation of the Punjab by the British, when he was appointed as the legal guardian of the ten-year-old Maharaja Duleep Singh in Lahore in April 1849.

'Maharaja Dhulip Sing', plate 1 from Recollections of India. Part 1. British India and the Punjab by James Duffield Harding (1797-1863) after Charles Stewart Hardinge (1822-1894), 1847. British Library, X738/1(1).  

Login was born in Stromness, Orkney in Scotland and trained at the Royal Infirmary at Edinburgh. After arriving in India in 1836, he obtained the position of surgeon to the 1^st Brigade Horse Artillery and served under Sir Charles Metcalfe in Agra. In 1838, he was transferred to Lucknow where he was appointed as the Residency Surgeon and Postmaster General. It was in Lucknow that he met his future wife Lena Campbell, whom he married in 1842.

A rarity in the British Library’s collection is this rather lovely miniature painting on ivory, featuring the young children of John and his wife Lena who were born in Lucknow. Riding astride on the rocking horse and dressed in a tartan kilt is the eldest son Edward William Spencer Login (b.1843). Standing in a blue dress and missing a shoe is Lena Margaret Campbell Login (b. 1845). In the arms of their ayah is Louisa Marion d’Arcy Login (b. 1846). Standing off-centre is an Indian playmate. Painted by an unnamed Indian artist, it was completed a few months after the birth of Louisa.

The Children of Sir John Spencer Login in Lucknow by an unnamed Indian artist, 1846. British Library, Add Or 5639.

Lena Login’s published account Lady Login’s Recollections reflects on her life in Lucknow and her interactions with the women of the royal family of Awadh.  She wrote, ‘Indeed, Malika Geytee, the King’s favourite wife, treated me always as an intimate friend, and all the Princesses made a point of presenting me, on the birth of each of my children, as a sign of personal regard with a complete outfit of native dress for myself and the newcomer, of their own handiwork, gorgeously embroidered in gold and silver bullion’. Lena Login learned to speak Urdu and regularly assisted her husband to treat the women in the zenana that she could see first-hand and report symptoms back to Dr Login. As Login declined accepting payment for treating the local Nawabs, the family often received rather extravagant presents including a carriage ‘lined in satin and gold’ with ‘horses [that were] enormous milk white creatures with pink noses and tails of brilliant scarlet’. The children were sent baby elephants as well as ‘two huge Persian cats, more like leopards’.

After the departure of Lena and their children from India back to England, John Login fought in the second Anglo-Sikh War (1848-49). In the aftermath, the British appointed Login as the guardian to the young ruler Duleep Singh. The Maharaja, only a few years older than Edward William Spencer Login, would remain under the care of the Login family until he was 19. They travelled from Lahore to Fatehgargh and ultimately Duleep Singh was permitted to travel to England in 1854. Invited to court, he developed a close relationship with Queen Victoria and her family. For the next several years, he remained with the Login family at Castle Menzies in Scotland. While visual evidence of his early years in England is primarily limited to formal portraits commissioned by Queen Victoria and her own sketches, an informal group portrait picturing the Maharaja with the Login children amongst other party goers at Castle Menzies taken in 1855 appeared at auction just a few years ago. It would be interesting to know if other visual representations of the young Maharaja and his adopted family have been identified and can be explored in a future blog post.

The painting of the children of John Spencer Login is currently on display at the Library of Birmingham in the exhibition Connecting Stories: Our British Asian Heritage from 15 July – 4 November 2017.

Further reading:

Edith Dalhousie Login, Lady Login's recollections : court life and camp life, 1820-1904, London, 1916. 

 

Malini Roy, Visual Arts Curator

 

Related articles

Connecting Stories: Our British Asian Heritage

The Southeast Asia exhibition case outside the Asian and African Studies Reading Room at St Pancras is currently showing a selection of images of animals in manuscripts from Burma (Myanmar), Thailand, Vietnam and Indonesia. The delightful depictions of animals can be appreciated as exquisite works of art, but certain animals were also important as religious, political and cultural symbols in Southeast Asian societies, none more so than elephants.

Animals in Southeast Asian manuscripts, on display in 2017.

In pride of place on the top shelf is a 19th-century Burmese folding book or parabaik (MSS Burmese 204) containing 22 coloured illustrations of elephants, showing the elephant king Chaddanta, who was the Bodhisatta or previous incarnation of Gautama Buddha, and his queen Mahathubadda. In Burma white elephants are regarded as sacred and a source of blessings, as they play a major role in Buddhist tales. In the story of the ‘Life of the Buddha’, Queen Maya dreamed that a celestial white elephant holding a white lotus flower in its trunk entered her side, to be reborn as Gautama Buddha, while in the last Birth Story of the Buddha, Vessantara Jataka, the white elephant appears as a rain maker. Every Burmese king longed to possess a white elephant, a symbol of power and sovereignty.

Next to the Burmese book is a Javanese manuscript of Serat Panji Jaya Kusuma dated 1805 (MSS Jav 68), which is shown open at a scene (identified by Lydia Kieven) where Sekartaji and her servant (emban) approach the forest filled with animals including an elephant, tiger, banteng, wild boar and two deer. This tale is one of many versions of the adventures of Prince Panji in his search for his beloved Princess Candrakirana. Stories of Prince Panji date back to the 13th century, and mark the beginnings of a truly Javanese literature no longer overshadowed by the great Indian epics Ramayana and Mahabharata. Panji tales are found not only in Java but were also translated into Malay, Balinese, Thai, Lao, Khmer and Burmese.

Drawings of forest animals in a Javanese manuscript of Serat Panji Jaya Kusuma, 1805. British Library, MSS Jav 68, f. 42r.

On the lower shelf is a Vietnamese royal edict issued by Emperor Khải Định on 25 July 1924, adorned on the back with a gilded turtle (Or 14632). The turtle (rùa) has a special place in Vietnamese culture and history. It symbolises longevity, strength and intelligence and is also closely related to the independence of Vietnam. Legend has it that Lê Lời, who led the Vietnamese fight against Chinese invaders in the 15th century, borrowed a sword from the dragon king. After the defeat of the Chinese, the sacred sword was returned to the king by a turtle which lived in a jade water lake. At the Temple of Literature (Văn Miếu) in Hà Nội, 82 stone turtles carry on their backs steles inscribed with the names of scholars, signifying the importance of education in society.

Turtle, on the back of a Vietnamese royal edict issued by Emperor Khải Định on 25 July 1924. British Library, Or. 14632.

The final item in the case is a 19th-century Thai Phrommachat or horoscope manual in folding book format (Or. 13650). The twelve-year Chinese zodiac cycle was widely used in Thailand, and the manual contains coloured drawings depicting the zodiac in two series, together with detailed explanations for fortune telling and divination. 2017 is the year of the Rooster, and on display are drawings related to this year, with each rooster shown representing one particular quarter of the year. There is also a number diagram for people born in the year of the rooster, and the male avatar and plant for this year. These are accompanied by drawings used for predicting the future and to explain dreams and omens.

Thai horoscope manual, open at the page for the year of the Rooster (the present year, 2017). British Library, Or. 13650, f.5v

Or. 13650 has been fully digitised, and shown below are some other pages from this beautiful manuscript, which can be accessed through the hyperlinks beneath the images.

Thai horoscope manual. British Library, Or. 13650, f. 11v

Thai horoscope manual. British Library, Or. 13650, f. 13r

Annabel Teh Gallop, San San May, Jana Igunma & Sud Chonchirdsin, Southeast Asia section

Other blog posts about animals in Southeast Asian manuscripts:

Elephants, kingship and warfare in Southeast Asia, by Sud Chonchirdsin

Elephants in all shapes and sizes

The year of the Rooster, from a Thai perspective, by Jana Igunma

O graceful fawn, o gentle doe: deer in Thai manuscript art, by Jana Igunma

What's my Thai horoscope? by Jana Igunma

Related articles

The Life of the Buddha in Thai manuscript art

Ten Birth Tales of the Buddha (IO Pali 207)

Ching Yuet Tang is a cataloguer on secondment from the National Art Library at the Victoria & Albert Museum. She is currently assisting with the retro-conversion of catalogue records relating to Chinese collections at the British Library.

When I started work on the cataloguing project on early printed Chinese materials in September 2016, little did I know that it would include an early twentieth century guide to a game that I used to play at school in my small village in Hong Kong.

‘Shuttlecock’, or, jianzi 毽子, is a favourite pastime in China, enjoyed for centuries by adults and children, both rich and poor. It can be played just about anywhere, at any time, and whether you are on your own, in a pair or part of a group. The aim of the game is to try to keep the shuttlecock in the air using only the feet, and to get as many kicks in as possible without dropping it. The item I encountered – Le Volant Chinois, written by Chu Minyi and Louis Laloy in 1910 – is a helpful illustrated manual providing detailed instructions for a total of 38 techniques, ranging from simple tricks to spectacular acrobatic displays!

The book starts with simple techniques, such as kicking using the left or right foot. British Library, 15235.b.1

It continues with the sideways kick. British Library, 15235.b.1

And then moves on to more advanced techniques, such as the crab-style kick. British Library, 15235.b.1

And even demonstrates jumping with both feet! British Library, 15235.b.1

Although jianzi can be bought from shops, they are incredibly easy to assemble at home too. It requires no more than a few feathers, some rubber bands, an old exercise book (preferably with a hardback cover for strength) and a pair of scissors. A jianzi is light-weight and pocket-sized, making it a perfect form of instant mobile entertainment in pre-digital times. It is easy to make, simple to play and, most of all, it is fun!

Cheap and cheerful: examples of shop-bought jianzi

Jianzi has a long history of over two thousand years. According to the International Shuttlecock Association (ISF) website, jianzi (or a version of it), can be traced to at least the Han dynasty (206 BC – 220 AD) if not earlier. It is believed to have evolved from an activity called cuju 蹴鞠 undertaken by military troops for relaxation and exercise. Over the years, its popularity grew and extended to people from all walks of life. This can be seen clearly in a nineteenth-century Chinese export album, in which two men can be seen having a go at kicking a jianzi made of chicken feathers. According to the description, they managed to score over 1000 points in a row.

A common street scene. The caption describes the basic components for making a jianzi, namely a small coin about the size of a halfpenny, some feathers and a piece of string. British Library, Or 11539

Another historical reference to jianzi is given at the beginning of Le Volant Chinois, which reads:

楊柳兒青放空鐘 « Quand le saule verdit, on lâche le diabolo :
楊柳兒死踢毽子 Quand le saule se flétrit, on lance le Volant. »

This is a quote from another early printed book also held in the British Library, Di jing jing wu lüe 帝京景物略 by Liu Tong and Yu Yizheng, an account of Beijing in the early seventeenth century. It discusses seasonal leisure activities pursued by ordinary people, and mentions jianzi as a typical winter pastime enjoyed by many.

In recent years, jianzi has been transformed from a folk leisure activity to a formal competitive sport on a national and international scale. It not only has well-established official rules but also strict specifications about the components of a standard jianzi, from its weight and dimensions down to the number of feathers and the texture of its plastic base. It is now played over a net and deploys some of the goal-shooting techniques of football. The shuttlecock is kicked towards the other side and points are scored when the opposing team is unable to return it, as in the case of volleyball or badminton. The game has singles and doubles tournaments for men, women and mixed teams.

According to the ISF, jianzi entered the international spotlight when a Chinese athlete from Jiangxu demonstrated it at the Summer Olympics in Berlin in 1936. The sport has since gained great recognition and has spread to many countries around the world. Since the foundation of the ISF in 1999, the list of official members has expanded to include England, Finland, Germany, Hungary, Laos, Vietnam, Greece, France, India, Pakistan and Indonesia. Members take turns to organise their own championships and I am thrilled to hear that the 9th World Shuttlecock Championships 2017 will be coming home to Hong Kong.

Do not despair if you are not yet at competitive or championship level, as you can still enjoy a simple game of jianzi as a much-needed break from a busy modern lifestyle, while also keeping fit and active. So if you are looking for a new hobby, why not get inspired by the manual of Chu Minyi and Louis Laloy? You might just find yourself tapping into a hidden talent, and may soon be showing off your dexterity and endurance.

Further reading:
Chu Minyi and Louis Laloy, “Le Volant Chinois”, Bulletin de L’Association Amicale Franco-Chinoise. Vol. 2, no. 4 (October 1910): 319-35.
International Shuttlecock Association (ISF), “History of shuttlecock sport”.
Liu Tong and Yu Yizheng, Di jing jing wu lüe. (Published in China by an unknown publisher, between 1766 and 1795.)

Ching Yuet Tang, Cataloguer, Chinese Collections

In recent weeks I have been examining bindings of the British Library’s manuscripts which formerly belonged to Tipu Sultan, Sultan of Mysore (r. 1782-1799). The British Library collection probably constitutes about 25% of the original Library as it was in 1799 after the fall of Seringapatam. The manuscripts originate ultimately from a number of different, largely unspecified, locations, but fortunately there is a distinct corpus (23 out of 242 so far examined) which can easily be identified as belonging to Tipu Sultan's court. These are works bound in his own individualistic style of binding or else were copied or composed at Seringapatam.

Front board of Tipu Sultan’s personal Qur’an with flap showing inscriptions 1, 2, 4, 5 and 6 below. This binding is unusual of Tipu bindings for its use of gilt decoration. Note also the diced patterned background which is a feature of several other manuscripts. (IO Islamic 3562) 

One of the most lavish is Tipu Sultan’s personal Qur’an (IO Islamic 3562), illustrated above (more on this in a future blog). Decorated heavily in gilt on a diced patterned background, the binding also includes a number of inscriptions. These were described in general terms by Charles Stewart in A Descriptive Catalogue of the Oriental Library of the late Tippoo Sultan of Mysore, (Cambridge, 1809), p.v.

All the volumes that had been rebound at Seringapatam have the names of God, Mohammed, his daughter Fatimah, and her sons, Hassen and Hussein, stamped in a medallion on the middle of the cover; and the names of the Four first Khalifs, Abu Beker, Omar, Osman, and Aly, on the four corners. At the top is “Sirkari Khodādad,” (the government given by God); and at the bottom, “Allah Kāfy,” (God is sufficient).”

I thought it would be helpful to expand on these inscriptions which are stamped on the outside of the bindings. Typically, but not always, they consist of:

1. Front top: Sarkār-i Khudādādī ‘God-given government’
2. Front central medallion: Allāh, Muḥammad, ʻAlī, Fāṭimah, Ḥasan, Ḥusayn
   
3. Back central medallion: Qur’an Surah 2:32: Subḥānaka lā ‘ilma lanā illā mā ‘allamtanā innaka anta al-‘alīm al-ḥakīm ‘Exalted are You; we have no knowledge except what You have taught us. Indeed, it is You who is the Knowing, the Wise.’
4. Four corners: Ḥaz̤rat Abū Bakr Ṣiddīq; Ḥaz̤rat ʻUmar al-Fārūq; Ḥaz̤rat ʻUsmān ibn ʻAffān; Ḥaz̤rat ʻAlī ibn Abī Ṭālib
5. Pendants hanging from central medallion: Allāh kāfī ‘God is sufficient’
6. Cartouches: Lā ilāha illā Allāh Muḥammad Rasūl Allāh ‘There is no God but God and Muhammad is his messenger’
7. Spine: Qur'an Surah 56:79: Lā yamassuhu illā al-muṭahharūn ‘None may touch it except the purified’

Left: back board with inscriptions 1, 3, 4, 5 and 6; right: doublure; below: flap with inscription 7 which currently, perhaps as a result of restoration, lies on the outside of the front board. (IO Islamic 3562)

A similar binding occurs on IO Islamic 3351, a less ambitiously decorated Qur’an, possibly dating from the 17^th century but rebound at Seringapatam. Its small size (16.5 x 10cm) accounts for it only being inscribed in the central medallion, on the spine and with the usual sarkar-i khudādādī. Unlike many of Tipu's bindings, which have been altered during subsequent restoration, this one has been preserved in its original state with the flap designed to go inside the outer cover.

Back board and flap showing inscriptions 3 and 7. (IO Islamic 3351)

Less ambitious Tipu bindings show considerable variation and demonstrate that the inscriptions could be stamped quite carelessly as illustrated in the examples below.

  
Left: IO Islamic 695, a late 18^th century copy of works by Gīsū Darāz and ʻAṭṭār, with inscriptions 1, 2, 4 and 5 stamped somewhat inexactly on the binding; right: IO Islamic 491, Javāhir al-qur'ān, an index to bowing places (rukūʻ) copied for Tipu in 1225 of the Mauludi era (1797/98) with only inscription 1 at the head.

Not all of Tipu Sultan's bindings included his characteristic inscriptions. Two examples of comparitively simple bindings are illustrated below.

This manuscript is a translation into Persian from Dakhni by Ḥasan ʻAlī ʻIzzat of the love story of Lal and Gohar which was commissioned by Tipu Sultan in 1778. The binding is contemporary and still carries the Prize Agentsʼ label dating from when they were first examining the collection in 1799. (IO Islamic 464)

Another work commissioned by Tipu, his army regulations Fatḥ al-mujāhidīn by Zayn al-Dīn Shūshtarī. The scalloped flap is the only example I have found in the collection and unlike IO Islamic 3351 above, it was designed to lie on the outside. Note also the hole, presumably for ties. (IO Islamic 713)

Altogether I estimate that the British Library has about 600 volumes from Tipu Sultan's collection. These consist of 197 volumes of Arabic and Persian manuscripts deposited in the Library on 16 July 1806, further volumes deposited in 1807 (204 vols) and April 1808 (68 vols) and a proportion of the 308 manuscripts sent to London in 1837 after the closure of Fort William College in Calcutta and the dispersal of its collections. For more on this see my earlier post Revisiting the provenance of the Sindbadnamah. I'm hoping that by examining the whole collection I may be able to discover more about the provenance of each volume and establish certain regional binding styles, but this is very much work in progress, so watch this space!

Ursula Sims-Williams, Lead Curator, Persian

Related posts on Tipu Sultan

Tipu Sultan’s dream book (IO Islamic 3563)

Revisiting the provenance of the Sindbadnamah (IO Islamic 3214)

Nasir Shah's Book of Delights

The curious tale of Solomon and the Phoenix

Campaign medals from the India Office collections

The biennial Shubbak Festival returns to London this year between 1st and 16th July with a range of exciting and engaging events on contemporary Arab culture, with an array of literary events taking place once again at the British Library.

Shubbak first visited the British Library in 2015 attracting hundreds of attendees with an outstanding line-up of Arab authors and artists. This year sees a more diverse schedule of events that includes: a display of items from the British Library’s collections, outdoor dance performances, literary discussions and readings, and children’s poetry workshops, as well as a number of creative collaborations with writers, translators and literary magazines.

‘Comics and Cartoon Art from the Arab World’ (13 June-29 October)
Events have already kicked off with the opening a display entitled ‘Comics and Cartoon Art from the Arab World’ in the British Library’s Sir John Ritlbat Treasures Gallery. This four-case display explores the art, history and significance of Arab comics, cartoons, caricatures and graphic novels through original examples taken from the British Library’s collections.

 
Left: Abou Naddara supplement (Paris, 1894). BL 14599.e.20
Right: Cover of a 1959 edition of Sindbad (Cairo: Dār al-Maʿārif, 1952- ) illustrated by Mohieddin El Labbad. BL ORB.30/8320

ʻSacré Printemps!ʼ (6 July, performances at 13:00, 16:00 and 18:30)
The British Library’s piazza is the venue for three UK premier performances of ‘Sacré Printemps!’ - a dance performance by Cie Chatha and choreographed by Aïcha M’Barek and Hafiz Dhaou. Featuring life-sized silhouettes by seminal street artist Bilal Berreni (Zoo-project), which appeared on Tunis’ main avenue after the revolution. ‘Sacré Printemps!’ celebrates the diverse individuals who fought for their civil rights. Five dancers jostle, fight and compete among over 30 cut-out sculptures but also joyfully unite in their strife to join different voices and individualities into one hope.

Literature Festival (15-16 July)
The Shubbak Literature Festival brings a weekend of talks, readings and performances runs to the British Library’s Knowledge Centre. The festivals kicks off with ‘Writing Against the Grain’ with Mona Kareem, Ghazi Gheblawi and Ali Badr discussing what it means write against the grain in 2017 as an engaged Arab writer. This is followed by ‘A New Confidence: Recent Queer Writing’. Although LGBTQ characters and narratives have always been present in Arabic literature, recent years have seen a new wave of LGBTQ-identified Arab writers taking the foreground in writing their own narratives. Writers Saleem Haddad, Alexandra Shreiteh, Amahl Khouri will be joined by Alberto Fernández Carbajal to discuss their art.

 
Left: Ali Badr, Bābā Sārtir: riwāyah (Beirut: Riyāḍ al-Rayyis, 2001). BL YP.2012.a.2086
Right: Alexandra Chreiteh, Ali and his Russian mother (Northampton, Massachusetts: Interlink Books, 2015). Arabic edition at BL YP.2017.a.2689

As ever, poetry is prominent in the festival. On both Saturday and Sunday British-Egyptian poet and playwright Sabrina Mahfouz hosts a lively, fun and interactive free poetry workshop in which children will be able to weave their everyday experiences into the fabric of Arab folk tales. On the Saturday evening, ‘Keepers of the Flame’ sees Malika Booker return to Shubbak to host bilingual performances of four poets: Iraqi-American poet Dunya Mikhail, New York-based poet-writer-translator Mona Kareem, Sudanese poet Al-Saddiq Al-Raddi and Syrian Kurdish poet and translator Golan Haji.

Left: Dunya Mikhail, Uḥibbuka min hunā ilá Baghdād: qaṣāʾid mukhtārah [I love you from here to Baghdad: selected poems] (Cairo: Wizārat al-Thaqāfah, al-Hayʾah al-ʿĀmmah li-Quṣūr al-Thaqāfah, 2015). BL YP.2016.a.5604
Right: He tells tales of Meroe: poems for the Petrie Museum (London: Poetry Translation Centre, 2015.). BL YP.2015.a.7162

Sunday’s opening event is ‘The Walking Nightmare’ which puts a spotlight on the use of horror, realism and black humour in depicting post-revolutionary Egyptian dystopias. Literary translator Elisabeth Jacquette joins writer and psychiatrist Basma Abdel Aziz, IPAF-nominated author Mohammad Rabie and graphic artist Ganzeer via Skype.

 
Left: Ganzeer, Solar Grid
Right: Mohammed Rabie, ʿUṭārid : riwāyah [Otared] (Cairo: Dar al-Tanwīr, 2015). BL YP.2016.a.3599

Egypt, Lebanon and Iraq play a dominant role in the Arabic literary scene while writers from outside these countries are not widely known or translated. ‘Under the Radar’ brings Libyan-born IPAF-short listed writer Najwa Benshatwan and Yemeni Nadia Alkokabany in discussion with Bidisha exploring the multiple marginalisation of being a female writer outside the Arab literary mainstream.

The Shubbak Festival closes with Palestinian-American novelist Susan Abulhawa in conversation with South Africa born British novelist, playwright and memoirist Gillian Slovo. Abulhawa’s 2010 debut novel, Mornings in Jenin, is a multigenerational family epic that looks unflinchingly at the Palestinian question. It became a bestseller translated into thirty-two languages. Her second novel, The Blue Between Sky and Water, was released in 2015 and also met with global acclaim. Although she writes in English, her work is deeply rooted in the land and language of her ancestors, taking inspiration from the Palestinian literary canon, such as Ghassan Kanafani’s Return to Haifa.

Left: Susan Abulhawa, Mornings in Jenin (London: Bloomsbury, 20103). BL H.2010/.7013. Also available digitally in the British Library reading rooms ELD.DS.100960.
Right: Najwa Benshatwan, Zarāyib al-ʿabīd: riwāyah [The slave Pens] (Cairo: Dār al-Sāqī, 2016). BL YP.2017.a.2695

Literary Collaborations
Since mid-June Syrian journalist and author Rasha Abbas has undertaken a month long creative residency commissioned by Shubbak and the British Library, where she focuses on the period of the Arab Union, as part of the research for a planned historical novel. The culmination of her research will be presented in an event at the Shubbak Literature Festival in a narrative framed by specific tarot cards. The highly delineated lens of each card – Free Will, Forced Fate, Justice, and so on – will provide an idiosyncratic approach to the historical material in question.

The digital magazine Words Without Borders has published newly translated works including political nonfiction from Basma Abdel Aziz; an extract of Nadia Alkokabany’s new novel about the Yemeni revolution; an extract of Mohamed Abdelnabi’s International Prize for Arabic Fiction-shortlisted gay Egyptian novel; and a short play by seminal Libyan playwright Mansour Bushnaf. This special feature went live on 1 July 2017 on both shubbak.co.uk and wordswithoutborders.org.

 

Left: Basma Abdel Aziz, al-Ṭābūr: riwāyah [The queue] (Beirut: al-Tanwīr, 2013). BL YP.2017.a.2687
Right: Mohamed Abdelnabi, Fī ghurfat al-ʿankabūt: riwāyah [In the spider’s room] (Cairo: Dār al-ʿAyn, 2016). BL YP.2017.a.1440

Modern Poetry in Translation’s summer issue will also include a Shubbak focus on Arabic-language poetry, with new work from the poets appearing at the festival, including the festival’s new commission by Golan Haji, in translation by Stephen Watts. A range of podcasts and recordings will accompany the magazine.

For the full programme and booking information, visit bl.uk/events/shubbak. You can also follow Shubbak on Twitter, Facebook, Instagram and YouTube.

Daniel Lowe, Curator of Arabic Collections

@dan_a_lowe
@shubbakfestival
#Shubbak2017

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In 1939, the Trucial Coast States – the present day United Arab Emirates – were part of Britain’s Informal Empire in the Persian Gulf. Britain had effectively controlled this region since the early 19^th century after it destroyed the fleet of its primary naval power, the Qawasim tribal confederation, and then concluded a series of treaties with its rulers. Although these agreements were in some ways beneficial to the ruling Shaikhs that signed them, they were often enforced by a mixture of coercion and intimidation. If a ruler was perceived to not be sufficiently cooperative or subservient, the British authorities had few qualms with ordering a bombardment of his fort or engineering the appointment of a replacement deemed more appropriate. As Britain's most senior official in the region remarked in 1929, the Royal Navy was "an efficacious and prompt weapon to deal with any recalcitrance."

Left: Shaikh Ahmad as-Salf of Hafit [Jabal Hafeet], Na’im
Right: Shaikh Obaid bin Juma’, Beni Ka’ab

However, on the eve of the Second World War, this long-standing arrangement was beginning to become unsettled. Colonial officials started to worry whether the combination of Britain’s treaties with the region’s rulers and the threat of the Royal Navy was enough to ensure that its status as the hegemonic power in the region would last. As such, they began to debate between themselves how Britain’s policy in the area – including the Trucial Coast specifically – should proceed and how its dominance could be maintained. Many files that discuss this issue in detail are held in the India Office Records (IOR) at the British Library.

Left: Shaikh Sultan bin Saqr of Buraimi, Na’im
Right: Shaikh Mohamed bin Rahmah bin Salman of Sumaini, Al Bu Shams (Left) and Mudhaffar, Wali of Sohar (Right)

One such file from 1939 (IOR/L/PS/12/3747) contains a series of photographic portraits of a number of tribal leaders from this period. Unfortunately, no context or details of the photographs are given in the file; regardless they offer a fascinating glimpse into the appearance and dress of the region’s inhabitants at this time and reveal the extent to which these have both changed to the present day. Each photograph gives the subject’s name and in some cases their position and/or tribal affiliation. It is interesting to note that most of the subjects are not from the most prominent ruling families of the region (who remain in power today), but rather from slightly less well-known branches and locations, including places that now form part of Oman. The final photograph in the series includes an image of slaves that were part of a Shaikh’s retinue, lamentably a widespread phenomenon in the region at the time.

Left: Shaikh Ahmad al-Haiya’i of Dhank, Al Bu Shams (left) and his son (right)
Right: Shaikh Ibrahim bin Uthman, Abu Dhabi Wali (Centre)

Left: Shaikh Mohammed bin Sultan of Dhank, Na’im
Right: Sultan ad-Damaki of Gatarah [?] (Left)

This file is in the process of being digitized by the British Library Qatar Foundation Partnership and these photos, as well as the rest of the file’s contents regarding British policy in the region, will appear online in high resolution on the Qatar Digital Library later this year.

Rashid bin Hamad of Hamasah, Al Bu Shams (Centre); Shaikh Mohamed bin Hamad, younger brother of above (Left Centre); Son of Shaikh Rashid (Right Centre); Shaikh Ibrahim bin Uthman, Abu Dhabi Wali (Right)

Primary Sources:
British Library, IOR/L/PS/12/3747, ‘Persian Gulf, Trucial Coast: Police of H.M.G., List of Trucial Sheikhs’

Secondary Sources:
Charles E. Davies, An Investigation into Qasimi Piracy, 1797-1820 (University of Exeter Press, 1997)
Rosemarie Said Zahlan, The Origins of the United Arab Emirates: a Political and Social History of the Trucial States (Macmillan, 1978)

Louis Allday, Gulf History/Arabic Language Specialist, British Library

 

The ‘South Asia Series’ of talks recommences in August, with a diverse line-up of speakers, based on the British Library's ‘Two Centuries of Indian Print’ Project and the South Asia Collection. The talks, on topics ranging from the 16th-century founder of the Mughal Empire, to Indian theatre and Shakespeare in South India, will be followed by discussions facilitated by BL curators and other specialists in the field. The presentations, which will take place at the Foyle Learning Centre at the British Library, between 5.30-7.00pm, will include the following:

On 21st August 2017, Professor of Art History at the University of Texas at Austin, Michael Charlesworth will talk about the works of Reginald Farrer (1880-1920), who was an alpine plant collector, gardener, and the garden writer who single-handedly changed the way the anglophone world writes about garden plants. The talk entitled “From Sri Lanka to the Western Front: Reginald Farrer's Buddhism” will trace the energy of Buddhist thought in varied works by Farrer, particularly in his account of temples and ruined cities.

Front cover of ‘In Old Ceylon’ (1908). British Library, 010058.f.9

Dr. Thea Buckley examines the curious case of how Pericles, Shakespeare’s tale of a seafaring prince and a princess abducted by pirates, circulated to South India’s Malabar Coast. In her talk in September, ‘In the spicèd Indian air’: the East India Company, Malabar black gold, and Shakespeare, she will connect the East India Company’s import of Shakespeare with the export of spice from today’s Kerala state, and discuss the resulting literary fusion.

Front cover of William Shakespeare’s ‘Othello’ in Malayalam (1942). British Library, Mal B 737

In her talk in October, ‘Stages of Partition: Prithvi Theatre during the 1940s’, Dr. Salma Siddique, a postdoctoral research fellow at Berlin Graduate School Muslim Cultures and Societies, Freie Universität Berlin, will discuss how partition was ‘performed’ on stage before it had even happened. Using surviving transcripts, memoirs and press coverage, she reads in the repertoire both partition’s proleptic history and its creative force.

Image of Prithvi Theatre stamp from ‘Dīvār’ (1952). British Library, Hin B 13795

In November, Daniel Majchrowicz, an Assistant Professor of South Asian Literature and Culture at Northwestern University, will talk about Tukoji Holkar, Maharaja of Indore, his clandestine tour of Delhi, Agra and Haridwar and subsequent Urdu travelogue. This presentation will examine how and why princely travel writing appeared in mid-19th century South Asia and argue that the Maharaja's decision to write travel account – and to do so in Urdu – served to stabilize Indore's legitimacy and legacy at a time when colonial predations had rendered these increasingly precarious.

Image of the Palace of Indore from ‘Bagh I Nau Bahar’ (1852). British Library, 306.23.e.17

We will end the year with talks on alcohol and botanical publishing. On 11th December 2017, Dr Sam Goodman will argue in his talk ‘No beer to be had unless prescribed medically: Alcohol and Health in Colonial British India’ how alcohol was a paradoxical substance in the context of colonial British India, regarded as an evident source of personal and broader public risk, yet at the same time still used regularly in medical practice and perceived as vital to the preservation of health in both lay and professional contexts. He will draw upon courts martial proceedings, medical reports and other sources drawn from the India Office Archives from his talk. 
Image from the ‘The Military Adventures of Johnny Newcome’ (1904). British Library, 012203.F.32/8

A full list of talks is given below, while the abstracts can be downloaded here:

Download BL South Asia Seminar Abstracts Long August-December with pics:

Monday 7th August 2017: Writing Empire: The Memoirs of Zahiruddin Muhammad Babur, Founder of Mughal India. Lubaaba Al-Azami (University of Liverpool).

Monday 21st August 2017: From Sri Lanka to the Western Front: Reginald Farrer's Buddhism. Prof. Michael Charlesworth (University of Texas-Austin).

Monday 4th September 2017: ‘In the spicèd Indian air’: the East India Company, Malabar black gold, and Shakespeare. Dr. Thea Buckley (University of Birmingham)

Monday 18th September 2017: Persian Grammar Books as a Get Rich Quick Scheme in Colonial Calcutta (Dr. Arthur Dudney (University of Cambridge),

Monday 2nd October 2017: In a Place of Dreaming and Secrecy: College Magazines and Young Womanhood in South India. (Dr. Sneha Krishnan (University of Oxford)

Monday 16th October 2017: Stages of Partition: Prithvi Theatre during the 1940s. Dr. Salma Siddique (Freie Universität Berlin)

Monday 30th October 2017: Applied Cosmology and Islamic Reform in North India: Shāh Walī Allāh of Delhi and the Urdu Common Reader. Daniel Morgan (PhD Candidate, University of Chicago)

Monday 6th November 2017: Princes, Politics and the Urdu Travel Account in mid-Nineteenth Century India. Daniel Majchrowicz (Northwestern University)

Wednesday 22nd November 2017: Reintroducing the Celebrated Niʿmatnāmah Half a Century Later. Dr. Preeti Khosla (Independent Scholar)

Monday 4th December 2017: Publishing colonial science: the struggle to communicate the results of the botanical investigation of India. Dr. Adrian Harris (King’s College London)

Monday 11th December 2017: ‘No beer to be had unless prescribed medically’: Alcohol and Health in Colonial British India. Dr. Sam Goodman (Bournemouth University)

Please do come along, listen and participate. No advance booking is required, and the sessions are free to attend. For further information, please contact:

Dr. Layli Uddin, Project Curator of ‘Two Centuries of Indian Print’

[email protected]

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