Urdu in Search of a Home: Film Zabaan and the Director’s
Statement
Kishore
Srinivasa Raju
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The film Zabaan offers a narrative, located in the volatile
India-Pakistan borderlands, wherein a mysterious woman, suspected of espionage,
is captured by the Indian Police. She skilfully avoids revealing her identity
during intense interrogations. In a twist of fate, she narrowly escapes execution
and then she discloses her supernatural identity—not a person but the
embodiment of a language.
After watching the film, I couldn’t resist the temptation of contacting
Kishore Srinivas, the Director of the film, and congratulating him for his
superlative effort in showcasing the fate of Urdu language. On my request, he
instantly consented to share his views on Zabaan with Re-Markings. –
Chief Editor
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On a rainy evening, over a cup of tea, my
friend shared a story with me. It was based on a radio play he was working on.
As he narrated the story in a single line, I found myself instantly intrigued.
We decided to adapt it into a short film. Little did I know, this captivating
tale was penned by the legendary Indian filmmaker and screenwriter, Mr. Khwaja
Ahmad Abbas. His authorship served as a significant inspiration for our
project.
It's likely that Mr. Khwaja wrote this story
in the 1950s or 60s, a tumultuous period following India's partition from
Pakistan. The era was marked by border infiltrations and a surge in language
purism across India. As my co-writer and I delved deeper into the story's
cultural and political context, we were confronted with harsh realities. We
realized that its relevance has endured over the decades, with little having
changed. In fact, we felt that the story resonates as strongly today as it did
60 or 70 years ago.
Urdu, a language steeped in history, traces
its roots to the Mughal courts of India, evolving as a synthesis of Persian,
Arabic, Turkish and local Indian dia-lects. With a literary heritage dating
back centuries, Urdu has flourished as a symbol of cultural amalgamation,
offering a tapestry of poetry, prose, and artistic expression. This linguistic
gem serves as a bridge between diverse communities, encapsulating the soul of
South Asian literature, music, and cinema, fostering unity among its speakers.
The film sheds light on the stigma Urdu
faces, particularly among the younger generation, who shy away from embracing
the language. Challenges like Language shift, Educational policies, Social
stigma, Media & technology has led to the marginalization or discrimination
of Urdu making it less attractive to the younger generations. The threat of
losing this cultural treasure prompts exploration into why Khawaja Ahmad Abbas
chose to tell a story about the language against the backdrop of India's
revelations.
As the narrative unfolds, the film addresses
why Urdu struggles for its rightful place in the contemporary world, reflecting
on societal perceptions and chan-ging dynamics leading to a decline in its
usage. In the story, the suspect's interrogation becomes a metaphor for Urdu
itself, grappling with identity and relevance, urging audiences to preserve
Urdu's beauty before it becomes a fading echo of history.
In our Indian cinema, songwriters,
literature, and more, Urdu finds expression. However, beyond these domains, the
importance of Urdu is often under-estimated. Despite being integral to India's
cultural fabric, Urdu faces challenges in claiming a broader significance. The
film aims to shine a light on the multi-faceted contributions of Urdu beyond
the realms of entertainment, emphasizing its role in shaping a shared cultural
identity that transcends linguistic boun-daries.
The partition of India & Pakistan in 1947
had a profound impact on Urdu. It resulted in the division of populations, with
Urdu becoming one of Pakistan's official languages and Hindi in India. Urdu
found prominence in Pakistan but faced challenges in its homeland India, where
Hindi emerged as dominant. Despite being a significant part of Pakistan's
cultural identity, Urdu lacks a singular "home country," contributing
to its diasporic nature.
Post-partition, linguistic evolution led to
subtle divergence in vocabulary and script between Hindi and Urdu. Yet, both
share a common linguistic base as Hindustani, remaining mutually intelligible.
The geopolitical events surrounding the India-Pakistan cross border issues and
civil unrest due to religious diffe-rences impacted Urdu's socio-political
standing, but it endures as a symbol of shared cultural heritage, transcending
political boundaries and fostering a unique identity that resonates beyond borders.
Note: The film Zabaan, produced and directed by
Kishore Srinivasa Raju ends with a poem by Iqbal Ashar that sheds light on Urdu’s search for a home. The poem “Urdu hai mera naam” (my name is
Urdu) is reproduced below, sup-ported by its rendering in English.
Urdu hai mera naam
Ashar Iqbal
Urdu
hai mera naam main Khusro ki paheli
Main Meer ki humraaz hoon Ghalib ki saheli
Dakkan ke Wali ne mujhe godhi me khilaya
Sauda ke qaseedon ne mera husn barrahaya
Hai Meer ki azmat ke mujhe chalna seekhaya
Main Daagh ke aangan me khili ban ke chameli
Urdu hai mera naam main Khusro ki paheli
Main Meer ki humraaz hoon Ghalib ki saheli
Ghalib ne bulandi ka safar mujhko sikhaya
Haali ne muravvat ka sabak yaad dilaya
Iqbal ne aaina_e_haq mujhko dikhaya
Momin ne sajayee mere khwabon ki haveli
Urdu hai mera naam main Khusro ki paheli
Main Meer ki humraaz hoon Ghalib ki saheli
Hai Zauk ki azmat ke diye mujhko sahare
Chakbast ki ulfat ne mere khwab saware
Fani ne sajaye meri palko pe sitare
Akbar ne rachayee meri berang hatheli
Urdu hai mera naam main Khusro ki paheli
Main Meer ki humraaz hoon Ghalib ki saheli
Kyoon mujhko banate ho ta'assub ka nishana
Mainay to kabhi khud ko musalmaan nahi mana
Dekha tha kabhi mainay bhi khushiyon ka zamana
Apne hi watan me hoon magar aaj akayli
Urdu
hai mera naam main Khusro ki paheli
Main Meer ki humraaz hoon Ghalib ki saheli
[Urdu
is my name and I am the mystery of Khusro.
I am
the confidante of Mir, the playmate of Ghalib.
Vali,
of Dakkhan nurtured me in his lap.
Sauda’s
panegyrics brought out my beauty.
Mir
was priveleged to teach me to walk.
And I
flowered in the garden of Dagh.
Urdu
is my name and I am the mystery of Khusro.
I am
the confidante of Mir, the playmate of Ghalib.
Ghalib
taught me flights of great vision.
Hali
gave me lessons in humility.
Iqbal
showed me the mirror of righteousness.
Momin
gave me dreams of home and comfort.
Urdu
is my name and I am the mystery of Khusro.
I am
the confidante of Mir, the playmate of Ghalib.
Zauq
had the privelege of supporting me.
Chakbast’s
love made my dreams beautiful.
Faani
brought starlight to my eyes.
Akbar
coloured my palm with henna.
Urdu
is my name and I am the mystery of Khusro.
I am
the confidante of Mir, the playmate of Ghalib.
Why do
you make me the target of bigotry?
I have
never claimed to be restricted to Muslims.
I too
once saw an age of happiness.
But
today I am helpless in my own home.
Urdu
is my name and I am the mystery of Khusro.
I am
the confidante of Mir, the playmate of Ghalib.]
REFERENCES
Ashar,
Iqbal. “Urdu hai mera naam.” https://urdushahkar.org/urdu-hai-mera-naam-iqbal-ashhar/
Zabaan. Suspense Thriller Short Film based on a story by National
Award Winner, Khwaja Ahmad Abbas. Six Sigma Films, 2024. Link to
the film: https://www.youtube.com/watch?v=ohfyG9yPF-M.
·
Kishore Srinivasa Raju is a filmmaker based in Bangalore.
With a degree in Mechanical Engineering, he ventured into
the corporate world before discovering his true calling in the art of storytelling
through films. Motivated by his passion for exploring innovative concepts, he
established Napoleon Films in 2018, a production company dedicated to crafting
high-end TV commercials, digital ads & Short films.
Published in Re-Markings Vol. 24 No. 1 March 2025 pp. 54-57. www.re-markings.com
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