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The Evolution of a "Third Culture"

In a blog entry I wrote early last year on the Harvard evolutionary psychologist Steven Pinker and his essay "The Moral Instinct", I expressed my great admiration for a whole generation of world class scientists who have ably taken on the task of speaking not just to their peers but also the wider audience of curious non-specialists. We increasingly live in an age where serious study of the social sciences and even the humanities have to account for the findings of cutting edge neuroscience, cognitive biology, cosmology and other scientific disciplines if they are to be taken seriously.

Edge Foundation has an excellent website devoted to the promotion of the "Third Culture" which in their own words "consists of those scientists and other thinkers in the empirical world who, through their work and expository writing, are taking the place of the traditional intellectual in rendering visible the deeper meanings of our lives, redefining who and what we are." What recently took me to the site were six video interviews posted there with eminent intellectuals asking them about the progress of the Third Culture (the term is derived from a 50 year old lecture titled "The Two Cultures" by the English physicist C. P. Snow who bemoaned the serious gulf between scientists and literary intellectuals).

While on this topic I must mention the delightful profile of the pioneering Univ. of California, San Diego behavioral neurologist, Vilayanur Ramachandran in the May 11th, 2009 issue of The New Yorker. It is frustrating that this excellent profile by John Colapinto is not available online to non-subscribers so I cannot link to the full article. Suffice to say that I would highly recommend finding the article and reading it. Ramachandran comes across as a brilliantly innovative scientist with a fascinating biography, a warm and quirky personality and a passion for problem solving and the communication of ideas. The profile describes his ingenious solution to the problem of pain in phantom limbs using a simple mirror therapy. In a blog on the New Yorker site, Colapinto provides a fascinating description (including photos) of how the mirror therapy works by tricking the mind. Atul Gawande also wrote about this therapy in his New Yorker article called "The Itch" which I blogged about here.

To get a first hand flavor of Ramachandran's genius and his engaging lecture style here is his talk entitled "A journey to the center of your mind". He gives several extremely interesting examples of how the brain works (including the phenomenon of phantom limb pain).

Photo: Vilayanur S. Ramachandran (from the TED website)

November 1st, 2009 update:

Ramachandran dazzles in this video interview below hypothesizing how the problem of consciousness is likely to be explained. He believes that the potential explanation lies in some unique trajectory of human neurological evolution and that qualia (conscious knowledge of a sensation) and awareness of self are linked phenomena.

Justice Souter Retires

After 19 years, Justice David Souter has decided to leave the bench at age 69. Linda Greenhouse in today's Sunday Times, has an admiring portrait of the somewhat eccentric, reclusive and scholarly New Hampshire jurist who even as he was ill at ease in the public aspects of his office was intellectually very well equipped to be an associate justice.

For years now, Justice Souter had come to be seen as a reliable vote on the side of the court's liberal justices and despite being acknowledged as a keen intellect, his tenure on the court will likely be seen as unexceptional. Unlike a Scalia, he was not an icon for any particularly staunch philosophical view of constitutional interpretation. He did not occupy a pragmatic (sometimes indecipherable) middle in the way of Kennedy which makes him the obsessive focus of court watchers in every close case. And unlike Justice Brennan (whom he replaced) he was not a coalition builder with any penchant for shaping close opinions that could garner a majority for his preferred outcomes. Instead, Justice Souter will most likely be remembered as an independent-minded elder Bush appointee who upset Republican expectations of a reliable conservative vote for Scalia and surprisingly reaffirmed the constitutionality of the court's previous abortion decisions in Planned Parenthood v. Casey (1992).

An excerpt:

This pattern gave rise to a widespread view of Justice Souter as a misfit or a loner, not quite in touch with modern life. But to focus on his eccentricities — his daily lunch of yogurt and an apple, core and all; the absence of a computer in his personal office — is to miss the essence of a man who in fact is perfectly suited to his job, just not to its trappings. His polite but persistent questioning of lawyers who appear before the court displays his meticulous preparation and his mastery of the case at hand and the cases relevant to it. Far from being out of touch with the modern world, he has simply refused to surrender to it control over aspects of his own life that give him deep contentment: hiking, sailing, time with old friends, reading history.

National Poetry Month - "Moment" by Wislawa Szymborska & "Account" by Czeslaw Milosz

April is National Poetry Month and the New York Review of Books has been posting a poem every day this month to celebrate the, I suspect, not widely recognized occasion. Even though I can only read them in translation, I have always had a particular affinity for twentieth century Eastern European writers and poets (Brodsky, Milosz, Szymborska, Kundera and of course Kafka). They seem to capture the twentieth century zeitgeist in deeply intimate ways, perhaps because so many of the century's defining struggles and human tragedies played out on their soils.

Here are two poems by two Polish Noble Laureates that NYRB picked for April 28th and 30th respectively. The poem "Account" is by Czeslaw Milosz (pronounced chess-wahf mee-wosh) who was the recipient of the Nobel in 1980 and "Moment" is by the 1996 honoree Wislawa Szymborska.

I have posted Szymborska's wonderful poem " A Few Words on the Soul" in a previous post. In this poem "Moment", she evokes the serene, timeless harmony of nature's beauty. These beautifully contemplative descriptions of nature are a popular theme in her poetry. However, the subtext is the ephemeral human observer, with or without whom nature would continue on oblivious of being observed and indifferent to history's events unfolding around it.

"Moment" - Wislawa Szymborska

I walk on the slope of a hill gone green.
Grass, little flowers in the grass,
as in a children's illustration.
The misty sky's already turning blue.
A view of other hills unfolds in silence.

As if there'd never been any Cambrians, Silurians,
rocks snarling at crags,
upturned abysses,
no nights in flames
and days in clouds of darkness.

As if plains hadn't pushed their way here
in malignant fevers,
icy shivers.

As if seas had seethed only elsewhere,
shredding the shores of the horizons.

It's nine-thirty local time.
Everything's in its place and in polite agreement.
In the valley a little brook cast as a little brook.
A path in the role of a path from always to ever.
Woods disguised as woods alive without end,
and above them birds in flight play birds in flight.

This moment reigns as far as the eye can reach.
One of those earthly moments
invited to linger.

Translated from the Polish by Joanna Trzeciak
------------------------------------------------------------------------

The second poem here by Milosz is considerably darker. As is to be expected from the author of "The Captive Mind", this is a powerful poem of intellectual introspection.

"Account" - Czeslaw Milosz

The history of my stupidity would fill many volumes.

Some would be devoted to acting against consciousness,
Like the flight of a moth which, had it known,
Would have tended nevertheless toward the candle's flame.

Others would deal with ways to silence anxiety,
The little whisper which, though it is a warning, is ignored.

I would deal separately with satisfaction and pride,
The time when I was among their adherents
Who strut victoriously, unsuspecting.

But all of them would have one subject, desire,
If only my own—but no, not at all; alas,
I was driven because I wanted to be like others.
I was afraid of what was wild and indecent in me.

The history of my stupidity will not be written.
For one thing, it's late. And the truth is laborious.

(Berkeley, 1979)

Translated from the Polish by Robert Haas & Robert Pinsky

In Memoriam - The Great Iqbal Bano (1935-2009)

Iqbal Bano, one of the great exponents of semi-classical ghazal singing in the sub-continent, passed away in Lahore at the age of 74. I have recounted a reverie precipitated by her beautiful rendition of Faiz's ghazal "Yeh mausam-e-gul" in a previous post.

The Pakistani newspaper Dawn has a good obituary of Iqbal Bano here and some great photos of the icon in their media gallery. She was born in Delhi in 1935 and was the pupil of Ustad Chaand Khan of the Delhi Gharana. She moved to Pakistan in 1952 at the age of 17 and had her first public concert at the Lahore Art Center in 1957. She was awarded the "Pride of Performance" by the government in 1974.

Even though in the popular imagination her singing is eternally connected with the poetry of Faiz Ahmed Faiz and in particular with the anthem "Hum dekheiN ge", which she performed in virtually every public concert, Iqbal Bano was a versatile singer. She sang some very popular numbers for films in the 1950's. However, along with Ustad Amanat Ali Khan, Farida Khanum and the maestro Mehdi Hassan her real distinction was to be a part of that august group of vocalists in Pakistan who revolutionized post-partition ghazal singing by transforming it into a semi-classical form like thumri and dadra. If you listen to pre-partition ghazals, even by eminences such as K.L Saigal, the ghazal was performed like a light film song. As Pakistani audiences were more hospitable to Urdu poetry rather than the arachaic lyrics of traditional semi-classical forms, the classically trained musicians such as Iqbal Bano adopted ghazal as their medium for classical musical expression. The effect was exhilarating for fans of both Urdu poetry and the Hindustani classical vocal tradition. In the next generation there are few who have the stature and skill of the first-generation of pioneering icons with the possible exception of Abida Parveen and to a lesser extent (in my opinion) Ghulam Ali.

But for any artist it is always the work that speaks most clearly so here is some sampling of Iqbal Bano's singing. I have selected, as embedded videos, a few of my favorite ghazals/geets by Iqbal Bano. Some are slightly lesser known but I have also provided some youtube links to her most popular music below.

Iqbal Bano singing Faiz's wonderful ghazal "Na gaNwaao navak-e-neem kush":


Here is a personal favorite semi-classical piece with traditional lyrics "Ab kay Saawan ghar aaja": (her live image starts at 1:52):



The semi-classical piece above was adapted as a "zippier" song version for the 1959 film 'Nagin' and here Iqbal Bano is singing that version on PTV:


For the last sample let's go out with perhaps Iqbal Bano's most popular geet "Payal meiN geet haiN cham cham ke" originally sung for the 1954 film 'Gumnaam":

And as promised links to some of her best known pieces: "Dasht-e-tanhai meiN" (Faiz) ; "Yeh mausam-e-gul garche tarab khez bohat hai" (Faiz); "Ulfat ki nai manzil ko chala" (Qatil Shifai); an unusual foray into Punjabi folk music "MeiN kamli da dhola hai raat" ; and the perennial "Hum dekheiN ge" (Faiz) which is inseparable from Iqbal Bano's persona in the Pakistani imagination.

Photo Courtesy: Dawn

Exploring the Paths to Happiness - To the Best of Our Knowledge

I am an unabashed fan of National Public Radio. I listen to the radio only in my car so driving this Easter Sunday evening to pick up a prescription from the pharmacy I was pleasantly reminded once again of the variety of excellent public radio programming.

Wisconsin Public Radio produces a two hour weekly radio show called "To the Best of Our Knowledge". This Peabody award winning show calls itself an audio magazine of ideas and that description is as good as any. Each hour of the show is centered around a theme which is explored through intelligent thought provoking interviews.

The theme of today's first hour was "Our Peace of Mind" and had a series of wonderful conversations illuminating the idea of happiness and the persistent human quest for peace of mind. Conversations are with people as diverse as Jill Bolte-Taylor (a brain scientist who has written an interesting book about insights developed from her own stroke), Richard Davidson (a neuro-psychologist who has studied the effects of meditation on human brain by working with Buddhist monks), Satish Kumar (a former Jain monk) and a particularly interesting conversation with cultural historian Richard Schoch who is the author of "The Secrets of Happiness: Three Thousand Years of Searching for the Good Life".

You can listen to this segment of the show and see information on the various books and music in this piece here. I highly recommend it.

"Laal" - Anthems of a Different Pakistan

Few musical voices are more emblematic of the rise of Pakistan's civil society in the last couple of years than the group that goes by the name "Laal". The day after the restoration of the Chief Justice on March 16th, 2009 they headlined a concert on Geo Television Network celebrating this hopeful moment in Pakistan's history. I love the spirit and music of these young men who, unlike many in their elite ranks, are embracing the struggle for a just society. Here is a relatively old interview with them.

"Laal" in Urdu means the color red and fittingly the members of the group are passionate left wing activists. Supporters of democratic freedoms they wish to highlight the wretched class divisions of Pakistani society and struggle against them. Shahram Azhar, the vocalist and Taimur Rahman who has composed most of the songs met at the Lahore University of Management Sciences (LUMS) where Taimur was a lecturer and Shahram a young student. They have only released a few songs but the lyrics they have chosen to sing are overtly political anthems by the leading socialist and liberal voices of Pakistan like Faiz Ahmed Faiz and Habib Jalib. Shahram's Facebook page lists people as diverse as Evo Morales, Rosa Luxemburg and Bhagat Singh as influences.

My personal favorite is "Umeed-e-Sehar" ("The Promise of Dawn") by Faiz Ahmed Faiz. It is a wonderful composition, the video is simple but powerful and the impact of Faiz's beautiful poetry is enhanced by skillful vocals. Surprisingly, the English subtitles are not clumsy literal translations but actually convey something of the power of the original.


Their biggest hit so far was the first track they released called "MeiN ne us se yeh kaha". This is Habib Jalib's famous poem called "Musheer" or "Advisor" which lampoons the obsequious advisors who seem to surround everyone who attains power in Pakistan. Thanks to Zakintosh, I have a 1960's recording of Habib Jalib singing his own poem a cappella. The melody is exactly the same as Laal's version with instruments. Unfortunately this video does not have subtitles.

Here is a link to a blog that has videos of some other performances by "Laal".

And, now, for something completely different -- Pakistani Women Cricketers

Even as I follow the twists and turns of the political and security situation in Pakistan with grave concern, observe the myopia of the country's governing leadership and witness its hapless citizens experience the steady erosion of state institutions, I have chosen not to write much about it on this blog. Instead I have stayed engaged in that ever evolving discussion on a separate online political forum so as not to inundate this blog with minutiae of Pakistani politics.

However, I was disappointed but not surprised that amongst all the political hullabaloo a wonderful Pakistani story went under-reported. The ICC Women's Cricket World Cup is currently being played in Australia and the Pakistan Women's team is not only ably representing their under-siege country but has performed significantly better than expectations. On March 9th, they beat Sri Lanka Women by 57 runs in Canberra to win their first ever World Cup match after six previous losses. This was also the team's first ever win against Sri Lanka in 19 ODIs. The team lost their next two matches against India and the favorites, England. However, the victory against Sri Lanka allowed the Pakistanis to move into the Super Six round where they were ranked at the bottom. Even as they were always unlikely to make the semi-finals they demonstrated some fighting spirit once again by defeating the West Indies Women by four wickets in the Super Six round match on March 14th in Sydney. They now face Australia on March 16th and New Zealand on March 19th for their final two Super Six games in Sydney.

The star performers with the bat have been the captain Urooj Mumtaz, the opener Nain Abdi and Armaan Khan, who in partnership with Urooj led the successful fight back in the chase against the West Indies. The fast bowler Qanita Jalil has been the main strike bowler but has been assisted strongly by the allrounder Sana Mir and the captain herself. Sana's steady performances both with the bat and the ball have been the critical contributors to the team's success.

This World Cup seems to be a turning point for the team as they will gain tremendous confidence from their victories on foreign soil and against better fancied opposition. If only they got some steady support from the Cricket Board and the people of Pakistan, perhaps one day these women would win Pakistan the World Cup that the men have not been able to win since 1992. The courage of these young women to play competitive sport in a culture that hardly encourages it and their heroic performance without much support from any corner deserves rich tributes and is particularly poignant in the wake of the Talibanization of parts of the country and the dastardly terrorist attack on the visiting Sri Lankan national team in Lahore. I hope that Pakistanis will make an effort to recognize and reward the marvellous contributions of this band of pioneering cricketers.

Photos: 1) Urooj Mumtaz lifted up in celebration 2) Naila Nazir, Qanita Jalil & Urooj Mumtaz; 3) Nain Abdi playing a square cut 4) Qanita Jalil running in to bowl 5) Sana Mir playing an off drive (Courtesy Cricinfo)

A Divine Musical Collaboration - Noor Jehan & Khurshid Anwar

In the wake of Khalid Hasan's death, the great Pakistani songstress Noor Jehan (Wikipedia) has been much on my mind. Khalid Hasan was a great admirer of the late Madam and wrote a much quoted tribute essay on Noor Jehan. Perhaps more importantly he translated Saadat Hasan Manto's great portrait of Noor Jehan's early years as a rising diva in pre-partition Bombay under the title "Nur Jehan: One in a Million" (unfortunately this link is to a scan of the essay and hard to read but the essay is included in the collection "Stars from Another Sky"). "Stars from Another Sky" includes other translations of Manto's brilliant Urdu sketches published in "Ganjay Farishtay" and "Loudspeaker" on film industry icons like Ashok Kumar, Nargis, Naseem Bano (Dilip Kumar's wife, Saira Bano's mother) and Shyam.

I have been listening to many of Noor Jehan's great songs from the 1950's. Listening to this music when she was at the pinnacle of her singing powers is a magical experience but one thing stands out. She was at her greatest when teamed up with that other giant of Pakistani film music: the virtuosic scholar composer Khawaja Khurshid Anwar. After he moved to Lahore in 1955, his music in films like Mirza SahibaaN" (1955), "Intezaar" (1956), Zehr-e-Ishq (1958), "Koel" (1959) and as late as 1970 in "Heer Ranjha" provided the perfect platform to showcase Noor Jehan's vocal talent. Khawaja Khurshid Anwar needs a separate blog post all his own but one of my treasured possessions is the recordings he arranged in Pakistan under the title "GharanoN ki Gayaki" to help capture and preserve the various styles of classical singing of several of the "Hindustani" schools of gayaki.

Now for my choice of the brilliant collaboration between Khurshid Anwar and Noor Jehan. Here is the song "Tere Bina Suni Suni Lage Re, Chaandni Raat" from the film "Koel". I love listening to this over and over again much to the chagrin of my family.

and here is the beautiful "Aa Bhi Ja, Aa Bhi Ja" from the film "Intezaar":
Ghazab kia tere waade pe aitbaar kiya
Tamam raat qayamat ka intezaar kiya



Top Photo: Noor Jehan and Pran in Lahore fimmaker Dilsukh Pancholi's film "Khandaan" (1942) - This was Noor Jehan's first film in Urdu (she had previously starred in four Punjabi films). The music was by Master Ghulam Haider.

Bottom Photo: Khawaja Khurshid Anwar in 1957 holding the President's Award for Best Story and Best Music for the film "Intezaar".

Khalid Hasan (1934 - 2009) - Rest in Peace

Khalid Hasan, a giant of Pakistani journalism, died on February 6th in Northern Virginia of prostate cancer at the age of 74. In him, Pakistan and the sub-continent have lost a remarkable journalist, a talented translator, an acute cultural critic and an inside chronicler of people and events on the Pakistani cultural scene, particularly of the times before the barrenness of the Zia years set in.

There has been an outpouring of appreciations of Khalid Hasan as a man and a journalist. Here is a message from his son and an appreciation by Afzal Khan. For a flavoring of his lifetime of writings the best resource is his own site Khalid Hasan Online. This site has an extensive collection of his journalistic writings but I would direct people to some of the "Longer Pieces" such as "Nur Jehan" or "Sialkot" to fully experience his fine social sensibility and the infectious warmth for people that shines through.

On this blog, one of the most read entries is on the child prodigy Master Madan. That piece had derived inspiration in part from Khalid Hasan's column on Master Madan's lost recordings in Dawn. We never met in person but at the time I reached out to Khalid Hasan Sahib to express my appreciation for his contributions to Pakistani letters. He was extremely generous in his response and I will cherish that brief exchange with him.

In memoriam, here is the e-mail tribute I had written to him on October 2nd, 2006 and his warm acknowledgment of it.

Khalid Hasan Sahib,

I have been a fan of your journalistic writing for years. Although, on many occasions I have meant to reach out and express my gratitude for your writings on Pakistani (& sub-continental) culture, somehow I never got around to actually doing it. An important part of your contribution is your choice of writing in the English language. In doing so, you are helping preserve the memory of precious bits of our culture, both for the Pakistani diaspora and the young Pakistani elite, which even if it cares about our heritage, no longer considers knowledge of literary Urdu an important component of its identity.

There are so many forgotten corners of our cultural history that you have illuminated, its hard to know where to start. Your writings on Government College, Lahore and the many illustrious people associated with it have always brought back wonderful memories and revealed wonderful tidbits about those luminaries. My father, Khawaja Muhammad Zakariya studied there, taught Urdu there for a year in 1962 before spending the rest of his career at Punjab University, so I grew up hearing stories about legends like Patras, Dr. Nazeer, Taseer, Sufi Tabassum and countless others. I also particularly enjoy your writings on Lahore and your profiles of distinguised people (statesmen, writers, musicians, poets, film and radio-wallahs). I have been delighted that you have been translating much of A. Hameed's personal recollections of Lahore as they capture so many little details of a Lahore that no longer exists (even if some details of A. Hameed's accounts have been disputed by others, but then again that is the nature of memory) .

Cultural history, memoir and biographical essay remain much neglected areas in our country and you are helping capture so much of what is being lost. At least in Urdu there are many more volumes but one wishes more of those were translated as well. Manto's biographic sketches are, of course, pure genius. Ashiq Hussain Batalvi ("Chand yadeiN chand taasurat"), Daud Rahbar ("Paraganda tab'aa log", "Nuskha hai wafa", "Chand bateiN sureeli see"), Intizar Hussain ("CharaghoN ka dhuaN", "Dilli tha jis ka naam"), Lutfullah Khan ("Sur ki talash", Hijraton ke silisile") and Manzoor Ilahi's "Silsila-e-roz-o-shab" have given me great pleasure over the last few years. Perhaps other talented and prolific people like you will take the cudgels one day and bring these works to an English-speaking audience.

I apologize for this impolitely long communication. What finally prompted this e-mail was an essay I just read by Pran Neville on Master Madan. It took me back to your illuminating article on Master Madan published in Dawn in 2001 (from which his seems to be derived) and your account of the discovery of his lost recordings by M. Rafiq. I had heard the two Saghir Nizami ghazals growing up as my father played those recordings for us but I am fortunate enough to have listened to the other six recordings on the internet as well. Pran Neville's essay prompted me to write a brief entry on my blog which I thought you might find mildly interesting(http://writtenencounters.blogspot.com/)

Please carry on your wonderful work. There aren't too many people left who can shine such a bright light on the hidden corners of our rich and beautiful cultural heritage.

Kind Regards,

------------------------------------------------------------

My dear Fawad Zakariya Sahib,

I am overwhelmed by your letter (which is what emails can be but seldom are). I really had no idea I have done all that you credit me with. I take it you are able to access The Friday Times for which I write the "memorabilia" pieces every week. I should add that I have translated almost all of Manto's Ganjay Frishtay which was first published by Penguin in New Delhi as Stars from Another Sky. Those translations were later included in the omnibus volume A Wet Afternoon, published by Alhamra in Islamabad. You will be pleased to know that I have translated a lot more of Manto (including his only stage play, the little-read 'Iss Manjhdaar Mein' and many stories I had left out, plus some of his sketches) which is now under publication by Penguin in New Delhi. I hope the book is in print by the next Spring.

By the way, I studied at Murray College and though I joined Government College for a few months for MA (English) but (is that heresy?), I preferred to return to Sialkot where we still had wonderful British teachers like Prof A. W. Mowat. That being so, I cannot (and have not) called myself a Ravian. Prof. Zakariya Sahib of course I know of but as far as I can recall I have never met him. Our son lives close to ___ and next time I am in that part of the world, perhaps we can meet.

All the best and thank you for your most heart-warming message.

Khalid Hasan

Photograph: Khalid Hasan with Ahmed Faraz (seated)