Monday, 17 February 2025

A letter from Maliku, a dot in the Laccadive sea Firaasath Malige

Maliku is a magical place like the village ‘Macondo’ Gabriel Garcia Marques talked about in his book One Hundred Years of Solitude.


Today it is called ‘Minicoy’, a name which Britishers came up with for their comfort. If one zooms into the Indian Ocean on Google Maps, one can see a dot which is almost equally distant from both Lakshadweep and the Maldivian islands, outcast by the Maldives and never fully acknowledged by the Indian government, hence equally torn apart.


Just like ‘Macondo’, Maliku was an almost-utopia that thrived secluded with complete autonomy until the British came for the islands. It is rumoured that after one unfortunate cyclone which devastated both Lakshadweep and Maldives alike, the Maldivian king denied them any aid. On the other hand, the Indian government helped us and, therefore, we are Indians today.


Our language ‘Mahl’ is a dialect of the Maldivian language ‘Dhivehi’, which is not amongst the ‘scheduled languages’ of the Indian Constitution. As a result, the language is not taught after Class 4 in schools, which is why second and third generation natives are rarely able to read or write in their own mother tongue. There is a significant dip in readers and writers in the population who have developed a language and a unique script of their own. Margaret Atwood once said, “Literature is not only a mirror; it is a map, a geography of the mind”, and today, it’s not just global warming or climatic change that’s eroding Maliku.


We are a population of Scheduled Tribe people. Caste discrimination prevailed until very recently.


Opinion | Caste & conversion: another layer among the SCs

Historically, the Laccadivian Archipelago that comprises the Lakshadweep islands was populated by Buddhist settlers who migrated from Sri Lanka and Southern India after the dissolution of the Chola empire. This Buddhist population underwent another radical conversion, adopting Islam after the 10th Century due to Arab influence. Even after these two major cultural influences which prohibit caste-based discrimination, we still had deep-rooted caste segregation in post-Independence Maliku. The hierarchical segregation has Manifkans (royals), Thakrufans (sailors who made voyages to the mainland for trade), and then us, the ‘Raveries’. The term means people who brew coconut wine. They considered the lowest castes — labourers who worked for the upper class.


Raveries are called by names such as ‘Kalu’, which means ‘black’. They had dark skin colour because of the tanning from long exposure to the scorching tropical sun while they worked on coconut derivatives such as coconut wine and ‘coir’.


My ‘kudakaka’ or maternal uncle (we have matrilineal families) used to tell us about the extreme poverty they experienced. He was the youngest member of my grandma’s family. My mom grew up thinking of her elder sister as mother and brother as father. Grandma and grandpa died a premature death, so it was the uncle who narrated the stories of my roots. Their mother was a servant at a Manikfan’s house, and would bring leftover food from their home to feed her children.


Such extreme poverty prevailed in post-Independence Minicoy. This was the condition of the majority of the population, and they were forced to look for jobs in ships which paid them well. Even a single person in a family getting a job on a ship meant that they could feed the entire joint family.


Also read | Bill to bring various names of 12 tribal groups in ST list gets RS clearance

Most people of their generation went to Kolkata — one of the major ports in India between the 1950s and 1970s — and got employed in the maritime industry. This resulted in the birth of a new class who earned more than the Manikfans, and that is how today one’s caste has shrunk to just their last names.


Until recent years, Lakshadweep was neglected by the Indian government. In fact, the internet revolution hasn’t reached there yet. An entire generation of young people faces serious issues with their self-esteem compared to their mainland peers. One of the main reasons is the lack of exposure. While the world is swayed by the influence of the internet and the Gen-Zs, ours is a crippled generation of Gen-Zs.


Our voice never reaches the mainstream media except for the time when Praful Khoda Patel assumed office and started passing anti-democratic laws. The speciality about Lakshadweep is we aren’t exactly democratic as we are a Union Territory, and the executive and legislative powers rest in the hands of the administrator, who is an appointee of the President of India.


Patel is a politician disguised as an administrator. Never in Lakshadweep’s history has a politician held a designation that used to be handled by responsible and qualified officers and retired government officials who understood and respected the democratic values of the Indian Constitution and Lakshadweep culture. Patel passed the Goonda Act in a place where there is hardly any crime. He put in place a beef ban on a population which depends on meat for their primary source of diet and transferred the powers of panchayats to the administrator. One might wonder why all this happened.


These are just the tools which will serve the more important agenda — the ‘Land Reform Act 2021’ (Lakshadweep Development Authority Regulation), which gives immense power to the administrator to take over land with no assurance of any proper compensation. Moreover, this Act bars citizens from approaching the judiciary for their land rights. This was when Lakshadweep protested, and we made sure our voices reached the mainland. #SaveLakshadweep was trending on social media platforms such as Twitter, Instagram and Facebook. We got immense support from Kerala and its media, and our voices were raised in international media such as Al-Jazeera. As the first step in winning against such bullies, we filed a case in the Kerala High Court, and currently, the LDAR Act is on halt.



Thursday, 13 February 2025

Shehar Kay Dukandaro- O Merchants Of The Town

ഷെഹർ കെ ദുകന്ദാരോ കരോബാർ-ഇ-ഉൽഫത് മേ 

സൂദ് കിയാ സിയാൻ കിയ ഹേ, തും നാ ജാൻ പാവോ ഗേ

ദിൽ കേ ദാം കിത്‌നെ ഹേൻ ഖുവാബ് കിത്‌നെ മെഹംഗേ ഹേ 

ഔർ നഖ്ദ്-ഇ-ജാൻ കിയ ഹേ തും ന ജാൻ പാവോ ഗേ


നഗരത്തിലെ വ്യാപാരികളേ, ഇവയിൽ പ്രണയ ഇടപാടുകൾ,

എന്താണ് ലാഭം, എന്താണ് നഷ്ടം ഒരിക്കലും അറിയില്ല!

ഹൃദയത്തിൻ്റെ വില, എ സ്വപ്നം

ജീവിതത്തിൻ്റെ നാണയവും നിങ്ങൾ ഒരിക്കലും ചെയ്യില്ല

അറിയുക!



കോയി കൈസായ് മിൽതാ ഹൈ ഫൂൽ കൈസായ് ഖിൽതാ ഹേ 

ആംഖ് കൈസയ് ജുക്തി ഹേ സാൻസ് കൈസായ് രുക്തി ഹേ

കൈസയ് രേഹ് നികാൽതി ഹേ കൈസയ് ബാത്തേൻ ചൽതി ഹൈ 

ഷൗഖ് കി സബാൻ ക്യാ ഹേ, തും നാ ജാൻ പാവോ ഗേ



ഒരു കാമുകൻ തൻ്റെ പ്രണയത്തെ എങ്ങനെ കണ്ടുമുട്ടുന്നു, 

എങ്ങനെ എപൂക്കൾ വിരിയുന്നു,

കണ്ണിൽ നിന്ന് കണ്ണ് എങ്ങനെ തിളങ്ങുന്നു, എങ്ങനെ a

ശ്വാസം പിടിച്ചിരിക്കുന്നു,

ഒരു പാത എങ്ങനെ മുന്നോട്ട് പോകുന്നു, സംഭാഷണം ഒഴുകുന്നു

വാഞ്‌ഛയുടെ നാവിൽ, നിങ്ങൾക്കും ഒരിക്കലും അറിയില്ല!



വസൽ കാ സുകൂൻ ക്യാ ഹേ, ഹിജ്ർ കാ ജുനൂൻ ക്യാ ഹേ, 

ഹുസ്ൻ കാ ഫുസൂൻ ക്യാ ഹേ, ഇഷ്ക് കെ ദാറൂൺ ക്യാ ഹേ

തും മരീസ്-ഇ-ദനായ് മസ്ലിഹത് കെ ഷയ്ദായി 

രാഹ്-ഇ-ഗുംരഹൻ ക്യാ ഹൈ, തും ന ജാൻ പാവോഗേ



കാമുകന്മാരുടെ കൈകളുടെ ശാന്തതയുമില്ല, അല്ലെങ്കിൽ

അവരുടെ വേർപിരിയലിൻ്റെ ഭ്രാന്ത്,

സൗന്ദര്യത്തിൻ്റെ ശക്തമായ മന്ത്രവാദങ്ങൾ, എല്ലാം

സ്നേഹത്തിൻ്റെ ആ സാധനം.

മാംസത്തിൻ്റെയും ശരീരത്തിൻ്റെയും അസുഖങ്ങൾ നിങ്ങൾക്കറിയാം

ജഡത്തിൻ്റെ ക്ഷേമം,

എന്നാൽ ആത്മാവിൻ്റെ പ്രയത്നം നിങ്ങൾ ചെയ്യും

ഒരിക്കലും അറിയില്ല.


സാഖം കൈസേ പ്ഹല്തേ ഹൈൻ ദാഖ് കൈസേ ജല്തേ ഹൈൻ

 ദർദ് കൈസേ ഹോതാ ഹൈ കോയി കൈസേ റോതാ ഹൈ

അഷ്ക് കിയാ ഹേ നാലേ ക്യാ ദഷ്ത് ക്യാ ഹേ ചലേ കിയ 

ആഹ് കിയ ഫുഗാൻ ക്യാ ഹേ, തും നാ ജാൻ പാവോ ഗേ



മുറിവുകൾ എങ്ങനെ ചീർത്തിരിക്കുന്നു, ബ്രാൻഡ് എങ്ങനെ കുത്തുന്നു,

എന്താണ് വേദന, എന്ത് വിലാപം, മരുഭൂമി, കാലിൽ വേദന,

എന്തൊരു നെടുവീർപ്പാണ്, എന്തൊരു വ്യക്തതയാണ് നിങ്ങൾ ഒരിക്കലും അറിയില്ല.



ജാന്താ ഹൂം മേൻ തും കോ, സൗഖ്-എ-ശായിരി ഭീ ഹൈ

ശഖ്സിയത് സൈജനെ മേം ഇക് യെ മഹിരി ഭീ ഹൈ

ഫിർ ഭീ ഹർഫ് ചുന്തേ ഹോ, സിർഫ് ലഫ്ജ് സുന്തേ ഹോ

ഇൻ കെ ദർമിയാൻ ക്യാ ഹൈ, തും നാ ജാൻ പാവോ ഗേ


നിങ്ങൾ കവിതയിൽ നുരയുന്നത് എനിക്കറിയാം,നിങ്ങളുടെ സ്വയം അലങ്കാരത്തിൻ്റെ രൂപം,

എന്നാൽ നിങ്ങൾ അക്ഷരങ്ങൾ മാത്രം കാണുകയും കേൾക്കുകയും ചെയ്യുന്നു

വാക്കുകൾ മാത്രം-അവരുടെ പിന്നിൽ മറഞ്ഞിരിക്കുന്നതും നിങ്ങൾ ചെയ്യുംഒരിക്കലും അറിയില്ല!

Tumhein dillagi bhool jani pare gi

 അനുരാഗത്തിന്റെ "dillagi" (infatuation/flirtation) ക്ഷണികമായ സ്പർശം മറക്കുക

പ്രണയത്തിന്റെ പാതയിൽ love is a transformative process, not a destination മുന്നോട്ട് നീങ്ങുക.

അപ്പോൾ നിങ്ങൾ എന്റെ കഷ്ടപ്പാടുകളെ പരിഹസിക്കില്ല,It's about gaining perspective through experience.അനുഭവത്തിലൂടെ കാഴ്ചപ്പാട് നേടുന്നതിനെക്കുറിച്ചാണ്

ആത്മാവിന്റെ വിലാപം നിങ്ങൾക്ക് മനസ്സിലാകും.




 Tumhein dillagi bhool jani pare gi

നിനക്ക് ആ കൗതുകം മറക്കേണ്ടിവരും

Muhabbat ki raahon mein aa kar to dekho

പ്രണയത്തിന്റെ വഴികളിൽ എത്തിയാലോ നിനക്ക്

Tarapne pe mere na phir tum hanso ge

എന്റെ വേദനയെപ്പറ്റി പിന്നെ നീ ചിരിക്കില്ല

Kabhi dil kissi se laga kar to dekho

ഒരിക്കലെങ്കിലും ഹൃദയം ഏതെങ്കിലും ആൾക്ക് കൊടുത്തു നോക്കൂ



Tumhein dillagi bhool jani pare gi,

 Muhabbat ki raahon mein aa kar to dekho

Tarapne pe mere na phir tum hanso ge,

 Kabhi dil kissi se laga kar to dekho


You will have to forget all about infatuation… Try embarking upon on the journey of love!



You will not mock my suffering then…When you have tried giving your heart to someone!





Honton ke paas aye hansi, kya majaal hai, Dil ka muamla hai koi dillagi nahin

A smile dare not creep upon the lips… This is a matter of the heart not just an infatuation!


Zakhm pe zakhm kha ke ji, Apne lahoo ke ghont pi

Wound upon wound… inflicted , Sip after sip… of your own blood



Aah na kar labon ko si, Ishq hai dillagi nahin

Let out not a sigh, seal you lips, This is love, not infatuation!


Dil laga kar pata chaley ga tumhein, Aashiqui dillagi nahin hoti

When you have fallen in love you shall see, Love is no infatuation


Kuch khel nahin hai ishq ki lag, Paani na samajh ye aag hai aag

Love is no child’s play, Think of it not as water, this is fire!


Khoon rulaye gi ye lagi dil ki, Khel samjho na dillagi dil ki

It’s make you shed bloody tears… Don’t think of it as child’s play


Yeh ishq nahin aasaan, Bas itna samajh leejay

This love is not easy, Think of it this way…


Ik aag ka darya hai, Aur doob ke jaana hai

It is a river of fire… And you must drown to cross!



Wafaaon ki hum se tawaqo nahin hai

You may not expect me to be faithful

Magar ek baar aazma kar to dekho

But, you must try me at least once…



Zamanay ko apna bana kar to dekha

You gave yourself to this world…

Humein bhi tum apna bana kar to dekho

Now try making me your own!





Khuda ke liya chor do ab yeh parda…

For God’s sake, reveal yourself now…


Rukh se naqab utha, ke bari der ho gayi

Lift the veil now, it has been long since


Mahol ko tilaawat-e-quraan kiye hoye

the world broke into recitation of praise…


Khuda ke liye chor do ab yeh parda…

For God’s sake, reveal yourself now…




Hum na samjhe teri nazron ka taqaza kya hai

I couldn’t understand what is the intent of your gaze


Kabhi parda kabhi jalwa yeh tamasha kya hai

Shy this moment, and inviting the next, what is this game?


Khuda ke liye chor do ab yeh parda…

For God’s sake, reveal yourself now…






Jan-e-jan hum se uljhan nahin dekhi jaati

My darling, I cannot bear to see this struggle now


Khuda ke liye chor do ab yeh parda…

For God’s sake, reveal yourself now…


Khuda ke liya chor do ab yeh parda

For God’s sake, reveal yourself now…

Keh hain aaj hum tum nahin ghair koi

For you and I are strangers no more

Shab-e-wasl bhi hai hijaab iss kadar kyon

Why the veil on the night of the union?

Zara rukh se aanchal utha kar to dekho

Uncover your face and look up now…




Jafaaein buhat kien buhat zulm dhaye

Broke my heart, and tortured me plenty


Kabhi ik nigah-e-karam iss taraf bhi

Perhaps a kind gaze this way now?


Humesha huay dekh kar mujh ko barham

Forever my sight offended you


Kissi din zara muskura kar to dekho

Perhaps direct a smile my way now?


Jo ulfat mein har ek sitam hai gawara

In love I have born every wound inflicted


Yeh sab kuch hai paas-e-wafa tum se warna

All this is in custody of my sincerity to you



Satate ho din raat jiss tarha mujh ko, Kissi ghair ko youn sata kar to dekho


The way that you tease me day and night… Try to tease another and see!



Agarche kissi baat par woh khafa hain

Though she seems upset about something


To acha yehi hai tum apni si kar lo

Perhaps it is better to just move on



Woh maanein na mannein yeh marzi hai unki

To accept me or not, that is her will



Magar un ko pur-nam mana kar to dekho

But try to convince her with all your passion!

Chapter 7: The Crossroads – Helplessness or Empowerment?

 Here's an improved version of your chapter with insights from Sufi thought , a relatable context for a middle-aged Muslim in India , an...