Podcasts about Sindhi

Coaching Success: From Mumbai to Seattle with Karishma Wadhwani | Diasporaa Podcast Episode 14 In this episode of 'Diasporaa,' host Aditya Mehta sits down with Karishma Wadhwani to discuss her journey from Mumbai to the United States. Karishma shares about her life in Mumbai, the unique aspects of the Sindhi community, and her move to New York and then Seattle following her marriage. The conversation delves into her career path from being an engineer and entrepreneur in India to becoming a career coach in the U.S. Karishma talks about her approach to career coaching, blending professional guidance with the holistic principles of yoga. The episode also covers topics like the practicalities of arranged marriage, her experience adapting to life in a new country, and advice for fellow immigrants. Packed with personal anecdotes and valuable insights, this episode is a testament to resilience and adaptability in the face of major life changes. List of Resources: Curacao: https://en.wikipedia.org/wiki/Cura%C3%A7ao Fox Glacier: https://en.wikipedia.org/wiki/Fox_Glacier IGCSE: https://en.wikipedia.org/wiki/International_General_Certificate_of_Secondary_Education Partition of India: https://en.wikipedia.org/wiki/Partition_of_India Sindhis: https://en.wikipedia.org/wiki/Sindhis T 20 World Cup: https://en.wikipedia.org/wiki/Men%27s_T20_World_Cup About the Podcast: Diasporaa was Aditya's third startup based in Vancouver, BC. It focused on helping new immigrants in Canada find their feet, get off to a running start and ease their assimilation into Canadian life. A big part of the platform were conversations, community and support. Though the startup stopped growing once Aditya moved to Seattle, WA - it remained alive in the form of several discussion groups and online communities. Now, Diasporaa has been resurrected in the form of a podcast focused on uncovering and sharing interesting immigrant stories from the South Asian diaspora. It is available on YouTube, all major podcast platforms such as Spotify, Apple Podcasts, Google Podcasts, etc. and is also broadcast as a radio show on Alternative Talk 1150 AM and 98.9 FM HD Channel 3 on Wednesdays from 2-3pm PST. About Aditya Mehta: Aditya is a Bombay boy who has lived in Austin, Los Angeles, Washington DC, and Vancouver before making it to his current home in Seattle. He has degrees in marketing, urban planning, real estate and strategy but has spent his career in financial services, social media and now real estate - mostly as an entrepreneur and partly as an employee at Amazon. He balances Indian, Canadian and American culture, loves helping those who are new to North America and looks forward to the interesting stories that his interview guests bring each week. When not podcasting, he is helping his wife Prachi build her pharmaceutical business or hanging out with his son Arjun. Connect with Diasporaa: -Instagram: @diasporaapodcast -YouTube: https://linke.to/dspyoutube -Bio Link: linke.to/diasporaa -Listen on Spotify: https://linke.to/dspspotify -Listen on Apple Podcasts: https://linke.to/dspapple -Diasporaa Podcast on KKNW Alternative Talk Radio: https://linke.to/kknw1150

Two Sindhis walk into a podcast. Kazi Akber is a content creator and writer, and the host of the podcast 'Kiya Kahe ga Kazi'. Kazi Akber comes on TPE for a deep conversation on Karachi, Manchester United, Marvel, Podcasting, Irfan Junejo, Talha Anjum, Trolling, Sindhi Culture and History, MMA, the Sindhi language and more.Who would win in a Youtube fighting match?Why Kazi Akber deosn't make religious content?Is there a crisis of masculinity?Find out this and more in this week's episode of The Pakistan Experience.Chapters:0:00 Introduction2:30 KTN and Kawish4:30 Our parents had 0 survival instincts7:20 Karachi and the City Life19:00 BDS, Boycotting and Manchester United24:30 Pokemon Go27:40 Marvel and Military Propaganda31:30 Podcasting, content and Irfan Junejo38:50 Talha Anjum, Umair and Obsession with Art41:50 Michael Jackson44:30 Pressure and Trolling50:00 Making content, communicating and diffusion of responsibility1:02:00 Sindhi Culture and History1:08:06 Umair is a child prodigy1:13:21 Trolls hate themselves1:30:30 Podcasting1:30:00 Youtube Royal Rumble1:39:27 Kazi Akbar wanting to fight1:43:30 MMA1:46:00 The stress of doing what we do1:52:00 Podcasting1:59:26 Fundamental Attribution error2:05:33 Relationship with Sindhi2:09:15 Karachi and the exodus of Hindus2:13:42 Connection to the land and representation 2:22:00 Making Content2:24:08 Masculinity and Colonization2:29:00 Sindh ka Sukoon, culture and literature 2:42:00 Finding meaning and religion 3:00:00 Podcasting, Trolling  and making content3:13:47 Audience QuestionsThe Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon:https://www.patreon.com/thepakistanexperienceTo support the channel:Jazzcash/Easypaisa - 0325 -2982912Patreon.com/thepakistanexperienceAnd Please stay in touch:https://twitter.com/ThePakistanExp1https://www.facebook.com/thepakistanexperiencehttps://instagram.com/thepakistanexpeperienceThe podcast is hosted by comedian and writer, Shehzad Ghias Shaikh. Shehzad is a Fulbright scholar with a Masters in Theatre from Brooklyn College. He is also one of the foremost Stand-up comedians in Pakistan and frequently writes for numerous publications. Instagram.com/shehzadghiasshaikhFacebook.com/Shehzadghias/Twitter.com/shehzad89Join this channel to get access to perks:https://www.youtube.com/channel/UC44l9XMwecN5nSgIF2Dvivg/join

  SINDHI LANGUAGE POETRY AND DR ABDUL JABBAR JUNEJO  Dr Abdul Jabbar Junejo worked tirelessly to promote Sindhi language. He was fluent in Urdu and English language. More interestingly, he knew Chinese language as well.  Someone to learn such a difficult language certainly was a great skill.  Since he wrote a book about Persian poetry's influence on Sindhi poetry, indicates his love and understanding of languages naturally. I found this book titled, "Sindhi Lok Geet", when I visited Lok Virsa in Islamabad few years ago. It ignited my interest, to know the local folklore stories that get passed through the  generations. Unfortuantely, the story telling tradition seem to be suffering since the new. mediums have been introduced with time. therefore one has to look for it in books etc. Please do visit Lok Virsa in Islamabad, that proudly promotes various cultures of Pakistan through displays of arts, books and other audios such as CDs etc. You will find, displays of furniture, embroidery, paintings and almost live displays of various scenes of many colours of Pakistan. Please do share, your own cultural experiences with us. Thanks dildarpakistan@hotmail.com        

Turning Sindhi Popular song into a club banger Download - https://linktr.ee/vickynoisefaktory?utm_source=linktree_profile_share<sid=8504deda-5f8f-45af-b63c-d6ca8dcfb406 Instagram - https://www.instagram.com/vickynoisefaktory/

Episode Description Sign up to receive this Unreached of the Day podcast sent to you:  https://unreachedoftheday.org/resources/podcast/ People Group Summary: https://joshuaproject.net/people_groups/18165   #PrayforZERO is a podcast Sponsor.         https://prayforzero.com/ Take your place in history! We could be the generation to translate God's Word into every language. YOUR prayers can make this happen.  Take your first step and sign the Prayer Wall to receive the weekly Pray For Zero Journal:  https://prayforzero.com/prayer-wall/#join Pray for the largest Frontier People Groups (FPG): Visit JoshuaProject.net/frontier#podcast provides links to podcast recordings of the prayer guide for the 31 largest FPGs.  Go31.org/FREE provides the printed prayer guide for the largest 31 

Sindhi, a top LeT commander, oversaw drone arms drops, infiltrations into J&K, and Rajouri-Poonch attacks. He managed LeT camp in Kotli and reported directly to Sajid Jutt.

Pakistan is in deep turmoil as Baloch, Sindhi, and Pashtun groups unite against the state, intensifying the resistance in Balochistan. In a desperate move, Pakistan is once again blaming India for the uprising, but is this just an excuse to cover its own failures? With multiple insurgencies brewing, is Pakistan heading toward a breakup? Sanjay Dixit, Ajay K Raina, and Aadi Achint analyze Pakistan's deteriorating control over Balochistan, the growing anti-Pakistan sentiment among ethnic groups, and the geopolitical consequences of a fractured Pakistan.

Episode Description Sign up to receive this Unreached of the Day podcast sent to you:  https://unreachedoftheday.org/resources/podcast/ People Group Summary: https://joshuaproject.net/people_groups/19462/PK   #PrayforZERO is a podcast Sponsor.         https://prayforzero.com/ Take your place in history! We could be the generation to translate God's Word into every language. YOUR prayers can make this happen.  Take your first step and sign the Prayer Wall to receive the weekly Pray For Zero Journal:  https://prayforzero.com/prayer-wall/#join Pray for the largest Frontier People Groups (FPG): Visit JoshuaProject.net/frontier#podcast provides links to podcast recordings of the prayer guide for the 31 largest FPGs.  Go31.org/FREE provides the printed prayer guide for the largest 31 FPGs along with resources to support those wanting to enlist others in prayer for FPGs

Akram Kaim Khani is a Pakistani-born political activist and cultural promoter based in London, United Kingdom. He was a left-wing student leader in Karachi and a pro-democracy activist following General Zia-ul-Haq's coup d'état. Born in Tharparkar, he moved to Karachi at a young age, studying at Jamia Millia College, Malir, and the University of Karachi. Despite being affected by polio, which limited his mobility, he remained actively involved in political movements and faced imprisonment and torture during his activism. After seeking political asylum in the UK, Kaim Khani continued his advocacy for democracy and social causes. He played a significant role in establishing the Faiz Foundation Trust in the UK, organizing cultural and literary events to promote dialogue and understanding. In 2024, he co-founded the Voices of South Asian Art and Literature (VSAAL) in London, which organized the First South Asian Festival at the Bloomsbury Theatre, celebrating the region's composite cultural heritage. Kaim Khani's efforts have been instrumental in fostering cultural exchange and promoting the rich traditions of South Asia within the diaspora community.The Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon:https://www.patreon.com/thepakistanexperienceTo support the channel:Jazzcash/Easypaisa - 0325 -2982912Patreon.com/thepakistanexperienceAnd Please stay in touch:https://twitter.com/ThePakistanExp1https://www.facebook.com/thepakistanexperiencehttps://instagram.com/thepakistanexpeperienceThe podcast is hosted by comedian and writer, Shehzad Ghias Shaikh. Shehzad is a Fulbright scholar with a Masters in Theatre from Brooklyn College. He is also one of the foremost Stand-up comedians in Pakistan and frequently writes for numerous publications. Instagram.com/shehzadghiasshaikhFacebook.com/Shehzadghias/Twitter.com/shehzad89Join this channel to get access to perks:https://www.youtube.com/channel/UC44l9XMwecN5nSgIF2Dvivg/joinChapters:0:00 Introduction1:30 Migration, Sindhi and MQM11:00 Karachi of the 60s16:51 Karachi University and Political discourse23:00 Political Journey28:30 Joining PPP31:00 Zulffiqar Ali Bhutto's blunders37:00 Shutting down Karachi University and Tipu42:50 Being Tortured in Jail48:00 1981 Plane Hijacking and Al Zulfiqar1:01:00 Joining Al Zulfiqar and Training1:11:50 Meeting Benazir Bhutto and coming back to Pakistan1:22:00 Who killed Benazir Bhutto?1:28:38 Who killed Murtaza Bhutto?1:35:40 Who killed Shahnawaz Bhutto?1:37:19 Who killed Zulfiqar Ali Bhutto?1:38:00 Audience Questions

(0:00) Intro(0:12) Mufti Sahab ke mazaq aur Darwin par zyada waqt baat karne par sawal.(2:20) Mufti Sahab ke sawalat aur interviews unfiltered.(3:23) Hindu parosi se taaluq?(4:10) Mushrik ki saza Qur'an mein?(4:37) Mushrikeen hamesha dozakh mein rahenge?(5:01) Bepradgi ka wabal?(Diwar bhabhi ka parda, behnoi saali ka parda, Mufti Sahab ke guard Shams ka waqia.)(15:41) Sir Sayyad police ka karnama.(18:09) Khandan ke buzurgon se parda ka mayaar?(22:37) Kisi ki deendari ki tehqeeq karna?(23:15) Kisi ke rishtedaron ka Mufti Sahab par aitraaz?(Personal halaat aur chaar shadi ka falsafa.)(37:48) Hazrat Esa (a.s) ko nabuwwat kis umar mein mili?(37:59) Punj Peeri firqay ki wazahat?(Mutashabihat mein awam vs ulama.)(47:08) Ulama se aqeedat mein aetadal?(53:12) Mufti Sahab ke haath par Musalman hone wale Sindhi ka waqia.(55:28) Mufti Sahab par negative comments ka jawab.(58:02) Rishta karte waqt deendari dekhna?(58:19) Mtm's birth month.(58:39) Makhloot dawat mein biwi ko le kar jana?(59:26) Biwi ki baghawat ki wajah: Sirf apne matlab ka Islam sikhana.(1:10:58) Bachon ki baghawat ki wajah: Time aur mohabbat na dena. Hosted on Acast. See acast.com/privacy for more information.

(0:00) Intro(1:31) Mufti sb ke bayanat mein ye Ayat aur Hadith zyada kyun?(2:13) Anbia VS Ulama(3:12) Bayan se khateeb aur listeners ka faida(5:57) Molana Ashraf Ali Thanvi (RA) ka qoul(6:38) Mtm's temperament on someone's bad handwriting(7:27) Baba parast kehne walon ko jawab(8:46) Label ka dhoka: Sabse bara fitna(9:00) Women NGOs vs women rights in Islam(12:09) Mard: Ghar ka sarbarah(14:21) Result of individual life in the West(16:35) Divorce suggestions by psychologists?(17:22) Europe ki taraqqi se mutasir log(18:43) Mufti sb ke Google head office jany par comments(19:46) Kya Islam khawateen par zulm karta hai?(24:49) Aurat ki aazadi: Mardon ki ayyashi(30:56) Jamiatur Rasheed par darbari mulla ka label(32:46) Allah walon ki mohabbat + bayan topic change hone ki wajah?(34:20) Mufti Rasheed Ahmed sb DM ka khwab aur Saudia mein Allah ki mohabbat mein shayari ka waqia(36:00) Logon ko baba less hone ka mashwara dene walon ko jawab(40:57) Buzurgi concept par Mufti sb se sawal(42:45) Molana Abdil Ghani Phoolpuri RA ka waqia(43:01) Agar Allah ki mohabbat mein zehan kaam na kare to?(44:27) Imam Malik ki Nabi ﷺ se mohabbat(46:15) Sindh ka Islam se rishta?(46:31) Mufti Rasheed Ahmed Sahab DM ki Sindh se raghbat(46:57) Sindh mein firqa parasti khatam karne wale?(47:41) Sindhi aqeedat: Waqia(49:08) Sindh ko tabah karne wale?(50:04) Molana Ashraf Ali Thanvi RA ka qoul (Aise mauqe par chup na raho jab…)(50:49) Doosron ko takleef dene ka aisa tareeqa? (Bathroom mein takleef)(51:35) Doctor's handwriting + medical store mein takleef(53:57) Danton ke khalal mein takleef(54:16) Kanon ki meil mein takleef(54:55) Ghalat jagah parking mein takleef(55:10) Masjid Al Falahia Anda Morr North Karachi: Solar plates, AC, charity(59:15) Ghalat parking mein takleef(1:00:11) Biwi/shohar ke taaluqat mein takleef(1:02:41) Mtm's temperament on someone's writing(1:03:48) Mufti Sahab ke malik makan ki audio, Mufti sb ke bare mein?(1:09:25) Dua(1:13:51) Nashta badshahon jaisa kab khaain?(1:19:48) Nabi ﷺ ki diet kaisi thi?(1:20:58) Injeer aur zaitoon ke faide(1:21:58) Oont/dumba charbi: Allah ka tohfa(1:26:51) Benefits of olive oil(1:27:36) Benefits of organic milk(1:35:41) Mufti Sahab ka hassas gala aur meda(1:36:24) New manjan: Coffee mein coconut oil mila kar peena(1:39:17) Achhi sehat ki zamin: (Best anaj, anar, khajoor, honey, desi anday, exercise)(1:43:27) Maut ki zamin: Meetha, cigarette, gutka(1:44:36) Hijama karna kaisa hai?(1:47:00) Universities mein raising atheism mein ulama ka kirdar?(1:53:18) Char shadi ki motivation in women?(1:55:34) Baghair topi ke namaz?(1:55:46) Seerat-un-Nabi ﷺ ko Montessori - PhD syllabus mein shamil karne ka mashwara! Msg to govt by Mufti sb(1:59:21) Mtm's invitation for Skardu University(2:00:01) Mtm's message to admin (Q&A background pic + wrong Urdu on thumbnails)(2:01:15) Gender selection by IVF?(2:01:43) Rukhsati se pehle talaq ki iddat? Hosted on Acast. See acast.com/privacy for more information.

Saif Samejo is a musician and founder, lead vocalist and songwriter of the Pakistani Sufi folk band The Sketches. Saif Samejo comes on The Pakistan Experience for a detailed discussion on Sindhu Culture, Rawadari, Sufism, Music, Sindhi Poetry, Religious Extremism, the Rawadari March and Folk Stories of Pakistan. The Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon: https://www.patreon.com/thepakistanexperience To support the channel: Jazzcash/Easypaisa - 0325 -2982912 Patreon.com/thepakistanexperience And Please stay in touch: https://twitter.com/ThePakistanExp1 https://www.facebook.com/thepakistanexperience https://instagram.com/thepakistanexpeperience The podcast is hosted by comedian and writer, Shehzad Ghias Shaikh. Shehzad is a Fulbright scholar with a Masters in Theatre from Brooklyn College. He is also one of the foremost Stand-up comedians in Pakistan and frequently writes for numerous publications. Instagram.com/shehzadghiasshaikh Facebook.com/Shehzadghias/ Twitter.com/shehzad89 Join this channel to get access to perks: https://www.youtube.com/channel/UC44l9XMwecN5nSgIF2Dvivg/join Chapters: 0:00 Trailer 2:50 Introduction and Namaste 4:42 Sindh Rawadari March 12:53 Sindh vs Religious Extremism 19:24 Actions of Sindh Police 21:40 PPP, TLP and Religious Extremism 28:56 Sindh kee Saqafat and Sindhu Culture 33:30 Daarya-e-Sindh and Water management 45:22 Sindh ka Sufi Khayal 52:54 Bulleh Shah ka Punjab 56:14 Zia ul Haq tried to suppress local languages 1:02:00 Indigenous Cultures and Languages 1:05:30 Shehzad's severed connection with Sindh 1:13:00 Language Politics in Pakistan 1:15:20 Saif Samejo, Music and Singing in Sindhi 1:23:00 Learning from other Sindhi villages and Shah Abdul Latif Bhitai 1:25:25 The Story of Moomal Rano 1:29:33 - Story of Sohni Mahiwal 1:38:50 Sindhi Shayaree 1:45:00 Audience Questions

Why do people vote for PPP? Today on TPE we look at the history of Sindh and PPP. The Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon: https://www.patreon.com/thepakistanexperience To support the channel: Jazzcash/Easypaisa - 0325 -2982912 Patreon.com/thepakistanexperience And Please stay in touch: https://twitter.com/ThePakistanExp1 https://www.facebook.com/thepakistanexperience https://instagram.com/thepakistanexpeperience The podcast is hosted by comedian and writer, Shehzad Ghias Shaikh. Shehzad is a Fulbright scholar with a Masters in Theatre from Brooklyn College. He is also one of the foremost Stand-up comedians in Pakistan and frequently writes for numerous publications. Instagram.com/shehzadghiasshaikh Facebook.com/Shehzadghias/ Twitter.com/shehzad89 Join this channel to get access to perks: https://www.youtube.com/channel/UC44l9XMwecN5nSgIF2Dvivg/join Chapters: 0:00 Am I a Jiyala? 1:30 Kyon Bhutto Zinda hay 12:00 Jin ki 2022 mai aankhain khuli hay 16:48 History of marginalization of Sindh 24:50 Birth of PPP 29:23 1970 elections and military vs PPP 32:30 Zulfiqar Ali Bhutto's murder and his policies 38:30 Movement for the Restoration of Democracy 40:24 Is PPP just a Sindhi party? 43:40 PPP represented democracy and the 1990s 48:30 Benazir Bhutto's murder, Asif Ali Zardari's PPP and Feudals 56:40 PPP co-opting Sindhi Nationalism and Floods 1:04:08 Do I support PPP? 1:06:42 PPP's Policies

“Why do people migrate?” was the question Ritu Hemnani's daughter posed to her one day. A deeper look at her own family's story of migration from Sindh to Hong Kong led this educator to explore the history of the Partition and to share this story with her family and beyond. Author of ‘Lion of the Sky' a beautiful, middle grade novel in verse, Ritu joins me on this episode to discuss her family's story of resilience. We chat about the Sindhi language, life in Hong Kong, her experience teaching in an urban British school, and so much more.Listen now on iTunes, Spotify or wherever you get your podcasts, and if you enjoyed this, PLEASE SHARE THE EPISODE WITH A FRIEND!SHOWNOTES for Ep. 95:Connect with Ritu through her website and InstagramBuy Lion of the SkyVeera Hiranandani's books on the Partition The Night Diary and Amil & the AfterOther books and other tips we discussed on the show:Restart by Gordon KormanCharlotte's Web by E.B. WHiteLong Way Down by Jason ReynoldsThe Crossover by Kwame AlexanderInside Out and Back Again by Thanhha LaiThe Forgettery by Rachel IpArirang Korean restaurantSupport the show via Patreon!Questions? Comments? Get in touch @theindianeditpodcast on Instagram! Want to talk gardens? Follow me @readyourgardenSpecial thanks to Sudipta Biswas and the team at The Media Tribe for audio-post production!

The term 'karhale' is derived from the Rajasthani and Sindhi word 'karhal,' which means camel. Historically, traders loaded their goods on camels to sell in distant lands, enduring long, arduous journeys. To relieve fatigue and express their emotions, they sang songs called 'karhale' about the harsh desert climate and their separation from loved ones. Over time, these songs evolved into a unique poetic form, depicting foreign lands and the challenges of wandering in separation from family. Featuring: Muktnoor Kaur Explore Karhale: https://bit.ly/karhale #GuruGranthSahib #GuruGranthSahibJi #Sikhi #SikhCommunity #Sikhism #Sikhs --- Support this podcast: https://podcasters.spotify.com/pod/show/the-sikh-cast-sikhri/support

Episode Description Sign up to receive this Unreached of the Day podcast sent to you:  https://unreachedoftheday.org/resources/podcast/ People Group Summary: https://joshuaproject.net/people_groups//18173 #PrayforZERO is a podcast Sponsor.         https://prayforzero.com/ Take your place in history! We could be the generation to translate God's Word into every language. YOUR prayers can make this happen.  Take your first step and sign the Prayer Wall to receive the weekly Pray For Zero Journal:  https://prayforzero.com/prayer-wall/#join Pray for the largest Frontier People Groups (FPG): Visit JoshuaProject.net/frontier#podcast provides links to podcast recordings of the prayer guide for the 31 largest FPGs.  Go31.org/FREE provides the printed prayer guide for the largest 31 FPGs along with resources to support those wanting to enlist others in prayer for FPGs

Art can show us the pain and trauma and suffering of the world, and often it does. But art can also go the other direction. It can reveal the beauty, harmony, and unity of the world.The canvasses in Salma Arastu's series of paintings, We Are All One, are full of soft colors, continuous lines, immersive habitats that flow into one another, and—sometimes—two-dimensional representations of humans and animals occupying the same space, echoing cave paintings.Salma found the continuous line in her study of Islamic calligraphy when she was living in the Middle East. She was born into the Sindhi and Hindu traditions in Rajasthan, India, and then embraced Islam after marrying a Muslim.It was this continuous line that became a central element of her approach to painting and a central technique she uses to express the ecological views she finds in the Quran.She seeks to transcend difference through her art and find oneness and interconnectedness in a world that continually ravages ecological systems around the planet.Since the 1970s, Salma has been exhibiting her work nationally and internationally and writing about art. She currently lives in San Francisco, where I had the pleasure of visiting her in her studio and seeing so many of her wonderful paintings.This episode is part of the Chrysalis Artists series. You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Salma ArastuAn Internationally exhibited artist, Salma was born into the Sindhi and Hindu traditions in Rajasthan, India. She later embraced Islam and moved to USA in 1986. Her work creates harmony by expressing the universality of humanity through paintings, sculpture, calligraphy and poetry. She was inspired by the imagery, sculpture and writings of her Indian heritage and Islamic spirituality. She was born with a left hand without fingers. Because of her all-encompassing God, she was able to transcend the barriers often set-forth in the traditions of religion, culture, and the cultural perceptions of handicaps.After graduating in Fine Arts from Maharaja Sayajirao University in Baroda, India, she lived and worked in Iran and Kuwait, where she was exposed to a wealth of Islamic arts and Arabic calligraphy. Calligraphy, miniatures, and the folk art of Islam and the Hindu tradition continue to influence her work today. She has been invited to Germany twice, as a Resident Artist at Schwabisch Gmun in 2000 and by the Westphalia Wilhelm University in Münster to publish her paper “Art Informed by Spirituality” in God Loves Beauty: Post Modern Views on Religion and Art. Further she was invited to Morocco for a one- month Artist Residency Program in March of 2018 through Green Olives art Gallery. She has presented work at Stanford University, Commonwealth of San Francisco, Seattle University, Graduate Theological Union at Berkeley, and Museum of Contemporary Religious Art, St. Louis Missouri.She has displayed at 45 solo shows nationally and internationally and has won many distinctions: the East Bay Community's Fund for Artists in 2012, and 2014, and 2020, The City of Berkeley's Individual Artist Grant Award in 2014, 2015, and 2016. She has public art pieces on display in Bethlehem, Pennsylvania and San Diego, California and has written and published five books on her art and poetry. Her most recent book deals with ecological consciousness from Quranic verses “Our Earth: Embracing All Communities.”Selected WorksA more comprehensive collection of work is available here.Recommended Readings & MediaSalma Arastu Sharing process of her art.TranscriptIntroJohn FiegeArt can show us the pain and trauma and suffering of the world. And often it does. But art can also go the other direction. It can reveal the beauty, harmony and unity of the world.The canvases in Salma Arastu's series of paintings, We Are All One, are full of soft colors, continuous lines, immersive habitats that flow into one another, and—sometimes—two-dimensional representations of humans and animals occupying the same space, echoing cave paintings.Salma found the continuous line in her study of Islamic calligraphy when she was living in the Middle East. She was born into the Sindhi and Hindu traditions and Rajasthan, India, and then embraced Islam after marrying a Muslim.It was this continuous line that became a central element of her approach to painting and a central technique she uses to express the ecological views she finds in the Quran. She seeks to transcend difference through her art, and find oneness and interconnectedness in a world that continually ravages ecological systems around the planet.I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Artists series.Since the 1970s, Salma has been exhibiting her work nationally and internationally, and writing about art. She currently lives in San Francisco, where I had the pleasure of visiting her in her studio last summer and seeing so many of her wonderful paintings. At ChrysalisPodcast.org, you can see some of my photos from that trip and images of her paintings, including those from her We Are All One series.Here is Salma Arastu.---ConversationJohn FiegeCould you start by just telling me a little bit about your project, We Are All One?Salma ArastuYes, I believe in oneness. And these are kind of my oneness projects, you know, like, I want to bring the whole humanity together. And in my work, initially, they were abstract figures, you know, that they are coming together in groups, you know, celebrating together, sharing together, chanting together. So this has been my theme always. And from that, you know, gradually, as I was looking around the nature, I live on the bay in this area. And so nature has been great friend, I would say, you know, I keep watching the plants, the water, the clouds every morning. So this has been part of my daily schedule that I look at the nature and absorb it and go to my studio. And so somehow the nature, the the birds, the animals, and the plants, they all got into my work, and I realized we are all one, we are all breathing, we are all connected. So I think gradually I started doing work, which showed all living beings in my work, and I call it We Are All One.John FiegeGreat. And And can you talk also about Our Earth, and as part of this project, and what did you do there?Salma ArastuAs a daily practice, I do read Quran, my book of faith. And, you know, suddenly I started noticing the verses, which talk to me about the planet about, you know, like Earth and the communities. So let me tell you the first verse, which really, really was holding me for some time, you know, before I started the project, and that verse was so related to my thinking, we are all one. So that particular verse, it says, “There's not an animal in the earth, nor a flying creature flying on two wings, but they are communities like you.” So then I went to the description of that verse and amazing results I found because different scholars have given the beautiful description of this verse. And understanding this verse was like a divine invitation to follow the concerns of these all ecologists in our time. So I went deeper into it. And then especially one scholar, Dr. Fred Denny, who said, “The verse presents a paradigm of interconnectedness. Communities necessarily interact with one another. And we are enjoined by the Quran to view the animal world, not merely as parallel to us and organized into communities but signals interconnectedness between their existence and well being and our own, as no community on Earth exist in isolation of the others, and what affects one community ultimately affects other communities.” So this was amazing revelation to me. And then I started you know, noticing these verses which talked about the plants, the mountains, the ships, the see the fish, you know, the ant, bees. It was a beautiful revelation for me, and I started noticing them down and I found 90 verses like that, almost, which is my limited knowledge, you know. Then I started to shorten the list because I really wanted to do this project. I said I want to bring this positive from Quran to the mainstream in the world, so they understand the positive side of Quran.John FiegeOh, that's great. Yeah and it seems like with that project in particular, it's almost a theological process of, it's almost like through art you have been studying the Quran. Is that accurate?Salma ArastuYeah, I would say through, yeah, through my art, I was reading Quran, in the sense—or from Quran I was doing art. In Quran, the God has ordained us to look at the nature to study the nature, because—I read something here. “Quran describes nature, presents signs of God, as divine is manifest in nature, and guides to study nature as reference to the wisdom of Quran.” So in fact, as I understand, Quran is a textbook, and the nature is a workbook. Believe me, and that's how I worked on it.John FiegeOh wow. That's great. Yeah and and my understanding of Islamic law is kind of these basic elements of nature, like land, water, fire, forest, light, are all living things, not just humans and animals as living things.Salma ArastuYes, yes.John FiegeYou have a really interesting relationship to the Quran and to Islam, and to religion in general, really, your parents were Hindus who fled Pakistan during partition, and settled in Rajasthan in India, is that, is that all right?Salma ArastuYeah. Yeah, that's right. Yeah.John FiegeBut but then you ended up marrying a Muslim man, and living in Iran and Kuwait, and eventually the United States. You've also talked about the importance of your mother, who is a devout Hindu, in your developing spirituality. Can you talk about a bit about this spiritual journey and how it's infused in your art and how it's led you to engage deeply with ecological subjects?Salma ArastuYeah, sure. I think I do give credit to my mother and my bringing up, because though she was, you know, I mean, they were refugees from Pakistan, when I was born in India. So in the sense, though, my father has started the practice, he was a doctor, he was a physician, but he had lost everything like, you know, in Pakistan, and he was very depressed, but my mother was very, very positive thinker. So she always said, things will be fine. I remember, as a child, you know, my father used to be so upset and angry at times and more in the night, you know, say, I have lost everything, they have not given me back anything, so but she would always calm him down. So that's how I'd always seen it. And the other thing she kept telling us, We are all same. And because in Ajmer where I was born, the Rajasthan, the city in Rajasthan, it has the both pilgrimage you know, Hindu and Muslim. So like, she has seen all that. And she always told us, No, we are all one. We are all one actually came from her thought, you know, that we are all connected, we are not different. So I carried that thought all through my life. And when I met my husband, I tried to restrict myself, I tried to hold myself back. But somehow, somehow things happen. So I said, this is the this is the God's will, you know, that I marry this man. So my mother, though she was very disturbed, but she blessed me. And she said, your destiny is with you. But my blessings are with you.John FiegeWow.Salma ArastuSo this is all I needed. So I got married. And I'm grateful because we have been married for 47 years now. And it has been a blissful journey. Yes, my husband is very supportive of my art. And the family, also, my children also. So somehow, it's a beautiful journey. And I'm very grateful for that.John FiegeSo when you were living in the Middle East, you began studying Islamic calligraphy. And you discovered the continuous line as you as you call it, you've called it your guiding line and the light that leads you, and I love how this technique of the calligraphic line complements so strongly the themes of unity and connection in your work. Could you talk about calligraphy a bit, what it means to you, how it's influenced both your art and your ecological thinking?Salma ArastuYeah, so what happened when I did my masters from India, I was doing abstract work, but nature only, you know, it was movements of nature I was doing. I didn't know anything about Islam. I didn't know anything about Quran, I didn't know anything about calligraphy. So when I went to Middle East, I love this calligraphic the continuous line, you know, I used to copy it. And there was one quote from one Islamic scholar who said that the calligraphy starts from the field of action, it starts on right, you know. So it starts from the field of action, and lands in the field of heart. So, it was so beautiful, and I think it stayed with me. And then I started learning Arabic slowly, because, you know, I was curious, what do they say? So then I started making the sense of those words, and I was amazed at this line, how it's making the meaning also. But before I went deeper into the meanings of Quran, this line became my language. And when I came to USA, I continued with those abstract figures and you know, my lines, but then 2001, when this 9/11 happened, after that, I got a jolt, you know, like, it was something, people started asking me because I was known as a Muslim artist, you know, so they would ask me, Is Islam like that? Do you believe in that? So I said, No, my God is same. My God hasn't changed. So he is not Muslim. He is not Hindu. He is not Christian. So he is not like that. It cannot be like that. So there's some, something wrong gone somewhere. So I started learning Quran.John FiegeWhere were you? Where were you living during that? When 911 happened?Salma ArastuI was in Pennsylvania. I was in Pennsylvania.John FiegeOkay, so did you see a lot of that? Like, anti-Islamic backlash?Salma ArastuYeah, exactly. Islamophobia. Yeah, because suddenly it happened. And I watched it, and it hurt me also, like, I was in tears, watching the falling of Twin Towers, because I used to visit that place. So I'm just saying it affected me a lot. But then I started learning about Quran. And seriously, it gave me such positive thinking like, such positive verses I have found, you know, which talk about hope and unity and connection and earth. And then now I say that my work is about oneness, connecting humanity, soil and soul. So that is my tagline nowadays, you know?John FiegeAwesome.Salma ArastuI'm trying to connect humanity, soil and soul. Yes.John FiegeThat's great. And, you know, one thing I was thinking about is representational and figurative art are generally discouraged in Islamic art. And I think in your early work, it was all abstract. But in, in some of your paintings personally, more recently, you represent plants and animals, and even people, although the people seem to always be faceless in some way, you know, the heads are generally represented with just circles. But I was just wondering how you see your work within the tradition of Islamic art and the precepts that come with that?Salma ArastuYeah, so frankly speaking, I was, I knew about it, people say that, like I did faceless figures without realizing that Islam, it's not allowed. But then I talked to some scholars, and I was told, it's only the sculpture form, because, you know, in Islam, the worship of icons is private. Okay? So it's not that you cannot draw. What he what I was made to understand that if you make a sculpture, and then you make it a human-like, so that is not allowed, like, because you cannot create a human. If you see my work, it's very folk style. That there, I'm not doing exact three dimensional, you know, figures. And even if you go back to books, the miniature paintings, and which talk about the story of Islamic periods, and all that, they are also two dimensional, you know, they're, nothing is three dimensional. So what I'm trying to say that it is allowed in the story form, in fact, in my book, there's a last page, which a scholar wrote for me, in favor of my work, saying that Islam is allowed. “Prophet Muhammad was known to praise diverse forms of beauty and to have said Allah is beautiful and he loves beauty. All of these meanings and more find the holistic expression in the Quran and Sunnah, and are subtly unveiled, explored and expressed in Salma Arastu's paintings, and the English translation of the verses presented with them. Through her work cell mitosis encouraging the viewer to contemplate important meanings of unity, justice and balance as well as the impact of human actions the need for oneness and universal care for creation, all of which are indeed among the higher objectives of this Islam.” So that's how I did it. I don't know, I was inspired. I was, rather I would say I was guided to do it like that, and I did it. But so far, I haven't heard any, any criticism on that.John FiegeWell, that's great. And you've also described your process as very physical: scratching, sanding, layering materials like paper, rope, modeling paste, paper mache, or copper plate, embroidering with pen and ink. How does the physicality of your technique relate to your work, which is very much about both the physical biological world, but also spiritual existence?Salma ArastuI like textures. You know, I don't know, I like the penetrating textures. And some are right from beginning, I used to use paper first, you know, and then I used to, like, glue the paper on the surface and create, you know, textures and then paint gesso on it. And then I work sometimes, I'm a lot of sanding, because I like to show the layers beneath, you know. I don't know, I'm so physically involved with the work,I mean, that I can't describe, you know, I don't know, it's a new, it's a new experience each day, you know. The new painting that I'm doing, I'm using rust as my paint, I create this rust with a vinegar and aluminum and you know, make them rust, you know, make it rust color, and I paint with that also. So, and I'm using rope in my recent work. So yeah, I love textures. And I like pen and ink, I mean, I don't know it's the calming me down. You know, when I do the large works, the different works with a lot of physical work and like a lot of textures, then pen and ink is something which calms me down, it brings me back to myself. And it's like a meditation. So all my paintings have some work in pen and ink. It's like embroidery, I call it you know, it's like putting my you know, final touches on my work.John FiegeThat's great. Well, I'd like to for a minute look at a specific painting, and one of my favorites is called Earth and Skies. And so on one level, when you look at it, it's a traditional landscape painting in the sense that, you know, the bottom half of the canvas is green for the land, the top half is blue for the sky. But when you look closer at it, you realize that the sky is also the ocean and teeming with marine life. There are animal figures, both terrestrial and marine animals. And they, and as with all your work, it's drawn in two dimensions. And in some ways, it's reminiscent of cave paintings, I've found. And the entire canvas has this two dimensional flatness, with no sense of depth at all. And interestingly, there are some human figures in the landscape. It's not this idealized wilderness landscape devoid of humans. But the humans blend into the background and are represented in a similar size and style as the other animals. I also love your color palette, it's all these soft colors that that dissolve into one another. And of course, your your fluid lines are everywhere in the piece. Can you talk a bit about the techniques and concepts behind Earth and Skies? And like how do you create these colors that flow and dissolve into one another and, and, you know, you just your process for for conceiving and and creating this.Salma ArastuSure. So as I told you, I work with very thin acrylics. And my I don't make sketches of my paintings, I go directly on the canvas, and I feel guided you know, like, whatever comes is coming from within me, from within me, from my soul through my hand on the canvas. That's how it is. I don't know what is going to come on the canvas. So that particular theme, the earth and the skies, comes from a verse from Quran which talked about the balance. It said that God has created this establish this balance of earth and water in the skies, and don't disturb that. So, so that was the main concept in my mind when I started working. And somehow these soft colors, they, you know, I started with very thin paint very, very thin pane, and I started drawing animals, fishes, because I'm showing the connection. So for me, the birds, the fishes, the animals that are all part of this balance, you know, even the human figures. Here I want to mention one thing somebody told me recently and I love that concept. The man thinks he's the great and he's the protector, you know, taking care of this earth. While he's not needed to take care of earth, God is taking care of everything. Human being is just part of this whole system. You know, the whole web of life. It's the ego of the human, you know? So the word I was told that even the caveman knew that human figures don't, don't mean anything, like they are just part of it, because he always, the caveman also drew the figures as the sticks, and did the beautiful drawings of animals.John FiegeRight, right.Salma ArastuSo I really like that concept. I said, that's beautiful. Yeah. So this one, it just developed, as I told you, like, it just happened, you know, like, one layer over another, and another and softly I was going with very light colors, because I, it had to come through that, you know, and then I do a lo ton sanding. So in that painting, I've done a lot of sanding to give it an antique feeling in the bottom part with the figures. And it's a slow process if you ask me. But but it happens very spontaneously.John FiegeThat's an amazing combination. Slow, but spontaneous.Salma ArastuYes. Because whatever comes out, it comes out. And then I wait, I look at it. And then I go to it again, again throw some color on it, and then come back.John FiegeWell, that seems to go back to this idea of the process of art as meditation or contemplation or study. It's like the, the processes.Salma ArastuYeah, it's a dialogue. You know, it's a constant dialogue between the work and artist.John FiegeThat's awesome. There's a, there's another painting, I really love, The Waves and the Birds. So I love this painting, I just, I just visually love it in the colors. But also, the birds are flying in a flock through, you know, seemingly through the ocean. But it it creates this sense of the parallelism between a flock of birds and a school of fish, because they kind of look like a school of fish swimming through the ocean. Can you talk a bit about that piece? And, and where that came from?Salma ArastuYeah, yes, you know, I walk on the bay, as I told you. So I often see this, you know, swarms of birds, you know, flying in, in fall, you know, they come, the migrant birds, and they sit there, and they are just moving around, you know, it's like a constant flow. The waves and the birds, you know, I don't know, it just remained in my mind. So one day, it came like this on a canvas. So because there's no end, the waves are till the top, you know, because I see the whole bay area, you know, and then I see this burst just going over it. So this painting, it happened again, you know as I told you, they, they just happen for me, I don't plan them. So when I was going to do the birds, you know, I took my pen and ink because I didn't know how to show the birds. You know, I didn't want to mix them with my paint also. So I just did those with pen and ink if you see, so it was a very, I don't know, it just happened. I mean, that's why I always say I'm guided. I don't know why I'm doing it, how they come. But it really came together really well. And I'm so pleased with the composition. I know even I like it.John FiegeYeah, the composition, the composition is amazing.Salma ArastuYeah, thank you.John FiegeOften you, I know you write poetry. And, and some of your paintings have been accompanied by poems, both your own poetry I think and I think you sometimes pull text from the Quran and other places. Can you talk about that relationship between poetry and your painting work?Salma ArastuYeah, you know when I'm walking in the morning at the bay, you know, a lot of thoughts come in my mind. I feel so full of inspiration, you know, when I come back, I want to do this today, I want to do this day. So I record my words, and I record my whatever thoughts are coming and come back in my studio. So sometimes first I write the poem, which is which came in the morning, you know, in my mind, and then go to the painting, then start the painting. I don't really sketch but the words you know, sometimes the words helped me to portray what I want to do that, like my thoughts, you know, so they're connected. I know many times poetry happens first, the painting happens, you know, not for every painting, some. And sometimes the painting happens and when I look at it, it gives me the dialogue of in the form of a poem, you know, so, so they're interrelated in my work, and sometimes I'm directly influenced by Rumi's poetry also, because it's very universal. My work is not necessarily Islamic or Hindu or Christian, or American or Indian. I think my work is universal. I'm painting for everyone. And I, this is what I want to be. You know? So that's how I connect myself with Rumi.John FiegeYeah. Well, he is such an interesting figure, as you say, who is admired by so many different groups that see themselves in such strong opposition to one another in the modern world. And we really live in this age of identity and difference, and across the political spectrum it's really in vogue right now to emphasize and amplify difference and division in culture, race, religion, gender, age. But you're really going in the opposite direction, searching for universality, unity, love, and in some ways, those are ideals from the past. But at the same time, it feels like in the cyclical world that we live in, that they—Salma ArastuWe need that.John FiegeYeah, that's maybe what the future is, as well.Salma ArastuExactly. That's what I'm hoping for, yes.John FiegeHow do we, how do we counteract this toxic political and cultural division that we have in the modern age and, and the ecological calamity that comes with it? And how do you how do you think about these issues of identity and difference and universality and unity?Salma ArastuYeah, let me tell you, you know, it pains me, I cry, when I see these things around me, I mean, like this, this is torture, being a such person. And then watching these separations, you know, watching these distances, watching this, more and more split between, you know, nations and communities and races. Like, sometimes, you know, I see other artists doing this pain, oh, painting this, pictures of pain, but I can't do that, you know? I'm so full that I can't describe the pain. I think if I also do the pain, what I'm here for? I want to give hope, I want to give that love, I want to give that, that that feeling of you know, compassion. I have done few paintings, which depict the moment of the pain sometimes, but then it makes me cry. I said no, I cannot do this for long. I have to give the hope. I cannot do the same like everybody else is doing. What is my existence then? So think I, I don't know, I feel I'm here to give some message of love.John FiegeRight? Yeah. And you've talked in about your work in terms of, you know, this bringing together of Eastern and Western traditions. You know, you're using a lot of Western techniques in your work, but then you're bringing in a lot of these philosophies and approaches to the world that that are much more associated with the East.Salma ArastuYes. Yeah, that's a beauty. You know, I love this western world because I've learned so much, you know. I mean, I have been influenced by art from West, I have loved these techniques, the new new techniques I learn every day. I mean, there's so much to learn, I can't keep up with everything. But I say my what I want to say. So, and just naturally, I'm not emphasizing, I'm not forcing myself to do it, as I told you, I just do what comes from within me and just from through my hand on the canvas, so I just continue like that, you know, because I have surrendered myself to the Creator.John FiegeRight. Well, I think when you look at the paintings, you can see this spiritual process, which I find really amazing.Salma ArastuThank you.John FiegeAnd the, you know, the deep contemplation just infuses your work, which is, which is really beautiful.Salma ArastuThanks. Thank you, I really appreciate, yeah.John FiegeSo your, some of your new work that's that I think is coming out of the same project is these paintings around mycelial networks, which are the, you know, the white fungal threads that create these vast underground fungal networks that scientists have recently discovered to be really critically important to communication and nutrient flow and, and ecological connections between lots of species of plants and animals. And, and, and one of my favorite paintings, you know, you described earlier how you're working with rust, but it's got this rust background and these bright white mycelial networks. Yeah, and I love it. And it's just so just the colors and the textures, even on a computer screen are so striking. Can you tell me about the origins of this mycelial work and what mycelia have taught you about ecological connection and regeneration?Salma ArastuYeah, so you know what happened when I finished my project Our Earth in 2021, and then I, you know, I can't stop myself. So I started looking for the solutions now. I know these are the problems, these are the happening things. But now how do I find a solution? So I started reading science. I never did before. But you know, I saw this Fantastic Fungi. Have you seen that movie?John FiegeOh, I haven't seen the movie. But I've read–Salma ArastuOh, yeah. So what happened, when I saw those mushrooms and when I learned about the how they're beneficial, so mycelia seem to be giving the better future you know. That if only we concentrate and look at it and learn from it and support these organizations who are doing research on it. They're trying to make plastic like things from mycelia, I want to make people aware of it. You know, being an artist, I can creatively create those images which will attract people and they'll ask me what it is. So and especially it again, line, I have been so involved with these lines, you know, I'm so enjoying them, the roots and entangled life and then I'm reading some books also which are inspiring me. Entangled Life is a beautiful book, which talks about this mycelium, you know, how it changed my perspective, changed my thinking that we can be saved, the humanity can be saved.John FiegeYeah, I love how art and science are coming together so much right now in the culture. And we're starting to break down these really hard divisions that that I feel like existed for many decades.Salma ArastuExactly, yeah. Yeah.John FiegeBut if you I mean, look at the you know, Leonardo da Vinci, you know, he was doing art and science. I mean, there was no division back then.Salma ArastuAnd then we created division, you know, slowly, yeah. The colonization of the world, you know, that created these things, I think.John FiegeAnd, you know, through this artistic journey you've been on, what do you feel like you've learned about what our relationship to the rest of nature needs to be and how to get there?Salma ArastuYeah, since I would say, 12 years, 15 years, I've been walking around this bay, and it's only two miles radius. But believe me, in this short walk only, I have found every morning, something new, something new light, something new bird, some sometimes new plant and sometimes the entangled forms on the ground, the roots, the, you know, lichens them, you know, like, imagine, I can't, you can't imagine the images that I've collected over this years. It's thousands of images. And so this is what my joy, and I think if only people can connect with nature, they will find the joy also, it's biophilia, you know, it's that you know, it's something people will find joy once you connect with nature. We are born to be like that, you know, outside, we are not born to be inside the apartments and the rooms and the television screens. We are we are we are supposed to be outside, you know, and mingle with the nature. So that will give you the blessings you, that will make you realize the blessings you have around you.John FiegeYeah, well, that's a beautiful place to end. Salma, thank you so much for for joining me today. It's been really, really great conversation.Salma ArastuThank you so much, really. I appreciate you understanding my work, and that's what I want. I want to share my work and I want people to understand that.---OutroJohn FiegeThank you so much to Salma Arastu. Go to our website that ChrysalisPodcast.org, where you can see images of her paintings, the photographs from my visit to her studio, and our book and media recommendations.This episode was researched by Lydia Montgomery and edited by Brodie Mutschler and Sofia Chang. Music is by Daniel Rodriguez Vivas. Mixing is by Juan Garcia.If you enjoyed my conversation with Salma, please rate and review us on your favorite podcast platform. Contact me anytime at chrysalispodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Darvesh Wani : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Sindhi Pahinjo Vajood Na Visaar : Pujya Sant Shri Asharamji Bapu Satsang

Episode Description Sign up to receive this Unreached of the Day podcast sent to you:  https://unreachedoftheday.org/resources/podcast/ People Group Summary: https://joshuaproject.net/people_groups//14192 #PrayforZERO is a podcast Sponsor.         https://prayforzero.com/ Take your place in history! We could be the generation to translate God's Word into every language. YOUR prayers can make this happen.  Take your first step and sign the Prayer Wall to receive the weekly Pray For Zero Journal:  https://prayforzero.com/prayer-wall/#join Pray for the largest Frontier People Groups (FPG): Visit JoshuaProject.net/frontier#podcast provides links to podcast recordings of the prayer guide for the 31 largest FPGs.  Go31.org/FREE provides the printed prayer guide for the largest 31 FPGs along with resources to support those wanting to enlist others in prayer for FPGs.

Getting in the month's episode just under the line. Things discussed in this episode: 00:00 Intro, Beard Review, Scheduling talk, how these episodes are created 08:15 Raf Saperra! 2000s UK Bhangra sound! Also shared cultures across borders 21:30 New Mooroo music, with Mekaal Hasan Band?! 31:48 Sindhi music on the playlist! “Wadiyon Wadiyon Galhyun” by Babar Mangi & Hasnain Samo 39:33 New musical direction by Faisal Kapadia, comparing with “Abyss” by HAVI & Hamza Ali 49:59 “Qasai” by Eva B & Mudassir Qureshi. Eva goes in hard! Also talking about “unique” demographic artists standing on their own merits 54:41 Mixed bag collective chat about the rest of the playlist & outro LINKS: Hamnawa's Instagram: https://www.instagram.com/hamnawa_net/ The Feb'24 Select Playlist: https://open.spotify.com/playlist/3AWcIwy0ozvMhmag80eIKp Support the podcast by becoming a monthly patron on Patreon (https://www.patreon.com/tprpod) or send a one-off token on Ko-fi (https://ko-fi.com/tprpod)! Find all our previous episodes on Spotify, Google Podcasts & Apple Podcasts and follow us all on Twitter! Links to everything below! Spotify: https://open.spotify.com/show/6PvTahp... Google Podcasts: https://podcasts.google.com/feed/aHR0cDovL2ZlZWRzLnNvdW5kY2xvdWQuY29tL3VzZXJzL3NvdW5kY2xvdWQ6dXNlcnM6NTk4Njg2MDE1L3NvdW5kcy5yc3M?sa=X&ved=2ahUKEwihxe677uKCAxUMKcAKHQSxC8oQ9sEGegQIARAD Apple Podcasts: https://podcasts.apple.com/us/podcast... Instagram: https://www.instagram.com/tprpod/ Twitter: https://twitter.com/TPRPod Ali: https://twitter.com/themaholupper Rizwan: https://twitter.com/RizwanTakkhar Sarkhail: https://twitter.com/Sarkhail7Khan --- Support this podcast: https://podcasters.spotify.com/pod/show/tprpod/support

Dr. Asma Faiz comes on the podcast to discuss Sindhi Nationalism, Punjabi Nationalism, PPP, The Mohajir Identity, GM Syed, 18th Amendment, MRD, Zulfiqar Ali Bhutto, Benazir Bhutto and more. Dr. Asma Faiz is Associate Professor of Political Science at the Mushtaq Ahmed Gurmani School of Humanities and Social Sciences. She did her Ph.D. in Political Science from Sciences Po, Paris (2017) and M.Sc. in Political Science from University of Illinois at Urbana-Champaign (2011). Dr. Faiz's research focuses on ethnic nationalism, populism, ethnic parties and federalism. She is the author of the book In Search of Lost Glory: Sindhi Nationalism in Pakistan (Hurst Publishers, 2021). Dr. Faiz also edited a volume Making Federation Work: Federalism in Pakistan After the 18th Amendment (2015). Dr. Faiz is recipient of several fellowships including the Fulbright fellowship, Campus France Fellowship and the Rangoonwalla fellowship. Dr. Faiz also worked with international think tanks such as Forum of Federations and the Carnegie Endowment for International Peace. The Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon: https://www.patreon.com/thepakistanexperience To support the channel: Jazzcash/Easypaisa - 0325 -2982912 Patreon.com/thepakistanexperience And Please stay in touch: https://twitter.com/ThePakistanExp1 https://www.facebook.com/thepakistanexperience https://instagram.com/thepakistanexpeperience The podcast is hosted by comedian and writer, Shehzad Ghias Shaikh. Shehzad is a Fulbright scholar with a Masters in Theatre from Brooklyn College. He is also one of the foremost Stand-up comedians in Pakistan and frequently writes for numerous publications. Instagram.com/shehzadghiasshaikh Facebook.com/Shehzadghias/ Twitter.com/shehzad89 Chapters 0:00 Introduction 2:00 Writing a book on Sindhi Nationalism as a Punjabi 10:00 Meanings of Nationalism and the Language Issue 23:30 Sindhi Nationalism and Identity Forming 29:44 Mohajir Identity as a Political Identity 33:30 Sindh's historical under development 36:00 Birth of Sindhi Nationalism and State's obsession with One-Unit 40:40 18th Amendment 46:30 GM Syed and Ethnic Parties and Movements 52:24 Is PPP a Sindhi Nationalist Party? 1:01:00 Federal Structure of Pakistan 1:03:50 The Ghost of Zulfiqar Ali Bhutto and MRD Movement 1:10:55 Benazir Bhutto's return and PPP 1:17:00 Audience Questions

Scholarly discussions on Islam in print have focused predominantly on the role of Urdu in the development of North Indian Muslim publics (Dubrow, 2018; Robb, 2020), ʿulama and Islamic jurisprudence (Tareen, 2020) and relations between Islam and colonial modernity (Robinson, 2008; Osella & Osella, 2008). This special issue of International Journal of Islam in Asia (Sept, 2023) instead offers fine-grained investigations on technology and labour; print landscapes, networks and actors; subaltern languages; and popular Islam. We critique the idea of an “epistemic rupture” brought about by colonial modernity, providing a more systematic analysis of continuities and changes in Islamic knowledge economy. Examining two centuries of print authored by South Asian Muslims, the articles in the issue provide new ways of thinking about questions of knowledge production, distribution, circulation and reception. The issue broadens the scope of earlier scholarship, examining genres such as cosmology, divination, devotional poems, salacious songs, romances and tales of war in Urdu, Persian, Arabic, dobhāṣī do Bangla, Arabic Malayalam, Sindhi, Balochi and Brahui. The articles show the different ways that pre-colonial practices and cultures of writing and reading persisted in the print landscape, in terms of copying, adaptation, translation and circulation of texts. They inquire into new technologies, labour and networks that evolved, and how it provided fertile ground for both new and traditional forms of religious activities and authorities. The articles present new Muslim publics, geographies, and imaginaries forged through the vernacularisation of Islam, and their relationship to the transnational or global community. Nur Sobers-Khan is a researcher and curator of Islamic manuscripts, art and archival collections. She served as director of the Aga Khan Documentation Center, a research centre and archive for the study of visual culture, architecture and urbanism in Muslim societies (2021-22). Ahmed Yaqoub AlMaazmi is a Ph.D. candidate at Princeton University. His research focuses on the intersection of law, the occult sciences, and the environment across the Western Indian Ocean. He can be reached by email at almaazmi@princeton.edu or on Twitter @Ahmed_Yaqoub. Listeners' feedback, questions, and book suggestions are most welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Scholarly discussions on Islam in print have focused predominantly on the role of Urdu in the development of North Indian Muslim publics (Dubrow, 2018; Robb, 2020), ʿulama and Islamic jurisprudence (Tareen, 2020) and relations between Islam and colonial modernity (Robinson, 2008; Osella & Osella, 2008). This special issue of International Journal of Islam in Asia (Sept, 2023) instead offers fine-grained investigations on technology and labour; print landscapes, networks and actors; subaltern languages; and popular Islam. We critique the idea of an “epistemic rupture” brought about by colonial modernity, providing a more systematic analysis of continuities and changes in Islamic knowledge economy. Examining two centuries of print authored by South Asian Muslims, the articles in the issue provide new ways of thinking about questions of knowledge production, distribution, circulation and reception. The issue broadens the scope of earlier scholarship, examining genres such as cosmology, divination, devotional poems, salacious songs, romances and tales of war in Urdu, Persian, Arabic, dobhāṣī do Bangla, Arabic Malayalam, Sindhi, Balochi and Brahui. The articles show the different ways that pre-colonial practices and cultures of writing and reading persisted in the print landscape, in terms of copying, adaptation, translation and circulation of texts. They inquire into new technologies, labour and networks that evolved, and how it provided fertile ground for both new and traditional forms of religious activities and authorities. The articles present new Muslim publics, geographies, and imaginaries forged through the vernacularisation of Islam, and their relationship to the transnational or global community. Nur Sobers-Khan is a researcher and curator of Islamic manuscripts, art and archival collections. She served as director of the Aga Khan Documentation Center, a research centre and archive for the study of visual culture, architecture and urbanism in Muslim societies (2021-22). Ahmed Yaqoub AlMaazmi is a Ph.D. candidate at Princeton University. His research focuses on the intersection of law, the occult sciences, and the environment across the Western Indian Ocean. He can be reached by email at almaazmi@princeton.edu or on Twitter @Ahmed_Yaqoub. Listeners' feedback, questions, and book suggestions are most welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Scholarly discussions on Islam in print have focused predominantly on the role of Urdu in the development of North Indian Muslim publics (Dubrow, 2018; Robb, 2020), ʿulama and Islamic jurisprudence (Tareen, 2020) and relations between Islam and colonial modernity (Robinson, 2008; Osella & Osella, 2008). This special issue of International Journal of Islam in Asia (Sept, 2023) instead offers fine-grained investigations on technology and labour; print landscapes, networks and actors; subaltern languages; and popular Islam. We critique the idea of an “epistemic rupture” brought about by colonial modernity, providing a more systematic analysis of continuities and changes in Islamic knowledge economy. Examining two centuries of print authored by South Asian Muslims, the articles in the issue provide new ways of thinking about questions of knowledge production, distribution, circulation and reception. The issue broadens the scope of earlier scholarship, examining genres such as cosmology, divination, devotional poems, salacious songs, romances and tales of war in Urdu, Persian, Arabic, dobhāṣī do Bangla, Arabic Malayalam, Sindhi, Balochi and Brahui. The articles show the different ways that pre-colonial practices and cultures of writing and reading persisted in the print landscape, in terms of copying, adaptation, translation and circulation of texts. They inquire into new technologies, labour and networks that evolved, and how it provided fertile ground for both new and traditional forms of religious activities and authorities. The articles present new Muslim publics, geographies, and imaginaries forged through the vernacularisation of Islam, and their relationship to the transnational or global community. Nur Sobers-Khan is a researcher and curator of Islamic manuscripts, art and archival collections. She served as director of the Aga Khan Documentation Center, a research centre and archive for the study of visual culture, architecture and urbanism in Muslim societies (2021-22). Ahmed Yaqoub AlMaazmi is a Ph.D. candidate at Princeton University. His research focuses on the intersection of law, the occult sciences, and the environment across the Western Indian Ocean. He can be reached by email at almaazmi@princeton.edu or on Twitter @Ahmed_Yaqoub. Listeners' feedback, questions, and book suggestions are most welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

Scholarly discussions on Islam in print have focused predominantly on the role of Urdu in the development of North Indian Muslim publics (Dubrow, 2018; Robb, 2020), ʿulama and Islamic jurisprudence (Tareen, 2020) and relations between Islam and colonial modernity (Robinson, 2008; Osella & Osella, 2008). This special issue of International Journal of Islam in Asia (Sept, 2023) instead offers fine-grained investigations on technology and labour; print landscapes, networks and actors; subaltern languages; and popular Islam. We critique the idea of an “epistemic rupture” brought about by colonial modernity, providing a more systematic analysis of continuities and changes in Islamic knowledge economy. Examining two centuries of print authored by South Asian Muslims, the articles in the issue provide new ways of thinking about questions of knowledge production, distribution, circulation and reception. The issue broadens the scope of earlier scholarship, examining genres such as cosmology, divination, devotional poems, salacious songs, romances and tales of war in Urdu, Persian, Arabic, dobhāṣī do Bangla, Arabic Malayalam, Sindhi, Balochi and Brahui. The articles show the different ways that pre-colonial practices and cultures of writing and reading persisted in the print landscape, in terms of copying, adaptation, translation and circulation of texts. They inquire into new technologies, labour and networks that evolved, and how it provided fertile ground for both new and traditional forms of religious activities and authorities. The articles present new Muslim publics, geographies, and imaginaries forged through the vernacularisation of Islam, and their relationship to the transnational or global community. Nur Sobers-Khan is a researcher and curator of Islamic manuscripts, art and archival collections. She served as director of the Aga Khan Documentation Center, a research centre and archive for the study of visual culture, architecture and urbanism in Muslim societies (2021-22). Ahmed Yaqoub AlMaazmi is a Ph.D. candidate at Princeton University. His research focuses on the intersection of law, the occult sciences, and the environment across the Western Indian Ocean. He can be reached by email at almaazmi@princeton.edu or on Twitter @Ahmed_Yaqoub. Listeners' feedback, questions, and book suggestions are most welcome. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

Scholarly discussions on Islam in print have focused predominantly on the role of Urdu in the development of North Indian Muslim publics (Dubrow, 2018; Robb, 2020), ʿulama and Islamic jurisprudence (Tareen, 2020) and relations between Islam and colonial modernity (Robinson, 2008; Osella & Osella, 2008). This special issue of International Journal of Islam in Asia (Sept, 2023) instead offers fine-grained investigations on technology and labour; print landscapes, networks and actors; subaltern languages; and popular Islam. We critique the idea of an “epistemic rupture” brought about by colonial modernity, providing a more systematic analysis of continuities and changes in Islamic knowledge economy. Examining two centuries of print authored by South Asian Muslims, the articles in the issue provide new ways of thinking about questions of knowledge production, distribution, circulation and reception. The issue broadens the scope of earlier scholarship, examining genres such as cosmology, divination, devotional poems, salacious songs, romances and tales of war in Urdu, Persian, Arabic, dobhāṣī do Bangla, Arabic Malayalam, Sindhi, Balochi and Brahui. The articles show the different ways that pre-colonial practices and cultures of writing and reading persisted in the print landscape, in terms of copying, adaptation, translation and circulation of texts. They inquire into new technologies, labour and networks that evolved, and how it provided fertile ground for both new and traditional forms of religious activities and authorities. The articles present new Muslim publics, geographies, and imaginaries forged through the vernacularisation of Islam, and their relationship to the transnational or global community. Nur Sobers-Khan is a researcher and curator of Islamic manuscripts, art and archival collections. She served as director of the Aga Khan Documentation Center, a research centre and archive for the study of visual culture, architecture and urbanism in Muslim societies (2021-22). Ahmed Yaqoub AlMaazmi is a Ph.D. candidate at Princeton University. His research focuses on the intersection of law, the occult sciences, and the environment across the Western Indian Ocean. He can be reached by email at almaazmi@princeton.edu or on Twitter @Ahmed_Yaqoub. Listeners' feedback, questions, and book suggestions are most welcome. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Mark-Anthony Falzon is a social anthropologist. He is a professor at the University of Malta and a life member of Clare Hall, Cambridge. His books include Cosmopolitan Connections (Oxford, 2005), Multi-Sited Ethnography (Ashgate, 2009), The Examined Life (2019), The University of Malta (2020) and Birds of Passage (Berghahn, 2020). His book examines the social and cultural infrastructure that sustains Sindhi business and its trade networks. It provides a rich historical context to the narrative by tracing the origin of Sindhi trade to the annexation of Sindh in 1843, when it was incorporated into an expanding global economy. The book also locates Sindhi business within the dynamics of the contemporary Indian diaspora and features several success stories both from India and outside. Furthermore, it emphasizes the commercial inventiveness, spatial mobility, and adaptability of Sindhis—-the qualities crucial to building successful cosmopolitan businesses. The book features an arresting introduction by best-selling author and commentator, Gurcharan Das.

Sindhi Sukhmani 9 : Ashram Paath

Sindhi Sukhmani 4 : Ashram Paath

Sindhi Sukhmani 1 : Ashram Paath

Sindhi Sukhmani 10 : Ashram Paath

Sindhi Sukhmani 8 : Ashram Paath

Sindhi Sukhmani 1 : Ashram Paath

Sindhi Sukhmani 6 : Ashram Paath

Rooplo Kolhi was a fearless Sindhi leader who successfully battled the British army for 16 years. He was eventually captured and brutally tortured, but never lost his spirit and never gave in. Let us remember and honor unsung heroes like Rooplo who laid down their lives for India's freedom. Conscious Planet: https://www.consciousplanet.org Sadhguru App (Download): https://onelink.to/sadhguru__app Official Sadhguru Website: https://isha.sadhguru.org Sadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusive Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. See omnystudio.com/listener for privacy informationSee omnystudio.com/listener for privacy information.