Pathumayude Aadu

By Abul Kalam Azad

Jamal Kochangadi, the veteran editor, author, and lyricist, was a close friend of my father, Haneef Rahman. They shared a deep bond, akin to brothers. Jamal Ikka, as he was affectionately called, was loved by everyone in our family and was a regular presence at every family gathering. My father held great admiration for Jamal’s writings, often engaging me in passionate discussions about his stories. It was through these conversations that I first delved into Jamal’s captivating short stories. Rooted in the local culture, his tales painted vivid imagery, blending real and fictional elements seamlessly. Real individuals, events, and locations found their place within fictional narratives, captivating and provoking readers. Among his works, my personal favorite was “Daniel Kocha,” written in 1984.

Jamal’s family house was located in Kochangadi, where he resided full-time until the 1980s. His father, Zainuddin Naina, was a freedom fighter and a publisher. Originally hailing from Kayalpattanam, the Nainas (Marakkars) were deeply involved in the Indian independence movement. Zainuddin Naina’s encounter with Vaikom Muhammad Basheer occurred while he was imprisoned by the British Government for participating in the salt satyagraha, just three days after his wedding. This encounter led to the establishment of the pro-nationalistic newspaper “Ujjivanam,” named after Sahodaran Ayyappan’s poem.

Jamal inherited his father’s passion for publishing. From 1975 to 1979, he ran Imprint, a printing press located in Jew Town. Equipped with the latest printing technology, Imprint became a hub for young talents in the neighborhood. Jamal’s interests in music, cinema, and photography fascinated the youngsters. The film “Chappa,” based on one of his stories, further elevated his popularity. Set in the modern port of Cochin, the film was directed by P.A. Bucker and received the National Award for Best Regional Film. The story revolves around the lives of port employees, capturing their joys and sorrows.

My life took a transformative turn thanks to Jamal Ikka during a dinner gathering at our house. My father had a penchant for surrounding himself with artists and creative minds, and these dinners often felt like festive occasions during my childhood. However, as I grew older, the vibrant energy of these creative souls became the main attraction, surpassing even the variety of food being served. It was during one of these dinners that I showed Jamal Ikka a few of my photographic prints. By that time, I had established myself as a successful event photographer, but I felt a growing sense of boredom and a desire for different creative outlets. Patiently listening to my aspirations, Jamal Ikka silently collected some of my prints before leaving. At the time, he was working as an editor and journalist for League Times newspaper, based in Calicut. The following week, I received a package containing a magazine that had published my photographs, accompanied by appropriate credit.

Encouraged by Jamal, I started sending him more photographs for publication. He would come up with innovative columns and photo essays, always maintaining a friendly and down-to-earth demeanor. Unbeknownst to me, I had unwittingly embarked on my photojournalistic journey. In 1985, Ramavarma Thampuran, a journalist at Times of India, launched “Preview,” one of the first dedicated news magazines in Malayalam. With its focus on investigative journalism and photo features, Jamal Kochangadi assumed the role of Editor-in-chief. The magazine rented two rooms at Anandha Bhavan, a hotel in Ernakulam as its office. Despite facing financial challenges, Preview managed to publish a few issues that significantly enhanced investigative journalism in the region, generating widespread interest and setting new standards for future magazines.

Together, Jamal and I worked on several impactful stories. One such feature shed light on the practice of female infanticide in Usilampatti, Madurai District, Tamil Nadu. The story was written by Pattatu Kumaran, accompanied by my photographs. We also embarked on an unprecedented venture, featuring characters from Vaikom Mohammed Basheer’s novel “Pathummayude Aadu.” Portraying characters and the geography of literary works within the realm of journalism or periodicals was unheard of at that time. However, Jamal’s enterprising spirit paved the way for this innovative endeavor. To add to the uniqueness, he assigned Tip-top Azeez, an actor, comedy playwright and director, to interview Basheer’s characters. He earned the nickname “Tip Top Azeez” because he was instrumental in founding and shaping the drama group named ‘Tip Top’. Indeed, Azeez’s plays have left a lasting impact on the local theater scene. Numerous film actors in Kochi, including Mammootty and Salim Kumar, have presented his plays on stage. Even in school performances, Azeez’s satirical stories are showcased in their entirety or through extracted comedy scenes.

Aseez was also familiar to my family, who had a background in theater. Elated, we traveled to Thalayolaparambu, Basheer’s birthplace, even though Basheer had already moved to Beypore in Calicut. Basheer himself was an illustration of Rumi’s famous quote that there are  people who will wait for you in a field beyond imam and kufr. There, we met Basheer’s family members and experienced the unchanged landscape described in his works. This endeavor, filled with humor and satire, became a trend, inspiring many other magazines to photograph Pathumma. Jamal’s editorial acumen and creative approach made such experiments possible. I still take great pride in the image of Pathumma that we captured. Basheer Ikka himself looked at the photograph and penned a letter, expressing, “I haven’t seen Pathumma for years… but she looks the same!”

High-quality printing played a vital role in the success of our photo stories. Offset printing services were scarce, but ST Reddiar Offset Printers stood out as the best color printing press in Kerala. Despite facing difficulties, Jamal tirelessly pursued the printers to ensure timely release of the magazine. Additionally, Thampuran’s inconsistent payments added to the challenges. However, the satisfaction and authenticity we derived from our work were unparalleled. This sense of joy and freedom in expression fueled my determination to pursue photojournalism seriously. I believed that by telling the truth to the public, I could make a difference.

After my stint with Preview, I became fully engrossed in photojournalism and bid farewell to event photography. I began wandering the streets of India as a freelance photojournalist. In 1990, I joined the Press Trust of India (PTI) in New Delhi. Throughout my photojournalism career, Jamal continued to play a significant role as we maintained our professional relationship.

Considering the nature of my work, I was always on the move, traveling to different locations or immersing myself in various events. Back then, we didn’t have mobile phones or internet access. However, Jamal managed to track me down and send postcards, asking about my latest photos and stories. His timing was always impeccable, leaving me wondering how he did it. I covered numerous stories, including the Kashmir insurgency, the aftermath of the Mandal Commission protests, and the riots following the Babri Masjid demolition. Jamal published these incidents as impactful photo features. I always kept a separate camera dedicated to capturing images for Jamal. Despite my busy schedule as a journalist, I never failed to send him prints. Despite the limitations we faced, we successfully published numerous compelling stories. As a professional editor, Jamal ensured that the photo features were printed with the highest quality and appropriate credits. He also consistently sent me copies of the printed articles and features. For me, it was a way of giving back to my long-time friend and mentor. With Jamal, I had the freedom to publish what I truly believed in.

Our connection endured until I eventually left the field of photojournalism in 1995-96. After a hiatus of nearly two decades, I reconnected with Jamal a few years ago. To my delight, he hadn’t lost any of his energy or vitality. Just like before, he remained curious and eager to learn new things. When I met him in 2019, he was immersing himself in mastering the use of a tablet. As always, he shared his dreams and projects at length, devoid of any hint of frustration. Life’s struggles may be relentless, but Jamal finds solace in laughter and conversation about dreams and possibilities.

It wouldn’t be an exaggeration to say that Jamal was the driving force behind my brief but intense journalism career. During that enchanting honeymoon phase, it was with Jamal Ikka that I experienced truth and genuine satisfaction. However, reality soon set in, and I discovered that the possibility of reaching a wider audience, the promise of truth-telling, and the dream of effecting change through journalism were mere illusions. It turned out to be a deceptive world, marred by lies and propaganda.