Who was the true architect of knowledge—the East or the West? This article unravels the paradox of Orientalism, exposing how colonization first thrived on the intellectual wealth of the very civilizations it sought to “civilize”. From literature to language, history to heritage, the East stood as a beacon long before imperial narratives claimed otherwise. As cultural hegemony persists in subtler forms, the question remains: who is truly improvising whom?

 before Edward Said justified the West's presence in the East, claiming they were there to improve education and teach the Eastern side of the world the real meaning of civilization. In India, this was the time when the Indus Valley Civilization was yet to be discovered. But before that, who was learning from whom? Who was improvising?

This question is as complicated as the justifications provided by the colonisers but as simple as our understanding of the ground reality of Orientalism. For example, go back to 19th-century Calcutta when Fort William College existed. This was the era when John Gilchrist asked Meer Amman to translate the historical 

 became one of the most renowned books in the world, known for its rich language and legacy. It played a key role in providing knowledge about undivided India's language, culture, and traditions.

To equip British officials with a cultural and historical understanding of India, 

 were translated by the finest Urdu writers of that time in institutions like the Fort William College. This is how the British ruled India so effectively—by learning from historical literature and traditional values. Understanding the elements of Indian society, both its strengths and weaknesses, gave them an advantage. By holding the key to history, culture, language, and literature, they ruled for almost 200 years. So, we can say it was more of a strategic war on culture and language than a political war. Colonisers found it easier to learn the language, art, literature, and culture of the people they sought to dominate.

Is this still the major tactic colonisers use? Learning about the imperial powers is a big task, but understanding how they were successful is all the more important. Right now, hegemony is visible in every aspect. One must learn a particular language to survive even in a world that is so heterogenous. People are losing their grip on vernacular languages, and cultural hegemony is eroding the rich legacy of one's own identity. We can say this is also a form of colonisation—but indirect.

Looking at it from the ground level, eastern languages, with their rich literature, history, and legacy, are being deprived. Each of us is bound by the language of the colonisers. 

 (Eastern Literature) is older than the existence of Great Britain. The oldest and finest philosophies originated from either Greece or the Arab

world. Similarly, literature written in Persian, Sanskrit, and Urdu reflects the 

 of the East, which is deeply rooted in spiritual values and the legacy of its ancestors. These societies refused to bow before the imperialist world. The East was educated long before the arrival of the colonisers. Some of the greatest and oldest poets belonged to the Arab world, followed by Persian, Sanskrit, and Urdu writers and poets. If we truly analyse history, we find literature already rich with the likes of 

Since the beginning, the West has seen profit even in literature. They colonised countries later; what they colonised first were vernacular languages and native cultures. Travelers found it easier to turn their trade into an invasion.

“Every empire, however, tells itself and the world that it is unlike all other empires, that its mission is not to plunder and control but to educate and liberate.

Before the West introduced its scientific advancements, Jabir Bin Hayyan was already recognised for his contributions to chemistry and alchemy. Bharata Muni had already written the astonishing 

, which created a world of art on stage before cinema arrived in India. Imru’ al-Qais flourished in the Arabian Peninsula with his mastery of 

before the colonisers set foot in the region. Firdausi and Saadi Shirazi glorified history through their literary techniques long before the the Western literature entered the Persian world. Amir Khusrau was already composing magnificent poetry for the diverse population of the East. Beyond them, countless artists, scientists, writers, poets, dramatists, historians, travelers, professors, and reformers shaped their native lands long before the colonial era began.

We were civilized before the colonisers; their civilization was merely in its infancy. What we need to do is learn, safeguard, understand, and teach. The dimensions and diversity of the rich Eastern world not only helped the colonisers rule but also gave birth to the concept of Orientalism.

The question of who was learning and who was teaching should now be easy to answer. The West colonised minds before it colonised lands. Even today, only those who speak the colonisers' language are considered truly literate. A "gentleman" is still defined as one who wears a Western coat and pants with a suitable haircut. A confident woman must conform to Western ideals; if she wears her native attire, she is still seen as oppressed or uncivilized. In today’s world, people feel the need to dine in fancy restaurants simply because it aligns with the class system imposed by capitalists and colonisers.

Who is allowing the colonial mindset to enter native lands?

Of course, the people of the native lands themselves. If people truly want to liberate themselves, they must first understand what liberation means. True freedom lies not just in reclaiming political and geographical autonomy but also in protecting language, history, culture, and literature. Colonization cannot feed us if we are already filled and satisfied with our heritage. Allama Iqbal, the Poet of the East, writes in his nazm 

 and dedicates it to the East. He writes:

آفاق کے ہر گوشے سے اٹھتی ہیں شعاعیں

بچھڑے ہوئے خورشید سے ہوتی ہیں ہم آغوش

اک شور ہے، مغرب میں اجالا نہیں ممکن

افرنگ مشینوں کے دھویں سے ہے سیاہ پوش

مشرق نہیں گو لذتِ نظارہ سے محروم

لیکن صفتِ عالمِ لاہوت ہے خاموش

پھر ہم کو اسی سینۂ روشن میں چھپا لے

اے مہرِ جہاں تاب! نہ کر ہم کو فراموش

Bichde huwe khursheed se hoti hai hum agosh

Ik shor hai, Maghrib mein ujala nahi mumkin

Afrang masheeno ke dhuen se hai siah posh

Mashriq nahi go lazzat-e-nazara se mehroom

Phir hum ko usi seena-e-rawish mein chupa le

Ae mehr-e-jahan taab! Na kar humko faramosh.

These verses reaffirm that no matter how much the colonisers and capitalists try to pollute the East, we will return to the river of our legacy, history, and identity. We will quench our thirst from our tree of knowledge and spirituality. We will separate our free will from the cage of imperialism, capitalism, and colonisation—and liberate ourselves.

Disclaimer: The opinions expressed in this publication are those of the author. They do not purport to reflect the opinions or views of The Jamia Review or its members.

Who improvised whom? Orientalism and the East

Mujtaba Hussain was an Indian writer and satirist of Urdu literature and a Padma Shri-honoured figure for his contributions to Urdu literature. His compilation of character sketches, “So Hai Woh Bhi Aadmi,” describes many mesmerising figures, not only those who were related to Urdu but also those who were close to any art form, like Sadiqeen. His character sketch of Faiz Ahmed Faiz gives a bright vision of him. Hussian feels a connection with Faiz, and I, as a reader and a writer, also feel this deep connection with him: there is this sense of belonging in his character. Through this character sketch by Mujtaba Hussain, I could feel what Hussain felt about Faiz. Faiz feels personal, like family; his words embrace the readers, and he clearly shows up as the 'poet for the people and poet of the people.’ Faiz, of course, left the world, but his poems still embrace us all.

Mujtaba Hussain was a prominent writer who wrote mostly in the genre of humour and satire in the Urdu language. He wrote many character sketches, and one of the most brilliant character sketches he wrote in his compilation of character sketches,

was of Faiz Ahmed Faiz. Mujtaba Hussain writes about Faiz in such a way that we all wish to see him once in person.

Faiz, as I learnt from the writings of Mujtaba Hussain, was a man of quiet demeanour, a pure heart, and immense knowledge. Hussain writes: 

"Two years ago, I was travelling by bus from London to Paris and saw a girl sitting in front of me. After a while, I greeted her, and she greeted me back. She asked about my country and my profession. I told her I am from India and write in a language called Urdu. She looked at me and asked, 'Is that the same language Faiz Ahmed Faiz wrote in?”

This encounter left me wondering: should Urdu be thankful to Faiz, or should Faiz be thankful to Urdu? It’s rare when a language becomes known by a poet’s name. That, in itself, is an epitome of love.

Hussain also mentions that Faiz was not just a poet but a revolutionary figure. When he speaks of

 it feels as though he taught these winds to flow in the direction of revolution. His sense of socialism and humanity permeates even the love poems he wrote. Faiz had a remarkable way of blending personal emotion with social commentary.

During the era when Faiz and Makhdoom Mohiuddin wrote, their words stirred the masses, and people waited for revolution with every verse. Hussain, reflecting on Faiz's 

 "I felt that revolution was coming closer to my empty soul, knocking at my door."

Hussain writes that Faiz was more like a piece of art; one would love to see him, more than one would love to listen. People would sometimes ask Faiz if he could recite a 

 (poem) that is sung by Noor Jahan, Mehdi Hassan, or Nayyara Noor, and he would smile and recite each of those poems in a very kind but raspy voice and in a low tone as well.

Writing about Faiz is no easy task—it’s beautiful but also deeply emotional. I regard him as a once-in-a-lifetime figure in a materialistic world, a man who loved everyone as deeply as he loved his beloved. Through poems like

 Faiz gave voice to the oppressed and inspired hope. His call to action in 

As Hussain recalls the death of Faiz, he writes, 

"On 20th November 1984, Faiz left this world, the voice which was echoing in each corner from the city of Sialkot to the streets and stations of London became silent. People say that the death of a wonderful poet brings glory to Him, but the truth is that Faiz is still here, here with all of us, there is not a single day when I don't read and remember his poetry.”

He ends the character sketch with this verse of Faiz:

تمہاری یاد کے جب زخم بھرنے لگتے ہیں

کسی بہانے تمہیں یاد کرنے لگتے ہیں

(Tumhari yaad ke jab zakhm bharne lagte hain, kisi bahane tumhe yaad karne lagte hain)

Faiz, as Hussain puts it, was not only a poet but a person who would hug the unconsoled through his poems, and I, as a reader of both Faiz and Hussain, feel these lines too deeply.

The world will never see another man like Faiz. Faiz lives on in my thoughts, flows through my existence, and sometimes escapes through my tears.

 Faiz is alive in the very idea of revolution itself.

Articles by Tabinah Shabir

Who improvised whom? Orientalism and the East

Faiz Ahmad Faiz: Through Mujtaba Hussain's Lens

Who improvised whom? Orientalism and the East

Faiz Ahmad Faiz: Through Mujtaba Hussain's Lens