Notice: Function _load_textdomain_just_in_time was called incorrectly. Translation loading for the td-cloud-library domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /home/gazldsmh/newsnow.lk/english.newsnow.lk/wp-includes/functions.php on line 6122
Documenting Heritage: SLBC Muslim Service Through the Lens of Parampariyam . An Introductory Review by Dr. M. C. Rasmin - NewsNow - English

Documenting Heritage: SLBC Muslim Service Through the Lens of Parampariyam . An Introductory Review by Dr. M. C. Rasmin

Date:

Dr. M. C. Rasmin

Introduction

Some individuals become part of history; a rare few shape it through their lasting contributions. This distinction holds particular significance in the realm of broadcasting—especially among Tamil-speaking broadcasters in Sri Lanka. Each broadcaster contributes in a unique way. Some devote decades as presenters, producers, or administrators. Others leave their mark through long-running programs or their mastery of language, vocal clarity, and creative expression.

When writing history, these contributions are all considered. Yet, their true merit may not lie solely in what was done, but in the lasting impact they had. What changed because of their work? What legacy did they leave behind?

If you were a broadcaster whose career did not help tackle the pressing challenges of contemporary broadcasting—did not offer strategic insights or shape the future of Tamil-language media, did not continue to influence the field across generations, or make a meaningful difference in the lives of your audience—if your work didn’t help define broadcasting ethics or inform media policy, then what you may have is a treasured collection of memories. But nostalgia alone does not amount to legacy.

This is the perspective through which I approach the book Ilangai Vanoli Muslim Sevayin – Paarampariyam (The Heritage of SLBC Muslim Service) by M. S. M. Jinna. The book offers a rich and insightful exploration of individuals who left behind both legacy and nostalgia. Spanning 465 pages and scheduled for launch on the 27th at the Sports Ministry Auditorium in Colombo, Parampariyam chronicles the contributions of over 135 individuals to the SLBC Muslim Service across the past eight decades.

S. M. Jinna, who has hosted a 25-minute program titled Parampariyam on the SLBC Muslim Service every fortnight for the past seven years, is the compiler of this work. The program featured interviews with directors, producers, presenters, and others who have helped shape the Muslim Service’s identity. The book includes content on at least 35 individuals who worked directly with the SLBC Muslim Service, around 35 literary contributors, 25 religious leaders, and several others—including singers, musicians, academics, writers, and artists. Altogether, the publication comprises 137 segments, including at least 19 sections focused on female contributors.

A New Addition

Firstly, it must be clarified that this is not the first time a publication has emerged from a program aired on the Muslim Service of SLBC. Several individuals have authored books inspired by specific shows broadcast on the service. Dikwellai Kamal, S. Muththu Meeran, Junaidha Sherief, M. Ashoff Khan, Haja Alauddeen, and Abukkagama Faleel have published works focused on radio dramas. Similarly, Al-Azoomath released the first poetry book, and the late former broadcaster A. R. M. Jiffry compiled a collection of Islamic quizzes based on the quiz program broadcast on the Muslim Service. Scholars such as S. H. M. Jameel and S. Muththu Meeran have published collections on Islamic folklore, cultural life, and related topics. Moulavi M. H. M. Buhari compiled part of his program titled Varalatril Orodu.

However, Ilangai Vaanoli Muslim Sevaiyin Parampariyam by M. S. M. Jinna is the first publication of its kind in both content and scale. It is unique in its comprehensive documentation of interviews and profiles, featuring individuals who contributed to the development and programming of the Muslim Service over nearly seven decades. Its scope, depth, and archival value make it a significant milestone in the cultural history of Tamil-language broadcasting in Sri Lanka.

A Fact Becomes a Truth

I was a university graduate student when I had my last conversation with the former Director of the Muslim Service, V. A. Gaffoor, about compiling the history of the Muslim Service. One thing he told me stood out: “I have all the documents with me—including vital ones that clearly state only 20% of the airtime allocated to the Muslim Service was intended for religious programming. The remaining 80% was meant for art and cultural content.”

He wanted me to collect those materials from him later. Unfortunately, he passed away just a couple of months after our meeting.

I then spoke to his daughter, a teacher at Muslim Ladies’ College. She told me that all those materials were still at home. She also mentioned that before his passing, her father had expressed a wish—that a particular staff member of the Muslim Service should be involved in preserving and working with those materials. Following her advice, I reached out to that officer. Initially, he was dismissive, but later, he seemed somewhat encouraging. Eventually, however, he told me that someone else was already collecting this information and working on a publication—implying that I need not pursue it further.

Today, I must say that M. S. M. Jinna has embarked on that very journey.

The reason I share this story is because Jinna’s publication has now provided substantial evidence to support V. A. Gaffoor’s long-held claim: that only 20% of the Muslim Service’s airtime was intended for religious content, while the remaining 80% was dedicated to the holistic development of the community—through art, culture, education, and creative expression.

Snapshot

There are several compelling reasons why Parampariyam warrants scholarly attention.

First, it provides a comprehensive look at the institutional trajectory of the SLBC Muslim Service, offering a historical overview of its inception and evolution.

Second, the book challenges a common misconception—that the Muslim Service functioned solely as a platform for religious broadcasting. On the contrary, it demonstrates how the Service embraced diverse programming, including culture, literature, public dialogue, and entertainment.

Third, through its collected interviews, the book highlights the exceptional talents of former broadcasters and administrators in producing high-quality content.

Fourth, it indirectly addresses the current crisis facing the Muslim Service by offering insights and lessons from the past that remain relevant today.

Fifth, it recovers and documents the voices of individuals who made significant contributions but have since been overlooked—restoring their rightful place in broadcasting history.

Finally, Parampariyam serves as a vital archive for future research, offering a foundational resource for deeper study into the SLBC Muslim Service’s role and influence within the broader landscape of Sri Lankan media history.

It is important to note that this is not a formal academic history or a traditional research study. Rather, it is a heartfelt documentation of voices, memories, and lived experiences—an invaluable resource for anyone interested in writing the history of the Muslim Service or exploring its cultural and media significance in Sri Lanka.

This remarkable work by M. S. M. Jinna was made possible through the support of his friends—Najmul Hussain, Co-Secretary of the Sri Lankan Islamic Art and Literary Council, and Ali Akbar, its President. Their shared dedication to preserving the legacy of the Muslim Service has brought this important project to fruition.

In doing so, Parampariyam does more than remember history—it actively helps to shape it.

Institutional Trajectory of the SLBC Muslim Service

The first chapter of Parampariyam provides an in-depth historiographic account of the establishment and evolution of the SLBC Muslim Service. It highlights the pivotal role played by the Moors Islamic Cultural Home (MICH) in advocating for a distinct and autonomous broadcasting unit for the Muslim community. MICH persistently submitted grievances to broadcasting commissions, navigated various institutional challenges, and actively facilitated the execution of numerous programs.

Prior to the 1950s, Islamic religious leaders often had to travel from remote villages to Colombo to participate in radio broadcasts. During this period, MICH not only advocated for the establishment of a separate Islamic broadcasting unit but also provided logistical support for these guests, including accommodation.

Sir Razik Fareed, then Chairperson of MICH, played a significant role in institutionalizing the Muslim Service. His advocacy in Parliament, particularly during the second reading of the Ceylon Broadcasting Corporation Bill, marked a critical turning point. In his speech, he stated:

“I am only here to ask that the Honorable Minister kindly see that a Muslim Service is also given to us. We, the Ceylon Moors numbering over 800,000 today, have been clamoring for this service for many years. At least there was a time when we were definitely told that we would be getting, especially on the cultural side, a Muslim section. We, the Moors, have always said that we would not like to come under the Tamil Service. Therefore, I am appealing to the Minister of State to see that a Muslim section is definitely given to us, and I hope that the Ceylon Moors will not have occasion again to ask for a Muslim section.”
(Vol. 70, 2R, cols. 1062–1063)

This speech not only captured the community’s long-standing desire for a distinct Muslim broadcasting unit but also emphasized the cultural and religious identity of Sri Lankan Muslims. In addition to MICH, organizations such as the All-Ceylon Moors Association and the Young Men’s Muslim Association also supported these efforts.

Before Independence

The first chapter provides vital information based on my own research into the trajectory of SLBC’s Muslim Service. I personally visited MICH to review their six-decade-old memos, examined the 1953 Broadcasting Commission report, and studied other relevant publications—bringing several important insights to light. Jinna has placed this chapter at the beginning of the book. Oral historian S. M. Haneefa also shared key recollections to substantiate these findings.

Accordingly, Islamic broadcasting in Sri Lanka can be traced back to 1937, when Moulavi M. H. S. Salahuddeen recited the Quran in Sinhala on Ceylon Radio. While this was not the official start of the Muslim Service, it marked a foundational moment for Muslim representation in state media. I previously published this information in Vidiwelli newspaper (M. C. Rasmin, 2023).

By the 1940s, Muslims began to be reflected in broadcasting policies. They were included in advisory committees on radio reform, and short segments addressing Muslim audiences began airing. Artists like M. A. Hussan Aliyar and M. Mohammadu Ali performed Islamic songs during this time, helping shape a unique—though underrepresented—Islamic musical tradition in Sri Lanka.

Following Independence

After independence, figures like Sir T. B. Jayah and Sir Razik Fareed continued advocating for more inclusive programming. Though special broadcasts were aired during festivals such as Ramadan and Meelad-un-Nabi, airtime remained minimal—typically 5 to 15 minutes—and was still under the Tamil Service. Frequent interruptions and cancellations of live broadcasts led to public complaints from institutions like MICH.

In the 1950s, Zahira College became a central hub for developing Muslim program content. During this period, the respected educationalist M. A. M. Azeez encouraged Dr. M. M. Uwais to conceptualize and develop the first sustainable Islamic program. Dr. Uwais’s contributions were instrumental in professionalizing Muslim broadcasting and enriching its cultural and religious dimensions. While some senior broadcasters suggest his involvement began in 1952, others say his formal appointment occurred in 1956. However, the 1953 Royal Broadcasting Commission report implies that a dedicated officer may not have been appointed until later.

On August 1, 1956, M. A. Kamil Marikkar was appointed as the first full-time officer to oversee programs targeting the Muslim minority—an important milestone that still requires archival verification at SLBC. Under his leadership, the scope and depth of Islamic programming expanded significantly.

That same year, the Muslim Service began operating under its own identity, with nightly airtime extended to one hour, from 8:00 to 9:00 p.m. In 1965, morning segments were introduced from 8:00 to 8:15 a.m. In the 1970s, Deputy Minister of Information and Broadcasting Abdul Majeed further extended the morning segment by an additional 15 minutes.

According to Nandana Karunaratne, the Muslim Service officially began as an independent unit on October 1, 1956. The Director General’s report from that year supports this, noting that Muslim broadcasting time increased in the third quarter and that Muslim schools were allocated Sunday airtime. Key highlights of 1956 included a Quran memorization competition organized by MICH, a Quran conference in Eravur, a Mawlid Sharif by the Dematagoda Muslim League, and a 15-week broadcast of the play A Thousand and One Nights.

In 1958, under the Colombo Plan’s technical cooperation initiative, Rashid Ahmed—Director General of the Pakistan Broadcasting Corporation—was invited to advise on organizing Muslim programming. Other notable contributors to the institutional development of the Muslim Service include: Sir R. P. Jayah (1947–1950); Sir Razik Fareed (1952–1962); Minister C. A. S. Marikkar (1956); Dr. Badiuddin Mahmud (1960–1970) and Abdul Majeed (1960–1977). Later political leaders also played significant roles in the service’s expansion—meriting further analysis in future studies. In 1994, Deputy Media Minister Alavi Moulana extended the Muslim Service’s morning segment until 10:30 a.m. Notably, no other religious group enjoys such extensive dedicated airtime within SLBC’s broadcasting framework. This enduring institutional presence affirms the cultural and political importance of the Muslim Service in Sri Lanka’s national media landscape.

The Service is Not a Religious Propaganda Platform

Today, the Muslim Service is in disarray. It has lost its original identity and clearly deviated from its founding vision. In the mornings, nearly 90% of the content consists of sponsored religious speeches. However, a careful listening to the Parampariyam radio program reveals that art and culture—alongside reasonable religious content—were central pillars of the Muslim Service. This balance is what once made the service distinctive, meaningful, and inclusive.

Music

Music was integral to the Muslim Service. The program Islamiya Geetham, launched in the early 1950s, showcased Islamic songs in Tamil, Arabic, Urdu, and Malay. Genres like Naat, Qawwali, Ghazal, and Hindustani were aired, performed by both local and Indian singers. Pioneering musicians like A.J. Careem, M.H. Kuddoos, and T.F. Latheef shaped the musical direction. Careem, a classical musician, helped form SLBC’s music division. N.M. Noordeen composed over 2,000 songs and published Vaan Alaiyil Then Thulihal (2001). Latheef and Zawahar composed music for over 50 Tamil and Sinhala films. Fouzul Ameer, a multi-talented artist, wrote songs and dramas, mentored young talent, and hosted Manavar Manram. Under his leadership, Mahdoom A. Cader introduced Arabic songs into broadcasts.

Auditions were held in 1949, 1952, 1965, and 1994, showing continued support for emerging talent. Many women participated, including Sujatha Attanayake and Noorjahan Marzook, despite some criticism. Programs often combined music with stories and Islamic teachings. S.A.M.M. Ashraff, a key figure from the 1950s, wrote dramas and songs, and his student A.R. Jeinulabdeen followed in his footsteps. Ashraff’s works, including over 20 radio dramas, left a lasting legacy. He also won SLBC’s Buddha Jayanti drama competition.

Prominent non-Muslim contributors like Sujatha Attanayake, Rani Joseph, and Kalavathi supported Islamic music. Sujatha skillfully used Arabic terms and performed alongside Muslim artists like Imthiyaz Maccan and Rasik Sanoon. A.J. Careem introduced her to SLBC in 1950.During my personal interview iwth late Dr S. M. Sahabdeen, he said that he went to India to clllect Gazal music for muslim service.

Litrature

Short stories were especially popular, with programs like Siru Kathai, Nedungkathai, Kathai Keer, and Nool Ula. From the 1950s to 1970s, Ilangeeran Zubair contributed significantly through short stories, novels, and serial dramas like Manitha Puranam, Mathach Chambalam, and Valappiranthavarkal.

Poetry programs also flourished, featuring senior poets such as Jinnah Sherifuddeen, A.S. Abdul Samadu, AL-Asoomath, and Ameer Ali. Programs like Kavithai Chudar, Kavithaichcharam, Kaviya Rangam, and Kavitha Salaram offered moral and social reflections. Well-known personalities such as A. Iqbal, Poththuvil Asad Moulana, and Ameer Ali introduced or hosted these shows. V.A. Gaffoor encouraged archiving the work of Islamic writers. He requested a program on Arulvakki Abdul Carder Pulavar, a Tamil poet born in 1866 in Kandy, educated in India, and known for his religious literary works like Santhathirupugazh.

Gaffoor also encouraged M.S.M. Jinnah to adapt Avalukkendru Oru Ithayam by Junaidha Sherif. Maharantham Majeed presented Maharantham (1976–78) and Islamiya Tamil Ilakkiya Vadivam (1981), which featured Raban music. Writers were even offered train tickets to contribute to programs in Colombo.

Ilakkiya Manjari, hosted by Jawad Marikkar and others, reviewed literary and musical works. Zubair’s son, Meelath Keeran, introduced by M.H. Kuddoos, presented Maruthamalar, which included the satirical drama Ullum Puramum, featuring Ibrahim Nana (played by Mahdi Hassan Ibrahim) and poet Rauf Hakeem. Comedy and satire were pioneered by Kamil Marikkar and M.A. Mohammed. Artists like O. Nagood and C.B.M. Casim performed comic skits. Programs such as Uduruval and Suvai Kathambam were popular for their humorous takes on social issues.\

History

The Muslim Service also aired several notable history-based programs. Namathuvalangal (over 15 years) explored Muslim heritage, social traditions, and migration. Kathisollum Engal Kiramam brought rural Muslim history and folklore to light. Ithayaththil Valvor highlighted prominent Muslim leaders and was later published. Producer Pogahawela Rasik contributed to documenting the history of Muslim intellectuals, while M.Z.M. Ahamed Munawwar and Moin Sameem led the charge in broadcasting Sri Lankan Muslim heritage.

Folklore

Sri Lankan Islamic folklore is a vibrant mix of faith and local tradition. The Muslim Service preserved these through programs featuring Nooru Masala, Pakeer Biath, and Kaattu Bawa Sarithai. Eminent folklorists like S.H.M. Jameel and Maruthoor A. Majeed traveled across the country with M.H. Kuddoos to record and document these oral traditions.Programs like Kiramaththin Ithayam and Muththaaram recorded rural stories and songs. These efforts captured the cultural expressions of Muslim communities across the North, East, and Hill Country, keeping folk heritage alive for future generation

The forefathers

  1. S. M. Jinna emphasizes very much the contribution of the first six staff members of Muslim service : Prof. M. M. Uwais, Kamil Marikkar, M. A. Mohammad, Z. L. M. Mohammed, V. A. Gafoor, Kamil Marikkar, and M. H. Kuddoos were the true visionaries behind the success of Islamic programming.

Majority of the interviews in the parampariyam highlight the role of these five, remarkably the role of V A Gaffoor. He believed that radio should not only focus on religious propagation but also enrich culture, education, and provide access to information and infotainment while adhering to religious principles. His vision was to create a society connected with mainstream culture, enriched with literature, music, drama, and folklore. Under his leadership, the Muslim Service gained broad recognition within the Muslim community. Notable programs introduced during his tenure include Maharandam, a literary program conducted by veteran poet Mruthoor Majeed; Kiramiya Kavi Amuthan, presented by Islamic intellectual S.H.M. Jameel; Ilakkiya Manjari, conducted by Abdul Samad; Arivuk- kalanjiyam, presented by Ravuththar Neina Mohamed; and Varalaatril Ooredu, Pinchu Manam, Mathar Majlis, Ooduruval, Siru Kathai, and Tharjumathul Quran

Anecdotes like C.B.M. Casim being mistaken for a real marriage broker due to his radio drama roles, or the introduction of figures like Maruthur Majeed, Meelath Keeran, and Aliyar Hasarath, who conducted the Thajweed Vahuppu program, add layers of warmth and humor. Finally, satirical voices such as Mahdi Hassan Ibrahim, Fousl Ameer Master, K.A. Jawahar, Gei Raheem Saheed, O. Nagoor, Dikwella Zumri, and Dikwella Safwaan offered wit and insight, with a reminder: “One thing you can keep on is interesting women.”

Knowledge driven community

Since its inception in the 1950s, the Muslim Service has played a vital role in fostering Islamic knowledge and developing an education-centered community. Programs such as Arivuchchudar, Manavar Manram, Ilagirithyam, Arivuk Kalanchiyam, Urai Arangam, Muslim Ulaham, and Sathurachchangamam were foundational in spreading Islamic values, conducting quiz and speech competitions, panel discussions, book reviews, and sharing educational experiences. One of the most beloved programs was Arivuk Kalanchiyam, initially produced by M.M. Irfan and originally hosted by Ravuththar Neina Mohammed. This show brought students from Muslim schools in remote villages to participate in quiz competitions, capturing the imagination of students, teachers, and parents alike.

Nurturing Talent and Crafting Excellence in Broadcasting

One of the dominant themes throughout Parampariyam is the remarkable skill and dedication of former broadcasters and administrators in producing high-quality programs—and, crucially, in mentoring and developing a new generation of broadcasting talent.

In his interview, Muththu Meeran recalls that Professor M. M. Uwais recognized the potential of one of his dramas and personally wrote to request permission to adapt it for the Muslim Service. Similarly, S. Nagoor Kani shares that V. A. Gafoor noticed his talent for writing after reading one of his pieces, encouraging him to contribute his skills to the Service. Meelath Keeran recounts how, at just 18 years old, he was invited by V. A. Gafoor to join the Muslim Service after Gafoor read his work—eventually leading Keeran to create the well-received program Marutha Malar.

Scriptwriting and editorial excellence were also hallmarks of the Service. Z. L. M. Mohammed was known for meticulously scripting and revising speeches. Along with M. H. Kuddoos, he played a pivotal role in inviting and introducing broadcaster Moghideen Beig to the Muslim Service. In 1973, Z. L. M. Mohammed also brought the renowned Islamic scholar Burhanudden Ahamed into the fold to speak on the Holy Qur’an.

Leadership figures like M. Ashrof Khan empowered rising talents such as the writer Dikwella Zumri, while programs like Arivuk Kalangiyam—a labor-intensive, multi-person effort—became iconic across generations thanks to the skills and teamwork of V. A. Gafoor, M. H. Kuddoos, M. H. Haris, M. M. Irfan, and Z. L. M. Mohammed. Ravuththar Neina Mohammed, the compère of the program, notes that V. A. Gafoor, despite being the director of the Service, would stay with the team during early recordings and editing sessions—demonstrating deep commitment.

It was also V. A. Gafoor who introduced M. M. Abul Kalam to the Muslim Service, leading to the production of historically significant programs that were later compiled into a book. Kamil Marikkar extended an invitation—delivered through K. M. A. Mohideen—to C. B. M. Casim, who accepted and became a celebrated radio artist.

Serial dramas were consistently produced under various directors until the tenure of M. S. Fouzul Hassan. Ashrof Khan introduced the talented female writer Mareen Ailyass, encouraging her to write a radio serial during her final university exams. Z. L. M. Mohammed also supported her creative work, further showcasing the Service’s role in promoting women writers.

Veteran producers like M. H. Kuddoos were instrumental in popularizing Islamic folklore through radio, spotlighting traditional narratives such as Pakheer Baith, Nooru Masala, and Aayiram Masala. Meanwhile, figures like T. F. Latheef contributed musical programs to the Muslim Service while also conducting shows in the Malay language.

The book also sheds light on the linguistic diversity of the programs. Broadcasting extended beyond Tamil, encompassing Sinhala, English, Arabic, Urdu, and Malay—reflecting the rich multicultural fabric of the Muslim community in Sri Lanka. Jinna documents these efforts thoroughly, dedicating chapters to Urdu (Chapter 88), Malay (Chapter 89), and Sinhala (Chapter 106). Page 364 lists individuals who supported Urdu programming, including Haji Abdul Kareem, Yousuf Lakhani, Haji Aboobucker Patel Thahiri Qadiri, Mohammed Silat, Ismail Silat, Moulavi Faasil, and Moulavi Burhanudden Ahamed.

Contributors to the Malay-language programs include Muzni Ameer (known for Deeni), Ameen Akbar (who initiated the Malay program in 1956), Safa Mahmoor, and Gei Raheem Shaeed.

Through these diverse efforts and enduring mentorship, the SLBC Muslim Service not only broadcast content—it built a legacy by cultivating talent, fostering creativity, and supporting voices that would shape the future of Sri Lankan broadcasting.

This is labor-intensive work

It is possible that some individuals who contributed immensely may not have been included in this book. If so, their interviews or insights into their work should be considered for future editions. Moreover, contacting individuals, guiding them through interviews — especially in cases where elders struggle to recall memories — digging into their faded recollections, and committing time with them is a very time-consuming task. Jinna is a businessman, so for him, this must have been a challenging journey. When discussed, he indicated: “Some individuals declined interviews due to their health conditions, lack of confidence in their memories, or simply postponed. Others couldn’t recall past events clearly.” Yet, the effort to document the legacy of the Muslim Service remains essential.

Why It Is Important to Compile This History

Hundreds of people wrote, voiced, and spoke through the Muslim Service and made a significant impact on Muslim society. Every household listened to radio dramas, Mani Mozhi, Al-Qur’an Vilakkam, and others — people tuned in as if they were listening to sermons from a masjid. However, as time passes, the individuals who contributed, the knowledge shared, the experiences gathered, and the insights generated are being forgotten.

  1. F. Latheef, for example, produced several musical programs, composed music, and conducted Malay-language programs. I still remember: when this veteran musician passed away, the Muslim Service had nothing ready to air in his memory. Ironically, it was the Sinhala Service that broadcast a 60-minute tribute recognizing his role as a songwriter for artists like Geetha, Sunethra, Sujeewa, and Sukiri Kella.One former acting Director even deleted tapes of serial dramas produced by Ashroff Khan. Unfortunately, most of the artists who acted in those dramas have passed away — there is no chance for those stories to be re-created. The producer of the drama is now abroad. Today, the SLBC does not pay artist fees for Muslim artists, even though it earns millions from advertisements.

In this context, Jinna’s documentation of the contributions of individuals — many of whom are now either deceased or retired from their broadcasting careers — holds great importance for me. This publication also honors contributions from non-Muslim artists, showcasing the Muslim Service’s openness and its respect for expertise beyond religious or ethnic boundaries.

Finally, I noticed a considerable gap between the printed version of Parampariyam and the actual audio broadcasts of the Parampariyam program. I strongly believe that this could have been avoided. Also, in my view, not all the people included in the publication hold equal merit. I am also aware that a few people who contributed immensely to the SLBC Muslim Service were not included. I am sure Jinnah may have made all practical steps to do his utmost. Perhaps the author had a reason for this editorial choice. However, as a radio program, Parampariyam did a remarkable job in highlighting the role of the SLBC Muslim Service in enriching Islamic art and culture.

Share post:

Latest News

Popular

More like this
Related

Colombo Magistrate’s Court Acquits Accused in 2008 White Van Assault Case

The Colombo Magistrate’s Court No. 3, presided over by...

Sri Lanka Ambassador Explores Digital Economy Partnership with Riyadh-Based Digital Cooperation Organization

Sri Lanka's Ambassador to the Kingdom of Saudi Arabia,...

Bilateral discussions focusing avenues to enhance defence cooperation between Sri Lanka and Türkiye

The 17th International Defence Industry Fair (IDEF 2025), one...

National Shoora Council Engages with Opposition Muslim MPs on National and Community Issues

In a move aimed at fostering dialogue on national...