#Khushal Khan Khattak

[redigul]

یو مې یار، دویم ګلزار، ساز و ساقي شته

نن مې کومه اندېښنه له "غېن" و "میمه"

ستر خوشال

My beloved, rose garden, melodious music and cupbearer are all here,

There is nothing to worry about now...

Khushal khan khattak

#khushalkhan #pashtoprose #pashtopoeyry #pashtopoem #pashtoode #pashtoliterature #pashtolanguage #usafxai

[villings]

Y me embriagan los ecos de tu voz melodiosa, como el vino aromático, que se vierte en las copas: ¡y qué dulce es tu beso y qué fresca es tu boca!

Jushal Jan Jattak

[risingpakistan]

Rahman Baba

Abdur Rahmān Bābā was a Pashtun poet from Peshawar in the Mughal Empire (modern-day Khyber Pakhtunkhwa, Pakistan). He, along with his contemporary Khushal Khan Khattak, is considered one of the most popular poets among the Pashtuns in Afghanistan and Pakistan.  His poetry expresses a peaceful mystical side of local culture which is becoming increasingly threatened by less tolerant interpretations of Islam. 

Rahman's lineage

Rahman was a member of the Ghoriakhel Mohmand sub-tribe of the Pashtuns, a group which originally migrated from the Hindu Kush mountains of central Afghanistan to the Peshawar valley, from the 13th to the 16th century. He grew up in a small pocket of Mohmand settlers on the outskirts of Peshawar. Rahman apparently lived peacefully in the area, and never mentions his involvement in the fierce inter-tribal conflicts of his day.

Opinion is divided about Rahman's family background. Several commentators are convinced that his family were village Maliks (chieftains).  However, Rahman Baba was more likely to have been a simple, though learned man. As he himself claimed: "Though the wealthy drink water from a golden cup, I prefer this clay bowl of mine." 

Abdur Rahman Baba died in 1715 CE, and his tomb is housed in a large domed shrine, or mazar, on the southern outskirts of Peshawar (Ring Road Hazar Khwani). The site of his grave is a popular place for poets and mystics to collect to recite his popular poetry. In April each year, there is a larger gathering to celebrate his anniversary.

Religious background

Rahman Baba was an ascetic but various unfounded theories have been made about who Rahman's guide may have been, and to which order he was attached. Sabir suggests that Rahman had a Naqshbandi Sufi tariqa initiation in Kohat, as well as training from the sons of Pir Baba. Schimmel and Saad Ahmed Baksh casually assign Rahman to the Chishti order. Aqab, himself of the Qadiriyyah order, claims Rahman was a Qadiri.

Shrine

On 8 March 2009, "militants" bombed Rahman Baba's tomb in Peshawar. "The high intensity device almost destroyed the grave ... and the gates of a mosque, canteen and conference hall situated in the ... Rehman Baba Complex. Police said the bombers had tied explosives around the pillars of the tombs, to pull down the mausoleum". The shrine reopened in November 2012 after Rs. 39m reconstruction. 

Published work

A collection of Rahman's poetry, called the Diwan (Anthology) of Rahman Baba, contains 343 poems, most of which are written in his native Pashto. The Diwan of Rahman Baba was in wide circulation by 1728. There are over 25 original hand-written manuscripts of the Diwan scattered in various libraries worldwide, including ten in the Pashto Academy in Peshawar, four in the British Library, three in the Bibliothèque Nationale in Paris, as well as copies in the John Rylands Library in Manchester, the Bodleian Library in Oxford and the University Library Aligath. The first printed version was collected by the Anglican Missionary T.P. Hughes and printed in Lahore in 1877.  It is this version which remains the most commonly used to this day.

Selected verses from Rahman Baba's Diwan translated into English rhyme

About 111 verses were translated into English Rhyme and published by Arbab Hidayatullah, himself a Ghoriakhel Mohmand, in 2009. The original Pashto version has been transliterated into the Roman alphabet in order to make it easier to read for those who can not read the Pashto alphabet. This translation, with a tilt to the romantic side of Rahman Baba's poetry, has been very well received. 

[arsa-malik]

Good Chance and Update about University Students

MA MSc Two Year program Last Chance admission in different University 100% Grantee about admission and result. HEC recognized University Admission last date just in few days. Last Good chance to appear and get a two-year degree just in a few months.

For more detail and Apply here or contact us directly from anywhere in Pakistan.

There are following university admission we offering and reminded you that Last date chance and last date only a few days.

Lucky Marwat University Admission 2021.

Sargodha University Admission 2021

Punjab University Admission 2021

UST Bannu Admission 2021

Gomal University Admission 2021

D.I. Khan Admission 2021

University of Peshawar Admission 2021

KUST Kohat

Hazara University

Malakand University Chakdara

Abdul Wali Khan University Mardan

Shaheed Benazir Bhutto University Sheringal

Khushal Khan Khattak University Karak

Bacha Khan University Charsada Admission

University of Swat

The University of Abbottabad

FATA University Dera Adam Khel

...............................................

How to apply two Year MA MSc Admission 2021

................................................

[devnasirali]

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak is a university situated in Karak, Khyber Pakhtunkhwa. It is a famous university of Pakistan. Every year thousands of students get admission in this university. It was started in public sector by the provincial government in October 2012. This…

[trendingbookmarks]

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak Admission 2017

Khushal Khan Khattak University Karak is a university situated in Karak, Khyber Pakhtunkhwa. It is a famous university of Pakistan. Every year thousands of students get admission in this university. It was started in public sector by the provincial government in October 2012. This…

[aftaabmagazine]

Conversation with Jamil Jan Kochai, author of "99 Nights in Logar"

By Farhad Azad 

[caption: The cover of Jamil Jan Kochai debut novel]

Jamil Jan Kochai's multi-layered debut novel 99 Nights in Logar opens inside Afghanistan at a time when Khaled Hosseini first book The Kite Runner was making waves in the US. While Hosseini's story depicts the urban Kabuli perspective, Kochai's narrates the rural Logari experience. The distance between Logar and Kabul maybe a short 45-minute drive, however in many ways, the two places are worlds apart.

In this rural environment, we are guided by the main character, Marwand, a 12-year-old Afghan-American from the capital of California. He is spending his summer vacation in his parent's modest village located near the Logar - Kabul roadway.

Being so young, he is collectively accepted as a local by his large extended family and the people he meets. Marwand, along with his younger male family members, leads several hairy adventures. They organize a disastrous search party to find the fierce family dog, avoid local gunmen, including a couple of young Taliban, and don burqas attempting to join a women's wedding party.

Humorous, tragic, and honest, the novel requires careful reading because the multi-layered stories are intricate and dense. The primary reader is the Afghan-American who will connect more with the native terms and phrases skillfully crafted by the author, along with particular cultural nuances.  Through the stories of the different characters— young and old, male and female —Kochai writes an authentic narrative about the people of his native Logar, one of Afghanistan's most picturesque regions— romantically beautiful on the surface and dark and complex on the inside. 

I chatted with Jamil Jan Kochai about his novel, here is our conversation.

Farhad Azad: What did your parents think about your desire to be a writer vs. the usual lawyer, doctor, or engineer?

Jamil Jan Kochai: At first, they were definitely resistant to the idea of writing as a career. Up until my third year of undergrad, my father was still trying to convince me to switch to engineering or computer science. For a time, I was able to quell their worries because I'd actually planned to go to law school. But, gradually, as I won a few writing awards at Sac State and eventually became the commencement speaker for my graduating class, both they and I realized that I was much more gifted as a writer than I ever would be as a lawyer. So, after I graduated from Sac State and entered the Masters in Creative Writing Program at UC Davis, my parents began to fully support my creative writing endeavors. They let me interview them for stories, they respected the time I needed to read and write, and they never doubted or scolded me for pursuing such a risky career path. Their faith in my abilities made me work even harder. I read and wrote like a mad man. Alhamdullilah, their support was honestly astonishing. I couldn't have written this novel without them.  

Farhad Azad: Were you familiar with Afghan writers and literature growing up?

Jamil Jan Kochai: I was very familiar with Pashtun poetry. My father was an admirer of Rahman Baba, Khushal Khattak, and Ghani Khan. He would often recite their poetry from memory. I was also familiar with some of our local folktales and our more culturally expansive epics. Laila and Majnun, Farhad and Shirin, and those sorts of tales. From an early age, I was taught to appreciate the poetic arts and Afghanistan's literary lineage.

Farhad Azad: Post 9/11, how did you deal with the backlash growing up?

Jamil Jan Kochai: In many ways, I think the backlash, the alienation, and the condemnation I felt in the years after 9/11 only made me prouder to be a Muslim and an Afghan. Even as a young kid, I was very defensive of my cultural heritage and my religious beliefs. I became rebellious. I would argue with my teachers about Afghan and American history. I questioned what I was taught in high school, and by the time I got to college, I had this immense curiosity about all these differing but interconnecting lineages of imperialism and warfare. By studying the American War in Afghanistan, I learned about the civil wars, the Soviet Invasion, and the Anglo-Afghan Wars, which led me to study the broader histories of colonization and imperialism throughout the world. This all had a profound impact on my writing.

Farhad Azad: There are many stories told by the various characters in 99 Nights in Logar, how did you decide to include them in the work?

Jamil Jan Kochai: I realized that my stories themselves can encapsulate all these other stories. There was this moment when I was writing the novel itself when I hit this barrier in the road, and I didn't know what would happen next. Once I realized that we had this rich tradition of oral storytelling and all these stories within my own family, I sort of allowed the characters in the novel to tell their own stories. That's when the project really hit its stride.

Farhad Azad: Afghans have a habit of not finishing their stories which you included in your work.

Jamil Jan Kochai: It is sort of magical in that way. When I first started this project, I would interview my father. It was really important to me that I recorded some of his stories from his life, but I would try to do this chronologically, starting with his childhood. But it was difficult trying to get stories out of him. He would say, "Oh, I had a regular childhood."

I couldn't get the details I wanted. Later on, we'd be sitting somewhere. We would be drinking tea, and he would see something on TV.  It would remind him of this beautiful, incredible story from his life that he didn't mention to me in my interview. And he would tell the story and stop at some place, often times a place where it would be emotionally difficult for him to continue the story. It would be about a significant loss, and he would have to stop. It took me a while to be patient with his stories, to learn that certain stories didn’t always have pleasant resolutions, that some stories you had to piece together, a memory at a time, like a puzzle.

Farhad Azad: Telling stories is a quality that Afghans possess, including the ability to describe anything in very fine detail.

Jamil Jan Kochai: It's incredible. I remember on a trip with my aunt to Yosemite, and out of nowhere, just because of the mountains and the forest, she started to tell us the story of when she escaped out of Logar during the war, going through the mountains between Afghanistan and Pakistan to escape to Peshawar. She told this incredibly detailed story of carrying her little sister through the mountains and then getting lost. Then my father is eventually finding them on horseback. Then she remembers calling my father's name and the echoes coming back to her through the mountain. It was so visual, and it was so essential at the same time. It really made me appreciate it. At a storytelling level, how talented my family members are at telling stories.

Farhad Azad: For the past two decades you have traveled to Logar, but your trips to the region have shortened in length. 

Jamil Jan Kochai: When I first went to Logar, I was 6 years old, I had all these really precious magical, memories of swimming in these streams, with my cousin, these were some of my greatest memories. When I came back from Logar, I was telling everyone how really beautiful Afghanistan was.  And everyone was so surprised that my reaction to the time because the Taliban were in control. So everyone had this very grim vision of Afghanistan. I was telling everyone how much I loved it and how beautiful and incredible experience. And then I went back when I was 12, and it was again an incredible experience with some of the most precious memories that I still have is from that summer that I spent in Afghanistan those three months especially in Logar. 

Then I had the opportunity to go back in 2012, but it just seemed like progressively Logar was becoming more and more dangerous. And so when I went back in 2012, the security situation hadn't completely deteriorated, but it was a very murky situation. During the day, government forces were in control and then at night, the Taliban had control over the village. And I had to be very careful about speaking because of my accent, I had to be careful about telling people who I was and where I was from. Nonetheless, I still got to spend a decent amount of time. I was 19. I spent a great deal of time in my grandfather's orchard. I spend a great deal of time with my cousins. It was another beautiful experience.

But when I went back in 2017, by then the security situation in my village had gotten so bad that even villagers who had lived their whole lives there were afraid to go back because of the gunfights and the executions and the bombings and these things had become almost a daily occurrence.

My uncles and cousins, who had seen war and gone through warfare, they were completely afraid to enter Logar. They wouldn't allow me to spend a night in Logar. My father, brother, and cousins, and I ended up taking a very short trip through my home village. The whole village had been emptied out because one of the militias had shot a rabid dog with a machine gun. Everyone thought it was a gunfight. We entered my father's village, and it was a ghost town. We drove in, and there was this incredibly heart-wrenching experience. My father's cousin, who had grown up in Logar and my father looked afraid. But we were determined to visit the grave of my father's brother, and other family members' graves. We said our prayers, and we came out as quickly as we came.

I just remembered being incredibly saddened by the way that the security situation in Logar had developed. My father's village has been so precious to me. The security situation has deteriorated to the point where I'm not able to visit anymore and spend time anymore. Logar has fallen into tragic circumstances. It has made me want to tell the stories of Logar even more. It has made my storytelling even more urgent.

Farhad Azad: Today on social media, we see thousands of beautiful photos from all over Afghanistan, but these places, more or less, are intangible to experience.

Jamil Jan Kochai: Thinking back on these memories, these precious times I had in Logar, it really feels like that beauty I had experienced had been lost to war in this very concrete way. Looking back at these memories, I have access to this time in this land that is almost lost to me now.

Farhad Azad: Your novel you have incorporated the stories of almost every character.

Jamil Jan Kochai: That was really important to me when starting the project was that I tried to get as many differing and diverse voices as possible into the novel and into my stories because I didn't want it to just be this kid from America coming into Afghanistan and just telling everything from his point of view. I was trying to find a way how I could resist that and how I could tell as many different stories, I can capture as many different voices as possible. Once I realized that the main tool I had was of the storytelling and allowing the other characters to tell their stories. And Marwand [the main character] listens to and absorbs the world and not always talking. And so I did I went into the novel with this with a very specific goal.

Particularly Afghan women voices, which can often time in our culture can be overwhelmed by men's voices and particularly telling these voices of the story of people but particularly women living in these rural spaces. I'm trying to try to understand these stores and trying to understand their lives and try and understand the particular ways that they live, grow, and suffer.

The novel was expansive in its abilities to tell different stories and perceptions and point of views. I was really concerned that I was able to capture these different perceptions and point of views. And one thing that I did when I finished writing, I showed it to different Afghan women, who identified as Pashtun or Tajik or whatever else, because I didn't want it to be to just be a book about an Afghan American boy seeing the world. I wanted it to be about different versions of Afghanistan culminated to this one narrative, which I think is one of the biggest problems of how Afghanistan is always understood-- about one narrative about terrorism, about one narrative about oppression or one narrative about violence. It seems to me there is beauty, and beauty of the complexity of just a small village. Often times it isn't crafted.

Farhad Azad: You clearly describe the nuances of the people, down to the standards of beauty.

Jamil Jan Kochai: With so many aspects of Afghan culture, so many aspects of our society and country, we are constantly being put into these boxes.

"This is the conservative mullah who beats his wife." "This is the wine drinking musician and who is doing drugs."  "This is the oppressed women who never spoke up for herself."

It was very important to me to unpackage those boxes that our people are being put into and understand the complexity of it at the same time, maintaining a sense of realism.

Women in villages and in Logar are often times oppressed by men. And they go through severe abuse. They go through these incredibly traumatic events in their lives. It was important for me to demonstrate that. But I also wanted to show the ways that these men at the same time because of poverty, because of war, because of whatever else are living painful, traumatic lives themselves. Often times the trauma you see in villages, there are larger, more complex reasons for these things that are occurring. And it was very important for me to demonstrate and show that these are very real in Afghanistan.

Insurgents can oftentimes also be incredibly young men. Just boys on the brink of becoming men.

I was heartbroken by that, and I feel that is a side of Afghanistan, that isn't often demonstrated. There is an incredible amount of nuance to all these figures, stereotypes, and cliches that we have put on Afghanistan. That there are reasons-- historically, politically, socially -- people end up becoming the way they are.  I don't know how successful I was in the novel, but that is something I was trying to do.

Farhad Azad: Please talk about the shape shifter character Jawad who seems to match many of the political and militant personalities in Afghan history.

Jamil Jan Kochai: That character specifically came out of a story that I heard one day when I was at my uncle's house. This is in 2012. I visited my uncle in Logar, and over dinner, one of my uncle's brother-in-law's brought up this guy named Jawid who was on the run from the Taliban because he was impersonating a Taliban and had been working for the government forces. He was a spy. He was also running away from the government forces because he was spying on them too.  He was putting these two groups against each other. He became kind of a folk legend in the villages because no one could capture him. I found this character so incredibly fascinating. He became this figure of fluidity, like you said, a shape shifter, one day he is Talib and the next day he is a government soldier, the next day he is a civilian and the next day he is donning a burqa pretending to be a woman. He was a figure who disrupted the usual categorizations placed on Afghans, this "black and white" of government vs. rebels, revolution vs. order, however, you want to categorize it. By showing figures that are constantly moving back and forth, I wanted to demonstrate how it is not always so simple to be able to relegate people into one group or another. There is an incredible amount of fluidity and shapeshifting, these gray areas in war. I was trying to get Jawid to sort of embody that.

Farhad Azad: The maze is a central piece to the novel. For me, it symbolized the complex history of Afghanistan.

Jamil Jan Kochai: Definitely, the history of Afghanistan was an important part of it. When I was thinking about the maze, I was specifically thinking about the geography of my village, which has these mazes, alleyways and compounds build close to each other. I was also thinking about the stories my father told about these tunnels built underneath the compounds during bombings. The Russians had figured out what the Afghans were doing to avoid their bombs and so they began to use gas. There were tunnels in Logar filled with dead bodies. During the Soviet war, Logar was sort of turned into a ghost town. And now new buildings are being built upon these sites of these massacres.

So when I was thinking of the land itself, it seemed to me that there were so many layers of trauma, massacres, and history. And these stories that were buried right underneath the earth, locked inside of the ground. So much of these stories have been lost. The maze sort of embodies the bits and pieces of the history of Logar, but also of Afghanistan at large, that have been sort of lost to time but are still buried in the earth. Somewhere ready to be found.  

Farhad Azad:  In modern Afghan history, there have been two versions of Afghanistan: Kabul and everywhere else. Your novel touches on the dichotomy between rural vs. urban.

Jamil Jan Kochai: I wish I had given more time to Kabul. In my last two visits, I've spent most of my time in Kabul and I have come to appreciate Kabul as a city. But coming from the rural area of Logar, my family came to despise Kabul in a way. We felt that the urban people of Kabul were living in their own world, their own universe. Although our village in Logar was maybe a 40-minute drive from Kabul, it was still its own world. The people in rural Afghanistan lives are just built around the compound, the crops and local forms of government, that all the goings-on and incredible events happening in Kabul wasn't touching them in a very real way. My father told me that it wasn’t until the Communists took over and repressive measures were being laid out in the countryside, in Logar, that people felt the shift in the country.

It was fascinating to me that the perception and the stories and viewpoints that were coming out of Kabul were the ones that ended up getting the most light shown on them. We talked earlier about "The Kite Runner." I remember reading it, and it was an important novel to me, I'm not sure if I would have pursued writing without having read The Kite Runner first. But it didn't feel like my own vision of Afghanistan, my experience of Afghanistan wasn't really captured in that novel because it was centered upon Kabul and not the countryside.

And that kind of became inspiring to me in an odd way, my experience of Afghanistan, my family's experience in Afghanistan, and rural Afghanistan it hasn't had its own light and its own time to share its stories. That was one of my goals in the novel was to demonstrate life in Afghanistan and to show this very complex relationship between the urban and the rural and the how the political and economic roles of Logar and Kabul were deeply intertwined and yet encapsulated in their own worlds.

Farhad Azad: You also show the various levels of how Islam is embraced within a family.

Jamil Jan Kochai:  Practicing Islam, praying, and reading and studying the Quran was such an important part of who I am, and it was such an important part of how I understood the world. I wanted to show how people practice and struggled with faith. And ultimately my goal was to show the struggle, even the struggling with Islam is in its own way very beautiful.  

Farhad Azad: One chapter is written entirely in Pashto.

Jamil Jan Kochai: That was a story my father told verbatim to a scribe in Pashto. My father gave it to me. I gave it to my editor and told them that I want it to be part of the novel. I wanted to stay in Pashto, true to my father's voice.

Farhad Azad: Thank you for the time in speaking with me.

Jamil Jan Kochai: It was an absolute pleasure.

More From Jamil Jan Kochai

Author’s Website

Purchase Book on Amazon  

NPR Interview 

Time Review

New Yorker Review

The Guardian Review 

Kirkus Review 

Washington Post Review

[careerborse]

Khushal Khan Khattak University Karak Jobs 2022 Application Form Accountant & Others Latest

Khushal Khan Khattak University Karak Jobs 2022 Application Form Accountant & Others Latest

Khushal Khan Khattak University Karak Jobs 2022 Application Form Accountant & Others Latest Khushal Khan Khattak University Karak Jobs 2022 Application Form Accountant & Others Latest The Khushal Khan Khattak University Karak Jobs 2022 Application Form Accountant & Others Latest

[crazycollectionanchor]

Khushal Khan Khattak University Karak Jobs 2022

Khushal Khan Khattak University Karak Jobs 2022

Applications are invited from dynamic and career-oriented Pakistani nationals for the latest recruitment titled (Kushal Khan Khattak University Crack Jobs 2022) at Khushal Khan Khattak University. KKKUK invites applications for the appointment of staff in its project titled Construction of Main Campus of Khushal Khan Khattak University Kirk. This project is inviting applications to hire a Project…

[redigul]

شېخ دي مونځ روژه کړې زه به ډکې پيالۍ اخلم

هر سړے پېدا دے خپل خپل کار لره کنه...

The priest may fast and pray, that has never been my way, for me another rule... The cup of life is full

For me another way is there not? I will take a good long pull, may I not?

Khushal khan khattak

#literature #pashtoliterature #pashtoode #pashtopoetry #khushalkhan #ghanikhan #hamzashinwari #rehmanbaba #abdulhamid #alikhan #kazimkhan #ashrafkhan #orientallanguages #Usafxai

[pkjobs]

Jobs in Khushal Khan Khattak University

Jobs in Khushal Khan Khattak University

Latest PK Jobs of Assistant Professors have been announced in Khushal Khan Khattak University . The Location of Jobs is Punjab Lahore. The aforesaid Jobs are published in The News Newspaper. Last Date to Apply is June 29, 2022. (adsbygoogle = window.adsbygoogle || []).push(); More Details About Assistant Professors See job notification for relevant experience, qualification and age limit…

[pakjobscareer]

Advertisement for jobs at Khushal Khan Khattak University Latest

Advertisement for jobs at Khushal Khan Khattak University Latest Date Posted: 18 May, 2022 Category / Sector: Government Newspaper: Express Jobs Education: Phd Vacancy Location: Karak, Khyber Pakhtunkhwa KPK, Pakistan Organization: Khushal Khan Khattak University Job Industry: Education Jobs Job Type: Temporary Job Experience: 2 Years Expected Last Date: 02 June, 2022 or as per paper…

[jobustad]

Khushal Khan Khattak University Jobs 2022 - Teaching Jobs in Karak 2022

Khushal Khan Khattak University Jobs 2022 – Teaching Jobs in Karak 2022

Jobs Description Khushal Khan Khattak University Jobs 2022 has been announced through the advertisement and applications from the suitable persons are invited on the prescribed application form. In these Teaching Jobs in Karak KPK 2022 the eligible Male/Female candidates from across the country can apply through the procedure defined by the organization and can get these Today Jobs in Pakistan…

[gigspk]

Latest 2021 Jobs in Khushal Khan Khattak University Karak KPK Pakistan #gigspk #careers #Job #Pakistan #jobsearch #jobseekers #jobupdates #latestjobs #jobsalerts Latest, Today, Fresh, New & Upcoming Jobs 2021 of all Govt & Pvt. Pakistani Newspaper & Admissions Tenders. Pak Army, Judiciary, Patwari, Revenue, WAPDA, NADRA, FPSC, PPSC, NTS, OTS, CTSPAK & More Jobs + How to apply for a job with complete details. https://www.gigspk.com/latest-2021-jobs-in-khushal-khan-khattak-university/?feed_id=85306&_unique_id=61577df940254

[psychologyroots]

Khushal Khan Khattak University Admissions Khushal Khan Khattak University Admissio... #BSPsychology #BSPsychologyinKarak #KhushalKhanKhattakUniversity#psychologyfacts #psychology #psychologist #psycho #postivethinking #selfhealing #selflove #selfcare #postivethinking #positivevibes #postivemind #psylife #psychotherapy #counselling #selfhealer#mentalhealth #mentalhealthawareness #mentalillness #mentalhealthmatters #mentalhealthrecovery #mental #mentalhealthsupport #mentalwellness #mentalhealthadvocate #mentalhealthsupport #mentalhealthblogger #motivation #postivethinking #physicalhealth #psychologist #psychology #beingpsychologist #instalike #instalove

[timespakistan]

Agriculture University VC rejects allegations by teachers PESHAWAR: Vice-Chancellor, Agriculture University, Peshawar, Prof Dr Jehan Bakht has rejected the allegations levelled against him by some protesting teachers and said the varsity has come out of crisis owing to the efforts he made during the past two years. The teachers and other staff members of the university under the aegis of Agriculture University Teachers (AUTA) have been protesting for the last four weeks for acceptance of their demands. They have levelled serious allegations against the vice-chancellor. The teachers said the university administration had been unable to hold selection board meetings on time and give genuine rights to the employees. The protesters claimed that the vice-chancellor was holding the charge of several offices due to which he was unable to focus attention on his own university. The protesting teachers opined that the current administration had failed to bring the university out of financial crisis. They also questioned the academic qualification of the vice-chancellor and asked why a candidate with third division was appointed as registrar of the university. But Dr Jehan Bakht brushed aside the allegations as baseless, arguing that a propaganda campaign has been launched to defame him, more so after his name was recommended for the office of vice-chancellor of Islamia College University. He claimed that he has brought out the Agriculture University from crisis. “The Rs900 million deficit that the university was facing at the time of my arrival as vice-chancellor two years back has been reduced to Rs300 million. I strived for it day and night,” the vice-chancellor said while talking to The News. He said that the process for the selection board has also been expedited. “The procedure for the selection board has to be followed. I cannot bypass the due process. I have expedited it and the selection board would be held next month,” he added. Dr Jehan Bakht claimed that the university administration had accepted all the genuine demands of the teaching and non-teaching staff. “Still a group of teachers was bent upon prolonging the protest to malign me,” he maintained. Regarding a court decision about regularization of some lecturers, the vice-chancellor said the case was presented before the university syndicate which decided to take a legal opinion on the decision. He pointed out that the syndicate and the legal experts suggested to the university administration to file a Civil Petition for Leave to Appeal (CPLA) and regularize the services of the employees by following the set procedure for the purpose. Dr Jehan Bakht is a senior academician in the province and has already served as vice-chancellor of several universities, including the University of Swat and Khushal Khan Khattak University in Karak. Currently, he is serving as vice-chancellor Agriculture University, Peshawar. He has also been given additional charge as vice-chancellor Islamia College University. He is the fellow of the country’s prestigious Chemical Society and Biological Society. He is a recipient of the best University Teacher Award by Higher Education Commission, Islamabad, star laureate Award by South Asia Publication, research development effort award by Science and Technology department, Khyber Pakhtunkhwa, Quaid-e-Azam Gold Medal, and gold medal by Pakistan Academy of Sciences. Dr Jehan Bakht has also undertaken a number of development projects including establishment of a sub-campus in Shangla district, women sub-campus at the University of Swat, sub-campus of Agricultural University Peshawar at Swat, Energy Centre at Khushal Khan Khattak University in Karak, and energy centre at four new departments. He has been supervising megaprojects worth Rs1.7 billion for the establishment of Technology Development Centre at University of Agriculture in Peshawar. https://timespakistan.com/agriculture-university-vc-rejects-allegations-by-teachers/10762/