History revisited

Photos: The story of a 19th-century Iranian Shaikh who lost his Shaikhdom under the Pahlavis

Shaikh Khaz’al bin Jābir bin Mirdāw al-Ka‘bī was loyal to the British hoping they would help him – but they didn’t.

The Qatar Digital Library has digitised a number of sources concerning the life and times of Shaikh Khaz’al bin Jābir bin Mirdāw al-Ka‘bī (1861-1936), the Emir of Mohammerah and chief of the Banu Ka’b tribe.

Detail from a 1908 War Office map of Persia and Afghanistan that shows Mohammerah. Image credit: British Library, India Office Records, IOR/L/PS/10/332, f 77.
Detail from a 1908 War Office map of Persia and Afghanistan that shows Mohammerah. Image credit: British Library, India Office Records, IOR/L/PS/10/332, f 77.

Mohammerah, now named Khorramshahr, is a city located at the confluence of the Karun and Shatt al-Arab Rivers in the Khuzestan region of Iran (formerly known as Arabistan). This area was nominally a part of the Persian Qajar Empire, but for much of the 19th and early 20th centuries it was ruled as a semi-independent Shaikhdom by the Arab al-Ka‘bī family.

Shaikh Khaz’al bin Jābir bin Mirdāw al-Ka‘bī wearing military uniform and honours bestowed on him by both the British and Persian Governments. Image credit: Wikimedia Commons [Licensed under CC BY 4.0]
Shaikh Khaz’al bin Jābir bin Mirdāw al-Ka‘bī wearing military uniform and honours bestowed on him by both the British and Persian Governments. Image credit: Wikimedia Commons [Licensed under CC BY 4.0]

Throughout Khaz’al’s reign (1897-1925), he was one of the most important political figures in the Persian Gulf and a prominent supporter of Britain’s presence in the region. Although never formally a part of the British Empire, the Gulf had been effectively incorporated into the British imperial system since the early 19th century. The conclusion of treaties and agreements with the region’s various tribal rulers was one of the central means by which Britain enforced its hegemonic presence, and Khaz’al was no exception to this trend.

Shaikh Khaz'al's palace, Qasr al-Failiyah in Mohammerah, 1921. Image credit: Wikimedia Commons [Licensed under CC BY 4.0]
Shaikh Khaz'al's palace, Qasr al-Failiyah in Mohammerah, 1921. Image credit: Wikimedia Commons [Licensed under CC BY 4.0]

Indeed, Khaz’al actively fostered close relations with Britain in an attempt to gain their assurance that in the event of the Qajar Empire collapsing or being overthrown, Mohammerah would be formally recognised by Britain as an independent state with him as its ruler.

Mohammerah, May 1917 from Album of tour of the Persian Gulf (Photographer: Rev. Edwin Aubrey Storrs-Fox) which contains several images of the city in 1917-18.
Mohammerah, May 1917 from Album of tour of the Persian Gulf (Photographer: Rev. Edwin Aubrey Storrs-Fox) which contains several images of the city in 1917-18.

After oil was discovered by the Anglo-Iranian Oil Company (the forerunner of BP) in Khuzestan in 1908, Britain strengthened its ties to Khaz’al further. In 1910 he was made a Knight Commander of the Indian Empire. Khaz’al sought to prove his loyalty to Britain in return and he acted as a key ally throughout the First World War during which – with British military assistance – he suppressed a pro-Ottoman tribal uprising in his domains.

Sheikh Khaz’al’s yacht docked behind Qasr al-Failiyah, 1925. Image credit: Wikimedia Commons [Licensed under CC BY 4.0]
Sheikh Khaz’al’s yacht docked behind Qasr al-Failiyah, 1925. Image credit: Wikimedia Commons [Licensed under CC BY 4.0]

However, Khaz’al’s efforts to gain formal British recognition of his suzerainty over Mohammerah and achieve independence failed. Unlike the ruling families of the other Shaikhdoms in the Gulf – who remain in power today – ultimately Britain did not guarantee his rule. After the rise to power of Reza Khan (Shah from December 1925 onwards) and the fall of the Qajar dynasty, Khaz’al came under increasing pressure. The centralising and modernising programme of the new government in Tehran could not tolerate Mohammerah’s relative independence.

After leading an unsuccessful uprising, Khaz’al was taken to Tehran by force and detained by Reza Khan in April 1925. He remained in the capital under house arrest until his death in May 1936. After his fall from power, many of Khaz’al’s family members, including his son Abdullah, fled to Kuwait – where the Shaikh owned property – and many of his descendants remain living there until the present day.

A young Sheikh Abdullah seated (centre) and his elder brother Sheikh Chassib (third from right) with a number of their retainers, 1908. Image credit: VivereInPace/Wikimedia Commons [Licensed under CC BY 4.0
A young Sheikh Abdullah seated (centre) and his elder brother Sheikh Chassib (third from right) with a number of their retainers, 1908. Image credit: VivereInPace/Wikimedia Commons [Licensed under CC BY 4.0

Those who wish to learn more about this intriguing historical figure and the broader political context in which he lived can do so using a number of India Office Records files about him that have recently been digitised and uploaded on to the Qatar Digital Library by the British Library-Qatar Foundation Partnership as detailed below.

This article first appeared on British Library’s Untold Lives blog.

Support our journalism by subscribing to Scroll+ here. We welcome your comments at letters@scroll.in.
Sponsored Content BY 

A special shade of blue inspired these musicians to create a musical piece

Thanks to an interesting neurological condition called synesthesia.

On certain forums on the Internet, heated discussions revolve around the colour of number 9 or the sound of strawberry cupcake. And most forum members mount a passionate defence of their points of view on these topics. These posts provide insight into a lesser known, but well-documented, sensory condition called synesthesia - simply described as the cross wiring of the senses.

Synesthetes can ‘see’ music, ‘taste’ paintings, ‘hear’ emotions...and experience other sensory combinations based on their type. If this seems confusing, just pay some attention to our everyday language. It’s riddled with synesthesia-like metaphors - ‘to go green with envy’, ‘to leave a bad taste in one’s mouth’, ‘loud colours’, ‘sweet smells’ and so on.

Synesthesia is a deeply individual experience for those who have it and differs from person to person. About 80 different types of synesthesia have been discovered so far. Some synesthetes even have multiple types, making their inner experience far richer than most can imagine.

Most synesthetes vehemently maintain that they don’t consider their synesthesia to be problem that needs to be fixed. Indeed, synesthesia isn’t classified as a disorder, but only a neurological condition - one that scientists say may even confer cognitive benefits, chief among them being a heightened sense of creativity.

Pop culture has celebrated synesthetic minds for centuries. Synesthetic musicians, writers, artists and even scientists have produced a body of work that still inspires. Indeed, synesthetes often gravitate towards the arts. Eduardo is a Canadian violinist who has synesthesia. He’s, in fact, so obsessed with it that he even went on to do a doctoral thesis on the subject. Eduardo has also authored a children’s book meant to encourage latent creativity, and synesthesia, in children.

Litsa, a British violinist, sees splashes of paint when she hears music. For her, the note G is green; she can’t separate the two. She considers synesthesia to be a fundamental part of her vocation. Samara echoes the sentiment. A talented cellist from London, Samara can’t quite quantify the effect of synesthesia on her music, for she has never known a life without it. Like most synesthetes, the discovery of synesthesia for Samara was really the realisation that other people didn’t experience the world the way she did.

Eduardo, Litsa and Samara got together to make music guided by their synesthesia. They were invited by Maruti NEXA to interpret their new automotive colour - NEXA Blue. The signature shade represents the brand’s spirit of innovation and draws on the legacy of blue as the colour that has inspired innovation and creativity in art, science and culture for centuries.

Each musician, like a true synesthete, came up with a different note to represent the colour. NEXA roped in Indraneel, a composer, to tie these notes together into a harmonious composition. The video below shows how Sound of NEXA Blue was conceived.

Play

You can watch Eduardo, Litsa and Samara play the entire Sound of NEXA Blue composition in the video below.

Play

To know more about NEXA Blue and how the brand constantly strives to bring something exclusive and innovative to its customers, click here.

This article was produced by the Scroll marketing team on behalf of NEXA and not by the Scroll editorial team.