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Correspondent

23 August 2024 at 4:29:04 pm

Credibility Crisis

For years, Faizal Khan, known across the country by his affectionate moniker of ‘Khan Sir,’ has cultivated the image of an educator fighting a noble battle against an exploitative coaching industry. To millions of students, he is not merely a teacher but a folk hero, someone who is an outsider challenging entrenched interests while offering affordable education to the masses. But the recent episode surrounding the attack on Khan Global Studies in Patna raise uncomfortable questions and casts...

Credibility Crisis

For years, Faizal Khan, known across the country by his affectionate moniker of ‘Khan Sir,’ has cultivated the image of an educator fighting a noble battle against an exploitative coaching industry. To millions of students, he is not merely a teacher but a folk hero, someone who is an outsider challenging entrenched interests while offering affordable education to the masses. But the recent episode surrounding the attack on Khan Global Studies in Patna raise uncomfortable questions and casts a shadow on the educator’s reputation. According to reports, a group of men allegedly vandalised the coaching institute, pelted stones and assaulted a security guard. But the controversy did not end there. Soon after the incident, Khan claimed that seven to ten rounds of firing had taken place outside his institute. The allegation dramatically escalated the seriousness of the episode. His claim generated headlines, social media outrage and a wave of sympathy. Yet police investigations reportedly found no evidence of firing by the attackers. CCTV footage and local inquiries also failed to substantiate the claim. Then came a more troubling development. A video surfaced allegedly showing two security guards associated with Khan Global Studies had fired shots into the air. The guards have since been arrested. While the investigation is still underway, the sequence of events is, at the very least, fishy. If police are ultimately correct that there was no firing by the attackers, then how did such a dramatic narrative emerge? Why were claims of multiple rounds being fired presented with such certainty? Why did the alleged gunfire become the centrepiece of public messaging immediately after the attack? Khan’s rivals have claiming that it was the educator himself who orchestrated the attack to gain sympathy as his fortunes were flagging. While the truth of these allegations have yet to be proved, it is worth noting that the modern coaching industry is not merely an educational enterprise but also a business of branding whose teachers are celebrities. Coaching centres compete for market share, social media attention and student enrolments. Success stories turn into marketing campaigns. And victimhood can sometimes become a marketing campaign too. Indeed, the most striking feature of the episode is not the vandalism itself but the rush to construct a story of persecution before the facts were known. The suggestion that shadowy rivals sought to silence a successful educator fit neatly into an existing public image. It generated precisely the sort of public sympathy that influential personalities often enjoy. Students deserve better. They look to educators not merely for knowledge but for intellectual honesty. A teacher’s first duty is respect for facts. The Patna incident should therefore serve as a reminder that celebrity status cannot become a substitute for credibility. The damage will extend beyond one coaching institute or Khan’s reputation. It will damage trust itself. And for a teacher, there is no greater loss.

An Artist of the Ring

With Preeti Pawar’s win at the recent Asian Boxing Championships in Ulaanbaatar, India’s new boxing vanguard has finally come of age.

In the hard geometry of the boxing ring, there is little room for flourish. Yet for 22-year-old Preeti Pawar, each bout seems to carry the suggestion of a canvas. At the in Ulaanbaatar, the youthful Preeti’s unanimous 5–0 dismantling of Huang Hsiao-wen, a three-time world champion and Olympic medallist, was a statement that Indian women’s boxing has entered a new, assured phase.


Pawar may well be the most intriguing protagonist of this new age. India’s women secured four gold medals at the do, topping the standings with an authority that would have seemed improbable a decade ago. While Pawar’s triumph was the headline, it was also accompanied by the success of Minakshi Hooda and the steady march of others through the draw. That the likes of Nikhat Zareen and Lovlina Borgohain exited earlier than expected only underlined the point that Indian women’s boxing is no longer a team dependent on a few stars. It is an ecosystem of talented newcomers.


Pawar’s own journey begins, fittingly, in Bhiwani in Haryana, a town that has acquired near-mythical status in Indian boxing lore. Often dubbed the “nursery of Indian boxing,” Bhiwani has produced a steady stream of fighters hardened by modest means and relentless training. Pawar, born there in 2003, did not initially seem destined for the sport. She took to boxing at 14, reluctantly at first, coaxed by her uncle, a former national medallist who recognised in her a latent discipline.


The early signs were unambiguous. A gold medal at the Open State tournament in Panipat was her first major outing, which was followed swiftly by success at the youth nationals. In a country where sporting careers are often derailed by a lack of institutional support, Pawar benefited from something rarer - an alignment towards it. Her family, with both parents having athletic backgrounds, provided encouragement while her uncle supplied technical grounding. Bhiwani’s gritty training culture did the rest.


What distinguishes Pawar, however, is not merely pedigree but temperament. In the semi-final against Aeji Im, a Paris Olympics bronze medallist, she displayed a composure that belied her age. The victory, again by a clean 5–0 margin, was built on control rather than aggression. Pawar does not overwhelm opponents but methodically disassembles them with great skill. Her footwork is economical, her punches precise, her sense of distance unusually mature. In an era where amateur boxing increasingly rewards tactical clarity over brute force, such qualities are invaluable.


Her victory over Huang in the final was, in many ways, a masterclass in this emerging style. Huang’s pedigree of world titles and Olympic hardware suggested a contest of experience versus youth. Instead, Pawar turned it into an exercise in timing. She dictated the pace, neutralised Huang’s attacks and accumulated points with clinical efficiency. What stood out was the absence of drama as Preeti made excellence look routine.


The metaphor of the artist is not incidental. Away from the ring, Pawar is known to have an interest in painting. It is tempting to draw parallels between the two pursuits: the patience required to build a composition, the discipline to refine technique, the willingness to start afresh after a flawed attempt. In both, the process matters as much as the outcome. Pawar seems to understand this instinctively.


Indian women’s boxing, for its part, has travelled a considerable distance. Once reliant on isolated breakthroughs, it now benefits from a more structured pipeline of talent. Institutional support has improved, international exposure is more frequent, and the success of pioneers has altered perceptions. Where boxing was once seen as an unlikely pursuit for young women, it is now, in pockets like Bhiwani, an aspirational pathway.


Yet challenges remain. The churn at the top, evident in the early exits of established names, can be both a strength and a vulnerability. Pawar’s task in the post-Mary Kom Indian women’s boxing era will be to convert promise into longevity, to navigate the transition from emerging talent to established contender. The Olympics, inevitably, loom as the ultimate test.


For now, though, the focus is on what has been achieved. In Ulaanbaatar, India’s women redefined expectations. At the centre of this shift stands a young boxer from Bhiwani, whose bouts resemble carefully constructed works of art. In a sport defined by impact, Preeti Pawar offers subtle precision, poise and the quiet confidence of a new Indian generation of boxers.

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