Lucknow ki Ada, Raqs o Mausiqui was the theme. Music and Dance was alluring after having heard Askari sing of the glory of this beautiful city. Saaz, Awaaz, Tehzeeb ki mithaas filled my soul for four days.

The Sanat Kada Festival started as a Craft Festival and  is now eponymous with Lucknow. A showcase of all that was and all that is still there. Naayab Nageene. The festival itself hosted in the Safed Baradari, in white stone of twelve gates. Bedecked splendour in colourful festoons, happy music of Rafi, O P Nayyar, Khayyam filled the Courtyard. The stage showcased the traditions of Lucknow. Wit, humour laced all events with a panache. The inaugural session had qissaas of the shayari, music  told superbly by Saman Habib and Valentina Trivedi. The MCs were the younger members, speaking impromptu, and with verve.

There were Crafts and an exhibition, an immersive experiential extravaganza of Awadh. The researchers  had found some remnant members of Brass bands, and they played, not just like that but in a competition. In this courtyard there were Qawwalis, Tabla,  Jugalbandis, the Sahar concert of Kathak. The Food Court had chaats, biryani, kebabs for the gastronomes. The walks were curated around these themes. Raqs o Mausiqui, Francisi Mulaqaat, Lucknow ki Rehaish where we saw Muzzafar Ali’s magnificent home.

The curation was superb. It was a difficult choice as we had to choose between venues and programmes. Saw some, missed many. It was life, colour, song and dance done in the local Tehzeeb. Bahut khub Sanat Kada, Bahut khoob!

 

Awadh, the birth place of Khayal, Thumri, Ghazal, Tabla, Kathak, Sozkhani, these traditions immersed in the socio cultural life of this place. Qawwali at Dargahs, Bhajans in temples, mujras, musical baithaks. We were regaled with stories of Nawab Wajid Ali Shah and the operas at Parikhanas. There were discussions, workshops, installations, films and talks featuring Birju Maharaj and Mallika e Tarannum, Begum Akhtar. Salempur House was the venue and these were featured in a grand wood panelled room.

The entrance had interesting trivia displayed, a wall had a mural art in progress and anyone could help with the colouring. The garden had the food extravaganza and on Sunday there was a home cooked food festival with food cooked in traditional home recipes.

Some memorable talks were by T M Krishna on the Profound and the Profane. The profound challenges the imagination of the powerful, and gives aesthetics the gravitas. Saba Dewan spoke of the singing traditions followed by a film “The Other Song” on the history of the Tawaifs, questions, beliefs, systems, issues, gender and sexuality.

Muzzafar Ali spoke with Atul Tewari about Films influenced by Awadh,  Awadh ki Aqqasi, Kirdar Maashra ka, Wajid Ali Shah and his Inder Sabha with the four Paris. Lord Rama figured prominently as this land was his “calling card” as iterated by Atul Mishra. Hindi films started in 1933 with Miss Gajjan and Jahan Ara. Raja Harishchandra was a milestone and the advent of talkie films had Begum Akhtar not only acting but lending her voice. Umrao Jaan, path breaking film is a Tarz e amal of Awadh.

Sangita Nerukar sang Begum Akhtar in the dreamy environs of Lebua, a restored haweli which has become a resort. Bandish a play by Purva Naresh was about the conflict between the traditions and the onset of new. The prized scene was singing a paean to the Queen in the local singing style. A satire which ended happily with a grand fusion of the old and new.

Nawab, Kabab, Shabab aur Awadh ki Shaan blew me away.