Begum Akhtar was an exponent of Ghazal, Thumri and Dadra. , Photo Credit: Illustration by Sainath B

Journey to Begum Akhtar through narrow, rough roads mausoleum The tomb situated in Pasand Bagh of Lucknow seems to be a symbol of his life journey. The singer fought many physical and emotional battles before wearing the crown Mallika-e-Ghazal (Queen of Ghazal). Begum Akhtar’s voice was infallible. It was the voice of a woman who knew pain. But he soon developed the strength to bear it and this manifested in his ownership of the stage. This made her music so raw that it moved listeners with its honest expression. Whether she sang ghazal, dadra or thumri, it was everything pain, prayer and heart,

when you finally arrive mausoleum Located on a dirty, crowded street corner, you are instantly removed from the hustle and bustle and experience peace. It is a small enclosure with brick walls, where the Begum and her courtesan-mother Mushtri are buried – a Harsinghar Above their marble resting place are towers of trees with their names inscribed in Urdu. Tombs are often seen as foreboding places, but sitting near Begum Akhtar’s grave makes you feel as if she is calling out with her evocative ‘Hamari atriya pe aao’.

renovated mausoleum Begum Akhtar’s in Pasandbagh, Lucknow. Photo Credit: Chitra Swaminathan

It has been 50 years since Begum’s death. He died on October 31, 1974. Fans of the music icon around the world will be happy to know that an amphi-theatre has been built near the grave. It was launched with a performance by ghazal singer Radhika Anand on her death anniversary this year. Begum Akhtar’s fascinating photographs are plastered on the walls all around the place and they take you through her triumphs, heartbreaks and comebacks.

A few years ago, Begum Akhtar’s grave was rescued from oblivion by her admirer and historian Salim Kidwai, her chief disciple Shanti Hiranand and social activist Madhavi Kukreja, whose NGO Santakada worked on the renovation. Delhi-based architect Ashish Thapar volunteered to execute the project. The amphi-theatre is also Santakada’s initiative and is funded by Sanjeev Kumar of the Patna-based Takshashila Foundation (his father was an Akhtar fan). Madhavi is the woman behind the Santakada Mahotsav, which celebrates the art and ethos of Awadh, a region known for its Ganga-Jamuni. manners Which is basically inspired by both Hindu and Islamic influences. Begum Akhtar was the leading representative of this vibrant and syncretic culture. She was a devotee of Krishna and used to sing the pain of separation from Krishna in the bhajan ‘Jab Se Shyam Sidhare’.

Despite being a trained classical musician, Begum Akhtar took up light classical singing. Photo Courtesy: The Hindu Archives

From Bibby Syed and Akhtari Bai to Begum Akhtar, the name kept changing as the singer struggled to find her identity in the feudal society and misogynistic world of music. In search of his art he also turned to cities. Although she was born in Faizabad, where her formal training began under sarangi maestro Ustad Imdad Khan, she moved to Gaya with her mother after she was abandoned by her lawyer-father. He continued his education under Ustad Ghulam Mohammad Khan. She came back to Faizabad to be formally introduced to Patiala Gharana singing by Ustad Ata Mohammad Khan. Moving to Calcutta in 1927 proved to be a significant moment in Begum Akhtar’s career. It redefined his music and personality. His first recording by the Megaphone Record Company, which remained associated with him, took place in Calcutta. He also acted in several films including Satyajit Ray’s 1958 pond (It had music by Ustad Vilayat Khan) and perform in theatrical productions, Her first concert was organized by Sarojini Naidu at the Albert Theater in Calcutta to raise funds for the Bihar earthquake victims.

The next stop was Lucknow in 1942. Here Kirana Gharana exponent Ustad Abdul Wahid Khan transformed Bibby into Akhtaribai Faizabadi, a capable Khayal artiste whose music seamlessly blended Patiala and Kirana Gharana. His rise to stardom brought much-needed wealth and social prestige. But the singer wanted to have a family of her own. She married barrister Ishtiaq Ahmed Abbasi, who ended her acting career. But he decided to introduce them to the works of poets like Ghalib, Mir, Momin, Jigar Moradabadi and Faiz. Living a life without her passion led her to depression. Ultimately, on the advice of doctors, he decided to return to music. After a gap of seven years, Begum performed at the Shankarlal Mahotsav in Delhi in 1951. It was here that she first came to be known as Begum Akhtar. His harsh and dynamic voice had now acquired a soft and touching tone.

Begum Akhtar also acted in films and theatrical productions. Photo Credit: Special Arrangement

Despite her strong hold in classical music, Begum Akhtar chose lighter singing like Thumri, Dadra, Chaiti, Baramasa and Ghazal. His greatest asset was his adaptability. “She could fit herself into any musical setting,” says a Pune businessman, who calls himself a devotee of the Begum. He never misses the annual ritual of visiting Lucknow on her death anniversary. Ibadat on that mausoleum“Before its renovation, every year, the first thing I would do was clean the weeds and garbage and decorate it with red roses. I used to sit and listen to his ghazals for a few hours on the tape recorder I kept with me. I would break down every time, but would come back calm. It’s the influence of his music,” he shares.

In 1968, 20-year-old Satish heard Begum Akhtar for the first time at the Sawai Gandharva Mahotsav in Pune. Recalling that moment, Satish says, “She was pure Tone And that childlike smile immediately attracted me to her music. I also did a course in Urdu to understand his ghazals better. This may all sound strange, but Begum Akhtar had many crazy followers like me. Babubhai Raja of Mumbai used to go wherever she performed to record her singing on his imported ferrograph. He had a vast collection of live recordings which he donated to the NCPA (National Center for Performing Arts). Then there was Ramu Bhaiya Datti, a government official from Indore, who once came to Lucknow to hear him playing Shadaj on his harmonium. She will also do everything possible to avenge the love of her fans. During a visit to Indore for a concert, Begum Akhtar asked out Ramu Bhaiya. When she learned that he was admitted to the hospital, she went to meet him and sang for him in the hospital room. It is difficult to find an artiste like him.”

This is the reason why Begum Akhtar remains alive in the hearts of her listeners even after five decades of her death. as soon as i leave mausoleumI see an old man coming in. After asking where I am coming from, he tells me, “I have come here for my daily work.” Hazari (visit). I have neither wealth nor fame, but I have found solace in Begum’s voice. (I don’t have any wealth or fame but I have found solace in Begum’s voice) and starts singing his iconic ghazal ‘Deewana bana hai to deewana bana de’.