As the aircraft descended into North Goa’s Manohar International Airport, a picturesque scene unfolded below: lush green landscapes stretching as far as the eye could see, with the occasional raindrop playfully tapping against the window. The terminal itself charmed with its Portuguese-inspired architecture and an iconic ‘Under the Coconut Tree’ artwork by renowned Goan cartoonist Mario Miranda. The drive from the airport continued this visual delight, revealing kilometers of verdant hills and tropical foliage—a quintessential North Goan vista. This serene backdrop perfectly set the stage for the ‘Malhar and the Sea’ music festival.
While Goa is widely celebrated for its vibrant folk music, unique Konkani art, and the soulful strains of Fado—a beautiful remnant of its Portuguese heritage—there’s a lesser-known but equally rich tradition of classical music here. This region has proudly given us legendary Hindustani musicians such as Mogubai Kurdikar, Kishori Amonkar, Kesarbai Kerkar, Dinanath Mangeshkar, and Jitendra Abhisheki, whose legacies are honored through annual festivals. Indeed, the ‘Malhar and the Sea’ festival itself welcomed sarod maestro Ustad Amjad Ali Khan, who presented the exquisite nuances of Raag Malhar, connecting deeply with the land’s musical soul. Ustad Amjad Ali Khan performed the many shades of Malhar at the festival.
Kishori Amonkar, a pioneering vocalist, always held immense pride in her Goan heritage. Her fluency in Konkani and Marathi was a testament to how her roots profoundly shaped her artistic identity. Similarly, Jitendra Abhisheki masterfully wove Goa’s rich cultural tapestry into his classical music, often collaborating with the state’s revered poet-laureate, Bakibab Borkar. And who could forget Kesarbai Kerkar, from the village of Keri, whose rendition of the khayal ‘Maan na kariye’ in Raag Gaud Malhar remains iconic? This profound connection of the Malhar ragas with Goa, a land blessed with a long, lush monsoon, made the festival’s title, ‘Malhar and the Sea,’ incredibly fitting. The festival also featured stellar performances like that of folk queen Malini Awasthi, whose powerful voice captivated the audience. Folk queen Malini Awasthi brought the house down with her robust singing.
Now in its second year, the festival embraced Goa’s pluralistic spirit by showcasing a vibrant array of artistic expressions—classical, folk, Fado, and ghazal all flowed together harmoniously. Held in the stunning performance space at the ITC Grand Goa, nestled by Arossim Beach, these cultural evenings are increasingly becoming popular avenues for new audiences to explore and appreciate diverse art forms.
Omer Haider, the managing director of Showhouse Events and the visionary behind this festival, explained, ‘Our aim was to show attendees, including international visitors, that Goa offers a rich cultural tapestry far beyond its famed sun, sand, beaches, and Feni.’
Omer further emphasized the festival’s welcoming atmosphere: ‘While classical musicians are the highlight, we intentionally kept the setting informal to make the music approachable and the ambience inviting. This not only allows artists to infuse fresh creative energy into their performances but also serves as an excellent way to introduce new listeners to these profound art forms.’ This philosophy extended to featuring emerging talents like Shakir Khan, son of Ustad Shahid Parvez Khan, who deeply resonated with the audience. The festival gave ample space to Gen Next artistes. Shakir Khan, son of Ustad Shahid Parvez Khan, struck a chord with the audience.
The festival commenced on a balmy afternoon, with the pristine white sands of the beach shimmering under the sun. The inaugural performance saw Malini Awasthi, revered as the ‘Folk Queen of India,’ take the stage. Her powerful and energetic voice, met with cheers and thunderous applause, vividly brought to life the vibrant colors of rural India.
Malini, a prominent disciple of thumri legend Girija Devi, shared her motivation: ‘These multi-genre festivals inspire me to delve into our rich ‘darohar’ (heritage) and unearth rare folk compositions. For me, it’s a vital way of documenting a tradition that risks fading away.’
Later that evening, the stage was graced by three generations of sarod masters, headed by the illustrious Ustad Amjad Ali Khan. He performed alongside his sons, Ayaan and Amaan Ali Bangash, and his grandsons, Abeer and Zohaan. This performance beautifully highlighted the invaluable role certain families play in preserving India’s classical music heritage. While his sons continue the family legacy with distinction and his grandsons display immense promise, the Ustad’s mastery is truly unparalleled. His concise yet profound performance explored the diverse facets of Raag Malhar. The melodies, resonating from his sarod during both the ‘swar’ (notes) and ‘sahitya’ (lyrics) segments, showcased the extraordinary standards he has established in his art. Another highlight was Taufiq Qureshi’s Taal Vadya ensemble, a captivating celebration of rhythm. Taufiq Qureshi’s Taal Vadya ensemble was a celebration of rhythm.
Unconventional festival settings like this one provide perfect platforms for percussionists, who are often relegated to accompanying roles in traditional classical formats. The freedom to experiment empowers them to shine center stage. This was powerfully demonstrated by the late-evening Taal Vadya ensemble, which included Taufiq Qureshi on djembe, Yogesh Samsi on tabla, Sridhar Parthasarathy on mridangam, and Shikhar Naad Qureshi and Omkar Salunkhe on drums. ‘When festival organizers make a conscious effort to dedicate space for percussion-exclusive concerts, it truly inspires us to innovate within the traditional framework,’ noted Taufiq. The festival also offered a delightful cultural exchange, with Manganiyar Samandar Khan bringing the vibrant sounds of Rajasthan to the Goan shores. Manganiyar Samandar Khan presented a slice of Rajasthan in Goa.
Day two shone a spotlight on the next generation of artists, commencing with a harmonious morning concert by flautist sisters Suchismita and Debopriya Chatterjee, and closing with Madhubanti Bagchi’s eclectic performance. Throughout the day, scions of renowned musical families captivated the audience, including sitarist Shakir Khan (son of Ustad Shahid Parvez Khan), vocalist Arshad Ali Khan (from the esteemed Kirana gharana lineage), and Armaan Khan (son of Ustad Rashid Khan). Festivals like ‘Malhar and the Sea’ offer a crucial platform for these young talents to showcase their rigorous training and unique skills, fostering an environment where they are celebrated for their artistry rather than being subjected to strict comparisons. Armaan Khan, son of Ustad Rashid Khan.
The festival culminated with a powerful performance by Samandar Khan Manganiyar’s 13-member ensemble of singers and instrumentalists. Expressing profound gratitude, Samandar Khan noted, ‘We Manganiyars are thankful to cultural curators and impresarios who have dismantled barriers and liberated music from restrictive labels. Thanks to them, our community has flourished, and women have bravely stepped onto the stage alongside us,’ he shared, acknowledging a veiled woman performer in his group. As his voice soared with the timeless ‘Padharo maro des,’ the spirit of Rajasthan’s desert winds seemed to sweep across the Goan coast, extending a heartfelt invitation to embrace our collective musical heritage.
Beyond the melodies, the festival also honored the late Indian fashion designer Wendell Rodricks, recognizing his immense contributions to fashion and sustainable practices, perhaps in connection to the MODA museum.