A Week Long Festival of Exploring Delhi on Foot

85 Walks and 30 Walk specialists help you discover multiple layers of the city.

For the last few months Delhi Dallying has been working with the folks over at Delhi, I Love You, putting together the country’s first ever celebration of walking and exploring. Supported by the Delhi Government, the Delhi Walk Festival brings together 30 walk specialists and 85 walks, specially curated by the team. Spread across the last week of February, these super-affordable walks cover a range of themes and neighbourhoods. There are also exciting events and performances planned for our festival hubs in Old Delhi, New Delhi and Qutub Complex. Believe us, there’s something for everyone.

Explore Delhi like never before. Browse available walks on the Delhi Walk Festival website and purchase tickets on BookMyShow.

 

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#Walktober

walktober headerAs the weather becomes favourable for exploring the city, Delhi Dallying shares some of its favourite stories from Old Delhi, every Saturday this October. Join us as we explore the obvious (read food) and beyond – the mohallas, the gallis and the markets – to understand what makes this medieval city tick today.

We’re looking at the extra-ordinary in the everyday Shahjahanabad through two lenses – take your pick!


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Walk 3.0 – St.ART Shahpur Jat – Walking and talking while gawking!

Our time in Shahpur Jat with St.ART Delhi has been great. We especially enjoyed taking people on walks around the village, weaving together narratives around the art as well as the history of the village. We did a total of 5 walks, 4 of which were open to the public and 1 which was for guests from the various embassies and institutes affiliated with the festival.

We took a meandering path in and around the village, starting at Bikaner Sweets, near August Kranti Marg and ending with some chai and pakoras at the terrace of the lovely Potbelly restaurant on the northern edge of the village. Each participant was given a lovingly crafted ‘St.ART Delhi Dallying Kit’, which had a lot of goodies including maps of the village, postcards with some of the artwork, information cards about the village and the festival, the very useful Moving Delhi cards and probably the most exciting of all – stencils! At the end of each walk, our participants could leave their mark by painting on Delhi Dallying’s very own graffiti wall!

While the festival is now over, the art remains and the urban village of Shahpur Jat is still as fascinating. We can’t wait to be back with a new walk and new theme! Until then, here are some photographs!

Notes from St.ART Delhi @Shahpur Jat

shahpur card collage (rohanpatankar)

street (noun)

a public road in a city or town, typically with houses and buildings on one or both sides.

art (noun)

the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

street art

an umbrella term defining forms of visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues

St.ART Delhi is the India’s largest Street Art Festival, that in early 2014 invited over twenty artists from around the world to come and paint the town red, quite literally so. The 6 week long festival’s first stop was at the urban village of Shahpur Jat. The folks at St.ART gave us the opportunity to string together narratives from various facets of the festival into a curated walk, . Excited much, we began by going back to our ‘history of architecture’ lessons from architecture school and simultaneously, began speaking to the artists ‘on site’ to get their perspectives.

The peeps at the festival really meant it when they said they were intervening in Shahpur Jat, in the thick of the urban village. This is not the area that most people who are reading this post have seen; not the Fender Academy, not the Wishing Chair, not the Dada Jungi House lane. This was the much larger yet hidden ‘hinterland’, bustling and complex, strikingly different from the world outside it. The ‘outside’ is merely 200 metres beyond, marked by the August Kranti Marg, of the fairly new Delhi (especially in comparison to this 600 year old settlement). To the closely knit village community, this became a starting point for many a conversation- within itself and with the world outside.

Layers and intervention

While the street art became one more layer among the many layers that made the experience of the place, it also initiated a process that unearthed other buried layers. We began our wanderings and meanderings; understanding the workings and internal relationships between these many layers. The most visible among them are the ruined fortifications of the 14th century city of Siri and, in contrast, the many designer boutiques that have popped up along the outer periphery of the village, not so long ago.

We were equally curious about the ones less apparent, about why most of these houses have the title Panwar written on them, about how a certain specific corner shop selling tea and snacks would have all its signage and music playing  in Bangla, about the staggering number of sequins shops on every street and also about just how many prachin shiv mandirs there were in this village. In our two weeks of frequent study-on-ground (after our day jobs, of course), we slowly began to absorb these observations and aberrations and also began to understand that street art was intervening with these layers in ways beyond the obvious.

Landmarks

The traditional landmarks of the village also became navigational anchors for us and the St.ART team to go about town. One such landmark, albeit a forgotten one, is the anonymous Baradari, the epicenter, where the story of this settlement began. Today the baradari doesn’t quite exist. The shadows of this 14th century monument are buried under and surrounded by many generations of ambitious building all around it. The Rainbow Project gives this ‘non-place’ another anonymous anchor that unites it with the hundreds of other such anonymous places across the globe that host the rainbow.

While the village gave the festival some landmarks thanks to its geography and multi-layered history, the festival also reciprocated with a few anchors. German artist Tofu’s piece of the striped lines at the Nayi Chaupal was one of the first pieces of the festival, also one of the most memorable, perhaps because of its central location. It became the torch-bearing reference for any artist who went to seek permission for doing a wall.

The massive cat drawn by Indian artist Anpu Varkey was also part of the first wave of festival interventions, and it quickly grew to be a neighbourhood icon. It also earned Anpu many friends and assistants in the week that she spent drawing the massive piece. The January air was cold and damp, the wall was huge and the scaffolding looked fragile. The neighbourhood aunties and uncles were amazed at this petite-looking girl’s skill, and also somewhere in their hearts, proud – of Anpu as well as the cat!

Haan, aapne woh billi toh dekhi hai na? Bas wahin se dayeen taraf janaa hai.’(Yes, you must have seen that cat, right? Just turn right from there.)

Conversation

While Anpu was one of many women artists who participated in the festival and painted walls that were possibly much more challenging to paint than the ones done by their male counterparts, the commentary on feminism was taken to another level altogether by artists like Ranjit Dahiya and Sé Cordeiro. Dahiya’s monumental mural of fearless Nadira (the infamous rebellious seductress from the 1950s) cleverly gets us thinking about how a woman’s smoking and drinking fixation has been automatically branding her as the vamp on the Indian screen and outside it since forever. Se Cordeiro’s beautiful woman warrior from the Gulab Gang is as powerful as she is spunky, armed to pin down all of those men who disrespect her. Adding charm to the quaint village setting are also Alina Vergnano’s graceful murals of women, almost softening the mood of this somewhat aggressive setting.

The festival generated quite a stir in the neighbourhood. People were intrigued about the organization that was just going around painting on walls without even taking money for it.

Achha, aap bhi company ke hi saath aaye ho? Yeh ho kya raha hai?” (Are you also with these people the company? Just what is happening here?) “Yeh log sab jageh drawing kar rahe hain, par phir yeh festival kahaan ho raha hai?” (These people are just painting everywhere, but where is this festival happening then?)

This is exactly what even many visitors wondered walking right through this village, not realizing that, in fact,  ‘they’ were the festival! The fact they were there, looking and talking and moving around seeing this place, made the festival. This real experience was only complimented by the sea of people who saw all of these pieces online, not in relation to each other but in relation to the worldwide scene. Delhi, India had just popped up on the street art map, and so had Shahpur Jat village as this neighbourhood bursting with art!

On ground, the festival was thriving, really, on conversation between the artists and local people, often only through gestures and body language and bits of broken English (and in the case of a few curious characters among the village folk, some surprisingly eloquent exchanges in English). While traditionally, street art would be relinquished as vandalism, in this case, all of it was legitimate and carried out in broad daylight (and sometimes, in the night too, ofcourse), with police permissions et al in place. With no economic transaction at play, it was just about finding the right wall and seeking permission from the owners and soon enough, being flooded with requests for commissioned art pieces too. Well, these conversations have only just begun. And we are sure we’ll be listening intently!

AFTERNOTES:

  • We learnt about various styles of street art, from Graffiti to paste ups and murals.

  • We began to appreciate the immense amount of skill required to draw on walls (that turn very cold in the winters) and how different it is from drawing on paper in terms of scale.

  • We realized we really do like taking people out and showing them around places : )

  • We met Daku. (It was kickass!) No, we’re not telling you who s/he is.

And the countdown begins!

Walk 1

September 8th, 2012

Walk 1

It’s a fairly pleasant Saturday morning. All of us gather at exit number 2 of the Chandni Chowk Metro Station. Rohan is late (as usual) and we can’t start the walk until he comes because he’s got the route maps printed for everyone. Friends from college, their friends from outside college, and some new friends who read about us online, join us on our very first walk of the Delhi Dallying Walk Series. 30 people, brimming nervous energy. And we begin with Walk 1.

Walk 1 is interesting because it takes you through the residential pockets around Chandni Chowk, sharing with you a slice of the vernacular life in Old Delhi. It consciously misses the touristy spots, to introduce you to the more everyday things of Shahjahanabad. While moving from the eastern end of Chandni Chowk towards the west, through the galis, it loosely weaves together a chronologically sound narrative, with bits of lip-smackingly good food thrown in.

Summarizing, from the treasurers’ haveli in Gali Khazanchi  to the beautiful Jain mohalla of Naughara, we explored the 17th century grandeur of Shahjahan’s reign (along with some 21st century jalebis and samosas). While moving through Maliwara towards Nai Sadak, the remnants of the Maratha siege and the mutiny of 1857 became apparent. Ballimaran and Mirza Ghalib’s Haveli are a testament to the days after the revolt, and also home to the famous Hakims of the Sharifkhani clan, which made for some very interesting haveli hopping.

Coming back onto Chandni chowk, after a small breakfast of kachouri-aloo and the elusive Nagori Halwa, we explored a part of Lala Chunamal’s stunning haveli (a little hushed as we did not seek permission from the current tenants!), who happened to be one of the most influential characters during the revolt. Entering the bustle of Khari Baoli, we went up to the hidden flower market of Fatehpuri, explored the fascinating view from the eerily enchanting  Garodia spice market, and concluded at the recently completed, austerely modern Polyclinic for the Destitute at Lahori Gate, leaving everyone to ponder about what modernity really means for the contemporary old city.

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Walk 1 is a great way to start a conversation with Shahjahanabad, which is a city within a city – one which we tend to be oblivious to, but one which enchants and entices.

Delhi: Phoenix City

On the last Wednesday of August, 2012, after a design studio, we went for an event at the Attic, Connaught Place. Renana Jhabvala and Nalini Thakur were talking about professor, architect and artist CSH Jhabvala. The occasion was the launch of his latest book of sketches and writings on Delhi.

Jhabvala is somewhat of a legend at SPA, spoken of reverentially by even the senior-most of our teachers. We were fortunate enough to hear him speak a couple of years ago and were keen to hear more about the incredible man who (we found out soon) had laid the basis for the present curriculum for our college.

The place was alternative looking, the mood warm, the air cold and the room filled with quiet conversation. We planted ourselves on the (best) third row seats only to awkwardly offer them to senior (looking) architects minutes later. Stranded on the side passage, the only place left was in the front row and Renena asked us to come forward.

The scene was set and yet the program was late. We realized why soon enough, though, when the buzzing conversation in the room thickened as two guys carried in this very very old wheelchair-bound man. The quintessential Indian old man, wearing a cotton shirt with big prints, floaters and those khaki pants pulled up the waist, accessorized with retro glasses and a walking stick. He appeared to be the guest of honour everybody was waiting for.

After some negotiation, he quickly decided to shift to the front row and found himself sitting to the left of two young architecture students, us, beaming at him. He broke into our awkward gaze and made conversation. We introduced ourselves. “Ah! I used to teach there once!” And then the verbal diarrhea began: of course we knew who he was, and we had so enjoyed his previous lecture. He just smiled, looking a little perplexed.

We soon realized our error. A very awkward and impudent question from an audience member let us know that Professor Jhabvala was currently in New York. So, who then did we just confuse with our ramblings?

And then it struck us: we were sitting next to Padmashree MM Rana, Nehru’s chosen architect and Jhabvala’s close friend. We remembered Rana’s profile (and photograph) from the Sushant website, and his work was somewhat familiar via Rahul Khanna’s excellent listing.

The two women’s takes on Jhabvala the father and Jhab the professor were interesting. But the real fun began when Renana requested Rana Kaka to share his times with Jhabwala. Rana staunchly refused to make use of the offered microphone and (struggling initially) rose and walked to the podium. 🙂

And then the storytelling began, and everyone was captivated. He spoke of his days at JJ, where they studied Ionic, Doric and Corinthian column capitals for three years, only to culminate in a studio exercise to design roadside kiosks. He also spoke about the library (a long corridor, really) and the constant presence there of a peon, peeping over students’ shoulders, whose only job was to ensure that no books were vandalized!

On one such un-private visit, he came across legendary American Architect Frank Lloyd Wright’s work. Frustrated with his training, Rana wrote to FLW: “I have lost my way in(to?) architecture. How do I dis-educate myself?”

The postal department soon went on strike and all communication was stranded mid way. However, this meant heyday for a philatelist friend of Rana’s, who found ample opportunity to steal all kinds of exotic stamps off of the heaps of letters at the post office. He found a letter with an American postmark addressed to Rana, and graciously forwarded it (after stealing the stamps, of course.)

FLW had written, simply: “If you can arrange to come here, we’ll put you to work.” And so, with help from the princely state of Porbander, Rana became the first Indian Fellow of the Frank Lloyd Wright Foundation. at Taliesin, Wisconsin, USA. In America, he met Jawaharlal Nehru at a formal event during his trip to the country. All Nehru asked him was,” वापस आ रहे हो, या नहीं?” Rana was speechless (a feat, we’re sure!).

When he did return to India some years later, he penned a letter to the Prime minister informing him. Nehru promptly employed him in the planning department for the government. Eventually, though, he did get around to talking about Jhabvala- their reunion, many years later, at Wenger’s. Jhabvala threw a matchbox at Rana’s head to get his attention! (This incident was illustrated with zestful hand movements.)

All this zestful talk was far more than the two words that had been expected of him. Renana was worried and tried to interrupt. But he didn’t care one bit! The incredible zeal in his eyes was only proof of his love for architecture, for urbanity, for the city of Delhi. He was a storyteller and his audience was with him on this joyride, taking new turns with gestures and expressions. We left the venue after the talk, beaming. Little seminar work happened but we slept very well that night.

The first Wednesday morning of October, 2012 found us all together again after an eventful night of seminar work. Our inboxes had a new email about a condolence meeting at school later in the day in the memory of Late MM Rana. We just looked at each other and our hearts sank. We had barely met this charming 93 year old gentleman a couple of weeks ago and now we would never be able to hear more from him. Only during the presentation in school did we find out about the incredible amount of interesting buildings he had designed in and for the city of Delhi. He gave us the Shanti Van, the Bal Bhawan, the Nehru Museum, the Amar Jawaan Jyoti and so many other anonymous buildings that form our experience of the Nehruvian New Delhi.

We wonder how enthused we really are about the world around us and how much better we could ever get. Most of all, we wondered if we would ever attain anything close to his exuberance and energy. We only felt extremely fortunate to have been part of his last architectural public appearance. And even more thankful to our instincts that we recorded the later half of his talk for us to cherish for the rest of our lives.

Rana, you will always be in our minds.

This post co-written by Bhavika, Rohan and Varun.