logo
Aanchal Shrivastava's music show ‘Yatra with Aanchal' comes to Pune

Aanchal Shrivastava's music show ‘Yatra with Aanchal' comes to Pune

Indian Express22-05-2025

Qawwali has always been a space dominated by men. Even in modern performance circles, it's rare to find a woman leading a full Qawwali set. Aanchal Shrivastava is changing that. On May 24, she will perform her live show 'Yatra with Aanchal' at Monalisa Kalagram in Koregaon Park, Pune. The live acoustic set will feature a mix of Qawwali, Sufi, folk, and original compositions.
Shrivastava's journey with music started when she was just two and a half. After noticing how often she banged on plates and spoons at home, her parents enrolled her in a local music class. The class was meant for older children, but her teacher allowed her in. By three and a half, she had already done her first public performance.
Most of her early training came from 'gharanas,' not from music schools or formal certification courses. That kind of learning, she says, shaped how she sings today – especially in Qawwali, which demands power and control.
For women, performing Qawwali is not easy. But Shrivastava says the deep, open, and full-breath singing Qawwali requires fits naturally with her training.
'When I was younger, I'd tell my dad my throat hurt after singing; I can't reach the correct notes. Guruji would say that if you truly want to sing, you must forget your organs. Sing from your stomach and forget about the pain. That stayed with me. You can sing from your throat for only 15 or 20 minutes. It won't sustain you. Singing from your stomach is the only way,' she explains.
Growing up, she was often called the Lata Mangeshkar of the school or the Nightingale of her class. 'It was flattering,' she says.
'But I never really felt I sounded like her. If someone had told me I sounded like Abida Parveen ji, maybe I would've realised that I was meant to make powerful music earlier,' she explains.
It took her years to see what direction her voice was taking her. She added, 'Even though I started young, I understood what I was made for only three or four years ago, when I left my job and committed to music full-time.'
What made it clear to her was the audience. The response was strong every time she performed Sufi or folk songs, even if people hadn't heard them before. Her original track, Ishq Akela, is now a staple in her live sets. 'People sing along, even if they don't know the song. There's something raw in it. I think I've been blessed with a voice that helps people connect, not just with the music, but with themselves,' she explains.
Her contributions to the music reflect that same depth and emotion as her performances. She has sung for Amazon Prime's Four More Shots Please and made her Bollywood debut in Mahesh Bhatt's Love Games. Her songs Kadi Aao Ni and Ishq Akela have made her a known name in India's indie and Sufi music scenes.
At the Pune show, she will perform Qawwalis like Chaap Tilak, Tu Mane Ya Na Mane, Asaan Te Tainu Rabb Manneya, Punjabi folk like Nehar Wale Pul Te Bula Ke, and her own original compositions. The music will stay rooted, with harmonium, tabla, dholak, claps, and acoustic guitar, and won't feature any electronic sounds.
The evening will open with a performance by poet and Kavita Café founder Garima Mishra. Shrivastava will be joined on stage by guitarist Mahi, who's worked on most of her originals, harmonium player Omkar, known for his work on several Bollywood tracks, and the rest of the band and backing vocalists.
She calls this live show 'Yatra with Aanchal' because it's not just about travel; it's about taking the audience through the journey with her. 'This isn't a show where you sit and watch. I want people to sing, clap, and move. I want them to feel like they did when they were kids when they weren't scared to dance or feel something and didn't have boundaries.'

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Musician Vineet Singh Hukmani on being a new Punekar, making a song on the city: I love Pune, it's my home
Musician Vineet Singh Hukmani on being a new Punekar, making a song on the city: I love Pune, it's my home

Hindustan Times

timea day ago

  • Hindustan Times

Musician Vineet Singh Hukmani on being a new Punekar, making a song on the city: I love Pune, it's my home

I shifted to Pune 10 months ago. However, since I would visit the city so often for work, it always felt home,' says singer Vineet Singh Hukmani, who is now a proud Punekar. As someone who was a Delhiite, why did he choose Pune as his new residence? 'The city is just the right size, hence everything creative related to music, art, new cuisine, etc. is very reachable. It has a great buzzing mix of cosmopolitan and traditional culture. People here balance these facets without effort. Also, quick connectivity to Mumbai and Dubai, where I do most of my production work is a bonus,' says the musician, who has expressed his love for Pune through a new single, titled My New Home Pune. He adds, 'It was a spontaneous creation of gratitude for the warm welcome that I have received from the wonderful people in Pune. Home is where the heart is, where the song in your heart comes out freely and where the people around you understand and appreciate that sentiment. The song is about that warmth and affection for this new chapter of my life. I love Pune, my home.' Since it's his first year in the city, it also marks his first Maharashtra monsoon. Is he excited? 'Pune is so green and has excellent air quality around this time of the year. There is no better time to write music than when you see raindrops trickling down your window. Also, I plan go on a road trip soon,' says Vineet. Ask him about the music scene of Pune and if he has noticed any stark difference between Delhi and Pune in terms of music sensibilities, and Vineet says: 'Pune allows me to be more global in my approach and yet the local sentiment does not take away from that. Delhi has a strong Punjabi music culture and a lot of Sufi too and while that is good, it can be too dominating, for me, sometimes, since I am not known for being a 'Punjabi' singer. Pune, on the other hand, accepts the 'English/Hindi' singer-songwriter in me more easily. I also find Pune open to more global genres and after this song about Pune, I am embarking on a swing jazz album and a reggae album. Both these creations have been easier for me as this city has a certain chill vibe about it.' But does he miss Delhi at all? 'Well, sometimes I do miss the food but my new friends in Pune are ensuring I am well fed. When you leave a city, you carry the good memories of that in your heart and that helps you become more confident in the new place you need to settle in. Life is about experiences and the north has given me a lot for which I am grateful,' he ends.

Awadh's last mirasins struggle to keep their musical heritage alive
Awadh's last mirasins struggle to keep their musical heritage alive

The Hindu

time2 days ago

  • The Hindu

Awadh's last mirasins struggle to keep their musical heritage alive

Umrana Niyazi hunkers down in her small verandah with her paan daan (betel leaf box) and sings Chhap tilak sab cheeni... mohse naina milaike (You have taken away my identity, my beauty, and everything that was mine... just by locking eyes with me), written and composed by Sufi poet and mystic Hazrat Amir Khusrau in braj bhasha, a western Hindi dialect. Her husky voice floats out into the lanes of old Lucknow, Uttar Pradesh, where she lives. 'Now people rarely call us to sing at mehfils [gatherings]. Times are changing but I hope our songs will continue to resonate with people. Otherwise, how will we survive?' asks the 51-year-old, who hails from the Mirasi community, a group of traditional singers and dancers commonly found in northern India and Pakistan. The word 'mirasi' comes from the Arabic word, 'miras', meaning heritage. In Awadh, the Mirasins, or female singers, are traditionally invited to sing at auspicious events such as births, Aqeeqah (where a newborn's hair is shaved for the first time), Bismillah (when the child reads the Quran for the first time) and weddings. Flagbearers of a dying tradition Umrana and her sister Farzana, 45, are perhaps the last custodians of the musical heritage of the Mirasins, who enjoyed great popularity in the 19th century, when there was a surge in cultural nationalism. In response to the colonial rulers' disdain for Indian culture, talukdars, landowning Indian aristocratic families, began supporting artists, including the Mirasins, who became linked with their patron families. 'Though considered socially inferior to women from 'respectable' families, they received the patronage of nobles and royals,' says Rana Safvi, historian, translator and author of The Forgotten Cities of Delhi and Shahjahanabad: The Living City of Old Delhi. Mirasins played a special role during weddings as they were invited to sing at every function. It would begin at the bride's home with Milad recitations in praise of the Prophet, followed by the haldi ceremony. There were songs to welcome the baraat (groom's party) and, after the nikaah (wedding), songs were sung to bid farewell to the bride. Mirasins also sang at the bridegroom's home — while he tied the headdress or sehra, and when family members applied surma to his eyes. During the wedding, when families and friends gathered to bless the newlyweds, the Mirasins sang a Persian composition by Hazrat Sarmad Shaheed Shahana Mubarakbaad. 'Mirasins play a crucial role in preserving our cultural heritage. Their songs are a repository of our history,' says Safvi. Umrana and Farzana are part of the third generation of their family keeping the tradition alive. Umrana remembers a time when Mirasins were paid generously. 'We travelled to Aligarh for a wedding in 1996 and received ₹81,000. It was a golden time for us,' says Umrana, who has been singing for almost 30 years without any formal training. Her grandmother and mother were invited to sing at functions in Hindu homes, too. 'We sang Dadra, Thumri, and songs about Sawan, Basant, and Holi for wealthy Hindu families. But we are not invited any more,' she says. Modernisation, gender norms contribute to decline Patronage to Mirasins has been on a decline since the early 2000s. Many patrons, especially the talukdars, passed away or relocated to urban areas. As society modernised, traditional arts like those of the Mirasins came to be viewed as outdated, especially those performed by women from marginalised communities. In some areas, growing religious conservatism has discouraged musical traditions, particularly those involving public performances by women, labelling them inappropriate. In a male-dominated society, the Qawwals or male singers from Mirasi families who perform at dargahs, enjoy a higher status and earn more. 'We don't get paid well because we can't perform on stage like men,' explains Umrana, adding that the men also use more musical instruments. Traditionally, women in the Mirasin community were not allowed to play any musical instruments other than the dholak, which they learned informally. 'One person plays the dholak while the rest of us sing. If we had access to more musical instruments, we could enhance our songs and performances,' says Farzana. As people migrated to cities, film music began gaining popularity. 'Many prefer to play film songs at their functions rather than traditional ones. I fear the Mirasins will eventually fade away from our society,' says Riyaz Ahmed, a 45-year-old Qawwal, who has been singing since the age of 20. An heirless heritage The next generation is not interested in carrying on the tradition. 'My children don't want to sing at people's homes like we do. My son says that the little fame and name I have earned is not enough to fill our stomachs,' says Farzana. 'I feel sad but understand why they are reluctant to take up a profession that is in danger of disappearing altogether.' Umrana, who is unmarried, supports her three sisters and brother, and struggles to make ends meet. But she can't imagine doing any other work. 'Singing has been my entire life. However, when I meet good people through my work, I try my hand at matchmaking. If I am lucky, I earn generous amounts from both parties,' she says. The writer is an independent journalist based out of Lucknow.

Photo exhibition showcases the life of social worker Sheeba Ameer
Photo exhibition showcases the life of social worker Sheeba Ameer

The Hindu

time2 days ago

  • The Hindu

Photo exhibition showcases the life of social worker Sheeba Ameer

Sheeba Ameer says she loves dressing up. So when photographer G Harikrishnan asked her to tone down on her accessories for the photographs he was taking of hers, Sheeba felt a little unsure. 'In some of the photos, you will see that I have not even combed my hair,' laughs Sheeba. An exhibition of these photographs 'Wings of Desire' is on at the Durbar Hall Art Centre. In black and white and colour, the images chronicle Sheeba's extraordinary life with a touch of whimsy. But who is Sheeba Ameer? The founder of Solace, a voluntary organisation that supports children with long-term illnesses and their families, Sheeba is at the forefront of a campaign that vouches for curative and palliative care for children. Sheeba says life turned upside down when her daughter Niloufa was diagnosed with cancer. She spent 16 years taking care of her, oscillating between moments of utter despair, helplessness and fear. It was also when she started seeing life differently. 'We were able to provide Nilu the best treatment and facilities; but what about children whose families could not afford it?' She began helping other children with long-term illnesses and their families in small ways she could. 'Nilu and my son Nikhil encouraged me to continue my efforts and that led to the formation of Solace in 2007,' says Sheeba. From a homemaker, with two children, who knew 'nothing about the outside world', she grew to become a mother-figure for many. Niloufa passed away in 2013 and this strengthened Sheeba's resolve to help others going through the same kind of pain she did. 'I learnt that death is a certainty, but we can definitely help improve the quality of the children's lives for as long as they are alive,' Sheeba says. Talking about Niloufa still brings tears to her eyes, 'but it is this pain that drives me forward and strengthens me,' she adds. Solace, which started functioning as a small unit next to the leukemia ward of the Government Medical College in Thrissur, today has 5,600 children under its care. Registered as a charitable trust, Solace has three branches in Kerala and chapters in six states in the US. In her journey with Solace, Sheeba won awards for her outstanding work, including the Vanita Ratna (2011) instituted by the social justice department of the Government of Kerala and the Ramankutty Achan Award (2008). Between all her work commitments, Sheeba finds the time to nurture her literary interests too. She has authored books, which include poetry, literature and her own experiences working in palliative care. The exhibition, curated by the photographer Harikrishnan himself, is the result of four years of his interactions with Sheeba. While it showcases her personality as a compassionate social worker, it also captures her as a writer and dreamer. Some of the frames have a Sufi-esque quality to them, where Sheeba is portrayed as an ethereal being. The show is on till June 1 at Durbar Hall Art Centre.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store