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Colour me beautiful
The arrival of spring was heralded lately by quite a few activities in and around Lahore, and one of them was the Jashn-e-Baharan show hosted at the Asif Jah Haveli in the old city area. The cultural show had models displaying outfits designed by Nomi Ansari, Deepak Perwani and Sadia Mirza, with jewellery by Ali Javeri and styling by Athar Shehzad.
People thronged the venue in large numbers as a result of which long queues were noticed. Just before the main entrance of the haveli, another issue was raised by security officials as people were asked to deposit their mobile phones and car keys. Security personnel at one particular pavilion refused to let in people after a given time.
Many of those who did manage to enter the venue despite the widespread chaos had to stand for want of sufficient seating arrangements. And while the view from the seats at ground level was good, the best view was undoubtedly for the people who had gathered on the rooftops adjoining the haveli for a look see.
After the show finally got underway, a large projection screen acquainted the audience on the 13 gates of Lahore and the historical significance of each. With an upbeat music in the background, models donning saris, dhotis and dupattas came on stage showcasing costumes worn around the environs of the Taxali Gate. For the Lahori Gate, a small skit was performed whereby it was told that the forces of Changez Khan once beheaded a prince there.
Next came the Masti Gate, where a mosque was also built by Mughal Emperor Akbar. This was the area where poets, saints and sufis lived and where Mela Chiraghan was supposed to have been held in ancient times. Saen Zahoor sang three to four of Sufi songs in this segment and the fact that few appreciate such music was evident by the lukewarm applause at the end of his performance. The Delhi Gate’s significance was made by the recital and performance of Amir Khusro’s classic piece of work, Tere Ishq Nachaya. This was followed by a war re-enactment for the Kashmiri Gate where Sher Shah Suri tricked Raja Hari Krishn by sending his troops dressed in burqas.
The brilliance of the simple pearl shone out when reference to it was made for the Moti or Mochi Gate. Models wearing ghararas and pajamas stole the limelight, followed by a Khattak dance performance. Soon after the introduction of the next gate, one could hear the song Karni Mintan Ke Kehndi Hat Jod Bawra as Ali Zafar appeared in traditional garbs, silhouetted in the dim light and holding a guitar.
The glamour of the Kohinoor and the splendour of Ranjit Singh’s courts were enacted for the Sheranwala, also called the Khizr Gate. The Badshahi Mosque and Allama Iqbal’s mausoleum rest near the Bhaati Gate, and so it was that the latter’s Khud Hi Ko Kar Buland Itna was rendered by Ali Azmat. In the words of the narrator, the air around Roshni Gate smelt of attar and the rustle of silks. Inhabited by the elite of that time, in this segment, models took to the ramp in resplendent outfits.
Lastly, Mori Gate’s significance in celebrating basant in true spirit was touched upon, with Ali Zafar bringing the audience alive with Masti Ke Din Hain and Sun Re Sajania. He was followed by Annie and then Ali Azmat. And with the air resounding with Garaj Baras Sawan Ghir Aayo¸the show choreographed by Catwalk came to a close.
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