KING OF THE ARTS.

British Raj has no doubt bequeathed a few assets - both tangible and intangible - not least notably the language in which I pen my thoughts here. Nevertheless, one must also acknowledge that it had many tragically deleterious consequences. Estimates vary, but between 40 to 60 million Indians died in famines callously engineered by British Raj administrators; history records that famines were relatively rare prior to British rule. Famines may well be behind us, but other insidious effects of colonialism continue to bedevil us. George Orwell had said, "The most effective way to destroy a people is to deny and obliterate their own understanding of their history". Sadly, colonial historical perspectives prevail due to ideological leanings of many post-Independence Indian historians. 
Take the image constructed by the British of Nawab Wajid Ali Shah. Sadly, many of us (except the Lucknowis) have either forgotten this Muslim ruler of Awadh or harbour the British impression of him as a decadent, cross-dressing oddity. This is a tragic humiliation of a great son of India. Ancient Indian performing arts had declined drastically in the north by the later Mughal period for various reasons. Rapacious tax and cultural policies of subsequent British rule hastened this decline.
The foundation of Hindustani and Carnatic music goes back many millenia, embedded as it is in the Sama Veda. The frameworks of the ragas, ancient in conception, are grounded in the precision and harmony of mathematics. However, great experimentation is allowed within this broad framework. The sama raga, performed by different artists, exhibits variations. Amazingly, the same performer differently interprets a raga at different points in time! Each performance of Indian classical music is hence unique. The Guru-Shishya Parampara is a crucial factor in keeping this tradition alive and vibrant; this had tragically broken down due to absence of nurturing patronage at that time.
And when this heritage was gasping for sustenance, the Nawab revived it with his abundant munifiscence. He may not have been much of a warrior. But not every great ruler need seek validation through exploits on the battlefield. Many have attained greatness through contributions to the cultural legacy of their land. Wajid Ali Shah lavished money on performers, musicians, playwrights, poets and dancers. They flocked to Lucknow, his glittering capital. Many declining gharanas ('families' or places where a musical style originated) were revived. Intese artistic intermingling produced new ragas as well as other innovative expressions.
A new version of thumri, which is mostly inspired by Lord Krishna, was reportedly an innovation of the Nawab's Court, even as greats like Ustads Basith Khan, Pyar Khan and Jaffer Khan breathed in the electric air around the great king. Kathak, acharming Indian dance form, was revived under his guidance as patronage was lavished upon the brilliant Durga Prasad ji and Thakur Prasad ji. Wajid Ali Shah himself was an artiste of merit. He wrote forty works: poems, prose and plays. He composed many new ragas such as the Jogi and Juhi. It has been held that he was, despite his girth, an accomplished dancer.
Reading the works of historian G.D. Bhatnagar will clarify that British tales of his 'wanton', alcoholic ways were patently untrue and, in all probability, a propaganda effort to justify the takeover of the fabulously rich kingdom of Awadh. Wajid Ali Shah was a devout Muslim. He also honoured the Hindu God Lord Krishna. He authored some fascinating plays on Krishna Raas Lila and is believed to have himself acted in them on occassion. He wrote Babul Mora Naihar, the haunting song describing a bride's tearful farewell from her beloved father's home. Apocryphally, it served as a metaphor for the Nawab's own banishment from his treasured Lucknow.
Historians have written about some of his wise administrative reforms, circumscribed though he was by the British Resident, General Sleeman, who played a role in the defamation of Wajid Ali Shah. Bhatnagar has noted that for all the British accusations of decadence and financial profligacy, the Nawab did not ask for a loan from any private banker or from the British to pay off any arrears. After his ouster, he did not leave behind any large arrears or debt. Awadh was, indeed, a fabulously affluent kingdom, which is why the British annexed this 'Queen Province of India'.
[Based on an article written by Amish, a best selling author, published in The Times of India dated 24th March, 2016 (Thursday)].
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