Making waves and learning lessons: 10 eventful years of Lahooti Melo
Co-founders Saif Samejo and Sana Khoja talk lessons, challenges and future plans for the annual festival
KARACHI:
It was 10 years ago when Sketches frontman Saif Samejo and his wife Sana Khoja founded the Lahooti Melo. It started from the rooftop of their own house in Jamshoro, with an ambition to spend their weekend with live music that would also be recorded and released on the internet. A decade down the lane, the festival has evolved into a fully-loaded cultural showcase that no longer limits itself to artists and activists from rural and urban areas but has gone fully global.
“From having a space for barely 20 people to sit on a rooftop to having around 20,000 people attending an annual festival, the feeling has been surreal,” Sana told The Express Tribune in a telephonic conversation. “There were so many things that we’d just talk about while jamming and now they’re a reality. Here’s to going with the flow for more years to come.”
The 10-year milestone
The 10th installment scheduled to take place May 6 and 7 at Hyderabad Club aims to be truly special with its vast catalogue of artists. “There will be something for everyone. The list includes but is not limited to a Nepali Buddhist musician and social activist Ani Choying Drolma, DJ and model Sabrina Terrence from France, Dj Unk, American musician Monica Dogra and of course a surfeit of our local artists Umair Jaswal, Mai Dhai, Bhagat Bhoora Lal, Bakshi Brothers, Fakir Jumman, The Sketches, Panjhi Gang and more.
Upon how the performers are decided, Saif explained how it is partially decided by the public and their team depending on which artist they can afford. “Only a few performers are handpicked,” Saif told The Express Tribune. “This time I wanted to focus on musical diversity so we kept a poll about which kind of music they want to listen to. Interestingly, the youth chose electronic music, and hence there are a lot of DJs this time.”
Lahooti Melo always has a theme, however, this year will be an amalgamation of all themes the festival has championed in the past ten years. “We’re not being specific this year. We’ve called all experts from our previous editions and we’re looking at music, art, education, poetry, indigenous cultures, river and climate change through perspectives of journalists, scientists, filmmakers, poets, musicians, law enforcement and other relevant authorities,” shared Saif.
Logistical nightmare
From managing the travel expenses of artists to a lack of anything above a two-star hotel or guest houses in Jamshoro and Hyderabad, or the government trying to hamper the festival as and when possible, both Saif and Sana have often contemplated discontinuing Lahooti.
“Festivals are for someone who knows how to organise. We’re merely musicians,” said Saif, adding that getting hold of public spaces has been a perpetual problem.
“We don’t get permits to stage in Sindh or Mehran University. Why? The administrations claim that such festivals may trigger protests and outcry from the public but then that should be security official’s headache and not ours," he stated.
“International artists don’t end up getting the exposure they deserve and our decision-makers don’t really care about making special arrangements for them."
Lessons learnt
“One thing I learnt the hard way was how you shouldn’t judge people. Some mainstream actors showed their real faces throughout this process and did the unexpected while some government officials, who look like they don’t care, helped make the process smooth. I learnt to place my trust in the right kind of people with time,” Saif said, with a hint of disappointment in his voice.
Saif owes to his privilege to be able to cut through government and security red tape and feels that an ordinary man will never be able to organise an entertainment festival here.
Another lesson they learnt was the power of manifestation. “You’re not allowed to talk about taboo topics like assault, gender inequality etc or environmental catastrophes caused by climate change -- especially in schools in Jamshoro and Hyderabad – and we spoke about how music and poetry can help channel those thoughts,” shared Sana, revealing that she still remembers the goosebumps she felt when they finally succeeded in incorporating music as an actual subject in schools.
Sana continued to share how it was only a matter of time before they realised that Lahooti Melo will be and should be more than just music performances. “With time, it was a shocking revelation to see how many journeys began with our festival. After the UN started a campaign on the Sindhu River, we knew that through music, art, and an artist community, one can achieve anything. We can sit with scientists, policymakers, educationists, teachers, poets, and the list goes on,” she said.
“And it’s not just our festival. Any festival with a thinking team, sensitive artists, who care for the cause and have passion for social change can lead to such awareness and impact,” added Saif.
When Coke Studio met Lahooti
Many artists that were launched through Lahooti Melo now perform for mainstream platforms and get the recognition they deserve – and that process was the most “beautiful and rewarding” experience for the husband-wife duo.
“I remember that during Rohail Hyatt’s time, our studio here at Jamshoro became a hub for all indigenous artists to audition for Coke Studio. We didn’t even anticipate that happening. When I see artists like Mai Dhai and Faqeer Zulfiqar find global fame, I feel satisfied” Saif said emotionally.
“That gave hope and life to the women and musicians of their region. This one time, Sharmeen [Obaid-Chinoy] came to interview Mai Dhai pre-Coke Studio and asked her if there are other female singers like her. Mai, in Marwari, said that she’s just one amongst thousands. There’s only a lack of exposure amongst the men, their society, the media, and the state that never lets them come to the front.”
Saif added that Mai waited 60 years to fulfil her dream of singing and becoming popular but perhaps, through Lahooti and other similar platforms, more young folk musicians won’t have to wait six decades to do what they love and be recognised for it.
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