At the quiet, historic grounds of Maqbara Mah Laqa Chanda in Moula Ali, an unusual gathering recently brought together art, memory and history in a way that felt both intimate and powerful. Artist Musa Khan’s showcase, Mehfil-e-Mahalaqa, was not just an exhibition but an attempt to bring back into conversation a woman many have forgotten, yet whose presence once shaped the cultural and social fabric of the city.
Speaking about how the event came together, Musa reflects on the spontaneity behind it, “Most artists if they just started up, come up with ideas for months, but this, to be frank, with planning and permissions, took like three weeks. Considering the distance, weather — the response was quite good.”
The idea for the exhibition, he says, comes from a deeply personal space. Talking about his journey as an artist, he says, “Ever since I was a kid, I have had an attachment with old buildings, old structures, antiques and vintage items, and the second thing was art. When I was a kid, I was always confused between the two. I want to have a palace and all my antiques, but I also want to have my own art exhibitions, and my art themes have changed over time. After a few years, I started sketching, and I think this is my niche, where I am excelling and getting a name, and when you combine both the topics, old traditional structures and sketching, this is what is fruitful for me…”
It is this blend of history and art that led him to Mah Laqa Chanda. As he began exploring Moula Ali and its layered past, he found himself drawn to her story. He shares, “Coming to Mah Laqa Chanda Bai, if you have heard about Moula Ali or Maula Ali ka Pahad, Moula Ali Hill, it is an age-old structure from the Qutb Shahi era, and there are many manuscripts and records about how people, irrespective of religion, would leave their homes and reside there during the holy month of Rajab, believed to mark Hazrat Ali’s birth, with a relic on the hill. People of different faiths gathered, and the area had palaces, deodis, houses, and structures, continuing as a custom.”
Challenging the limited narrative around her identity, Musa says, “People just tell you Mah Laqa Chanda was a dancer, but that’s not it.” Through his research, he discovered her remarkable contributions. He explains, “She was the first female Urdu poet in history, a philanthropist, and someone who donated immensely for women’s welfare and education. She fought wars alongside the Nizam and was one of the most powerful women of that era.”
For Musa, this project became more than just an artistic exercise. It turned into a responsibility. He says, “In Hyderabadi history, throughout the years and even in the current generation, 90 percent of the people do not know who she is. The people who know her are barely 8 to 10 percent and 70 percent of them say she was a dancer and look down upon her. People know her through books and manuscripts, and the work she has done, and she rightfully deserves this.” Through his sketches, he attempts to present her not just as a historical figure, but as a layered personality, someone who carried both grace and strength.
As the evening unfolded with sketches, stories and a heritage walk, the Mehfil-e-Mahalaqa achieved what it set out to do. It brought Mah Laqa Chanda back into conversation, not just as a historical figure, but as a woman of influence, intellect and resilience whose story still deserves to be told.