Few places in the national capital can match the fervour of Independence Day in Old Delhi. From the pride-filled hoisting of the Tricolour at the Red Fort to the vibrant kite-flying at the iconic Jama Masjid, the sky becomes a canvas of freedom as thousands of kites compete to soar. This year, the celebrations are bigger and better. The Kiran Nadar Museum of Art (KNMA) and city-based cultural hub Tales of City are bringing ‘Aai-Bo-Kaate’, a celebration that promises kite-flying with friends and family, a Dastangoi session, a community meal, and a colourful display of fireworks and floating lanterns on a rooftop overlooking the Jama Masjid — all in the spirit of freedom.
A kite-flying carnival
Abu Sufiyan, founder of Tales of City, explains that ‘Aai-Bo-Kaate’ is a term they coined, meaning ‘cutting the kite while flying’. It is similar to the Gujarati phrase ‘Kai Po Che’, which means ‘I have cut’, used when a competitor cuts another’s kite during festivities in Gujarat and Rajasthan. “Experiencing Independence Day in Old Delhi is always grand. Kite flying is one of the most liberating acts of celebration, fostering a sense of community and harmony as people of all ages and backgrounds gather on rooftops for this tradition. This time, we’re collaborating with KNMA to curate this event for a broader audience. The Dastangoi performance will highlight the sacrifices made for freedom and the price we’ve paid to live in a free country today. Visitors can also look forward to a community-prepared BBQ on the rooftop, fireworks, and more!” he adds.
Honouring revolutionary voices
Dastangoi is an ancient form of Urdu storytelling that languished during British rule but was revived around 2005 by literary figures Shamsur Rahman Farooqui and Mahmood Farooqui. The Dastangoi Collective, directed by Mahmood Farooqui and produced by Anusha Rizvi, will present two Dastangos, Meera Rizvi and Namita Singhai, performing Dastaan-e-Fahmida. It will tell the story of renowned Pakistani Urdu poet Fahmida Riaz, known as a voice of resistance. Riaz is a poignant figure in the context of Partition, with writings that explore themes of displacement, migration, and identity. “Today, there is a legacy of mistrust regarding Partition. People on both sides often feel that only their side suffered. However, the reality is that pain, loss, and horror spared no one, regardless of religion, gender, class, or region. Such catastrophic events leave their mark on future generations. Riaz was born in 1946, and while she did not experience the Partition as an adult, her nazms and stories reflect the trauma passed down by her elders,” Singhai shares.
Riaz is celebrated for poetry collections like Godavari, Khatt-e-Marmuz, and Pathar ki Zaban, which voice feminist themes and address oppression and social issues. Singhai adds that Riaz stood as a revolutionary voice even during the military rule of President Muhammad Zia-ul-Haq. “During Zia’s regime, when many anti-establishment writers stopped writing and left the country, Fahmida stayed in Pakistan, continued writing, and was charged with sedition — a charge that could lead to long prison sentences, torture, life imprisonment, or even death. She managed to escape and was granted political asylum in India by Indira Gandhi. She stayed for some time in Delhi with Anusha’s mother, and many of the anecdotes for the Dastangoi performance on her stem from this period,” she concludes.