Music brings life into our days, often catching us off guard with its ability to mesmerise and transform how we see the world. Many of us seek spaces where soulful sounds meet meaningful experiences. On December 12, Birwa Qureshi, founder of Crraft of Art, brings one such experience to Hyderabad with the Golconda Fort Festival, a celebration of Indian classical music and Telangana’s folk traditions. She speaks to us about the festival, her journey, and the power of heritage.
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Tell us about the festival and what Hyderabad can expect.
At Crraft of Art, an initiative I founded 16 years ago, we work with historic monuments in artistic ways, especially to reconnect younger audiences with heritage. At this festival, Golconda is the hero. We celebrate the fort for what it is, using the language we know best: music. It’s our first time in Hyderabad, and it’s happening on Golconda’s own day, making it even more special. The day will begin with performances by Telangana folk artistes, followed by an evening concert curated by Ustad Faisal Qureshi. The theme, Drums of India, brings together percussion from tabla and mridangam to kattam, khartal, dolak, dholki, and even jazz drums. It’s going to be an electrifying mix.
What has the journey of Crraft of Art been like?
I’m from Gujarat, raised in a family of architects, and trained in Bharatanatyam under Mrinalini Sarabhai. I later studied interior design and eventually married into a musical family. So architecture, design, dance, music, and history have all shaped me. I’ve always been drawn to understanding how history moves forward and stays relevant. Through Crraft of Art, I try to look at heritage with a contemporary lens — not recreating the past, but engaging with it today. These monuments, like Golconda or the 1100-year-old stepwell I work with, are living structures. Their stones carry stories. Bringing those stories into public consciousness is what drives the work.
What were some of the challenges, you faced when you started?
16 years ago, this wasn’t a common space to work in. My festivals are for people who genuinely love heritage and music, it’s still niche. Each monument also comes with its own practical and creative challenges. But the rewards have always outweighed the difficulties. Over time, a dedicated audience has formed, many of whom travel wherever the festivals happen.
How do you attract younger audiences?
We often underestimate young people. They are deeply interested, whether in monuments lit beautifully at night or in classical music presented in striking settings. Nearly 60 percent of our audience is young. I don’t telecast the festivals live because I want people to step out and go to these monuments, not consume them on screens. I do what I believe in. We present the work as it is; if people like it, wonderful; if not, that’s fine too. Thankfully, audiences respect this integrity.
What is your perspective on Telangana’s art and culture?
It’s incredibly vibrant: colourful, bold, and deeply community-driven. From narrative forms like Burrakatha to month-long celebrations like Bonalu, the cultural fabric here is rich and diverse. I’m featuring seven folk forms, but there is so much more waiting to be showcased.
What keeps you motivated to stay committed to the arts?
Motivation has to come from within. These festivals take years — Golconda took six years from conception to reality. But the question ‘why not?’ keeps me going. My children also inspire me tremendously. I started Crraft of Art when my younger one was two. They’ve grown up with the festivals. They are hardworking, focused, and clear — qualities I learn from every day. I’m more emotional; they are more practical, and that balance motivates me.
What’s next in Hyderabad?
First, I have to pass the test with Golconda. I do have a few other sites in mind. I love this city, it’s rare to find a fort and a palace in the same landscape, and Hyderabad offers that magic. I’m not leaving anytime soon.