When cars made way for culture: Kala Ghoda’s parking lot and the birth of a festival

Brinda Miller, its honorary chairperson and festival director, accompanies us as we retrace the trail of the early editions. Around us, heritage landmarks create an ominous boundary that lines the nucleus of this annual cultural spectacle. Some like the Elphinstone College are venue partners, while others like the restored Keneseth Eliyahoo Synagogue and David Sassoon Library and Reading Room relay the intent behind the Kala Ghoda Association’s core vision — to bring heritage, culture and the arts together under one umbrella. Later, over cheese toast and coffee at Knead Cafe, we dissect its massive imprint on Mumbai’s and India’s cultural calendar for over 25 years. 

Excerpts from the interview.  

Let’s rewind to the early days of the festival…
It was 1999. I remember standing on the pavement witnessing the press conference — there were Mrs [Sangita] Jindal, the Tatas, and Kala Ghoda residents. I was excited that we finally had a lovely festival along Rampart Row.

Adnan Sami at the 2002 edition of the festival

My father [Nana Chudasama] was always part of public life and he loved doing such things. Maybe, I inherited it from him. In the early days, it was a charming, 14-day festival with no verticals like visual arts. The area was not shut to traffic. Art galleries in the vicinity wanted to list their special shows and events. For two weekends, concerts were held in the parking lot where the horse stands now. This was discontinued later when it became a silent zone due to its proximity to places of worship and educational institutions.

Trilok Gurtu jams with Remo Fernandes (right) in 2003. File Pics

Every year, we felt it wouldn’t survive because of lack of funds but somehow, we kept it alive. Few will remember that the late Pritish Nandy donated Rs 1 crore from his MLA fund in the early 2000s to build the amphitheatre in Kala Ghoda. We were lucky that well-wishers came forward in the early days. Today, the district has transformed into a buzzing destination where heritage and history blend with eating out and retail destinations.

When did you and the core team realise that the festival had the potential to get bigger?
Funds were a struggle for the first five-six years. Then, there was a sudden burst of sponsorship from the print media. HSBC and the Jindals supported us immensely. However, when people helming the festival would move after a few years, we would face a sense of abandonment. The challenge was to prove to ourselves that we could take it forward. I was on the committee, and was always around to help. The role came to me by default. When they said, ‘We don’t think you can do it as well; we hope you can,’ I took it as a challenge. Every year, we ensured that the bar was raised. There were highs and lows.

Visitors walk past an installation at the 2023 edition

How did you rise after the lows?
One of the reasons the programming suffered was when we lost funding. The festival started looking tacky. We have a wonderful event management team that has helped us survive over the years, through the ups and downs. Just when we were not doing too great, COVID-19 hit; but we were determined to keep it going. So, we organised an online edition that year. People liked it though it wasn’t my cup of tea. Then, when the second wave struck I decided to give the festival a gap year despite suggestions to organise another online edition. There are certain costs involved, and we didn’t wish to waste people’s time and effort. The 2026 edition would have been  the 27th year, but it is the 26th for this reason.

A view of festivities in the parking lot. File Pic/Shadab Khan

Our resilience brought us back after those two years. We had to find sponsors and literally beg for funding. We are artistic people, not business folk. Now, it’s better; people approach us, and it’s an organic process. The festival stalls were our saviours. They were lucky because we had secured permissions back then, which wouldn’t have been possible now. These stalls have funded the festival in a big way. Many performers come on board for much less because we are a free festival. The dynamic changes if we become a ticketed festival. The state government also backs us for this reason. I’m sure we are Asia’s largest street festival.

Has the typical KGAF visitor changed over time?
The crowd has distinctively changed over the years. Earlier, the festival used to be just for the elite in SoBo; the rest couldn’t figure what it was about. When big artistes including Ustad Zakir Hussain, Pandit Hariprasad Chaurasia and Trilok Gurtu began to perform at Rampart Row, the middle-class thronged the festival. Back then, we didn’t have security or DFMDs (Door Frame Metal Detectors). Visitors would even climb trees to watch concerts!

A metallic horse installation on Rampart Row (right) A man poses with a dabbawala installation during the 2013 edition of the arts festival. File Pics

People tend to forget the role of the Kala Ghoda Association…
I was enthused to raise awareness about the heritage buildings in the area, which was appreciated. Many didn’t, and remain unaware that the Kala Ghoda Association raises funds to restore these sites. Right now, we are re-restoring the Bomanjee Hormarjee Wadia Clock Tower, thanks to generous sponsorship. We are happy that people are coming forward to conserve our heritage sites. JSW Foundation has always supported major restorations including the David Sassoon Library, and the Keneseth Eliyahoo Synagogue. Despite slow progress, it’s good that restoration of the Esplanade Mansion — the cast iron marvel — is underway.

You are a seasoned celebrated artist too. How do you approach the two roles?
I miss art at this time, because I am not able to do any work. Art is my therapy, and is a contrast to my role at KGAF. There, I am dealing with people all the time, but when I paint I am alone in my studio.

KGAF 2026

>> Horniman Circle Garden is back as a venue. As a wider community outreach itinerary, there will be performances by Bengali congregations, Marathi and Sindhi groups
>> Last year, the steps of the Asiatic Society was revived as a performance venue after four years, thanks to funding
>> The second year of the Lifestyle vertical will have a robust programme. Under fashion, expect walks and possibly, a fashion show. Mental wellness will also be addressed in the form of art therapy workshops

Quirky Memories from KGAF

>> Occasionally, we’d rescue politicians and important guests from DFMDs and security. I had to call someone several times to help me get past security! 
>> Famous musicians have long lists to feed armies: Red Bull cartons, sandwiches and burgers, dry fruits and nuts
>>   A drunken showstopper musician could barely perform; he arrived late, and only spoke to the audience!
>>   A star musician insisted on arriving in a Mini Cooper, so we had to hire one
>>   As part of his play, a theatre director brought a real horse on stage!

- Brinda Miller

Milestones

>>Two years ago, jazz legend Herbie Hancock performed for us at NCPA, thanks to the US Consulate. 
>>Ustad Zakir Hussain has performed in the outdoors on several occasions. 
>> The Bodhi Art Gallery had set up installations across the entire parking lot for an entire year 
>> Moving the Dance and Music programming to Cross Maidan and the steps of the Asiatic Society, was a blessing in disguise.
>> Winning UNESCO Awards of Merit for the restored Mulji Jetha Fountain, Bomanjee Wadia Clock Tower, David Sassoon Library and CSMVS
>> Installation of the Spirit of Kala Ghoda statue conceived by Altaf Miller, in 2017
>> Better street décor for the 25th edition (2025) gave the festival a new look
>> Ongoing pedestrianisation of the inner streets

- Brinda Miller

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