I don’t get gardens or lawns that are closed to the public. Let them use it, let them have a picnic there. Let them look at the Rajabai Clock Tower while eating a sandwich. They will develop some kind of affinity for the place. If people build relationships with places, they will take care of them. It is about understanding that making a space public can be a good thing.
Even before we meet, we know that Alisha Sadikot knows Mumbai more than most people. After all, she has chosen the quaint 135 year-old Byculla Bakery tucked under the JJ flyover as our meeting spot. An hour later, we stand inside the hall that witnessed the wedding of the Father of the Indian constitution – Baba Saheb Ambedkar. But this historic spot is far from glorious, with vegetable vendors whimsically moving around, occasionally dropping their green veggies. It is in fact set to be demolished soon. On a walk a few days later at Kala Ghoda, Alisha points out to a North Indian eatery that once was the iconic Wayside Inn where sipping tea on Table Number 4, Ambedkar drafted the Indian Constitution. “Shouldn’t we have saved these places?” she asks.
That is what guides Alisha’s mission – sharing the city’s rich local history and also its missed potential with a growing pool of interested locals and outsiders. The founder of The Inheritage Project, her work spans across history, architecture, museums and art. She is also the co-founder of Art Walks Mumbai, and runs the visual history archive, Telling Histories, on Instagram. Between cups of tea, some caramel custard and a plate of eggs, Alisha talks to TFM about why she hates the city as much as she loves it, her time in the UK and the changing landscape of Mumbai’s museum scene.
Alisha Sadikot
To begin with, could you tell us about some of your earliest memories of Mumbai (or Bombay)?
I don’t have too many early memories but what I do remember is the route I took for 12 years between my school in Mahim and home in Bandra. Looking back, one of the things that strikes me is how much the city has changed. My school route is now more crowded, built up and closed, and there are parts that did not exist before like Bandra Reclamation.
Where does your interest in the city and its history stems from?
A lot of my family members are artists, historians or have worked in the humanities, so the interest emanated from the kind of environment I grew up in.
These were also the subjects I enjoyed the most in school. And when I went to St. Xavier’s College, it was like a breath of fresh air. Everyone around me was studying Humanities, usually a subject people don’t want to do, and it was there that I realized that I wanted to pursue history.
Did you go to a lot of museums as a child?
Yes, it was always a part of our travels. I have this vivid memory of going to Pune where I wanted to stay in the Raja Dinkar Kelkar Museum and my brother just wanted to leave. My mother got so irritated with the both of us (laughs). In school as well, we went for trips around the country which often included heritage sites. So, it was definitely something I was exposed to but I never thought about it consciously. Although back then, art galleries and museums in the city were not as active, so this was a part of the agenda when we travelled outside of Mumbai.
You also went to the UK for your higher studies after Xavier’s. What have been some interesting experiences at all these places?
Back then, we were mostly studying larger histories. Bombay’s history might have been addressed academically, but it definitely wasn’t a part of the public conversation.
During the second year at Xavier’s (2004), The Asiatic Society, which had turned 200 years old at that time, was looking for college students to take people around the neighborhood. So we had a bunch of people who came to prepare us for these walks like architect Abha Narain Lambah and some other historians. And eventually, we were doing these free walks every week for a year. It was such an amazing experience, and I think that’s where I caught the bug.
I wanted to figure out what to do with all the interesting knowledge I got and how to share this information with more and more people. How do we build a broader conversation around the idea that history is local – that it can be seen, talked about, stood upon and touched?
Once I finished with Xavier’s, I realized that I wanted to do more of visual history so I went to Baroda to study for a year. After that, I did my Masters in the History of Art at SOAS, London where the focus was on architecture, painting and museum collection. I came back and worked for Dr. Bhau Daji Lad Museum in Mumbai for two years. While working there, I realized that while I like exhibitions and research, I also really love talking to people. That’s when I went to the Newcastle University to do my Post-Graduate Diploma in Heritage and Museum Education and Interpretation. This is where I learnt that it is more important to understand your audience first and then your objects, which is the opposite of how museums operate here. I came back and ended up running the education programme at the BDL museum for three years.
I wanted to figure out what to do with all the interesting knowledge I got and how to share this information with more and more people. How do we build a broader conversation around the idea that history is local – that it can be seen, talked about, stood upon and touched?
What was the key difference you noticed between the treatment of history and historical monuments between the UK and India?
When I was there, I observed that every museum in the UK had a mandate to find ways to increase their audience because the footfalls had fallen. They had to become more people-friendly, and this launched a movement of making museums more public. Museums transformed from simply being gatekeepers of knowledge to platforms for conversation. You could have a sleepover at a museum or even a bachelorette party, as long as you are building an audience and a community. For me, this was interesting because it was a big shift from what my collection is to who my audience is or could be. And while the field is so saturated abroad, we had a wide open platform to do new things in India.
And now there are so many people doing such amazing work in India and they are not even from the museum world! People like marketers, artists, architects, etc. are all coming in to make museums more accessible and engaging. There is this whole move to decolonize knowledge. They still haven’t figured it out abroad, but we are yet to even start the conversation here.
Coming to your walks, we are curious to know what is it that you do to ensure that the same walking routes are not monotonous?
No two walks are ever the same because I keep finding more information and more detours I want to show. Neither are two days the same for me because the people on these walks are different.
I always start by asking what does the group want? What is the purpose of this session? I create a detailed plan for each session. Also, because this is a face-to-face program, I get feedback on the spot. I can see whether something is working or not, and can modify my approach accordingly.
In terms of preparation, I often walk the same route multiple times and during different times of the day because Mumbai can constantly surprise you. So you really need to know what time works best for a particular conversation or story.
What’s your favorite spot in Bombay and your favorite part about the walks?
I wish I had a favorite spot, but I really don’t. I hate this city as much as I like it. I hate it mainly because of its missed potential. But I also feel that the missed potential is a sort of underlying theme of Bombay. The city is interesting in its ugliness, because if everything worked and was perfect, then it would not be such a fascinating experience.
With the walks, my favorite part is the amazing people I meet. Those who come on my walks are quite invested. They already know a lot and they want to know more. They challenge you. And that’s why it takes almost six months for me to prepare the plan for each walk.
I hate this city as much as I like it. I hate it mainly because of its missed potential. But I also feel that the missed potential is a sort of underlying theme of Bombay. The city is interesting in its ugliness, because if everything worked and was perfect, then it would not be such a fascinating experience.
Your focus is on local history. Do you think that people are catching on to that aspect?
It is really exciting because there is so much change. The amount of potential we haven’t tapped on yet is huge. Even if I do a walking tour every day for the rest of my life, it will only be a drop in the ocean.
We need to do this in different languages in different areas. I feel like it has to move beyond ‘I am being a tourist in my city for a day’ attitude. We need to take this outside of Fort, which is known for its history, to other parts of the city where so many important things have happened at different points. We have a long way to go which is both challenging and exciting.
Are there any websites or books you would recommend, especially when it comes to local history?
They are a lot of writers now who are making history accessible. A really good starting point is ‘City Adrift’ by Naresh Fernandes. Another book I love is ‘Mumbai Fables’ by Gyan Prakash. He has taken a critical look at history as opposed to the usual nostalgic lens. He explores the city’s darker history. One of the most amazing books that I have read recently is on the suburbanization of the city – ‘House, but No Garden’. It is about how we moved from bungalows to apartment living.
The amount of potential we haven’t tapped on yet is huge. Even if I do a walking tour every day for the rest of my life, it will only be a drop in the ocean.
You once compared Bombay to an onion during a walk. Could you elaborate on that analogy by mapping out the city architecturally?
Yes, I often compare Bombay to an onion because it has so many layers. You start off at the centre (South Mumbai) in the 1860s and and you could walk out in the 1940s, and as you move, you can see how the architecture changes.
Beyond South Bombay, a lot has been built post-independence, so you can see the difference in the construction between the 60s and 70s (when they were building cooperative societies in residential areas). You can see the modernist architecture and then the high-rise boom post-FSI coming in during 1964. So there are ways to identify when a particular area was developed or built. But it is becoming fairly monotonous now with just the high-rise buildings. So going forward, I don’t know if we will still have these layers.
During one of your interviews, you said that these walks go beyond ‘heritage’ to cover socio-economic and political aspects like migration as well.
Absolutely. I want to explore what’s happening in the city today. For example, I want to ask questions like how will the Coastal Road affect this lovely UNESCO World Heritage vista that we have. So my walks include history and architecture, but also move beyond the nostalgia.
Unfortunately, women in history are very often overlooked. Could you tell us about any interesting women that have come up in your research?
Have you noticed that there are no women statues in public spaces? It is in fact a walk that I am currently working on – women’s history in Mumbai. While there are enough stories, crafting a walking tour around them is a challenge.
But I can give you a story I put up on my Instagram as well about Hansa Mehta. I went to Baroda where a library was named after her. Turns out she was a local leader who became a part of the Constituent Assembly of India. She spoke about having equal opportunities for women. She went on to work in the UN with Eleanor Roosevelt when they were working on the UN Declaration of Human Rights. The first line of the document was ‘All men are born free and equal.’ And she was the one who said that it should be, ‘All human beings are born free and equal.’
Hansa Mehta is from Bombay! Why do I not know about her? Why is she not in every classroom?
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How did the idea of your visual archive ‘Telling Histories’ come to be?
I feel like there are amazing resources out there but teachers don’t know about them. They don’t know about the Citizens’ Archive of India, Indian Memory Project, or Google Arts and Culture. And all this is free content. So how do we bring it inside the classrooms and relate it to history and to the curriculums.
‘Telling Histories’ is my way of being experimental about it. The idea is to create a space that can help with the teaching of history. For example, the tetrapod says so much about Bombay’s geography. And now, there are companies that sell tetrapod paperweights. Imagine getting school kids to play with it and then building a conversation around it, but in a different way.
Do you think that social media has played an important role in your work?
Social media has transformed everything. When I started doing this, I was dependent on a travel company for the bookings. Now people have direct access to me through social media. Those who can’t come for my walks can virtually engage with the content I put up on my Instagram. In fact, there are people who I interact with only on social media, so we are able to have a conversation despite of physical boundaries.
The city is going through some drastic changes at the cost of its history like Esplanade Mansion‘s (Watson’s Hotel) demolition. Do you think it is possible for a city to take care of its history but also continue to develop?
I am not being cynical when I say that at some point I would be doing a ‘Ghost Walk’ talking about ‘This used to be here or this is how people used to live here’.
I think we need to get more creative about how we use spaces. For example, this debate about Watson’s Hotel where people say that if it will not stay completely original, so why keep it at all. But why do we need every bit of it to have the same original material? Let’s get creative. Let’s think about reusing, rebuilding, restructuring, and making it public.
I don’t get gardens or lawns that are closed to the public. Let them use it, let them have a picnic there. Let them look at the Rajabai Clock Tower while eating a sandwich. They will develop some kind of affinity for the place. If people build relationships with places, they will take care of them. It is about understanding that making a space public can be a good thing. There are amazing ways of doing this like the Open House movement where cities across the world open public buildings for one weekend every year.
I always start by asking what does the group want? What is the purpose of this session? I create a detailed plan for each session. Also, because this is a face-to-face program, I get feedback on the spot. I can see whether something is working or not, and can modify my approach accordingly.
Does attending walking tours in other cities help you in your work?
I do walking tours everywhere I go. The best way to engage with a place is by walking in it. A walking tour is also a good way to ask questions or know a little bit more. One of the walks that blew my mind was when I was on a work trip to Berlin.
What I remember about this man’s walking tour is that he calmly and honestly answered every single question people had, however difficult the question was. He said, ‘It is my responsibility to never let people forget and that is why I am going to give you every answer that you ask for’. I might eventually not remember everything he told us, but that experience will remain unforgettable. Whenever I think about him, I get goosebumps. If I can be that honest, open and knowledgeable about something, I’d consider my job done.
Do you think your profession has personally changed you or impacted you in any way?
I wouldn’t say I have changed but I was a really shy person growing up and now I talk to people all the time. I also have to constantly keep myself updated not just in terms of content but also in terms of ideas and skills. Social media, for example, is not about fun for me. It’s work. I also want to learn new skills like creating videos. Basically, the idea is to constantly update myself and keeping myself relevant to the 20-something generation.