A Royal Repast
A Royal Repast
When Hyderabadi food is steeped in history and served on silver platters so royal, it is ever so memorable.
Sartaj Noorani takes us back through time...
Text & Photographs: Farzana Contractor
Sartaj Noorani wears a heavy mantle on her delicate shoulders. Of an inheritance of culture, tradition, aristocracy; a way of life in which she was brought up and which she tries to continue with, as best as possible in the modern times we live. “Look, it’s very simple. If I don’t do it, it will die away. In my generation itself or the next. The least I can do, in memory of my forefathers, is to indulge, whenever opportunities arise, in all the rasams we grew up practising. Rasams are customs and she does practise them with aplomb. During marriages in the family, birthdays, milads for different occasions, even when friends’ children, not necessarily Muslims, are getting engaged or married or even going away for studies abroad.
These are times when the changer, the flower bowl, comes out, filled with garlands, covered with a velvet toreposh, heavily embroidered with golden threads, embellished with golden tassels – karchob, it is called.
It’s a joy to see Sartaj so steeped in her legacy. A legacy that comes from her parents and both sets of maternal and paternal grand and great grandparents. The most famous being Sir General Afsar-ul-Mulk Bahadur who served as Indian Commander-in-Chief to the Nizam of Hyderabad.
This sure was an era of grandeur and luxury, culture and tradition. When weddings and Eid and every other festival would be celebrated with qawalis by Aziz Warsi and brothers. When the naubat players would play their musical instruments, drums and pipes, at dawn and then at dusk, to announce a new day and then its end. An honour allowed only to noble family homes of the highest order.
The story of regalia unfolds right in Sartaj’s apartment in Bombay. Her monochromatic walls speak volumes of decades of history. Of family stories, of childhood and growing years, of multiple homes, one more grand than the other. All this, through the many old pictures hung there, beautifully framed, some even in heritage style, cleverly using spaces in the nooks and crannies and alcoves of the well-appointed apartment. The exquisite silver artifacts and treasured family heirlooms tell their own tales. Pandaans, khasdaans, silafchi, astawa, the surai and its katori. Silver was the favoured metal of the nobility. It was commonplace to eat from silver. Sartaj has never had the need to buy any, ever.
I enquire of my hostess, who has finished serving me some tea and lukmi, putting me in good cheer, “Tell me, Sartaj, before we come to the great Hyderabadi cuisine you serve at home that your friends rave about, what is the story behind this most unique décor, all this beautiful calligraphy?”
“What can I say… I always loved the monochromatic theme, black, silver and grey. And Mohammad, my husband always supported me in my endeavour, all the way. Let me do what my heart willed. To begin with, it didn’t happen overnight. It was my dream to create a space that would balance my Hyderabadi connection with my creative and spiritual side, with things I hold value. Like calligraphy. It resonates with me deeply, with my Sufism, my faith. I am surrounded by Quranic verses. This arch above us has the complete Ayat al Kursi carved into it. The panel there has the four quls. The painting here says, Allah Jalle Jalalahu; God, He is the Exalted, the Majestic. The door leading to my dining and bedroom areas has the plaque which reads, Hasbunallah Wanimal Wakil; Sufficient unto us is Allah who is the best guardian. It’s our family motto. We, as commoners, may not be conversant with so much of a noble lifestyle but when one has lived through it, it has a deep meaning.” Like Sartaj’s maternal family comes from a Mashaikh Silsila. Which means their ancestors, Sayed Khandan, were saints. One of them being Hazrat Sayedna Mir Shujauddin Qadri Saheb from Eidi Bazaar in Hyderabad.
In this milieu as a child Sartaj grew up in the zanana, the cloistered part of Mehboob Manzil, a grand palace-like home, where the females lived, studying both Islamic values and modern education through English governesses, imbibing Hyderabadi cuisine as well as Continental, with equal ease.
“Lets talk food,” I tell Sartaj, conjuring Hyderabadi hospitality. “Oh, we can write a book on that. Food was the focal point. The dining table, the centre of the house! And mehman nawazi played a most important role. A guest was always cherished, he had after all taken time and trouble to come visit you in your home and you had to accord him honour, love and respect,” she replies, “It was not just when guests arrived but even as the family ate everyday, the table at my great grandfather’s house, Rahat Manzil was always immaculately set. The kitchen was across the dehlan (courtyard) in another building altogether. The sheer number of kitchen staff was staggering. The cooks were mostly men. The kamatans (masala pounders) were mostly women. The bawarchi and the khansama were not spoken to directly by my great grandmother, Asgari Khannam, Begum Abdul Jabbar, as she was known. We called her Amma Jaan. She would only speak to them through her moghlani, her main maid so to speak, whose job was to look after every small need of my great grandmother. Except that the moghlani was a major domo, a powerful figure who had her own battery of staff under her. Which of course led to power struggles and Manzil politics! But never mind that!” concludes Sartaj. In addition to all the food that was being cooked, the interesting aspect was also the grainary. The room where not only all the raw material was stocked but also the silver utensils, large trays and huge domes, in an area called the toshakhana. Always kept under lock and key, the key being kept with just one person.
Apparently Amma Jaan was dynamic and fun. She would get all her children – now adults and married with kids – on the lawns behind Rahat Manzil for a cookout (the front lawns would have elephants and horses, used for transport!). She would break them up into teams, have each nuclear family – husband, wife and kids, cook a meal with ingredients she would choose. Then she would judge the dishes. She used to say, “If you know what good taste is, you should also know what goes into the cooking.” Other times she was out cooking in the dehlan, the courtyard. Surrounded by water fountains and dozens of kitchen staff and roaring wood fires, she would give instructions to the cooks.
Her specialities were many but Gile Beheshat, Arabic for Muck of Heaven or in Urdu, Jannat ka Kichad. A ‘raw’, uncooked sweet dish made of rice powder, ghee, rose water, ground almond and sugar, and tonnes of saffron. It was mixed and then kept being mashed in a lagan with the flat of one’s open hand in a rotational manner. Sartaj enlightens, “They would keep mixing this, till masal, masalke, the concoction had turned soft, bilkul mulayam. The final texture had to be just a bit grainy. Never mind if the palms had turned red!”
I wondered if Sartaj could cook? Has she ever? “I must confess, no. Never happened that we went and cooked. But being deeply involved with food and entertainment we inherited the knack of knowing if something was right or wrong by just looking at it, even before tasting it. We all developed that canniness.”
“But I have to tell you. We were blessed. I am grateful to God I have eaten food, one cannot even dream of. Apart from all the Hyderabadi delicacies which were the norm, we ate the best of Continental food. What happened was my mother’s friend, a Scotswoman, was returning home and we got lucky to get her well-trained Goan cook. He was brilliant. Goan cooks, known as maestries were the ultimate. Ours was called Fernandes. He would make the most amazing Continental fare. Meringues, soufflés, all in coal ovens! Yorkshire Pudding, Steak & Kidney Pie, Stuffed Turkey at Christmas, Chicken Maryland, Shepherd’s pie, Roast Lamb, Fish Baskets, Lobster Crab, in the shell. Literally everything was made at home; ice-creams, chocolates, Syrup Sponge Cake, Sticky Toffee Pudding, even bread was baked at home. He used to make a nougat basket with candied fruits on top which we have never forgotten. Also great marzipan. His orange and ginger snaps with brandy cream inside was out of this world. My father used to say, Fernandes is not a cook, he is a supreme artist. The funny thing is, he drank a lot and the more drunk he was, the better the dish! He died when my daughter, Aida, was two years old.”
“What about what happens in your kitchen now?” I enquire. “Much the same, I decide the menu, I supervise. My taste buds don’t let me down. My cooks have been with me for decades, even the drivers have been there for 35 years! So I am in a comfort zone. My aunt, the late well-known cookery book author, Mumtaz Pasha, taught Sabira, my main cook, all the Hyderabadi delicacies. That is the cuisine we serve our guests. Almost always. Dishes such as Bagare Baingan, Mirch ka Salan, Dum ka Murg, Haleem, Hyderabadi Biryani, Dum ke Kabab, Shikampur Mahi Kaliya, Pasandey, Dalcha, Talawa Gosht and so on.”
Hyderabadi food, Sartaj explains, is not something that you can just whip up. Not a cuisine where you can cook in a jiffy. It is labour intensive. It had to be planned meticulously. The prep work begins even days before. The spices have to be ground, meat has to be marinated. When the actual cooking does start, almost every dish is slow-cooked, with some being tempered, others being bhunaod, browned, cooked until the oil separates from the meat. Takes time, patience and lots of love and care to achieve the final goal – the perfect dish!
However, Sartaj does inform me that they socialise and entertain far less these days. “We do like to go eating out, as well as have friends over, but it’s far less frequent. You know how it is. Life changes. I reflect a great deal more. Our home is our world now. We like to spend quality time at home.”
While the Nooranis continue to eat Hyderabadi meals on a daily basis, the food is toned down. “The menu remains extensive, even if it is just the two of us, since Mohammad likes variety, but it’s a lot lighter. We have incorporated much more vegetables in our diet and we love Mahi ka Salan and grilled fish with Hyderabadi spices. Pomfret is the preferred fish, though rawas also finds its way to our table.” Breakfast is English; cereals, porridge, eggs made differently on different days, tea, marmalade, toast, papaya.
You have two kids… “Yes, Aida and Tabrez, both live in America. They come often, especially now that Mohammad and I are getting on. Almost every three months and for longer spells than before, which would be just a week or so.”
Aida studied at the London School of Design in New York, designed clothes and helped her dad with his magazine, Indian Rubber Journal, when he was with Bayer, the German company. Tabrez is a director and producer in Hollywood and a name to reckon with. His companies are Tamasha Talkies and Take One. It was Tabrez who was linesman for films like Slumdog Millionaire, Life of Pi and Tom Cruise’s Mission Impossible. Tabrez is a huge, huge foodie who dines in the best restaurants, world over, and loves to cook.
The Nooranis are a close-knit family. They travel together even now, as they did when Aida and Tabrez were little kids. Except now the group has grown bigger. There is Aida’s husband Aftab and son Zayan and of course Sartaj’s Bhabhi Jaan and Bhai Jaan, Colleen and Zafar Hai. Colleen, then Bhiladwala, was the chief air hostess of Air India, and JRD Tata’s blue-eyed girl. Zafar is the well-respected filmmaker par excellence.
“We have travelled extensively in Europe since we lived in Cologne for a few years when Mohammad was with Bayer and all of us love visiting museums and art galleries. But these days we enjoy cruises more. Travel has been a big educator for all of us, especially my children. It has made them into liberal thinkers, open to everything. They seem to have no problems adjusting wherever they go,” concludes Sartaj.
World citizens, we call them. The only difference is Aida and Tabrez certainly have the will to take forward the heritage that has been bestowed upon them.