First Published in IIC DIARY

India International Centre New Delhi, recently
organised an evening evening with Javed Akhtar, where the celebrated poet recited his outstanding poetry and conversed candidly with Anil Shrivatav and audience.

Shri Shyam Sharan, President India International Centre introduced the legendary poet and writer Javed Akhtar as apart from being an author and a poet, was also an outstanding lyricist, script writer who has been awarded with several awards and honors from home and beyond.

Anil Srivastav, engaged with Javed Akhtar in a candid conversation as he talked against casteism and fundamentalism. He used the metaphor of toy very appropriately and said most of us are happy with toys as a child and not when grown up.

He said lineage, heritage didn’t give any pride as the genes are not as important as the environment of poetry that made him. He recited wonderfully with great sensitivity two of his brilliant poems, waqt(Time) and Anshu(Tears) to the appreciative audience overflowing in the auditorium.

He took it as a compliment when asked by Allok Srivastav that though he calls himself an atheist still he wrote of Lord Shiva’s tandava, He went on to say that an author has to write differently in different situations that the script demands. He made an extremely significant statement that , “We have to surrender to time and norms.” And also mentioned that we are living in a bubble and everyone wants to be victorious. Instead we have to look for yesterday’s innocence, respect, honesty and surrender. He talked of the golden era of Hindi film songs with great appreciation as common people don’t attend philosophy classes but learn from good film songs.

One very significant statement the erudite poet mentioned is that Hindi and Urdu are of the same origin . Urdu is written in Persian script while Hindi is written in Devanagari and eventually the script is just Hindustani .According to him Hindi and Urdu merged together bringing the best poetry and literature though only time will tell what is good literature. With ghazals, nazm, shayari and splendid conversation a splendid evening passed in an overflowing auditorium with Jadunama or journey of Javed Ji in hands of the captive audience.

Mandira Ghosh

Note
Jadunama is about a writer, poet, lyricist, and political activist. It is also about this one man’s struggle since childhood to become what he is today and to create a hallmark of success in everything he does. Named Jadu at birth, it was Javed sahab’s father, Jan Nisar Akhtar’s poem, ‘Lamha, lamha kisi jadoo ka fasana hoga (Every moment will be the story of a certain magic)’ that was the inspiration behind the name. When the little boy was in kindergarten, everyone realised that Jadu was not a serious name and to have a word as close to Jadu as possible, he was renamed Javed (meaning ‘eternal’), Akhtar (meaning ‘star’)—Eternal star! Not only has he remained in the limelight ever since, he continues to shine brightly like the eternal star!

Javed Akhtar (born 17 January 1945) is an Indian screenwriter, lyricist and poet. Known for his work in Hindi cinema, he has won five National Film Awards,[1] and received the Padma Shri in 1999 and the Padma Bhushan in 2007,[2] two of India’s highest civilian honours.

Its 2017, a time to retrospect in the new year and yet bask in the old. I was rummaging through my old files on the internet and came across a few plays I had written for children. It was both enlightening and amazing to see the play across the screen, I re read them renewed interest…yes they spoke…I could see the language across the stage, the actors and the magical sets with the green yellow hues across the stage and the twinkling lights. Each one of the childrens’ plays that had been written by me made sense to me and the actors. It made me wonder if they were worth publishing and whether it would be liked by others. I was just not sure, since such few plays are actually published and find their way into the market.

So essentially what makes a good play script for children? What makes it “tick”? What will create an market for the scripts to be published. This reminds me an incident that made me realize what “ not to do “ in a children’s play.

In my early years of my career as a theatre person I was teaching drama for children between the kids of 8-14 in a prestigious school in Gurgaon. The principal, a very uptight and proper person requested me to write a script on Mother’s day. I was excited since I really had not written much before it would be challenging to write something that was interesting enough to watch. I decided to write a script set in contemporary Urban India, a place like Gurgaon and then use an ancient time period as the main episode in a flashback. So I decided to show the changes in time by changes in the way we speak English. After much deliberation I decided to use slang and words like “ cool” “ dude” “ yaar” etc in my script. I thought I had created a masterpiece. Actually I was quite delighted.

I was surprised that the principal called me to her room, I was confident that she had liked the script so much she wanted to congratulate me in person. As soon as I walked in, she seemed a trifle upset and set the script before me. I was shocked to see my entire script covered in huge red circles. Cuts and cross marks all across the page. It looked like my the results of class tenth maths exam paper. Each of my contemporary words had been circled and crossed out. I was indignant..all I could say was “ why…”. She sternly told me how improper my English was and how I could no use such words. She insistent that I choose not to use any colloquial language in my script since “ it would spoil the vocabulary of the children.” I tried to reason out with her that since the play was set in urban Gurgaon the actors had to use such words. But my protests was put down by her adamant refusal to see reason.

That incident made me realize that something was wrong in the way people understood children’s scripts. They read it through the spectacles of an adult and forget that they are first and foremost plays meant for young actors. Hence plays written for children need not follow rules of grammar and conventional usage of speech. Neither they need to make sense, for example, in the musical Wizard of Oz, the girl is thrown a tornado and her whole house is lifted in it. Charlie and the Chocolate factory we see Agustus Gloop being thrown into the rubbish bin by squirrels. All they need to be is appealing to the child and the adult viewer. They need to interesting! In all my plays that I have written for kids, I have only kept the child in mind and shall continue doing so

I would like to end this by only giving the 10 golden pointers to be kept in mind while writing children’s plays.

1) Do not be afraid of using contemporary language and one can even throw in few phrases in Hindi, if the need be. Make it Hinglish if you want.

10) Last but not the least, enjoy the task…and forget daunting principals…goodluck!!!

Organised by Sanskar Bharati, Delhi Prant, the Delhi Kala Utsav 2026, held on 28th February and 1st March at Rabindra Bhavan Complex, Mandi House, emerged as a vibrant celebration of India’s artistic and cultural legacy. Spread over two enriching days, the festival brought together music, dance, theatre, visual arts and literature, presenting a holistic reflection of India’s creative spirit.

The festival commenced with the traditional ceremonial lighting of the lamp, symbolising the eternal flame of Indian culture and collective consciousness. The inaugural session was graced by Hon’ble Union Minister of State for Road Transport and Highways Shri Harsh Malhotra Ji, Hon’ble Shri Vijay Kumar Ji, Akhil Bharatiya Sah-Vyavastha Pramukh, Hon’ble Speaker of Delhi Legislative Assembly Shri Vijender Gupta Ji, Hon’ble Shri Vijay Kumar Ji, Regional Organisation Minister of Sanskar Bharati, Shri Ashok Tiwari Ji, Kendriya Karyalaya Sachiv, Sanskar Bharati, and Shri Prabhat Kumar Ji, President, Delhi Prant, Sanskar Bharati. Their esteemed presence added dignity and national significance to the occasion.

Following the inauguration, the distinguished guests were warmly welcomed in keeping with Indian tradition. Shri Omprakash Aggarwal Ji felicitated Hon’ble Shri Harsh Malhotra Ji. Shri Mahendra Gupta Ji welcomed Hon’ble Shri Vijay Kumar Ji (Akhil Bharatiya Sah-Vyavastha Pramukh). Smt. Aarti Arora Ji greeted Hon’ble Shri Vijender Gupta Ji. Shri J.P. Singh Ji felicitated Hon’ble Shri Vijay Kumar Ji (Regional Organisation Minister), while Shri Prashant Kumar Ji welcomed Shri Ashok Tiwari Ji, Kendriya Karyalaya Sachiv. Thereafter, Shri Prabhat Kumar Ji delivered the welcome address, eloquently outlining the vision and cultural commitment behind the festival.

Throughout the festival, audiences were captivated by a rich array of performances. Classical music recitals, folk dances, group singing, dance-dramas and theatrical presentations reflected the diversity and depth of India’s artistic traditions. The festive spirit of “Holi Mangal Milan” added colour and warmth to the atmosphere, transforming the venue into a lively cultural hub.

A major highlight of the event was the painting exhibition, which showcased compelling artworks inspired by Indian values, folk traditions, spirituality and contemporary themes. Visitors engaged deeply with the visual narratives, appreciating the creativity and expressive power of the participating artists.

Adding a literary dimension to the celebration, a vibrant Kavi Sammelan was organised, where poets recited thought-provoking and emotionally resonant compositions on themes of nationalism, society and cultural identity. The session received an enthusiastic response, enriching the intellectual and emotional fabric of the festival.

The festival also incorporated artistic tributes marking significant national milestones, including 75 years of the Constitution of India and 150 years of “Vande Mataram,” thereby connecting artistic expression with national remembrance and responsibility.

Delhi Kala Utsav 2026 stood as a testament to the unifying power of art. It reaffirmed that culture is not merely a reflection of heritage, but a living and dynamic force that strengthens society and nurtures national consciousness.

As part of the second phase of the Natsamrat Natya Utsav (23rd edition), the Hindi comedy play Chuhedani was staged on 28 February at LTG Auditorium. Inspired by Murray Schisgal’s celebrated play The Typist, the production was adapted and directed by Ishwar Shunya. With a minimal cast and a restrained stage design, the performance stood out for its sharp writing and emotionally grounded execution.

The narrative centers on two clerks working in a modest office environment. Years of stagnant employment, limited salaries, job insecurity, and increasing personal responsibilities define their daily existence. Economic pressure and social expectations confine them within a repetitive routine, leaving little room for aspiration. The title Chuhedani — serves as a compelling metaphor for the socio-economic structure that ensnares individuals in cycles of monotony and compromise.

Ishwar Shunya’s script skillfully blends satire with realism. The dialogues are crisp, humorous, and accessible, yet beneath the comic surface lies a subtle critique of middle-class anxieties. The direction maintains a steady pace, using silence and pauses effectively to heighten emotional impact. The sparse set — comprising a desk, chairs, files, and a printer — reinforces the monotony of clerical life while symbolizing the passage of time and the characters’ emotional stagnation.

On stage, Abhishek Maurya and Kamal Bisht delivered compelling performances marked by strong chemistry and precise timing. Abhishek Maurya portrayed the inner conflict of a man balancing frustration with hope, while Kamal Bisht brought vitality and wit to his role, enriching the play’s comic rhythm. Their interaction sustained audience engagement and elevated the emotional depth of the narrative.

The backstage team — Ajay Yadav, Bharat Dubey, and Payal Sarkar — ensured technical finesse. The lighting subtly underscored mood transitions, and the sound design complemented the performance without overpowering it. The understated technical approach enhanced the intimacy of the storytelling.

The evening concluded with a felicitation ceremony. Director Ishwar Shunya was presented with a memento by senior writer Rajesh Singh and Natsamrat director Shyam Kumar. Senior theatre practitioner Arvind Gaur awarded certificates to the performers, acknowledging their contribution.

Overall, Chuhedani emerged as a thoughtful and engaging production that used humor to explore the layered realities of middle-class life, making it a noteworthy presentation at the 23rd Natsamrat Natya Utsav.

The 23rd Natsamrat Natya Utsav commenced on 28 February with great cultural fervor at the iconic LTG Auditorium, Mandi House, New Delhi—a venue widely regarded as the heart of the capital’s vibrant theatre movement. The opening evening marked not only the beginning of a new festival edition but also a renewed celebration of meaningful and socially conscious theatre.

The ceremony began with the traditional lamp-lighting ritual (Deep Prajwalan), symbolizing knowledge, artistic awakening, and collective creative energy. The inaugural lamp was jointly lit by Natsamrat’s Director Shyam Kumar, theatre director Ashraf Ali, theatre director Ishwar Shunya, writer Rajesh Singh, and Vipin Kumar. Their shared presence on stage reflected the collaborative spirit and artistic dedication that define the Natsamrat platform.

The festival opened with the compelling production “Marilyn Monroe: My Crush,” written and directed by Ashraf Ali. Inspired by the life and legacy of Marilyn Monroe, the play moves beyond the glittering aura of fame to examine the psychological and emotional complexities concealed behind an iconic public image. Rather than portraying Monroe merely as a symbol of glamour and success, the production explores themes of identity, projection, vulnerability, and the societal pressures imposed upon women.

The narrative unfolds around three young men sharing a room and their friend Malti, whose resemblance to Marilyn Monroe becomes the starting point of the drama. What begins as light-hearted teasing—calling her “Marilyn”—gradually evolves into a deeper psychological enactment. The name turns into a role, and Malti slowly begins to inhabit the persona projected onto her.

As the three male characters assume the roles of men associated with Marilyn Monroe’s life, the stage transforms into a charged space where complex dynamics of love, attraction, authority, and control come to the forefront. The play thoughtfully questions how society often confines women within constructed images, overlooking their emotional depth and individuality. Through layered performances and subtle dramatic tension, the production highlights how identity can become distorted when shaped by external expectations rather than inner truth.

The emotional high point of the play arrives when Malti reclaims her authentic self, breaking free from the image that sought to define her. This climactic moment leaves a lasting impact on the audience, transforming the performance into a resonant statement on dignity, autonomy, and self-realization.

The evening concluded with a gesture of appreciation and recognition. The director of the play was presented with a commemorative memento, while all participating artists were awarded certificates of the Natya Utsav. The honors were conferred by senior theatre practitioner Arvind Gaur, writer Rajesh Singh, and Natsamrat Director Shyam Kumar, reinforcing the festival’s commitment to nurturing and celebrating serious theatre practice.

With a dignified inauguration and an intellectually engaging opening production, the first evening of the 23rd Natsamrat Natya Utsav set an inspiring tone for the festival ahead, reaffirming its position as a significant platform for contemporary theatrical expression.

At the theatre seminar organized at Kala Sankul by Sanskar Bharati, Abhigyan Natya Association, Delhi presented a compelling staging of “Jalam Amritam.” The research-based music and dance theatre production was written by Dr. Madhu Pant and directed by senior theatre practitioner Nisha Trivedi. Rooted in the philosophy of the five elements (Panchamahabhuta), the play examined the fractured relationship between humanity and nature in the context of contemporary ecological crises.

The programme formally commenced with a traditional ceremonial lamp-lighting (Deep Prajwalan), symbolizing the invocation of wisdom and creative energy. The lamp was lit by Shri Ashok Tiwari, Central Office Secretary of Sanskar Bharati Kala Sankul; Dr. Madhu Pant, the playwright; Nisha Trivedi, the director; senior theatre practitioner Lokendra Trivedi; and seminar convener Brijesh.

Kala Sankul: Vision and Cultural Commitment

Kala Sankul is dedicated to nurturing creative thought, cultural awareness, and value-based consciousness through art and literature. It is not merely a venue for performances, but a vibrant center for intellectual exchange and creative dialogue. Engaging with contemporary issues through an Indian cultural perspective and positioning art as a medium of social awareness remain its defining characteristics.

A production like “Jalam Amritam” strongly reflects and fulfills this vision.

Theme and Presentation

Opening with a Vedic invocation, the play re-established water as the sacred and life-sustaining element among the five elements of nature. Through evocative visuals and symbolic characterization, it portrayed environmental degradation—drying rivers, deforestation, and the commodification of water in the name of development.

Characters such as Varun and Prithvi embodied nature’s anguish. Group choreography and symbolic stagecraft enhanced the emotional depth of the narrative.

Music, Research, and Stagecraft

The production’s strength lay significantly in its music and research. The contribution of Lokendra Trivedi in music composition and research was especially noteworthy. He seamlessly blended Vedic tonalities with traditional and contemporary musical textures, transforming the performance into a deeply immersive and spiritual experience.

The choreography by Bhumikedhwar Singh demonstrated a balanced integration of classical and folk elements, marked by expressive movement and emotional intensity.

Lighting and sound design were thematically aligned and impactful, while costumes and props remained simple yet symbolically meaningful.

Post-Performance Review Discussion

A review discussion followed the performance, during which audience members shared thoughtful reflections. Many described the play not merely as an environmental narrative but as a call for introspection and responsibility. Young participants emphasized the importance of practicing water conservation in daily life, while senior attendees appreciated the cultural and Vedic grounding of the production.

Conclusion

At the conclusion of the programme, Shri Ashok Tiwari delivered an inspiring address, stating:

“Kala Sankul is not merely a building, but a temple of artists and art. It is a sacred space where creation becomes a form of spiritual practice and expression guides the conscience of society. We believe in addressing contemporary issues through art to foster awareness and positive transformation. Kala Sankul will continue to advance creative dialogue through such initiatives.”

His words resonated deeply with the spirit of the evening and reaffirmed the institution’s commitment to socially conscious artistic engagement.

The event was gracefully anchored by Mun Mun. The vote of thanks was delivered by Shruti Sinha, and the seminar concluded with a peace invocation led by convener Brijesh. The dedicated efforts of seminar members — Garima Rani, Sneha Mukherjee, Shyam Kumar, Raj Upadhyay, Ritambhara, Mrityunjay, and Bijendra Kumar — contributed significantly to the success of the event.

Overall Assessment

The synergy of Dr. Madhu Pant’s writing, Nisha Trivedi’s sensitive direction, Lokendra Trivedi’s research-driven musical composition, and Bhumikedhwar Singh’s expressive choreography made “Jalam Amritam” a powerful and memorable theatrical experience.

More than a performance, the production stands as a cultural appeal to restore water to its rightful reverence as “Amrit” — the nectar of life.

In a remarkable literary moment at the National School of Drama, two significant works — Vanhans and Six Seasons — were jointly launched under the prestigious ‘Shruti’ segment of Bharat Rang Mahotsav 2026.

The books were formally released by the Director of the National School of Drama, Chittaranjan Tripathy, in the presence of eminent theatre personalities and literature enthusiasts.

Vanhans – Dakshina Sharma’s Assamese Adaptation of Ibsen

Vanhans is an Assamese adaptation of Henrik Ibsen’s celebrated play The Wild Duck, translated and reimagined by Dakshina Sharma.

Dakshina Sharma is a dynamic contemporary theatre practitioner — an accomplished actor, director, playwright, and translator. Over the years, she has consistently worked toward building a meaningful dialogue between Indian languages and world literature.

What distinguishes her work is her deep sensitivity to text. She does not merely translate words; she recreates emotional landscapes. In Vanhans, she carefully retains the psychological depth, symbolic layers, and cultural tensions of Ibsen’s complex dramaturgy, while making it organically accessible to Assamese readers and audiences.

Adapting Ibsen — a playwright known for his intricate psychological realism — into Assamese was undoubtedly a formidable task. Speakers at the event acknowledged that Sharma’s scholarly engagement, linguistic precision, and refined theatrical sensibility have made this ambitious endeavour a resounding success.

Guest speaker Parag Samarah particularly praised Vanhans, noting that the adaptation preserves the soul of the original while speaking authentically to Assamese sensibilities. He also read selected excerpts in Assamese, allowing the audience to experience the lyrical strength and dramatic resonance of the text firsthand.

Six Seasons – Bhaskar Chandra Mahapatra

The second book launched on the occasion was Six Seasons, written in English by noted Odia playwright Bhaskar Chandra Mahapatra.

Speakers described Six Seasons as a reflection of the expanding multilingual canvas of Indian theatre writing. By choosing English as his medium, Mahapatra situates regional sensibilities within a wider literary framework, reinforcing the evolving and interconnected nature of contemporary Indian dramaturgy.

A Celebration of Multilingual Indian Theatre

This joint launch stood as a powerful testament to the spirit of Indian theatre — where languages are not barriers but bridges.

Under the vibrant platform of Bharat Rang Mahotsav, the confluence of a Norwegian classic reimagined in Assamese and an English play by an Odia dramatist symbolised the creative dialogue between global literature and Indian linguistic traditions.

The evening reaffirmed that theatre, at its core, transcends geography and language — continually creating new meanings through cultural exchange and artistic courage.

New Delhi, 8 February 2026:
Commemorating 75 years of the Indian Constitution, a one-day national symposium titled “कला अभिव्यक्ति : स्वतंत्रता एवं मर्यादाएँ” was jointly organised by the Ministry of Culture, Sanskar Bharati and the Indira Gandhi National Centre for the Arts (IGNCA). Held at the IGNCA auditorium on 8 February 2026, the event unfolded in a dignified yet intellectually vibrant atmosphere, emerging as a meaningful cultural platform that explored the dynamic relationship between art, constitutional values and contemporary society during the ongoing Amrit Mahotsav period.

The programme commenced with a ceremonial lamp-lighting by Dr. Sachchidanand Joshi, Dr. Sandhya Purecha, Shri Abhijeet Gokhale, Shri Vinod Narayan Indurkar and Shri Prabhat Kumar. In their opening remarks, the speakers highlighted the intrinsic connection between the Constitution, culture and artistic practice. They emphasised that the Indian Constitution is not merely a legal framework but a living embodiment of cultural consciousness — one that empowers artists with freedom of expression while simultaneously reminding them of social responsibility and ethical boundaries.

The first session, devoted to literature, featured insightful reflections by Dr. Sachchidanand Joshi, Dr. Alka Sinha and Shri Kishor Makwana. The panel discussed literature as a bridge between power structures, social realities and human sensitivity. Speakers observed that while the Constitution grants writers the freedom to articulate truth fearlessly, it also calls for thoughtful and responsible use of language.

In the second session on visual arts, Dr. Nandlal Thakur, Shri Neeraj Gupta and Ms. Situ Kohli explored the evolving landscape of contemporary and digital visual expression. They emphasised that visual art communicates beyond words and holds the power to mirror society. Constitutional freedoms, they noted, enable artists to challenge norms and provoke dialogue, provided that sensitivity and cultural balance remain central to creative practice.

The third session, centred on performing arts, brought together Dr. Sandhya Purecha, Shri Chetan Joshi and Ms. Vidya Shah. Through discussions on theatre, music and stage traditions, they reflected on the stage as a powerful medium for social engagement. Artists, they suggested, carry the responsibility to foster awareness, inclusivity and dialogue through their performances.

Cinema formed the focus of the fourth session, where Shri Atul Pandey, Shri Mustaza Ali Khan and senior journalist-film critic Shri Anant Vijay examined the wide-reaching influence of films on society. The panellists stressed the delicate balance between creative liberty and social accountability, highlighting the growing relevance of ethical storytelling in contemporary media landscapes.

During the valedictory session, Sanskar Bharati’s National Organisation Secretary Shri Abhijeet Gokhale drew connections between Bharat Muni’s Natyashastra, the rights and duties enshrined in the Constitution, and the need for contextually relevant artistic creation. He underscored that artistic freedom achieves its true significance only when aligned with cultural awareness and societal responsibility.

A distinctive feature of the symposium was the presentation of short street plays before each session, offering audiences an engaging thematic introduction. Complementing the discussions was an exhibition showcasing the contributions of women artisans involved in the making of the Constitution and highlighting the artistic dimensions embedded within its spirit.

Overall, the symposium emerged as an enriching and reflective cultural initiative — encouraging artists, scholars and audiences to re-examine the Constitution’s 75-year journey through the lens of creative practice. By fostering dialogue across disciplines, the event reinforced the enduring role of art as both a mirror to society and a catalyst for thoughtful change.

So, My Krishna Consciousness awakened first when I began realizing the truth that life isn’t a matter of taking pride upon our glories. It in fact is a matter of becoming aware that we have our own shortcomings. This extraordinary self-realization dawned upon me not with the aid of any saint but with the selfless help of those people that kept hawk eye on each of my stance ready to discover my errors like an eagle that is often geared up to pounce upon its prey. It is so considerate of them to make me their priority and my tasks as the matter of their able deliberations.

I saw an extraordinary lethal weapon that my detractors began using and that was pretense – a marvelous hypocrisy that was beyond my level of comprehension which made me put my ego aside and admit whole heartedly that I could be ‘foolish’ to be trapped by their so-called ‘goodness.’ It was through their able guidance that I was illumined that Humility and humanity are my weaknesses and not my strengths and I get carried away by a show of ‘nicety’ and then emerges the slithering cobra out of nowhere and I am left with nothing else but regret on my gullibility that governs my pragmatic sense. The outcome is – my brain becomes susceptible to people’s apparent display of values and affinity towards ‘being human.’ It was slowly and steadily that I came to know that what’s written on T-shirts, oughtn’t every time the motto of life. I would give myself a benefit of doubt that the thing instrumental in making me a simpleton was my firm faith in the repetitive statement that resounded in my ears – ‘God is with those that stay true.’ Little did I realize then that God does not want us to stay blind to obvious wrongs that happen in front of us and wait for his intervention in things that we are eligible to solve.
Finally, after a long period of struggle my Krishna Consciousness bloomed at the time when I arrived at a finale that was the best eye opener. I encountered that there is a herd mentality that prostrates people under the pretext of appreciating their goodness in the society and that people who are repetitively heard praising it are the ones who actually promote ‘conniving’ and ‘conspiring’ nature. The next was a flabbergasting disclosure that these people aren’t villains. Instead, they are the ones who have been the candidates that have continually failed the ‘ goodness’ test of our ALMIGHTY. And they have therefore attributed the credit of their incessant failure to God the Great who according to them is nobody else but the self-obsessed creature of Milton’s Paradise Lost’ having no role but to sit on the throne and observe people in constant agony.
Thus, cunningness appears as a blessing in disguise for such people and they opt for this. It becomes the shortcut for success- Yes- the more nefarious you are, the better it is for SATAN is the Samaritan of those that ‘otherwise’ want to be good but have turned into rebels as they have been disregarded by the ambassador of honesty and truth- God who has proved that KALIYUGA is the abode of rogues and you ought to be one in case you want to survive- and yes- who would like to embrace death? So, all in all, the fact stood unadulterated in front of me that if in case I choose to be on this planet, I need to adopt some or the other illicit means of survival which means the following needs to be done to be successful and have your share of profit. –

1. Worship slyness, become a devotee of callous and sadistic people.
2. emulate the principles of sycophancy and selfishness discarding altruism and selflessness to the optimum level possible and you have to do all this surreptitiously under the guise of PRAGMATISM
   Thus, Hence proved it was through these kinds of experiences that rewards and merits were awarded to those that were epitomes of ‘ the inhumans’ as that would make you flaunt yourself as ‘clever.’ It will be your ultimate weapon- VAJRA to win over those provocations that could possibly let goodness overtake your SMART caliber of being ‘NASTY.’
3. And…the warrior in me rose. And abruptly I took an oath that ‘the fault lies not within me but in them who do not value my efforts and refrain from giving me any credit and adorn the garb of celibacy while embracing the rewards of my talent.
4. But…this wasn’t my way. It was not my choice and neither was my understanding of life. I brooded over when I got a call from my colleague, “would you complete work on my behalf as my mom is passed away and I cannot come to work.” And I got to hear that my maid’s son is hospitalized as he has met with a sudden accident and that a neighbor of mine needs my help urgently as he has forgotten his keys at office which happens to be near my work place and is requesting me to fetch them for him or else he would have to travel another one hour to get them from there. And finally, I could not understand the reason I was pestered by a small little urchin on the road begging for some food in order to fill his empty stomach and much more happened with me that day when I was in the process of utter transformation from a normal organic human being to an extremely hazardous being who was about to destroy goodness in the world. And…thus I am sure, there are many who are in this catch 22 situation wherein they are on the one hand compelled to sacrifice their goodness and on the other pulled by their goodness within. And thus, I would say, the final conclusion I have been able to draw after meditating on the problem with Vishnu sahastrnamawali as my guiding principle – We may be ‘good’ but we do not have the caliber to retain our goodness because we are often bothered by the concern of being ‘acknowledged’ for it. In case, we abstain from relishing the pleasure of being crowned as the most ‘good’ human on this planet we will perhaps do a great service to humankind as we would not be provoked to do ‘bad’ because we would not bother whether we are ‘touted’ good or not. I think that is the best mode of survival in today’s increasingly selfish world. This is perhaps what we call Krishna Consciousness that enables us the vision to see how ‘wrong’ we are because we want recognition even for being ‘good.’ When we know internally ‘ how bad we can be. And how erroneous too.
5. Hare Krishna.

After months of intense cold, getting up late, sleeping in late I was left without feeling a sense of yes, I have done it, I finally today found my day restored. It was as simple as getting back to my physical space that had given me so much comfort before. I have a beautiful office, small compact and well done to suit my writing and reading habits and finally almost after eight months I went back to it. The space enveloped me with total warmth and love. I felt finally that this was I was lacking all this while. I needed to just get back to my most loved space that I had somehow neglected over the months.

All of us I am sure have beautiful spaces in our homes where we find peace, maybe just as simple as a sofa or a comfortable desk. However we often avoid going there feeling that space is redundant and no longer serves the purpose for which it was constructed. Maybe that room gives just so much grief, so we want run away from it, we refuse to enter to enter and try and create new spaces in nameless domains. However we are yet never able to own it and hence we are at a loss. I see this as a blind refusal, a blind negation to create a new routine to back to the old one. I also see this as being thankless and to be harsh enough to say callous to a space maybe created with great love, fostered with warmth and growth of thoughts and ideas.

I would only gently nudge people to get back to disorganised spaces not because I wish them to find the keys to face their grief and remain there to be disheartened but to find new comforts. This time the new joys could be with others who wish to create a magical garden with you, each step together confident and delightful. Dear Readers, I urge you to find your comfortable magic spot at home to claim it back with the same love and care as always done before. Give it that special hug that it needs maybe with a song, maybe with a painting hung or just flowers on the desk that will always smile back at you.

The Bharatanatyam recital “Dvi-itva: Divine Duality” was presented by Kaveri Abrol, disciple of National Award–winning Acharya Jayalakshmi Eshwar, on 4 February at 7:00 PM at The Stein Auditorium, India Habitat Centre, New Delhi. Conceptualised and choreographed by Acharya Jayalakshmi Eshwar, the performance followed a traditional mārgam structure, exploring the philosophical duality of Purusa and Prakrti—consciousness and creative force—through layered narratives, expressive abhinaya, and precise nṛtta.

Daughter of Professor Seema Bawa and Dr. Ashish Abrol, Kaveri has been training in the Guru–Shishya Parampara under Acharya Jayalakshmi Eshwar since the age of eight.

The recital opened with Ganapati Taalam in Gambhira Nattai raga and Adi tala, choreographed by Acharya Jayalakshmi Eshwar. The invocation established a contemplative atmosphere as the dancer portrayed Ganesha’s iconographic paradoxes—Ekadanta and Sukesa—with devotional restraint. The piece emphasised surrender and introduced the evening’s central theme of divine duality.

The expansive Vanajaksa Varnam (Bihag raga, Adi tala, composer T. R. Subramaniam) formed the conceptual core. Through multiple episodes involving Rukmini, Draupadi, Satyabhama, and the devotees of Braja, the dancer explored diverse emotional and philosophical registers surrounding Krishna. Her measured abhinaya and expressive clarity enabled seamless transitions between devotion, surrender, pride, and grace, allowing the rasa to unfold organically.

In Varattam Svami, a padam in Saveri raga and Misra Capu tala presented in the Kalākṣetra tradition, the dancer embodied a khandita nayika expressing longing and gentle reproach toward Lord Murugan. The intimate portrayal balanced emotional intensity with classical restraint, revealing the duality between deity and devotee through nuanced expression and subtle humour.

A highlight of the evening was Pasa Khelat Hai, composed in Raga-malika and Tala-malika, choreographed by Acharya Jayalakshmi Eshwar. Through the symbolic game between Radha and Krishna, the dancer explored divine leela, where apparent victory and defeat dissolve into spiritual unity. Her imaginative abhinaya, fluid transitions, and philosophical sensitivity enriched the narrative with depth and resonance.

The recital concluded with a vibrant Kuntaravaraḷi Tillana (Kuntaravaraḷi raga, Adi tala, composer Dr. Balamurali Krishna), a rhythmically charged finale that showcased technical agility, energetic leaps, and confident command over laya and space. The evening ended with a reflective verse from Saundarya Lahari by Ādi Sankaracarya, bringing the philosophical journey to a contemplative close.

Kaveri Abrol’s performance reflected a rare synthesis of intellectual engagement and instinctive artistry, where technique functioned not as display but as a vehicle for meaning. Her movements carried an internal rhythm that suggested deep listening and immersion in the music, allowing transitions between nritya and abhinaya to appear seamless and organic. She demonstrated a refined awareness of stage architecture, using stillness as effectively as motion, and allowing silence to hold emotional weight alongside gesture. Particularly impressive was her ability to sustain dramatic tension without resorting to overt theatricality; instead, she trusted the classical idiom and allowed subtle shifts in gaze, breath, and timing to shape the narrative. This restraint lent her performance a quiet authority, revealing a dancer who is not merely executing choreography but actively thinking and evolving within the tradition.

Overall, “Dvi-itva: Divine Duality” emerged as a disciplined and intellectually engaging Bharatanatyam recital that balanced conceptual clarity with emotional depth. Through refined technique, expressive maturity, and thoughtful choreography, Kaveri Abrol offered an evening rooted in sattva—a harmonious blend of devotion, reflection, and artistic sincerity.

A Review by Manohar Khushalani

In a performance that combined technical rigor with profound emotional depth, Kaveri delivered a Bharatanatyam recital that showcased exceptional grace and a commanding stage presence. From the initial invocation to Ganesha to the high-energy finale, the evening was a testament to her disciplined training and innate artistry.
Kaveri’s command over Nritta (pure dance) is characterized by dexterity and surgical precision. During the jathis and swarams of the Varnam and the concluding Thillana, she navigated intricate patterns of adavus with a lightness of foot that belied their complexity. The Varnam—the centerpiece of the evening—was trellised with racy, complex jati patterns. Impressively, Kaveri maintained a perfect equilibrium; while the pace was brisk, she never transcended the three cycles of speed, ensuring every beat was executed with crisp, unwavering clarity. Above all she displayed amazing stamina in such a lengthy perfomance executed effortlessly with so much dexterity and grace.
The hallmark of the performance was her absolute adherence to the ancient axiom:
“Yatho hastha thatho drishti…” (Where the hand goes, the eye follows).
Her mudras were clean and fluid, serving as a seamless bridge to the narrative. Whether portraying the mischievous wisdom of Narada or the spirited pride of Satyabhama, she exemplified the iconographic attributes of these deities with ease. Her eyes, inherently expressive, carried the bhava (emotion) with such intensity that the “divine dualities” of the stories felt tangibly present. This was particularly evident in the Vanajaksha Varnam, where the theme of love toward Krishna was beautifully realized. Kaveri moved effortlessly between the yearning of a Gopi and the meditative devotion of a Muni, her ability to inhabit the entire stage space speaking volumes of her rigorous grounding under Guru Acharya Jayalakshmi Eshwar.
The performance was elevated by a stellar musical ensemble that provided a rich tapestry of sound. Guru Acharya Jayalakshmi Eshwar provided a rock-solid rhythmic foundation on the nattuvangam, while Sri K. Venkateshwaran’s melodious vocals added a layer of soulful resonance. The rhythmic play of Thanjavur Keshavan on the mridangam and the lyrical musical contours provided by G. Raghavendra Prasath on the violin tied the performance together into a cohesive, sensory experience. The evening reached its crescendo with an evergreen Thillana in Raagam Kuntaravarali, leaving the audience with a sense of vibrant, rhythmic completion.

Dvitva: Concept Note

Before creation and before space and time, Prakṛti lay merged with the Supreme Spirit, suspended in the Uncreate without separate existence, resting in eternal timelessness. When the germ of desire for creation stirs, the Supreme Unmanifest Spirit divides itself—its right half becoming Puruṣa, and the left, Prakṛti. This cycle repeats yuga after yuga.

In Indian cosmology, Puruṣa represents not only the transcendental Self or pure consciousness but also masculinity, maleness and the vital sentient truth- Satya. This activates the visible world or Prapañca. Prakṛti embodies nature, Śakti, the informing creative force, and the feminine—the matrix within which śṛṣṭi (creation) is born. While Puruṣa refers to the “cosmic being,” hidden and latent, Prakṛti is manifest and expressive. The world itself is born of their union; duality is thus the very foundation of existence.

Distinct but Interdependent: While they are distinct, Purusha and Prakriti unite to create the universe, where Purusha acts as the source of light, and Prakriti becomes the form, much like a dancer moving in front of an audience.
This philosophical duality finds expression in classical arts, both performative and visual through the motif of the God and his/her spouse, the lord and the devotee, the deity and the created world.   These dualities manifest in divine dyads / divine-human dyads such as Uma-Maheśvara, Lakṣmī-Nārāyaṇa, Rādhā-Kṛṣṇa, Murugan-Valli, Ganesh, Riddhi and Buddhi.

This production traces the Leela or divine play of the gods through narratives of dance performance,  through a spectrum of rasa-bhāva—from śṛṅgāra  that is romantic love to śānta-bhakti  that is tranquil devotion. From domestic harmony to ecstatic surrender. Through nuanced movement and expression, the performance becomes an offering of sattva—an essence  of reverence, grounded in penance, play, and prayer. Music and Dance, Guru and Shishya come together to create this as the ultimate unison of elements that make rasa and rasika harmonise their energies.

Acharya Jayalakshmi Eshwar
Item: Ganapati Taalam
Raga
Tala
Composer:
Choreography: Acharya Jayalakshmi Eshwar

The first offering is to Ganapati , to the god who within Himself encompasses and transcends all contradictions, He is the Lord of Beginnings and Vigneshwara  the Lord of Obstacles.  The invocation through dance celebrates the ultimate surrender of the devotee to the God. Ganesha’s creation myth is relived through this miraculous birth, his beheading and getting of the elephant head, his iconographic description as being ek-dant- one tusked, Sukesha- having beautiful hair, and his partaking all contradictions is brought to life through beautiful choreography and music.

Item: Vanajaksha Varnam
Raga
Tala
Composer:
Choreography: Acharya Jayalakshmi Eshwar

This varnam having multiple layers  explores the many ways that the devotee views Lord Krishna. Krishna the Supreme through manifestation with his devotees resolves  many dualities. Through his wives, through Draupadi, the gopas and gopis, the flute and Rsis and the inhabitants of Braja. The first story relates to Krishna’s marriage to Rukmini, from her longing for Krishna and subsequent summons to rescue her, his going to Vidarbha post haste, their elopement and her brother Rukma’s interception. Rukmini begged Krishna to spare her brother’s life which he does and their ultimate blissful union.

The second story focuses on Krishna the protector who grants his grace to Draupadi who prays to him to save her honour, when all forsake her. She is dragged to the court by the Kauravas after Yudhishtra loses the gamble, where Dushasana tries to disrobe her. Krishna provides an unlimited quantity of fabric (symbolism of his grace) till the villain is tired and gives up.

The third story again views Krishna who provides protection and grace to his devotees, in this case the inhabitants of Braja, who seek shelter under the Govardhan hill from incessant rain which Krishna lifts to enable all inhabitants, the cowherds, the cattle, the rshis, like he saves all of humanity.

The fourth story is Venu Gopala that shows all beings, the gopas and the gopis, the cows of Vrindavan, drawing devotees into ecstatic union through enchanting melodies that awaken longing and bliss. It signifies the heart becoming an instrument for the divine, surrendering ego for divine purpose, and transcending the material world through devotion (Bhakti). Krishna is the most beautiful and attractive of all beings, equal to a koti Kamadevas or Manamattas

The last story is about Satyabhama, one of the primary ashtabharyas or 8 principal wives of Krishna who is instigated by Narada to test Krishna’s love for her, in contrast to Rukmini. He asks her to weigh Krishna against all her ornaments and if Krishna remains heavier Narada would take him in servitude. Despite putting all her jewels and those of all the other wives, the scales do not move in her favour. She then asks Rukmini for help, who then puts a single leaf of tulsi and Krishna rises in the scale, proving that under what appears to be dual all is samta –  primal sameness and all  is Krishna’s creation. Krishna  he loves both Rukmini and Satyabhama equally, as he does all his devotees. The material and metaphysical all dwell in Krishna and they equal and balance each other

Item: Pasa Khelat
Raga
Tala
Composer:
Choreography: Acharya Jayalakshmi Eshwar

In order to make the world understand the profound nature and the depth of duality, Leela and khela or sportive play is often used as a device. In this evocative composition, Krishna and Radha are shown playing a game of charusar, which seemingly is lost and won by one or the other in  their turns  but in the end it is revealed that the autonomous play of chance is only the lila of Krishna who beguiles the world which too is all his Creation.

The game is played on a jewelled board, with Radha asking Krishna to bet his pitambhar- yellow garment, his identity as the Lord of the World which he loses to her, He asks her to stake something precious to her and she bets and loses her nose ring, a symbol not only of her femininity but also of marital bliss. She then ask Krishna to stake his flute to give the game real weight. He is reluctant to part with the instrument that is divine call to the soul, representing spiritual love (Prema), divine attraction, and the union of the individual soul (Jivatma) with the Supreme (Paramatma). Radha uses a ruse to win the bansi or flute, and Krishna says I will stake all my ornaments but return the flute, but ultimately reflects that the flute, Radha and all the created beings are all Him/His and that the only truth is the Union in which all delight. the composer the spectators and verily the universe participate in the Leela

Item: Varattam Svami
Raga
Tala
Composer:
Choreography: Acharya Jayalakshmi Eshwar

This padam expresses a devotee’s deeply personal longing for Lord Murugun ( Bala Kumaran). The absence of the deity is expressed through the leitmotif “Let him come if he comes I will show him” being expressed by the khandita nayika, or the angered heroine through whom the bhakti-shringara dualities are expressed and ultimately resolved. The duality between the deity and the devotee is also highlighted through the Khandita Nayika who rebukes Murugan or Karttikeya. The intimate bond between the two is shown here where the lord is indulgent to the many moods and accusations of his devotee and allows her to dally while through his counters establishing that Murugun is greater than any lakshans  or characteristics  that a devotee may like to attribute.

Item: Kuntaravali Thillana
Raga
Tala
Composer:
Choreography: Acharya Jayalakshmi Eshwar

The Thillana is a vital, penultimate performance  in a traditional Bharatanatyam Margam recital. It is a vibrant, high-energy climax that showcases the dancer’s technical virtuosity, rhythm, and grace. It represents the culmination of pure dance (Nritta)  and rhythm (laya) and seeks to balances the dancer’s mastery of rhythm, space, and technique with a final, elegant nod to devotion The Kuntarvali is Raga is playful, Vibrant joyfull in which all can participate.