New Delhi: In a celebration of literature, theatre and creative expression, Roopantika organised the launch of two plays, Putle and Sunta Hai Koi, by eminent writer and playwright Dr Harisuman Bisht on October 18 at Uttarakhand Sadan in Chanakyapuri, New Delhi. The event also featured a special discussion on his novel Hawaon Mein Ghira Aadmi, bringing together distinguished literary figures, critics and theatre practitioners to explore the depth and diversity of his creative work.

Dr Pratap Sehgal, eminent playwright and recipient of the Sangeet Natak Akademi Award, attended as the chief guest, while author and critic Pankaj Bisht presided over the programme. Dr Suvarn Rawat, critic, theatre practitioner and director, was the guest of honour. Bhupesh Joshi, theatre practitioner, director and Sangeet Natak Akademi Award recipient, delivered the introductory address.

A Deep Bond with Nature and the Mountains

Among the many aspects of Dr Harisuman Bisht’s writing discussed during the event, one stood out distinctly—his profound love for nature and the mountains. This intimate connection with the Himalayan landscape and the lives of people who inhabit it is woven naturally into his literary imagination. The mountains are not merely a setting in his works; they form an integral part of his creative vision, lending his writing a distinctive identity. His portrayal of the natural world and mountain life invites readers to connect with the landscape and the experiences it holds.

Exploring the World of Theatre and Fiction

The launch of Putle and Sunta Hai Koi opened up a stimulating conversation on their themes, dramatic structure and possibilities for stage interpretation. The discussion highlighted the literary qualities of the plays while considering how their ideas and characters could come alive through performance.

The session on Hawaon Mein Ghira Aadmi focused on the novel’s narrative approach, literary dimensions and wider social and cultural context. Speakers reflected on the relationship between literature and theatre, exploring how a writer’s ideas acquire new layers of meaning through different forms of artistic expression.

The discussion featured several distinguished voices from the literary and theatrical fraternity, including J. P. Singh, theatre practitioner, director and playwright; Pratap Singh, poet and film critic; Dr Meenakshi Joshi, writer and translator; Kalpana Manorama, fiction writer; Daksha Upadhyay, theatre practitioner and director; Mahesh Darpan, fiction writer and critic; and Prof. Harendra Singh Aswal, educationist. Their diverse perspectives added depth to the conversation and encouraged a wider engagement with Bisht’s literary and dramatic works.

Literature as a Dialogue with Life

What made the gathering particularly meaningful was its effort to go beyond the formal launch of books and engage with the creative world of the author. The discussions underscored the power of literature to offer fresh perspectives on lived experiences, the surrounding environment and the complexities of human life. By bringing together critical thought and theatrical insight, the programme created space for a deeper appreciation of the ideas, themes and artistic possibilities embedded in Bisht’s writing.

The event concluded with a vote of thanks by Sanjeev Agnihotri, radio jockey and secretary of Roopantika. Through this initiative, Roopantika reaffirmed its commitment to fostering meaningful dialogue between literature and theatre and creating platforms for serious engagement with contemporary writers and their works.

Five-day exhibition at Kala Sankul concludes with felicitation of 33 participating artists

New Delhi: A vibrant celebration of India’s folk and traditional art traditions came to a close at Kala Sankul on September 30 with the conclusion of ‘Rangmanjusha’, a five-day exhibition organised by the Visual Arts Vidya of Sanskar Bharati, Delhi Prant. Held from September 26 to 30 at Kala Sankul, 33 Deen Dayal Upadhyay Marg, New Delhi, the exhibition brought together 33 artists whose works reflected the remarkable diversity of India’s traditional visual culture.

From the intricate visual language of Madhubani to the distinctive forms of Warli and Gond, and from the devotional richness of Pichwai to the narrative tradition of Phad, the exhibition offered visitors an opportunity to encounter several artistic traditions under one roof. Sujani, Manjusha and traditional art from Kerala were also represented, along with mural art and the art of doll-making.

What made the exhibition particularly engaging was the diversity of artistic languages on display. Each tradition carried its own vocabulary of colours, lines, motifs and cultural references. Together, they created a visual journey through different regions and communities of India, revealing the close relationship between art, everyday life, rituals, beliefs and cultural traditions.

Abhijeet Gokhale Ji: Connecting Art with History and Cultural Context

At the closing ceremony, Sh. Abhijeet Gokhale Ji, Sangathan Mantri of Sanskar Bharati, appreciated the artworks presented by the participating artists and observed that their hard work and dedication were clearly visible in the paintings.

“All the artists have displayed very good paintings, and the hard work that has gone into creating these works is clearly visible. The theme of the exhibition is also appreciable. If historical and cultural references are presented along with the paintings, visitors will have an opportunity to understand the history of our culture and the cultural environment in which different folk and traditional art forms evolved.”

His observation brought an important dimension to the exhibition—the possibility of viewing traditional art not only as an artistic form but also as a window into India’s history, cultural practices and regional traditions. Providing such context alongside artworks can help audiences, particularly younger viewers, understand the stories and cultural backgrounds associated with the traditions they encounter.

The closing ceremony also became an occasion to recognise the artists whose creative efforts made the exhibition possible. Shri Abhijeet Gokhale and Shri Ashok Tiwari, Karyalaya Sachiv of Sanskar Bharati, felicitated all 33 participating artists.

The participating artists were Anita Verma, Arundhati Mahto, Archana Jha, Alka Sharma, Awadhesh Kumar Karn, Aditya Raj, Kanchan Mani, Kavita Pathak, Kriti Poddar, Grishma Shah, Jyoti Gupta, Dimple Rajput, Dolly Thakur, Pankaj Kumar, Parnika Jain, Pallavi Puri, Prerna Jha, Vandana Thakur, Manish Sharma, Mrinal Singh, Maryleen, Mousumi Patnaik, Yachna Jha, Rajni Kiran Jha, Ruby Devi (Chhath Puja), Ruby Devi (Ganpati), Vandana Jha, Vibha Rani Das, Shampi Kumara, Shivam Chaudhary, Sandhya Shukla, Smita Nair and Swati Kashyap.

Beyond bringing several art traditions together, ‘Rangmanjusha’ provided artists with a platform to present these traditions through their individual creative perspectives. Traditional forms and techniques could be seen alongside contemporary approaches, demonstrating that folk art continues to inspire artistic practice in the present.

The exhibition also highlighted the continuing relevance of traditional art in a changing cultural landscape. Rather than existing merely as a memory of the past, these art forms continue to evolve through the hands of contemporary practitioners. Exhibitions such as ‘Rangmanjusha’ create an important meeting point between artists and audiences while opening avenues for younger generations to discover and engage with India’s diverse artistic heritage.

Organised under the coordination of Jitendra Kumar, Convener, Visual Arts Vidya, and Pankaj Sachdeva, Co-Convener, ‘Rangmanjusha’ remained a colourful meeting ground of artistic traditions throughout its five-day run. Its conclusion with the felicitation of all 33 artists celebrated not only their individual creativity but also the rich cultural traditions that continue to give Indian folk and traditional art its distinctive identity.

Kala Sankul, the cultural centre of Sanskar Bharati, at 33 Deen Dayal Upadhyay Marg, New Delhi, has steadily emerged as a space where Indian art traditions, cultural dialogue and contemporary artistic practices come together. Through its regular programmes, seminars and cultural presentations, Kala Sankul provides artists and audiences with an opportunity to engage with different dimensions of Indian culture. Continuing this tradition, the centre hosted a seminar and cultural programme on Sunday, September 27, on the theme “Contemporary Kathak from an Indian Perspective: Tradition, Innovation and Expression.”

The evening brought together music, Kathak and thoughtful discussion, creating a setting in which the classical tradition could be viewed not only through its established grammar but also through the experiences of contemporary practitioners. Renowned Kathak dancer Gauri Diwakar attended as the chief guest and speaker, sharing perspectives from her own artistic journey and reflecting on the continuing evolution of Kathak.

The programme opened with a soulful solo vocal recital by Dr. Dipit Vats, setting a dignified classical tone for the evening. Yuvrashi accompanied him on the tanpura, while Suraj Kumar and Anmol Vimal provided support on tabla and harmonium. The interplay of voice, rhythm and instrumental accompaniment created an atmosphere that immediately connected the audience with the aesthetic world of Indian classical music.

The musical presentation was followed by a Kathak performance by the Preeti Sinha Group. The dancers brought together traditional Kathak movements, rhythmic footwork, expressive gestures and abhinaya in a well-coordinated stage presentation. The precision of the footwork, the interplay of rhythm and movement, and the coordination between the dancers and musicians were among the highlights of the performance.

What made the presentation particularly engaging was its balance between classical discipline and stage appeal. Without moving away from the fundamental vocabulary of Kathak, the performers created a presentation that communicated its energy and beauty to the contemporary audience. The rhythmic patterns and coordinated movements added a distinct dynamism to the evening.

The performance led naturally into the central conversation of the programme, with renowned Kathak dancer Gauri Diwakar sharing insights from her artistic journey. Rather than limiting her address to a theoretical discussion, she drew upon experiences from her life as a Kathak dancer to illuminate the various dimensions of the seminar’s theme.

Through anecdotes and examples from her own journey, Diwakar spoke about the role of training, sadhana and stage experience in carrying a classical tradition forward. She reflected on the relationship between tradition and experimentation, the changing nature of the stage, and the role of the younger generation in taking Kathak into new spaces.

One of the important aspects of her address was the question of innovation. She emphasised that experimentation can become meaningful when an artist understands the tradition from which the art form has evolved. Her observations brought attention to the relationship between the classical grammar of Kathak and the possibilities offered by contemporary performance.

Diwakar also touched upon the interconnectedness of dance, music, rhythm, taal and expression. Her personal experiences made these ideas accessible and helped the audience understand Kathak not merely as a sequence of movements, but as a comprehensive artistic tradition shaped by rigorous training and continuous practice.

The discussion around the theme also opened up questions about the contemporary possibilities of Kathak. How can an artist innovate without losing the identity of the form? How does a classical tradition respond to changing performance spaces and audiences? And how can the younger generation engage with tradition while finding its own artistic language? These questions gave the seminar a contemporary relevance while keeping its focus firmly rooted in the Indian classical tradition.

The presence of music and dance alongside the discussion gave the programme a distinctive character. Instead of treating the seminar and cultural presentations as separate components, the evening allowed the audience to experience the relationship between artistic practice and intellectual dialogue.

Vishwadeep conducted the programme, maintaining a smooth flow between the performances and the seminar. Sneha Mukherjee, the convenor of the seminar, played an important role in coordinating the event. The programme concluded with a vote of thanks by Shruti Sinha.

The collective contribution of the Kala Sankul family was also an important part of the evening. Raj Upadhyay, Shraboni Saha (Munmun), Ritambhara, Pradeep Pathak and Harshit, along with other members of the Kala Sankul family, contributed to the coordination and arrangements behind the programme. Their efforts ensured that the different components of the evening came together in an organised and cohesive manner.

The programme at Kala Sankul ultimately emerged as more than a cultural presentation. It became a meeting point of music, dance, experience and dialogue. Dr. Dipit Vats’s vocal recital created the musical foundation, the Preeti Sinha Group brought the rhythmic vocabulary of Kathak to the stage, and Gauri Diwakar’s reflections connected the classical tradition with the questions facing contemporary practitioners.

In bringing performance and conversation together, the evening offered a thoughtful glimpse into the continuing journey of Kathak—an art form deeply anchored in tradition, yet constantly engaging with the changing world around it.

Sanskar Bharati’s Monthly Art Seminar Celebrates India’s Cultural Spirit

New Delhi, August 30, 2026: The Kala Sankul in New Delhi came alive with the spirit of patriotism, theatre and Indian cultural consciousness as Sanskar Bharati hosted its monthly Performing Arts Seminar. The programme brought together theatre practitioners, artists and cultural thinkers for an engaging evening centred on the power of theatre to preserve history, memory and national values.

The event was inaugurated with the ceremonial lighting of the lamp by renowned theatre personality, playwright, director and journalist Alok Shukla, along with Sanjay Chaudhary, All India Minister of Sanskar Bharati, Vijay Kumar, Regional Organising Secretary, and other distinguished guests.

The programme opened with a soulful patriotic song presented by Aparna Jaiswal, creating an atmosphere filled with pride and national sentiment.

The central focus of the evening was a discussion on Alok Shukla’s acclaimed play ‘Azaadi Ke Sindoori Rang’, followed by an expressive reading of selected excerpts from the play. Through its powerful theatrical language, the presentation brought alive memories of India’s freedom struggle, the sacrifices of its national heroes and the spirit of an independent India.

The discussion also highlighted the larger role of theatre in society. Speakers observed that theatre is not merely a medium of entertainment; it is also a powerful cultural form through which collective memories, emotions, values and historical consciousness can be passed from one generation to another.

One of the significant aspects of the discussion was the relationship between history and performance. When history enters the theatrical space, it moves beyond books and dates and becomes an experience that audiences can emotionally connect with. Azaadi Ke Sindoori Rang was appreciated for its ability to communicate patriotism while also encouraging reflection on the values associated with India’s freedom movement.

Vijay Kumar and Sanjay Chaudhary also participated in the discussion and spoke about the holistic vision of Indian art traditions. They emphasised that Indian art has always carried a social and cultural responsibility alongside its aesthetic dimensions. They described Azaadi Ke Sindoori Rang as a play rich in patriotic sentiment and capable of offering meaningful direction to society, stressing that such productions should be staged across different parts of the country.

The event was attended by the play’s director Sunil Chauhan, Sakshi Chauhan, artists associated with the production and several personalities from the cultural and artistic fraternity. Their presence added to the spirit of dialogue and exchange that defines the monthly seminar.

The evening at Kala Sankul ultimately reaffirmed the continuing relevance of theatre as a space where art, history and cultural identity meet. At a time when historical memories are increasingly mediated through different forms of communication, live theatre retains its unique ability to make the past visible, immediate and emotionally resonant.

The programme was conducted by Kuldeep Sharma, while Vishwadeep Sharma delivered the vote of thanks. The successful organisation of the seminar was supported by team members Shruti Sinha, Ritambhara, Brijesh, Raj Upadhyay, Mrityunjay, Sushank and Vijendra, whose contribution was appreciated.

From music and culture to entrepreneurship, a journey driven by passion

Malaysia:
Some people build their lives around a single identity. Others carry several passions within them and allow each one to shape their journey. Rahul Bhoj belongs to the latter. An entrepreneur with an artist’s sensibility, an engineer’s analytical mind and a deep connection with Indian culture, his journey is as diverse as it is inspiring.

His professional journey is backed by a strong academic foundation. After completing engineering, he pursued an MBA and an MSc, and is currently pursuing his PhD. But beyond his formal qualifications, what stands out is his constant curiosity and willingness to keep learning.

Long before the world of business became a major part of his life, music had already found its place in it. Rahul has been associated with both the guitar and the tabla, bringing together two very different musical traditions. His love for music eventually led him to form his own band, Rhythm Rangers. While his professional responsibilities continued to grow, he never allowed this creative side of his personality to disappear.

That artistic spirit perhaps explains something distinctive about Rahul’s personality. He comes from a world where numbers, strategy, technology and business decisions matter, yet he has always retained an appreciation for rhythm, creativity and culture.

Today, Malaysia is his workplace and the centre of his entrepreneurial journey. Through Aroona Solutions, Rahul has built a strong presence in the business world.

The scale of his professional responsibilities is significant. Thousands of people today work under his leadership, making his role much larger than that of simply running a business. It involves creating opportunities, building teams, taking important decisions and guiding a large workforce towards a common vision.

Yet perhaps the most interesting part of Rahul’s story is the contrast between this large professional world and the simplicity of the person behind it.

Despite the scale of his business and the responsibilities that come with leading thousands of people, Rahul remains connected to the small joys of life. There is still a child within him who finds happiness in uncomplicated moments—playing with his son Kairav, spending time with his wife Chandrani, and enjoying the warmth of his own little world away from the demands of work.

For Rahul, Malaysia may be his karmabhoomi, but India continues to live in his heart. His connection with Indian culture is not merely nostalgic. It finds expression through his association with music, particularly the tabla, and through the values and cultural sensibilities that remain a part of his life even while living thousands of miles away from India.

His story is therefore not just about entrepreneurship. It is about carrying different worlds together. The precision of an engineer, the vision of an entrepreneur, the curiosity of a lifelong learner and the sensitivity of an artist—all coexist in one personality.

Perhaps that is what makes Rahul Bhoj’s journey particularly interesting for a cultural page. His success has taken him into the corporate world, but his creative instincts have remained alive. His professional life may be measured in businesses, teams and responsibilities, but his personal identity continues to find space for music, culture and the simple pleasures that keep life grounded.

From the rhythms of the tabla and guitar to the rhythm of business, Rahul Bhoj has travelled a long way. And while his professional world has grown enormously, the connection with the artist within him remains intact.

He may have built his success in Malaysia, but he continues to carry a piece of India with him—and perhaps that is the rhythm that has stayed constant throughout his journey.

A compelling blend of history, cultural memory and human sensitivity

History often survives in books as a record of rulers, wars and political changes. Theatre, however, has the ability to take that history beyond facts and dates and bring its human dimension before us. Dr. Harisuman Bisht’s play ‘Mola’ is an interesting example of this approach. Set against the historical backdrop of the Garhwal region, the play brings together political upheaval, cultural memory, human relationships and the changing role of the artist.

What makes Mola particularly engaging is not merely the historical subject it chooses, but the manner in which Dr. Bisht transforms historical material into a dramatic and accessible narrative. He does not treat history as something distant or frozen in the past. Instead, he looks for the people behind the events—their anxieties, conflicts, aspirations and suffering.

The historical setting of the Garhwal Shah dynasty and the Gorkha expansion provides the framework for the play. Yet the writing does not remain confined to royal courts and political manoeuvring. The consequences of political conflict gradually reach ordinary people, allowing history to be viewed from a more human perspective.

History beyond kings and battles

One of the strengths of Bisht’s writing is the way he moves away from a purely ruler-centric version of history. Political events are important, but what matters equally is their impact on society.

The story brings together historical figures and imagined characters, allowing the author to enter spaces that conventional historical records may not fully explore. Through this creative approach, personal relationships, emotional conflicts and questions of identity become part of the larger historical narrative.

This is where Mola acquires its dramatic character. History provides the foundation, while imagination and human emotion give it movement.

Rather than simply asking what happened, the play makes us consider what those events meant to the people who lived through them.

A sensitive understanding of the artist

At the centre of this historical world stands Molaram, a poet and painter. His presence gives the play another important dimension—the relationship between art and power.

Molaram’s artistic identity is not presented merely as an individual talent. As the political and social atmosphere around him changes, his sensitivity towards the suffering of people also grows. His journey gradually moves beyond artistic expression and personal recognition towards a larger social responsibility.

This is perhaps one of the most thought-provoking aspects of Bisht’s writing. Without turning the play into a direct lecture on art and society, he raises a fundamental question: What is the responsibility of an artist towards his or her own time?

Through Molaram, art becomes more than an ornament of the court. It becomes a way of observing society and responding to its pain.

Bringing another voice into history

The character of Soma adds an important emotional and social layer to the narrative. Her struggle introduces questions of dignity, violence and resistance within the historical framework.

Her presence also prevents the story from becoming exclusively male and political. Through her, the author allows the reader to encounter another kind of historical experience—one shaped by vulnerability, courage and resistance.

The contrast between Molaram’s response to injustice through artistic sensitivity and Soma’s more direct resistance creates an interesting parallel. Their paths are different, but both are connected by a refusal to remain passive before injustice.

The cultural landscape of the hills

Another striking feature of Mola is the cultural texture created through language and local traditions. Garhwali, Kumaoni and Nepali linguistic influences, folk songs, local expressions and references to regional customs contribute to the sense of place.

This regional flavour does not appear merely as decoration. It becomes an essential part of the historical world that Bisht is recreating.

The reader is not simply told that the story belongs to the hills; the language and cultural references allow that landscape to emerge organically. The world of the play consequently carries the sound and memory of the region within it.

A writer who understands the visual nature of theatre

Bisht’s theatrical sensibility is also visible in the manner in which different spaces and situations are brought into the narrative. The court, the ashram, the settlement, the riverside and the world of the artist create a changing visual landscape.

The use of dialogue, monologue and internal expression gives the characters room to reveal not only what they do but also what they think and feel.

The dialogues are largely simple and accessible, while regional speech adds authenticity. The Hindi translations of regional dialogues also make the cultural material more accessible to a wider readership.

This balance between regional identity and accessibility is an important feature of the writing.

The past speaks to the present

Perhaps the most significant achievement of Mola is that its historical setting does not isolate it from contemporary concerns.

Questions of political conflict, internal divisions, external intervention, the suffering of ordinary people, women’s dignity and the social responsibility of artists continue to resonate beyond the period depicted in the play.

That is why the work does not feel like an attempt merely to reconstruct a forgotten historical episode. It uses the past to make the present think.

The play quietly reminds us that when a society is divided by internal struggles for power, the consequences are often borne by those who have the least influence over political decisions. At the same time, it asks what role artists and intellectuals can play when society is passing through such turmoil.

A distinctive historical imagination

Dr. Harisuman Bisht’s achievement in Mola lies in bringing together historical fact, imaginative reconstruction, regional culture and human emotion without allowing the historical background to overwhelm the dramatic narrative.

His writing gives history a human face. The past is not presented merely as something that happened long ago; it becomes an experience that can still speak to the concerns of the present.

Mola therefore deserves attention not only as a historical play but also as a work that reflects on the relationship between art, society and power. Through its cultural rootedness and human perspective, it invites the reader to look at history from beyond the throne—to look towards the people, their struggles and the artists who witnessed their times.

In Mola, Dr. Harisuman Bisht does not simply recreate history; he gives it a human voice. And it is through that voice that the past becomes visible, relevant and alive for the present.

New Delhi, July 26, 2026: In the Indian cultural tradition, the Guru is revered as the guiding force who illuminates the path of knowledge, art and self-realisation. Celebrating this timeless bond of reverence, gratitude and dedication, Surangan and Sanskar Bharati Kala Sankul jointly hosted ‘Guruvandan’ – a special Guru Purnima Music Celebration and Cultural Gathering at the Sanskar Bharati Kala Sankul auditorium in New Delhi.

The evening unfolded as a graceful confluence of Indian classical music, devotion and the enduring Guru–Shishya tradition, leaving the audience with an experience that was as soulful as it was musically enriching.

An Auspicious Beginning with Nataraja Vandana

The programme commenced with the ceremonial worship of Nataraja, the divine embodiment of dance, rhythm and cosmic creativity, followed by the collective rendition of the Sanskar Bharati Dhye Geet. The opening immediately created an atmosphere of spiritual serenity and artistic anticipation.

The first musical presentation featured the disciples of internationally acclaimed classical vocalist Vidushi Dr. Nabnita Chowdhury. Through Ganesh Vandana, Saraswati Vandana and a Guru Vandana composed in Raga Charukeshi, the young artistes beautifully expressed their reverence for their Guru and the tradition they have inherited through rigorous musical training.

Their performance was marked by discipline, tonal precision and a deep sense of devotion. Shri Sudip Chowdhury provided accomplished tabla accompaniment, adding rhythmic depth and elegance to the presentation.

Miyan Malhar Brings the Monsoon Alive

The evening then moved into the evocative world of monsoon music with the arrival of young classical vocalist Smt. Jayantika Dey from Varanasi.

Her rendition of Raga Miyan Malhar, perfectly suited to the season, created an atmosphere of musical freshness and emotional intensity. Her command over the raga, mature voice culture and expressive interpretation drew warm appreciation from the audience.

She followed the raga presentation with a soulful thumri, bringing an intimate touch of emotion, lyrical beauty and aesthetic refinement to the evening.

The performance was beautifully supported by Shri Aritro Chowdhury on tabla and renowned harmonium accompanist Janab Zakir Dholpuri. Their sensitive and well-balanced accompaniment complemented the vocalist without overshadowing the central melodic expression.

The Sitar Creates a Mesmerising Finale

The musical evening reached its culmination with an exquisite sitar recital by acclaimed Kolkata-based sitarist Pandit Partho Bose.

His performance unfolded through the nuanced progression of alap, jor, jhala and gats, revealing both the meditative depth and technical brilliance of the sitar tradition. His command over the instrument, coupled with a profound understanding of raga, drew the audience into the contemplative world of Indian classical music.

Shri Sudip Chowdhury accompanied him on tabla with remarkable rhythmic sensitivity, creating a compelling dialogue between melody and rhythm.

A Distinguished and Thoughtful Stage Presentation

The entire programme was conducted with grace and intellectual depth by Shri N. K. Mishra, senior disciple of Vidushi Dr. Nabnita Chowdhury, former Director General of Police and former Special Director of the Intelligence Bureau (IB).

His poised, articulate and scholarly stage presentation added another dimension to the evening. His understanding of music and the Guru–Shishya tradition helped connect the various segments of the programme into a coherent and meaningful cultural narrative.

A Celebration Beyond Music

‘Guruvandan’ was not merely a concert; it was a celebration of the values that sustain Indian artistic traditions—discipline, devotion, learning, humility and the sacred relationship between Guru and Shishya.

Each presentation reflected a different facet of this tradition. From the devotional opening to the raga-based vocal performances and the final sitar recital, the evening demonstrated how classical music continues to preserve and transmit India’s cultural memory from one generation to the next.

The People Behind the Evening

The success of the programme was also made possible by the dedicated efforts of the members of Sanskar Bharati Kala Sankul and Surangan. Special appreciation goes to Shri Raj Upadhyay, Shri Shyam Kumar, Smt. Garima Rani, Smt. Sneha Mukherjee, Shri Brijesh, Shri Bijendra and Shri Mrityunjay, whose commitment, teamwork and tireless efforts contributed significantly to the smooth and dignified conduct of the event.

Their collective contribution reflected the spirit of cultural service that lies at the heart of such initiatives.

A Grateful Closing

The evening concluded with a heartfelt vote of thanks by Shraboni Saha (Mun Mun), who expressed gratitude to the revered Gurus, artistes, organisers, collaborators and music-loving audience for making the celebration meaningful and memorable.

The concluding Nataraja Aarti brought the evening to a serene close, filling the auditorium with an atmosphere of devotion, gratitude and spiritual warmth.

‘Guruvandan’ ultimately emerged as more than a Guru Purnima celebration. It became a living tribute to the Guru–Shishya tradition and the timeless spirit of Indian classical music—a tradition that continues to inspire, nurture and illuminate generations of artistes and rasikas alike.

New Delhi | 8 July 2026

Kamani Auditorium witnessed a deeply moving theatrical experience as ‘Aapatnama’, based on Anil Goyal’s acclaimed novel Naya Savera, was staged under the auspices of the Hindi Academy, Department of Art, Culture & Languages, Government of Delhi. Adapted and directed by Sunil Rawat, the production revisited one of the most defining chapters of India’s post-independence history—the Emergency of 1975.

Rather than presenting history as a mere sequence of political events, Aapatnama brings to life the stories of ordinary people whose lives were transformed by fear, uncertainty, and state control. The production portrays the atmosphere of censorship, arbitrary arrests, restrictions on civil liberties, and the silent struggles of countless families. The controversial forced sterilization drive also finds its place within the narrative, illustrating how government policies deeply affected the everyday lives of common citizens.

At the heart of the production is Anil Goyal’s compelling writing. His narrative goes beyond political commentary, capturing the courage, resilience, and quiet resistance of people who endured one of the darkest periods in India’s democratic journey. The play succeeds in transforming historical memory into an emotionally engaging theatrical experience.

One of the production’s greatest strengths was its music. Thoughtfully woven into the narrative, the songs became an emotional bridge between scenes, enriching the storytelling and adding depth to the dramatic moments. Their powerful lyrics and soulful compositions remained with the audience long after the performance ended.

The ensemble cast delivered sincere and engaging performances, creating a convincing portrayal of life during the Emergency. The principal cast included Kapil Pal, Komal Munshi, Raj Sharma, Prasoon Narayan Srivastava, Komal Singh, Prajanya Arora, Meenakshi Rajdan, Priyanka, Abhishek Anand, Ishwarchand, Aarav, Ritesh, Aditya, Vikramaditya, and Vishnu. The production was further elevated by Rajeev Singh’s music, Dalchand’s costume design, Divyang’s lighting, and Rashid Khan’s makeup, all of which contributed significantly to the overall theatrical experience.

The evening was graced by several distinguished personalities, including former Union Health Minister Dr. Harsh Vardhan, Ram Bahadur Rai, Chairman of the Indira Gandhi National Centre for the Arts, senior journalist K.N. Gupta, eminent playwright Prof. Pratap Sehgal, and renowned theatre writer Dr. Harisuman Bisht, along with leading theatre practitioners, journalists, and literary figures. Adding a profound historical dimension to the occasion were individuals who had been imprisoned during the Emergency, as well as those who had courageously provided shelter to people during those difficult times.

In his address, Ram Bahadur Rai described the production as a significant effort to preserve an important chapter of India’s history through literature and theatre. Dr. Harisuman Bisht praised Anil Goyal for his insightful portrayal of the period and the remarkable way in which historical realities were woven into the narrative.

The evening concluded with the introduction of the entire cast, warmly applauded by the audience. As a gesture of appreciation, Dr. Harisuman Bisht felicitated director Sunil Rawat by presenting him with a sapling, symbolizing creativity, growth, and the enduring spirit of theatre.

More than a historical play, Aapatnama is a poignant reminder of the value of freedom, democracy, and human dignity. With its compelling narrative, evocative music, committed performances, and thoughtful direction, the production emerged as an unforgettable theatrical experience that left the audience reflecting on the lessons of history and their relevance today.

The Centre for Sanskrit, Oriental Languages and Indian Knowledge Systems at Rabindranath Tagore University presented a remarkable evening of classical theatre on 6 July 2026 at 2:30 PM in the Sharda Auditorium. The performances were staged by the students of the Master of Performing Arts (MPA) and Postgraduate Diploma in Natyashastra programmes.

The event featured Hindi adaptations of two celebrated Sanskrit classics—Bhagavadajjukam, written by Maharshi Bodhayana, and Urubhangam, composed by the renowned playwright Mahakavi Bhasa. The entire theatrical presentation was dedicated as a heartfelt tribute to the legendary Pandavani exponent and Padma Vibhushan awardee, Teejan Bai, celebrating her unparalleled contribution to India’s rich performing arts tradition.

The programme was graced by Mr. Sanjay Srivastava, Director, MPSD, as the Chief Guest, while Prof. Sanjeev Gupta, Pro Vice-Chancellor, Rabindranath Tagore University, presided over the event. Prof. Verma attended as a distinguished guest. Addressing the gathering, Mr. Srivastava applauded the students for their impressive performances and encouraged them to pursue theatre with dedication, discipline, and artistic commitment.

The productions were directed by eminent Sanskrit theatre director Dr. Santosh Sahu. The event was organised under the guidance of Dr. Sanjay Dubey, Head of the Centre for Sanskrit, Oriental Languages and Indian Knowledge Systems, and Dr. Savitri Singh Parihar, Programme Coordinator.

The cast included Naveen Chandra, Anil Kumar, Vipin Kumar, Sangeeta Suyal, Anshuman Miglani, Amrit Raj, Naman Mishra, Rohit Singh, Sheetanshu Pal, Aman Kumar Kushwaha, Nitin Srivastava, Sandeep Rathore, Vanshika Pandey, Meghna Agrawal, Swati Srivastava, Swati Singh, Shubham Srivastava, Himanshu Rai, Avi Pandey, and Ravi, all of whom received widespread appreciation for their compelling performances.

The musical score was collaboratively arranged by Tarun Thakur, Vanshika Pandey, Aman Kumar, and Sheetanshu Pal. Rohit Rajak, Shubham Pandey, and Naveen Chandra served as Assistant Directors, while Rohit Rajak handled the lighting design. Technical support for the production was provided by Abhishek Deshmane.

The event concluded with a standing ovation and resounding applause, reflecting the audience’s appreciation for the students’ artistic excellence and the successful presentation of India’s classical theatrical heritage. The production served as a fitting tribute to Teejan Bai, reaffirming the timeless relevance of Sanskrit drama in contemporary performance culture.

New Delhi | June 28, 2026

An evening where cinema transcended entertainment and transformed into a platform for reflection, dialogue, and cultural engagement—this was the essence of the Film Appreciation Session hosted by Kala Sankul, Sanskar Bharati, featuring the critically acclaimed film Humans in the Loop.

The programme began with the traditional lighting of the ceremonial lamp, setting the tone for an intellectually enriching evening. Distinguished actor Shri Shrikant Verma graced the occasion as the Chief Guest, lending his presence to an event that celebrated the transformative power of meaningful cinema.

As the film unfolded, it invited the audience into a compelling narrative exploring the delicate balance between human emotions and artificial intelligence. With remarkable storytelling, evocative visuals, and thought-provoking performances, Humans in the Loop challenged viewers to reflect on technology’s growing influence on society and the enduring importance of empathy, ethics, and human values.

The conversation continued beyond the screen as writer-director Aranya Sahay joined the gathering virtually from Mumbai. Sharing the inspiration behind the film and the creative journey that shaped it, he engaged in an insightful interaction with the audience, responding to questions with honesty and depth. The discussion evolved into a stimulating exchange of perspectives on the future of humanity in an increasingly AI-driven world.

Reflecting on the film, Chief Guest Shri Shrikant Verma appreciated its contemporary relevance and remarked that meaningful cinema has the power to ignite conversations that extend far beyond the theatre. He praised the film for encouraging audiences to question, reflect, and engage with the realities of modern society.

The interactive session witnessed enthusiastic participation from artists, students, and cinema lovers, who shared their interpretations of the film and deliberated on issues ranging from artificial intelligence and ethics to creativity, human sensitivity, and social responsibility. The exchange of ideas highlighted the role of cinema as a catalyst for thoughtful public discourse.

The programme was eloquently anchored by Shashi Prabha, while the Vote of Thanks was delivered by Dhruv Karnpal, Film Convenor, Delhi Prant, who expressed heartfelt gratitude to the guests, speakers, participants, and audience for contributing to the success of the event.

The seamless execution of the programme reflected the dedication of the Kala Sankul team. Digvijay ji, Raj Upadhyay, Shyam Kumar, Shruti Sinha, Ritambhara, Garima Rani, Shraboni Saha, Sneha Mukharjee, Nishi, Pradeep, Vishwadeep, Harshit, Mrityunjay, and Bijendra Kumar played an instrumental role in ensuring the smooth and successful conduct of the event.

More than a film screening, the evening stood as a celebration of meaningful storytelling and intellectual exchange. Through Humans in the Loop, Sanskar Bharati once again reaffirmed its commitment to fostering cultural dialogue, artistic excellence, and socially relevant cinema—proving that great films do not simply end with the closing credits; they begin conversations that stay with us long after the screen fades to black.