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.

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.

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.

Held on 7 June at the auditorium of Bhai Joga Singh Public School, Karol Bagh, New Delhi, Tarang – Dance Stage Show was more than just a cultural presentation; it was a celebration of dedication, discipline, and artistic growth. Organized by Vivekratz Dance Academy, the event provided a vibrant platform for emerging performers to showcase their talent before a live audience. The evening featured a variety of dance presentations by artists of different age groups, reflecting the richness of India’s performing arts tradition and the enthusiasm of a new generation of performers.

A significant contribution to the event came from Aadharshila Kala Kendra, an organization committed to nurturing young talent through training in Kathak and providing students with opportunities to perform on stage. Under the guidance of renowned Kathak guru Smt. Durga Basak, several aspiring dancers presented graceful performances that reflected both technical skill and artistic maturity. Through her dedicated teaching, Smt. Basak has been instrumental in preserving and promoting the classical dance tradition while inspiring young learners to pursue their artistic aspirations.

Among the many promising performers who graced the stage, Pooja Rathore stood out as an inspiring example of how passion and perseverance can keep a dream alive.

For Pooja Rathore, learning Kathak was not merely a hobby but a cherished childhood dream. From an early age, she aspired to immerse herself in the beauty and discipline of this classical dance form. However, as life progressed, she focused on building a successful career and eventually established herself as a respected Interior Designer. Yet the dream of becoming a Kathak dancer remained alive within her. Rather than allowing that dream to fade, she chose to pursue it with determination and dedication. Under the guidance of Smt. Durga Basak, she finally transformed her childhood aspiration into reality, proving that it is never too late to follow one’s passion and fulfill a long-held dream.

Today, Pooja successfully balances her professional achievements with her artistic pursuits. Years of disciplined training and sincere commitment have enabled her to develop a confident stage presence and a deeper understanding of Kathak’s intricate rhythms, graceful movements, and expressive storytelling. Her journey demonstrates that artistic aspirations need not be sacrificed in the pursuit of a professional career.

At Tarang – Dance Stage Show, Pooja’s performance was a reflection of that remarkable journey. Her elegant footwork, rhythmic precision, expressive abhinaya, and confident presence captivated the audience and earned warm appreciation. Watching her perform, one could sense not only her technical proficiency but also the fulfillment of a dream nurtured since childhood.

The event ultimately highlighted the importance of institutions such as Aadharshila Kala Kendra and mentors like Smt. Durga Basak, who provide aspiring artists with both training and opportunities to shine. Through performers like Pooja Rathore, Tarang demonstrated how dedication, guidance, and perseverance can transform childhood dreams into artistic reality, inspiring many others to pursue their passions regardless of where life may lead them.

As part of the valedictory session of the Nine-Day National Workshop (29 May – 6 June 2026) organized by the Sanskrit Prachya Bhasha Evam Bhartiya Gyaan Parampara, Rabindranath Tagore University, Bhopal, the fourth-semester students of the Master of Performing Arts (Drama) programme presented an engaging theatrical production titled “Paanch Rang Ek Sang.” The workshop focused on key aspects of theatre-making, including playwriting, stage design, makeup, and lighting design, with the objective of introducing students to the holistic process of theatrical production. The final presentation reflected the creative explorations, practical exercises, and collaborative learning undertaken during the workshop.

The workshop was conducted under the training and mentorship of renowned theatre practitioner Shyam Kumar from Delhi. Drawing upon his extensive experience and practical insights in theatre, he guided participants through diverse aspects of performance, stagecraft, visual composition, and theatrical presentation. The scene work and creative exercises developed during the workshop gradually evolved into a complete theatrical production, providing students with valuable hands-on experience in the art and craft of theatre.

Presented under the title “Paanch Rang Ek Sang” the production brought together five distinct stories—Lal Kothi, Bhookh, Satyamev Jayate, Dafa Ek Shav Teen… Ek Gunah, and Unheard Voices. While each narrative explored a unique theme and emotional landscape, together they reflected various dimensions of contemporary society.

One of the most remarkable aspects of the presentation was the active involvement of students in every stage of the creative process. Beyond acting, they assumed responsibility for writing, direction, costume design, music composition, makeup, and stage management, demonstrating a comprehensive understanding of theatrical production. The scene work and theatre exercises developed throughout the workshop were gradually transformed into a cohesive dramatic structure, enabling participants to engage with every dimension of performance-making and apply their learning in a practical setting.

The success of the presentation was made possible through the dedicated efforts of Adeeb Ansari, Ankit Chaudhary, Oindrila Goswami, Prashant Kumar, Sainand Sadanand Valvaikar, Bishal Barua, Davinder Singh Grover, Himadri Vyas, Kartik Kumar Namdev, Pooja Kevat, Sahaj Kumar Harjai, Unish Pratap Singh, Deepak Bhardwaj, Himanshu Tiwari, Pankaj Diwan, Prateek Chauhan, Praveen Kumar Namdev, Rahul Gupta, Sanjay Singh Negi, Nisha Kundaikar, Tanashree Rane, Santosh Rajput, Shubham Shivalkar, and Shubham Srivastava. Representing different regions of the country, these young theatre practitioners displayed remarkable talent, discipline, creativity, and collective commitment. Their contributions extended far beyond performance, encompassing significant involvement in the technical and artistic aspects of the production, thereby strengthening the overall impact of the presentation.

The workshop was jointly organized by the Sanskrit Prachya Bhasha Evam Bhartiya Gyaan Parampara, Vishwarang Foundation, and the Faculty of Humanities and Liberal Arts. It was conducted under the patronage of Dr. Aditi Chaturvedi, Pro-Chancellor, and Dr. Sangeeta Johari, Registrar, whose support encouraged innovative and practice-based learning in the performing arts. The workshop was successfully coordinated by Dr. Sanjay Kumar Dubey and Dr. Savitri Singh Parihar, with Abhishek Deshmane serving as the Convener. Their collective efforts provided students with a meaningful platform to learn, experiment, collaborate, and express their creative potential through theatre.

More than a concluding performance, “Paanch Rang Ek Sang” emerged as a celebration of creative learning, collaboration, and artistic exploration. The production demonstrated how workshop-based training can empower young artists to transform ideas into performance while gaining a deeper understanding of the many dimensions of theatre-making. It stood as a testament to the transformative power of theatre education and the vibrant creative energy of emerging performers.

New Delhi: The 23rd Natsamrat Natya Utsav, held at the LTG Auditorium in Mandi House from 28 February to 8 March 2026, concluded successfully after several days of engaging and thought-provoking theatrical performances. Featuring plays based on diverse themes and styles, the festival offered theatre lovers in the capital a vibrant and enriching cultural experience. The entire festival was dedicated to the eminent theatre personality Daya Prakash Sinha. Organized under the direction and coordination of Shyam Kumar, the festival was widely appreciated for its well-curated productions and smooth execution.

The festival opened on 28 February 2026 with two plays. The first, “Marilyn Monroe: My Crush,” written and directed by Ashraf Ali, explored the emotional struggles and private life hidden behind the glamorous public image of the legendary Hollywood icon Marilyn Monroe. Through powerful performances and a sensitive narrative, the play attempted to reveal the complex realities that often lie behind fame and celebrity. Later that evening, the play “Chuhedani,” written and directed by Ishwar Shunya, was staged. Through satire and humorous situations, the play presented the contradictions and ironies of middle-class life. The lively performances and sharp dialogues kept the audience thoroughly engaged.

The next round of performances took place on 4 March 2026 with the staging of Anton Chekhov’s celebrated one-act comedy “The Proposal,” directed by Shyam Kumar. Beginning with a simple marriage proposal and escalating into heated arguments over trivial matters, the play humorously exposed the peculiarities of human nature. The energetic acting and precise dialogue delivery made it an entertaining experience for the audience. On the same day, “Kallu Nai M.B.B.S.”—a satirical play inspired by the works of Molière and also directed by Shyam Kumar—was presented. With exaggerated characters and witty exchanges, the play humorously critiqued social conventions and everyday absurdities. Its lively staging and comic energy made it one of the most entertaining performances of the festival.

On 7 March 2026, audiences witnessed two plays with contrasting emotional tones. The first, “Lajo,” was based on the renowned story Lajwanti by Rajendra Singh Bedi. The theatrical adaptation and direction were by Chandrashekhar Sharma. The play sensitively portrayed the tragedy of the Partition and the suffering endured by women during that turbulent period. The restrained direction and deeply moving performances created a powerful emotional atmosphere. Later that day, the play “Prem Parinde,” written, conceived, and directed by Chandrashekhar Sharma, was staged. Presenting modern relationships, youthful aspirations, and the influence of social media in a light-hearted and entertaining manner, the play was warmly received by the audience. The natural performances and excellent comic timing added charm to the presentation.

The festival concluded on 8 March 2026 with two impactful productions: “Dayashankar Ki Diary” and “Gadhe Ki Baraat.” “Dayashankar Ki Diary” is written by Nadira Zaheer Babbar, while “Gadhe Ki Baraat” is written by Haribhai Wadgaonkar. Both plays were directed by Vishwadeepak Trikha. Filled with humour, satire, and social commentary, these productions provided an engaging theatrical experience and brought the festival to a memorable close.

The 23rd Natsamrat Natya Utsav emerged as a celebration of the diversity and vitality of theatre. From satire and comedy to deeply emotional narratives, the wide range of plays highlighted the multifaceted possibilities of contemporary theatre. The festival offered a meaningful platform for artists and audiences to come together and engage with compelling stories and performances.

Over the years, the Natsamrat Natya Utsav has established itself as a significant cultural event in Delhi’s theatrical landscape. Through consistent efforts and thoughtfully selected productions, the festival continues to encourage theatrical creativity and nurture a deeper appreciation for performing arts among audiences. Under the leadership of Shyam Kumar, the event remains committed to promoting quality theatre and providing artists with opportunities to present diverse dramatic works.

With its varied themes, strong direction, and dedicated performances by talented actors, the 23rd Natsamrat Natya Utsav once again proved that live theatre continues to be a vibrant and essential part of the capital’s cultural life.

New Delhi witnessed an engaging evening of theatre on 8 March at LTG Auditorium, Mandi House, where two remarkable plays — Dayashankar Ki Diary and Gadhe Ki Baraat — were staged as part of the 23rd Natsamrat Theatre Festival. The productions were directed by Vishwadeepak Trikha and presented by Cultural Saptak Society, Rohtak. The entire festival was dedicated to eminent theatre personality Daya Prakash Sinha, celebrating his immense contribution to Indian theatre.

The play Dayashankar Ki Diary presents a sensitive and realistic narrative of a young man from a small town in Bihar who arrives in the “city of dreams” hoping to achieve success. However, life takes a different turn when his ambitions collapse under the pressure of harsh realities. Eventually, he settles into a modest clerk’s job. The play explores his emotional turmoil, shattered dreams, and the quiet struggle of an ordinary individual trying to find meaning in life. Surender Sharma delivered a compelling performance on stage, portraying the character with depth and sincerity. The technical aspects of the production were handled effectively by Jagdeep Jugnu (lights and sound), while Vikas Rohilla enriched the narrative through music. The production was managed by Manish Khare. The play is written by renowned theatre personality Nadira Zaheer Babbar.

The second play, Gadhe Ki Baraat, offered a satirical and entertaining take on social inequalities. Based on a mythological premise, the play cleverly reflects on contemporary social realities, highlighting the growing divide between the rich and the poor. Through humour, lively situations, and witty dialogue, the play not only entertained the audience but also encouraged them to reflect on the inequalities embedded in society.

The cast included Tarun Pushp Trikha, Surender Sharma (as Raja), Avinash Saini (as Gangu), Parul Ahuja (as Gangu’s wife), Sonika Panwar Savera, Pratishtha (classical dancer), Shakti Sarovar Trikha, Amit Sharma, Sameer Sharma, and Shivangi (as Bua). A notable highlight of the performance was the live playing of the traditional percussion instrument Nagara by Subhash Nagara, which added a vibrant theatrical energy and enhanced the dramatic atmosphere of the play.

Musical accompaniment, including vocals and harmonium, was provided by Vikas Rohilla, while lighting design was managed by Jagdeep Jugnu. Anil Sharma handled makeup, and the production team included Manish Khare and Abhishek. The play is written by Haribhai Wadgaonkar.

At the end of the evening, the entire cast and crew were honoured with mementos and certificates in recognition of their contribution. The felicitation was presented by Devendra Popli, manager of the LTG Auditorium and a noted patron of the arts, along with Shyam Kumar, director of the Natsamrat organisation and the theatre festival.

The evening celebrated the spirit of theatre with engaging storytelling, strong performances, and enthusiastic appreciation from the audience, reflecting the vibrant cultural energy of the Natsamrat Theatre Festival.