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.

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.

At Kala Sankul, the art centre of Sanskar Bharati, New Delhi, a monthly symposium dedicated to folk arts and Indian cultural traditions was held on 23rd and 24th January 2026 on the auspicious occasion of Basant Panchami. Conducted in a dignified and emotionally resonant atmosphere, the two-day event emerged as a vibrant celebration of India’s folk consciousness, artistic devotion, and cultural memory.

The first day began with the ceremonial worship of Goddess Saraswati, invoking wisdom, creativity, and artistic insight. Scholars, artists, and cultural practitioners participated in the ritual, creating an ambience of serenity, contemplation, and spiritual warmth that set the tone for the days ahead.

The cultural evening on the second day, held at 5:30 PM, unfolded as a memorable showcase of India’s rich folk heritage. The programme commenced with the lighting of the ceremonial lamp by Sh. Ashok Tiwari, Central Office Secretary; Sh.Sanjay Kumar Poddar, Provincial General Secretary (South Bihar); Shruti Sinha, Symposium Convener; and Mrityunjay Kumar, Monthly Coordinator. Under the gentle glow of the lamps, the stage seemed illuminated by the very spirit of India’s folk traditions.

Folk vocalist Chandni Shukla captivated the audience with her melodious singing, reflecting the simplicity and sweetness of rural life. Her songs carried the fragrance of the soil and evoked memories of village landscapes. This was followed by a soulful Saraswati Vandana presented by renowned artist Amit Kumar, which filled the auditorium with devotion and reverence.

The sequence of folk dances presented a vivid tapestry of regional traditions. The Jhhijhiya dance, performed by Akanksha, Nishu, Dipriya, Rinkle, and Aastha from Purnia, beautifully expressed collective faith and folk spirit. This was followed by the energetic Jat-Jatin dance by noted folk dancers Uday Singh and Shruti Mehta, whose rhythmic vitality held the audience spellbound.

The Sama-Chakeva dance, performed by Shruti, Pratiksha, Rajnandini, and Shambhavi, conveyed delicate feminine emotions deeply rooted in folk life. The evening concluded with vibrant presentations of Jhumar and Kajri, filling the atmosphere with joy and festive exuberance.

These performances were not merely artistic displays but living expressions of traditions passed down through generations. Every rhythm, movement, and melody reflected the depth of India’s cultural memory.

The monthly symposium stood as a meaningful initiative towards the preservation, promotion, and transmission of folk arts to younger generations. The presence of art lovers, intellectuals, and young audiences added depth and significance to the event.

At the conclusion of the programme, all participating artists were honoured with ceremonial shawls by Abhijeet Gokhale, All-India Organisation Secretary, and Ashok Tiwari, in appreciation of their dedication and artistic commitment.

The programme was conducted with grace and clarity by Garima Rani, while Shruti Sinha, Symposium Co-convener, delivered the vote of thanks. The success of the event was made possible through the dedicated efforts of renowned announcer Bharti Dang, Programme Coordinator Mrityunjay Kumar, Brijesh Kumar, Harshit Goyal, Vijender Kumar, and Ritambhara.

This gathering became a cherished cultural memory—where folk art re-emerged with beauty, dignity, and heartfelt warmth.

An evocative evening of imagination, meditation, and Indian aesthetics at Kala Sankul

New Delhi, July 27
There are evenings that entertain, and then there are evenings that elevate. The recent Monthly Art Symposium hosted at Sanskar Bharati’s central office, Kala Sankul, was undoubtedly the latter. With the theme “Antaryatra: Imagination, Art and Meditation,” the gathering blossomed into an intimate and deeply reflective cultural experience — one that resonated with the soul.

Anchoring this vibrant dialogue was Smt. Vaishali Gahlyan, Assistant Professor of Philosophy at Miranda House, University of Delhi. In a keynote address that seamlessly wove aesthetics with spirituality, Dr. Gahlyan explored the essence of Indian art as a form of inner sadhana (spiritual practice), stating:

“Indian art is not merely a display of beauty, but a meditative discipline — a trinity of imagination, creation, and contemplation that draws the artist closer to self-realization.”

Her thoughts echoed through the hall, reaffirming the ancient Indian perspective of art not just as expression, but as realization — a means to connect the microcosm with the macrocosm.

The event commenced with a traditional lamp-lighting ceremony, presided over by Smt . Vaishali Gahlyan along with symposium convenor Smt. Shruti Sinha, co-convenor Sh. Vishwadeep, Delhi Prant’s stage art convenor Sh. Raj Upadhyay, and programme director Sh. Shyam Kumar — each a dedicated torchbearer of India’s living art traditions.

🎶 Monsoon Melodies & Cultural Echoes

As the gentle drizzle of Sawan graced the capital, the atmosphere inside Kala Sankul mirrored the rhythm of the rains. A soulful Kajri recital swept through the venue, filling hearts with seasonal nostalgia. Led by Sneha Mukherjee, along with young vocalists Lavanya Sinha, Manya Narang, and Ruhi, the performance paid homage to the folk spirit, evoking memories of lush fields and festive homes.

Amit Sridhar’s deft touch on the synthesizer and Tushar Goyal’s crisp tabla beats added texture and depth, making the musical interlude a celebration of India’s rich rural music heritage.

👣 Dance as Devotion

What followed was nothing short of poetry in motion. Kathak dancer Neelakshi Khandekar Saxena transported the audience with a presentation that captured the grace, strength, and rhythmic prowess of Indian womanhood. Her recital was a vivid tapestry of bhava, laya, and gati — a visual meditation that perfectly embodied the evening’s theme of “Antaryatra.”

🌟 Presence of Stalwarts & Artistic Solidarity

The event drew an impressive gathering of eminent personalities from Delhi’s cultural milieu. Among those in attendance were Kathak legend Pandit Rajendra Gangani, noted flautist Pandit Chetan Joshi, and National School of Drama Registrar Shri Pradeep Mohanty. Their presence lent gravity and warmth to the event, as did the attendance of various scholars, researchers, young artists, and art lovers.

Adding to the smooth flow of the evening was the poised anchoring by Sh. Kuldeep Sharma, whose narration stitched the various segments with thoughtfulness and flair.

🙏 Behind Every Great Evening…

Behind the artistic grace of the evening lay the quiet dedication of many. Pradeep Pathak (tabla), Shraboni Saha, Garima Rani, Harshit Goyal, Saurabh Tripathi, Brijesh, Shivam, Vijendra, Mrityunjay, Sushank, Sakshi Sharma, Priyanka, and Kala Sankul’s devoted manager Shri Digvijay ji — each played a vital role in ensuring a seamless, dignified, and heartfelt celebration of Indian arts.

🌸 A Living Space for Thought & Tradition

With each passing month, Sanskar Bharati’s Monthly Art Symposiums are evolving into a sacred space for dialogue, tradition, and creative introspection. More than a platform for performances, they are becoming vibrant forums where Indian art finds contemporary voice, where aesthetic experience meets spiritual insight, and where the soul of Bharat breathes freely in brushstrokes, rhythms, and reflections.

On 26th April 2025, at the Sammukh Auditorium of the National School of Drama, New Delhi, the play “Jogiya Raag” was presented under the theatre festival “Katharang“, organized by the cultural organization Mailorang. Written by Vijay Pandit and directed by Prof. Devendra Raj Ankur, this production transformed a seemingly simple story into an extraordinary emotional experience on stage.

“Katharang” commenced on the same day with the stage being graced by the presence of senior theatre artist Mr. Amitabh Srivastava, who conducted the inaugural ceremony, and renowned literary figure Mr. Ashok Vajpeyi, who attended as the Chief Guest.

The story revolves around Savitri, a woman abandoned by her husband immediately after marriage as he renounces worldly life to become a hermit. Years pass as Savitri patiently waits for him, unwavering in her faith despite societal pressures. Eventually, in an act of poignant resignation, she accepts an unknown ascetic as her lost husband, surrendering herself to her destiny.

Nidhi Mishra, portraying the role of Savitri, delivered a truly exceptional performance. Her command over body movements, dialogue delivery, and the subtle expression of inner turmoil kept the audience deeply engrossed throughout the play. With remarkable ease and depth, she captured the complex emotions of hope, struggle, and despair dwelling within Savitri.

Mukti Das portrayed the character of Bal Mukund with great seriousness and authenticity. His restrained expression of internal conflict and the pain of renunciation, without falling into melodrama, added credibility and depth to his character. His dialogue delivery was composed and truthful, making his presence compelling on stage.

With only two actors on stage, multiple characters were seamlessly brought to life through masterful variations in posture, movement, and voice modulation. This technical challenge was executed with impressive smoothness, making the character transitions natural and believable.

The innovative use of a simple prop — a saree — deserves special mention. Throughout the play, the saree symbolically transformed — representing femininity, sorrow, or the complex dynamics of shifting relationships, enhancing the thematic layers of the production.

Selection of the music that was played in the play by Sneha Kumar, deepening its mood and emotional texture. Nitin Bharadwaj’s lighting design and its careful execution effectively elevated the story’s atmosphere, aligning each scene with its emotional tone.”

“Jogiya Raag” offered a profoundly moving theatrical experience. The balanced synergy of storytelling, direction, acting, and technical finesse elevated the performance to great artistic heights. The sensitive and sincere efforts of the team ensured that the audience remained deeply connected to the story from beginning to end.

This play is not merely the tale of Savitri’s endless waiting and loyalty; it is also a beautiful exploration of human emotions, faith, and the silent resilience embedded in life’s most difficult journeys.

The monthly art symposium organized by Sanskar Bharati at its central office, ‘Kala Sankul,’ on Sunday, December 29, 2024, was a resounding success. This cultural gathering celebrated the diverse aspects of Indian art and culture, making it a perfect blend of education.

The symposium’s highlight was the keynote address by the esteemed art critic and cultural activist, Shri Arvind Ojha Ji. His insightful discourse on “Indian Artistic Traditions and Contemporary Art Trends” captivated the audience. Shri Ojha eloquently explained how all art forms are interconnected and serve as powerful carriers of knowledge. He emphasized that art enhances the quality of life, restores balance during times of disruption, and brings a sense of purpose and justification to human existence. He also pointed out that conveying knowledge through art has always been an effective method of reaching society. Shri Ojha’s remark that beauty and morality have always been closely aligned in our traditions struck a deep chord with the attendees.

Adding to the charm of the event were mesmerizing stage performances. Yajyata Gaba Ji’s group delivered a soul-stirring sitar recital, while Niharika Safaya and her troupe presented a vibrant dance ballet. Both performances were met with overwhelming appreciation from the assembled art connoisseurs, leaving an indelible impression.

The event attracted several prominent artists, art teachers, and a large number of art enthusiasts from across Delhi-NCR. The program was seamlessly hosted by Garima Rani, and a heartfelt vote of thanks was delivered by Vishwadeep, acknowledging the efforts of all contributors.

The success of the event was made possible by the collective efforts of numerous dedicated individuals, including Raj Upadhyay, Shyam Kumar, Pradeep Pathak, Raman Kumar, Anchal Kumari, Tarushi, Anjali Kumari, Sakshi Sharma, Saurabh Kumar, Harshit Kumar, Raman Kumar, Brajesh Vishwakarma, and Satyam Kumar. Special recognition was given to the ‘Kala Sankul’ management team, led by Digvijay Pandey, Mrityunjay Kumar, and Sushank, for their impeccable organization and coordination.

This symposium was not only a celebration of artistic excellence but also an inspiration for artists and cultural enthusiasts alike. By fostering greater awareness and appreciation for the arts, the event reinforced the enduring relevance of India’s artistic heritage in contemporary times.

A monthly art seminar was organized on 27 October 2024 at the ‘Kala Sankul’ of Sanskar Bharti, Delhi, in which a unique confluence of India’s cultural diversity and unity was seen. Padmashree Ramdayal Sharma ji, who is a reputed Nautanki artist and guru, was present as a special guest in this program.

The program started with the lighting of the lamp where Sanskar Bharti’s Rashtriya Sangathan Mantri Abhijeet Gokhale, Ashok Tiwari, Digvijay Singh, Padmashree Ramdayal Sharma, Shyam Kumar, Raj Upadhyay, Deputy Registrar O.P. Sagar, Shruti Sinha were present.

The program started with captivating presentations of various folk dances, in which Manya Narang, Divya Kumari, Lavanya Sinha, Avya Tiwari and Katha Vachika Ruhi Jaiswal, under the leadership of Ms. Sneha Mukherjee, presented the folk dances of Rajasthan and Haryana in a very lively form. After this, Ms. Prabha Dubey’s group Rashmi Singh, Pooja Tripathi, Vaishnavi, Akshit Pratap Singh, Durga Bashakh, Jyoti Sharma, Gargi Savaria, Nitya Bansal, Bhavya Bansal and Megha Jain mesmerized the audience by presenting a unique amalgamation of Garba, Dandiya and Bengal’s Dhunuchi dance.

Padma Shri Ramdayal Sharma Ji in his speech highlighted the antiquity of Nautanki and its Indianness. He told that Nautanki is basically an expression of religious and Indian consciousness, and maintaining its purity is the need of the hour. Initially, Nautanki art was known as Swang and Bhagat.

In earlier times, there was no stage art without Indian consciousness. If the sufferings faced by King Harishchandra for the truth are shown through art, then the new generation will have Indian consciousness.

The program was conducted by Garima Rani Ji, while the vote of thanks was presented by Shruti Sinha Ji. This seminar emerged as a symbol of Indian culture, folk art and national unity, in which art teachers, researchers and art lovers participated in large numbers. Raj Upadhyay, Shyam Kumar, Pradeep Pathak, Raman Kumar, Aanchal Kumari, Tarushi, Anjali Kumari, Sakshi Sharma, Saurabh Kumar, Harshit Kumar, Raman Kumar, Brajesh Vishwakarma, Satyam Kumar along with the manager of the Kala Sankul Digvijay Pandey, Mrityunjay Kumar, Sushant contributed to making the program successful.

Kolkali Dance is a folk dance practised by the inhabitants of the region of the North Malabar belt and the Lakshwadeep Islands. This group dance form has a history that goes back around two millenniums in time. It is widely regarded that this dance form has drawn elements from Kalaripayattu(this is a martial art practised in Kerala and Tamil Nadu). The body postures, choreography and the footwork displayed in Kolkali derive their roots in the training schedules of Kalaripayattu.

Kolkali is performed to magnify the occasions of joy and happiness. During the paddy harvest season in the Malabar Belt, Kolkali is performed by groups with all the pomp and show. The dance form is all-inclusive with participants being from all the castes, creeds and religions. The tribal festivals and the weddings in these areas have Kolkali as an integral part. At times a wooden stage called ‘Thattinmelkali’ is constructed for the performance of Kolkali.

Breaking the word Kolkali, it is comprised of two words i.e. ‘kol’ meaning sticks and ‘kali’ meaning dance, hence Kolkali being the dance-with-sticks. This dance form has rhythmic, eye-catching moves with participants moving in about a circle, striking small sticks in the same rhythm complemented by elegant footsteps. The climax of the dance performance is amalgamated with certain high-frequency musical notes, with 12-24 dancers moving unbrokenly moving in and out of a circle with the traditional ceremonial lamp, called ‘Nilavilakku’ at the centre. This movement encompasses tapping with the feet and the handheld wooden sticks.

The songs in the Kolkali dance are a concoction of devotional stories which are an auditory imagery of the regional Gods. The clinking and the striking sticks in a rhythmic way augment the music and create a holistic atmosphere. Musical instruments like Chengala, Mathalam, Elathalam and Chenda are used in this dance form.

The very scene of Kolkali artists – performing dynamic and radiant steps against a surreal backdrop of pulsating and enriching music is a sight to cherish and delight. Kolkali is a vibrant art form that makes the culture and the heritage of the Malabar Belt and the Lakshwadeep Islands opulent and sumptuous.

Independent Project by Abhinav Sharma

Guide ⇒ Prof. Manohar Khushalani

References :

1. Kolakli-Malabar Toursim
2. Types of Kolkali

A review by Manohar Khushalani for IIC DIARY

Daklakatha Devikavya is an open ended play performed in an engagingly
informal folk style, evolved from the epic poetry and stories of K.B. Siddaiah’s .
It was Directed by Lakshman K.P. It presents the inner workings and external
experiences of the Daklas — a Dalit community.
 
Presented by Jangama Collective, Bengaluru with Bindu Raxidi (Dakla Devi,
Kadiramma); Santhosh Dindgur (Dakla, Cheluvaiah)l; Bharath Dingri (K.B.
Siddiah & narrator); Narasimharaju B.K. (Narasappa); and Ramika Chaithra
(Gangavva, Munivenkatamma)
 
Accompanists who also added tone and tenor to the performance were: Poorvi
Kalyani & Skanda Ghate (vocal); Bharath Dingri (tamate); and Narasimharaju
B.K. (arevadya)

The setting of the play had flower sellers squatting in the background and
rising in turns as actors with robust voices. The traditional Folk device, a half
curtain, known as, Yavanika, was used to introduce the important characters.
The actor would peep over the curtain which was lowered after he started
speaking or singing.

The most important aspect of the performance was that it
retained the spiritual richness of the Dakla community, through its music. Two
of the characters appear on the stage playing tamate (hand drum) and
arevadya (urmi), instruments not seen in contemporary theatre. Daklas are
people who are protected by the untouchables and hence are still lower in the
social hierarchy. But whatever notions people have about Adivasis or Daklas
being a backward community, better revise them forthwith. First of, the
female roles were done by women and not female impersonators. These
women unhesitantly lighted beedis, and were not coy about using cuss words,
which is true to their life. It is also true of contemporary OTT films, which claim
to be more modern and truer to our life.

The author had a strong faith in mysticism as exemplified by his poetry which
was the soul of the performance:

O mother as you rock the world
And rock the child
Bear me again in your womb
Walk this infant from the cave of your vagina
Into the cave of contemplation.

Here in the above context the poet brings out that once the mother bears him
in her womb the stigma of untouchability will not be so strong. One recurring
metaphor that has remained constant is hunger. The poet throws a direct
question to the creator:

O God! Take birth like me
Then
Try to touch and be polluted!
Try to take like me, like me take birth!

Untouchability does not generate self-pity in the play, in fact it is an instrument
of self-awareness and enlightenment. Sheer magic was created in the dark
night by luminous display of improvised spinning fire wheels urns with radiant
charcoal cinders. All elements in the play contributed to an experience of a
magical night to remember.

Watch the entire play on You Tube:

The article as published in IIC Diary (Oct-Nov 2023)

Folklore and Hindi Films

India is the largest film producing country in the world; it produces about 900 films annually. Indian films are not only seen in South Asia but also almost all parts of the world love to watch “the song and dance routine” of Bollywood. Indian films are popular in Russia, Canada, Australia, Middle East, United States and Mauritius just to name a few countries. Incidentally, Raj Kapoor a popular actor of the 1950s and 1960s attained the status of a folk hero in some parts of Soviet Union. His film Awaara in 1951 was highly acclaimed and popular not only in Russia but also in Africa and countries like Turkey.

Cinema opens a new window into culture by studying it we get a deeper understanding of the customs, behaviour patterns, values and arts and crafts of the Indian people. Deeper insights into the complex process of modernization, colonialism, nationalism and freedom and status of women can be acquired through Indian films. Cinema not only mirrors culture but also shapes it. By studying Indian cinema we can see how they have in turn shaped and promoted modernization, westernization, urbanization, secularism and emancipation of women.

Folk ideas and folk motifs have also found its way in Indian cinema and have regularly been used in particularly in Indian film songs and dances. Several folk tunes for example songs sung by Latha Mangeshkar in the film directed by Gulzar Lekin, Yara sili sili and Kesariya Balama are based on popular folk tunes. S.D. Burman, highly inspired by the Baul singers of Bengal, also used several folk tunes of these Bhatiyali while composing music; this can be seen in a very popular song Sun mere bhandu re in the film Sujatha. One of the best and popular music composer, who has won the Oscar, A.R. Rehman is greatly influenced by folk tunes, (said to be composed by Ghazi Khan) that can be seen in his composition Limbuda in the film Hum Dil De Chuke Sanam. He also uses sufi music to large extent that is heavily popular not only in India but also the west.

Many dance numbers also borrow folk concepts and Saroj Khan the famous dance choreographer is heavily influenced by folk dance of India. This can be seen in the dance of the famous actor Sri Devi in Morni Baaga main boli aadhi raat ma in the film Lamhe. Hybridized folk dancing can also be seen in many other films like used in Jhanak Jhanak Payal Bhaje. Another form of dancing was also popularized by actor Vyjayanthimala who in the film New Delhi combined Bharat Natyam dance steps with Kathak dance and Bhangra, a Punjabi folk dance.

By studying Indian cinema we can enter productively into the thought worlds and the performance worlds of other traditional arts such as the folk ones. Many Indian film directors from pioneers such as Dadasaheb Phalke to directors like Satyajit Raj, Ritwik Ghatak and Shyam Benegal have sought to employ creatively the visualizations and the colour symbolisms that can be seen in folk dance, music, mime and theatre. In the use of song, dance, humor, structure of narrative, the melodrama, the folk plays of Lavani, Tamasha of Maharastra, Jatra of Bengal, Bhavai of Gujarat, Nautanki of northern India and Terukuttu of Tamilnadu have had great influence on popular Indian filmmakers.

Perhaps the greatest influence of folk in films can be seen in the genre of mythology. The first Indian feature film Raja Harishchandra directed by Phalke was based on the mythology from the Ramayana. Phakle was highly influenced by the film the Life of Christ and he decided to make a mythological film. His 50 minute film Raja Harishchandra became immensely successful that saw its influence on many other films based on the same genre. The myth has a strong cultural- religious tradition and the Indian mind is deeply attached to it. This can be seen in later films like Jai Santoshi Maa which helped in resurrecting a little known provincial goddess to a grand overpowering level where new temples for her have sprung up in all over the country. Among the most popular myths have been from the epics Ramayana and Mahabharata and the countless tales connected with Lord Krisna. These have been repeated frequently and we can give a number of instances such as Shataram’s Surekha Haran, Vijay Bhatt’s Bharat Milap and the actor Dara Singh playing lord Hanuman in Bajrangbhali. Many animation films like Hanuman and Return of Hanuman are also being created now to find the audience amongst children and keen adults.

Mythological themes like good fighting and destroying evil (Sholay by Ramesh Sippy,) brothers uniting (Kabhi Khusi Kabhi Gam by Karan Johar), reincarnation (Om Shanti Om by Farah Khan), sacrifice (Mother India by Bimal Roy) and tolerance (Bombay, and Roja by Mani Ratnam) can also be seen in films. Historical anecdotes and instances can be seen in films such as Mohenjadaro and Jodha Akbar.

Folklore legends about holy men and women (example Sant Tukaram and Savitri Satyavan),kings and queens ( Mughal –e- Azam, Ruzia Sultana and Jodha Akbar) and even outlaws and dacoits (Reshma aur Shera by Sunil Dutt) can be seen in films. There are also stories about legendary love pairs who have lived and died for love which have been made into films such as Heer Ranjha, Sohni Mahiwal, Mirza Sahiban and Dhola Maru. Fantasy based and magic films were made by Kikubhai Desai as early as the 1930s. Today we see that Subhash Ghai and late Manmohan Desai have raised this genre to the opulent levels of grand, multistar films, good examples being Dharam Veer, Amar Akbar, Anthony and Parvarish. Pure fantasy films have also been made such as Alladin, Alibaba, Sindbad the Sailor and Thief of Baghdad. By and large, all the non myth genres in films have functioned as mythological by products, existing in a supernatural miracle world and promoting old world beliefs and superstitions.