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.

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, May 31: The cultural symposium “Ancient Traditions of the World”, organized by the Kala Sankul of Sanskar Bharati, unfolded as a captivating confluence of music, dance, and intellectual discourse. Blending artistic excellence with thought-provoking dialogue, the evening offered audiences a rich exploration of India’s cultural heritage while drawing meaningful connections with ancient civilizations across the globe.

The event was organized as part of Kala Sankul’s ongoing monthly cultural dialogue series, a thoughtful initiative aimed at nurturing awareness and appreciation of India’s rich artistic and civilizational heritage. The series brings together distinguished practitioners, scholars, and audiences to engage with subjects that bridge art, culture, history, and philosophy. By encouraging dialogue through music, dance, literature, and scholarly discourse, Kala Sankul aspires to strengthen cultural consciousness and promote a deeper understanding of the values that connect diverse traditions across time and geography.

The programme commenced with a traditional lamp-lighting ceremony, led by Chief Guest Sandeep Kaveeshwar, National Organising Secretary, International Center for Cultural Studies (ICCS), New Delhi, alongside Ashok Tiwari, Central Office Secretary of Sanskar Bharati, and Raj Upadhyay. The ceremonial inauguration was followed by the rendition of Sanskar Bharati’s anthem, setting a dignified and culturally resonant tone for the evening.

The artistic journey began with a mesmerizing performance by renowned sitar virtuoso Pandit Pankaj Vishal, accompanied by celebrated tabla maestro Ustad Mustafa Hussain. Their masterful interplay of melody and rhythm transformed the auditorium into a space of deep musical immersion. The delicate nuances of the sitar, seamlessly woven with the expressive cadence of the tabla, showcased the timeless beauty and sophistication of India’s classical music tradition. The performance not only demonstrated technical brilliance but also evoked the meditative and spiritual essence that lies at the heart of Indian classical music.

The evening continued with an enchanting Kathak recital by acclaimed dancer Kripa Tendulkar. Rooted in the rich aesthetics of the Lucknow Gharana, her performance reflected a graceful synthesis of expression, rhythm, technique, and storytelling. Through intricate footwork, elegant movements, and evocative abhinaya, she captivated the audience and reaffirmed the enduring relevance of Indian classical dance in contemporary cultural life. Her presentation beautifully illustrated how traditional art forms continue to evolve while remaining deeply connected to their cultural roots.

Following the performances, Chief Speaker Sandeep Kaveeshwar delivered an insightful address on the theme “Ancient Traditions of the World.” He highlighted the remarkable cultural parallels that emerge when studying ancient civilizations across continents. Drawing attention to shared symbols, philosophies, artistic practices, and spiritual traditions, he emphasized the importance of exploring these interconnected histories to better understand humanity’s collective cultural inheritance. He noted that many elements of Indian culture find echoes in diverse civilizations around the world, opening new avenues for comparative cultural study and dialogue. His lecture was both enlightening and reflective, encouraging the audience to view world cultures through a lens of mutual respect, curiosity, and understanding.

One of the defining strengths of the event was its seamless organization and graceful presentation. Ritambhara, serving as the compère for the evening, guided the programme with warmth, clarity, and poise, ensuring a smooth transition between performances and discussions. Her engaging presence helped maintain the flow and coherence of the evening’s diverse segments.

The event concluded with a formal vote of thanks delivered by Vishwadeep, who expressed gratitude to the artists, speakers, guests, organizers, and attendees for their contribution to the success of the symposium. This was followed by a serene recitation of the Shanti Mantra by Brijesh, bringing the gathering to a contemplative and harmonious close.

The success of the symposium was made possible through the dedicated efforts of the Kala Sankul team. Garima Rani, Shraboni Saha, Sneha Mukherjee, Pradeep Pathak, Mrityunjay, and Bijendra Kumar played instrumental roles in planning and executing the event, contributing significantly to its smooth and successful realization.

More than a cultural programme, the symposium emerged as a meaningful platform for dialogue between India’s artistic traditions and the ancient cultural legacies of the world. Through the harmonious union of music, dance, and scholarship, the evening celebrated the enduring power of culture to connect communities, transcend geographical boundaries, and illuminate humanity’s shared heritage. The event stood as a reminder that in an increasingly interconnected world, the study and celebration of ancient traditions continue to inspire cultural understanding, intellectual exchange, and collective reflection.

On 22 May 2026, at the iconic in Mandi House, Delhi, Rangbhoomi Delhi presented “Gandhari: Beyond the Blindfold”, a deeply moving theatrical production that transformed the epic narrative of the Mahabharata into a profound exploration of womanhood, grief, motherhood, silence, and resistance.

The auditorium was completely packed, and from the very first moment, the performance created an atmosphere of intense engagement and emotional anticipation. The audience remained immersed throughout the production, experiencing every moment with complete stillness and attention.

A Beautiful and Immersive Opening

The play opened with a visually mesmerizing scene. Gandhari sits on the stage holding a Veena, and as the soft, soothing notes of the instrument slowly begin to resonate through the auditorium, a serene and emotionally rich atmosphere takes shape. The delicate melody beautifully reflects Gandhari’s pure, graceful, and compassionate inner world.

The music does not simply introduce the play — it gently draws the audience into Gandhari’s emotional universe. Soon after, the Sutradhar enters, and the narrative begins unfolding layer by layer. It was an opening filled with poetic beauty and theatrical sensitivity.

The Vision of J.P. Singh / Jayvardhan

The greatest strength of the production lies in its writing and direction. J.P. Singh, who writes under the pen name Jayvardhan, deserves immense appreciation for creating and directing such an emotionally layered and symbolically rich theatrical experience.

His direction proves that meaningful theatre is not dependent on elaborate sets or spectacle, but on emotional truth, rhythm, symbolism, and sensitivity. Every movement on stage, every silence, every pause, and every transition appears carefully crafted.

The symbolic treatment of characters, the restrained performances, the use of masks, music, lighting, and stage movement together create a theatrical language that feels both poetic and deeply human. The actors are able to perform with such emotional depth because of the clarity and precision of the director’s vision.

Rather than presenting the Mahabharata as a grand mythological spectacle, J.P. Singh focuses on the emotional and psychological suffering hidden within its characters — especially Gandhari. This approach gives the production contemporary relevance and emotional intensity.

Anamika Sagar as Gandhari — The Soul of the Production

If the production has a heartbeat, it is undoubtedly Anamika Sagar’s portrayal of Gandhari. Her performance is deeply internal, emotionally restrained, and extraordinarily powerful. She transforms Gandhari from a mythological figure into a living, breathing woman filled with pain, dignity, helplessness, anger, and maternal grief.

Her body language, vocal depth, expressions, and even her silences communicate volumes. There are moments when she says nothing, yet the audience can feel the emotional storm raging within her.

The most unforgettable sequence comes after the war, when Gandhari mourns the death of her hundred sons and her suppressed anger toward Krishna finally erupts. The scene is emotionally devastating.

Anamika Sagar portrays the unbearable pain of a mother shattered by loss with such honesty and intensity that the entire auditorium falls silent. Her grief feels real, raw, and deeply human. The emotional impact of the scene sends chills through the audience, while many viewers are left visibly teary-eyed.

What makes her performance exceptional is that she balances Gandhari’s tenderness and rage with remarkable control. She never overacts; instead, she allows the pain to emerge gradually from within, making the character unforgettable.

Tripti Johri’s Transformative Performance

As the Sutradhar, Tripti Johri delivers a remarkable and highly versatile performance. She not only narrates the story but also embodies multiple characters from the Mahabharata, including Kunti, Sanjay, Draupadi, and the maidservant.

Without relying on elaborate costume changes, she differentiates each character through voice modulation, body movement, rhythm, and expression. Her transitions between characters are smooth, convincing, and emotionally engaging.

Her portrayal of Draupadi is particularly striking. The emotional intensity in those scenes is so powerful that it repeatedly sends shivers through the audience. The pain, humiliation, anger, and emotional vulnerability expressed through her performance leave a deep impact, and several moments visibly move the audience to tears.

Masks, Symbolism and Visual Language

Another remarkable aspect of the production is its symbolic visual design. Several characters appear wearing masks, transforming them into representations of power, violence, emotional blindness, and the dehumanizing effects of war.

The symbolic staging gives the play a haunting philosophical depth and creates striking visual imagery without relying on excessive theatrical decoration.

In the play Gandhari, The Female Visual Group included Poonam Singh, Mansi Brar, Shreeya Kumar, Sangeeta Suyal, and Jyotsna Chakrabarty, while the Male Visual Group comprised Arun Sode, Ravi Parcha, Jitender Chauhan, Pawan Chauhan, Bhanu Sethi, Kaustubh Pandey, Anurag Malik, Atul Dhingra, and Prithviraj Chauhan.

Lighting and Music as Emotional Forces

The lighting design was exceptionally beautiful and atmospheric. The interaction between darkness and focused light reflected the psychological states of the characters with remarkable precision.

Music by Bharati Dang was truly remarkable. From the very beginning, the soft and soothing notes of the Veena created an atmosphere of serenity and emotional depth inside the auditorium. The gentle melody beautifully reflected Gandhari’s graceful and compassionate inner self.

As the narrative progressed, the music evolved alongside Gandhari’s emotional journey — carrying her silence, sorrow, motherhood, helplessness, and inner conflict with extraordinary sensitivity. Rather than functioning merely as background sound, the music became an emotional extension of the characters themselves.

In several moments, the music seemed to breathe with the actors, enhancing the emotional depth of every scene and enriching the poetic texture of the production.

The backstage team featured Akhya Jaywardhan for Design & Publicity, Costume Design, and Visual Concept, while Ved Phoja managed Set Execution, Harish Kholia was responsible for Makeup, and Atul Mishra handled Light Execution. Costumes were managed by Dalchand, and Visual Projection was created by Sanobar Bari. Videography was handled by Noor Khan, Photography by Ansh Jaywardhan, and Props by Jitender Chauhan and Akhya.

The Production Assistants were Pawan Chauhan and Ravi Parcha, Public Relation was managed by Amar Saha, and the Box Office team included Gaurav Verma, Vashisth Upadhyay, Jatin Joshi, Rakesh Sharma, Naman Bharadwaj, and Jyoti Upadhyay. The Stage Manager was Arun Sode, while Jitender Chauhan served as the Assistant Director. Together, the entire cast and backstage team made Gandhari a memorable theatrical presentation.

A Theatre Experience That Stays With You

“Gandhari: Beyond the Blindfold” is far more than a retelling of the Mahabharata. It is a deeply human story about motherhood, trauma, silence, feminine resistance, and emotional survival.

Through the combined brilliance of Jayvardhan’s writing, J.P. Singh’s direction, Anamika Sagar’s hauntingly powerful performance, Tripti Johri’s transformative acting, and Bharati Dang’s emotionally resonant music, the production becomes an unforgettable theatrical experience.

This is the kind of theatre that does not end when the curtain falls — it remains alive within the audience long after they leave the auditorium.

The stage of the India Habitat Centre recently witnessed an emotionally charged and intellectually layered presentation of “Madhavi”, brought to life by Anuragna Theatre Group under the direction of Ashraf Ali. Adapted from the celebrated literary work of Bhisham Sahni, the production unfolded not merely as a retelling of a mythological narrative, but as a deeply resonant exploration of the emotional and social realities imposed upon women across generations.

From its opening moments, the play established an atmosphere of emotional intensity and moral conflict. The narrative of Madhavi — a woman repeatedly sacrificed in the name of duty, ambition, and patriarchal expectations — emerged as painfully relevant even within a contemporary social context. The production questioned the structures that normalize female sacrifice while glorifying male pride and authority, making the performance feel both timeless and urgently modern.

✨ A Visionary Directorial Approach

Director Ashraf Ali handled the text with remarkable maturity and restraint. Instead of relying solely on the grandeur of mythology, he focused on the emotional truth embedded within the story. His interpretation transformed Madhavi into a living social discourse — one that examined exploitation, emotional abandonment, and the silent endurance expected from women.

The staging remained aesthetically balanced throughout, with carefully designed visual transitions and thoughtfully constructed dramatic spaces. Every movement on stage appeared purposeful, allowing the emotional weight of the scenes to unfold naturally. The director’s command over rhythm and silence played a significant role in maintaining the audience’s engagement and emotional involvement.

🌟 Performances Rich in Emotional Depth

The ensemble cast contributed meaningfully to the production’s overall impact, delivering performances marked by sincerity and dramatic conviction.

Bhanu Pratap Singh, portraying Yayati, brought a commanding presence to the stage, effectively embodying the authority and emotional detachment of the character. As Marich, Gaurav Verma delivered a composed and convincing performance that added further texture to the dramatic narrative.

One of the strongest performances of the evening came from Vinay Kumar as Galav. He captured the character’s internal contradictions — his ambition, ego, helplessness, and moral confusion — with notable subtlety. His portrayal allowed the audience to witness the complexity of a man trapped between idealism and self-interest.

At the center of the production stood Paribhasha Mishra as Madhavi, whose performance became the emotional soul of the play. With extraordinary control and emotional honesty, she portrayed Madhavi’s suffering, resilience, vulnerability, and quiet defiance. Her expressions, pauses, and stage presence communicated layers of pain and suppressed strength, making the character deeply human rather than symbolic. Her performance drew the audience into Madhavi’s emotional world and remained one of the most memorable aspects of the production.

Javed Sameer, in the role of King Haryashch, added gravitas to the narrative, while Khilanand Bhatt as Raj Jyotish delivered his role with convincing authority.

Vidya Dutta, portraying the maidservant, contributed emotional realism to several scenes through a grounded and natural performance. Meanwhile, Himmat Singh Negi as King Divodas introduced moments of wit and playfulness that offered temporary relief from the emotional heaviness of the narrative. His energetic portrayal created a delicate balance within the dramatic structure.

As the Vidushak, Bilal Khan sustained the stage’s dynamism with confidence and expressive timing. Chirag Goyal, portraying Vishwamitra, delivered a performance marked by calm intensity and dignity, lending the character a powerful spiritual and philosophical presence. Ankit Sati, in the role of Tapas, also played his part with sincerity and effectiveness.

🎼 Technical Elements That Strengthened the Narrative

The technical execution of the production complemented the performances beautifully and contributed significantly to the immersive quality of the play.

Rahul Chauhan’s lighting design skillfully shaped the emotional atmosphere of each sequence, using light and shadow to heighten tension, isolation, and introspection.

The background score composed by Rajesh Pathak enriched the emotional landscape of the production, subtly reinforcing the mood without overpowering the performances.

Equally noteworthy was the makeup design by Ravi Parcha, which enhanced the visual authenticity of the characters and supported the period setting of the play.

💭 A Production That Leaves a Lasting Impact

More than a theatrical adaptation, “Madhavi” emerged as a mirror to society’s enduring power structures and gender inequalities. The production compelled the audience to reflect on the emotional cost of sacrifice imposed upon women and the systems that continue to celebrate such suffering as virtue.

With its layered storytelling, emotionally compelling performances, thoughtful direction, and strong social relevance, the play succeeded in creating a theatrical experience that was not only artistically engaging but also deeply unsettling in the most meaningful way. “Madhavi” lingered in the minds of its viewers long after the curtains fell, reaffirming the enduring power of theatre as a medium of social reflection and emotional truth.