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.

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.

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.

Organized by Sanskar Bharati on 29 March 2026 in New Delhi, “Kala Sankul” featured a meaningful seminar alongside a vibrant cultural program, emerging as an excellent confluence of art and thought. The central theme of the discussion—“Indian Art Discourse and the Role of Artists in Nation Building”—sparked a deep and thought-provoking dialogue, highlighting the relevance of artistic expression in shaping society.

The evening began on a traditional note with the ceremonial lighting of the lamp by Chief Guest Mr. Ashish Kumar Anshu (Writer & Director), along with Digvijay Ji, senior theatre practitioner Shyam Kumar, and Mrityunjay Ji, setting a tone of dignity and cultural reverence. The moment was further marked by a warm gesture of respect, as Abhijeet Gokhale, All India Organization Secretary of Sanskar Bharati, felicitated the chief guest with an angavastram, symbolizing India’s rich heritage of honoring artistic excellence.

As the performances commenced, the stage transformed into a canvas of artistic brilliance. Renowned Kathak artist Ms. Sneha Sharma captivated the audience with a mesmerizing performance, where her command over expression (bhava), rhythm (laya), and intricate footwork (taal) reflected the timeless elegance of Indian classical dance. Each movement carried grace and precision, leaving the audience spellbound.

The energy of the evening took a vibrant turn with the Sambalpuri folk dance presentation by Kala Kalp Cultural Institute, which brought alive the spirit of folk traditions. The performance by Sudharani Geru, Supriya Pradhan, Dishita, Subhashree Sahoo, Deepshika, and Ipshita Behura was marked by remarkable synchronization, enthusiasm, and expressive storytelling. Their collective rhythm and colorful presentation beautifully reflected the simplicity and vitality of rural cultural life.

Adding intellectual depth to the evening, Chief Guest Mr. Ashish Kumar Anshu shared his thoughts on “Indian Art Discourse and the Role of Artists in Nation Building.” He emphasized that art is not merely a form of expression but a powerful medium of social transformation, urging artists to remain socially conscious and sensitive. His address was both thought-provoking and inspiring, leaving a lasting impact on the audience.

The flow of the program was seamlessly maintained by Kuldeep, whose engaging and effortless anchoring ensured a lively and cohesive experience throughout the event. The evening concluded on a serene and spiritual note with a Shanti Mantra presentation by Brijesh, filling the atmosphere with a sense of calm and introspection.

The success of the event was the result of the collective dedication and collaboration of numerous artists and contributors. Notable among them were Shyam Kumar, Raj Upadhyay, Vishwadeep, Jitendra Kumar, Shraboni Saha, Sneha Mukherjee, Garima Rani, Ritambara, Brijesh Vishwakarma, Vijender, and Harshit Goyal, whose unwavering support and commitment made the program both memorable and impactful.

In essence, “Kala Sankul” was more than just a cultural event; it emerged as a dynamic platform where art, thought, and society converged in meaningful dialogue, inspiring the audience with renewed energy and a deeper appreciation for the arts.

New Delhi, March 19, 2026 — Marking the auspicious occasion of the Indian New Year, a grand cultural evening organized by Sanskar Bharati – Kala Sankul transformed the capital’s cultural landscape into a vibrant celebration of heritage and artistic excellence. The Indian New Year is not merely a change of date; it symbolizes renewal, cultural awakening, and a reaffirmation of timeless values.

Celebrated on Chaitra Shukla Pratipada, which heralds the beginning of Vikram Samvat 2083, the event was hosted at the central office auditorium of Kala Sankul, located on Deen Dayal Upadhyay Marg. The evening stood as a vivid reflection of India’s rich traditions, classical art forms, and cultural consciousness.

The program commenced with a ceremonial lamp lighting by Chief Guest Shri Ravi Shankar, Director of Sanskriti Adhyayan Kendra and Editor of Ganananchal, along with Shri Ashok Tiwari (Central Office Secretary, Sanskar Bharati), renowned dancer Shruti Sinha, and senior theatre practitioners Raj Upadhyay and Shyam Kumar.

The highlight of the evening was a series of captivating Kathak performances. Smt. Sangeeta Dastidar mesmerized the audience with her powerful and emotive presentation, marked by depth, discipline, and remarkable stage presence. Her performance elevated the artistic tone of the evening. Sh. Akshar Tekchandani enthralled the audience with his dynamic expression, showcasing a refined balance of rhythm (taal), tempo (laya), and emotion (bhaav).

In his address, Chief Guest Shri Ravi Shankar eloquently spoke about the cultural and scientific significance of the Indian New Year. Emphasizing the relevance of traditional Indian timekeeping systems, he advocated for their revival and deeper integration into contemporary life, especially among the younger generation. His speech was both enlightening and inspiring.

The event was gracefully anchored by Shraboni Saha (Mun Mun), whose articulate presentation added coherence and charm to the proceedings. The vote of thanks was delivered by Shruti Sinha, followed by a serene rendition of the Shanti Mantra by Brijesh.

The success of the evening was made possible through the collective efforts of numerous artists, theatre practitioners, and contributors, including Raj Upadhyay, Shyam Kumar, Jitendra Kumar, Bharti Dang, Sneha Mukherjee, Nandini Kumari, Tarushi Singh Rajora, Sakshi Sharma, Lavanya, Garima Rani, Brijesh Vishwakarma, Vijender, and Harshit Goyal.

Overall, the cultural evening at Kala Sankul emerged as a dignified and impactful celebration of the Indian New Year—strengthening the bond between people and the rich artistic and cultural traditions of India.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A Review by Manohar Khushalani

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

Dvitva: Concept Note

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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