On 28th September, 2025, at the auspicious time of the festive season, the monthly stage art symposium organized under the aegis of Sanskar Bharati transformed the Kala Sankul premises in New Delhi into a vibrant cultural celebration. The theme “Navaras and Navadurga: Harmony of Emotion, Devotion and Art” brought together diverse performances and reflections that illuminated the depth and spiritual essence of Indian culture.

The evening commenced with the lighting of the ceremonial lamp by Padma Shri Shovana Narayan, whose presence added grace and solemnity to the occasion. The aura was filled with devotion and beauty, as though the blessings of Goddess Durga herself sanctified the gathering.

The first performance came from Sh. Abdul Khalid, whose Kuchipudi presentation vividly portrayed the essence of the nine sentiments (navaras). Following this, Ms. Muskan Nagpal enthralled the audience with her Kathak recital, embodying the nine divine forms of Goddess Durga. Her mastery of rhythm, expression, and movement captivated the audience, drawing prolonged applause that resonated throughout the auditorium.

In her keynote address, chief guest and veteran Kathak danseuse Padma Shri Shovana Narayan remarked:
“Art is not merely a medium of expression; it is a bridge that unites emotion, devotion, and social consciousness. The union of Navaras and Navadurga is a living testimony to the vastness and profundity of Indian culture.”

Her words inspired the gathering to reflect deeply on the spiritual and cultural dimensions of art.

Art connoisseurs, students, and intellectuals in attendance experienced a rare blend of Indian classical dance and the spiritual power of culture. The performances were met with appreciation and admiration, leaving an indelible impression on all.

The Kala Sankul family of Sanskar Bharati expressed gratitude to the participants and guests, affirming that such events would continue to be organized regularly, preserving and promoting the invaluable heritage of Indian art and culture.

The event was successfully coordinated by Sneha Mukherjee, with stage comparing by Garima Rani and a gracious vote of thanks by Shruti Sinha. Valuable contributions were also made by Raj Upadhyay, Senior Announcer Bharti Dang, tabla maestro Pradeep Pathak, O P Sagar along with Harshit Goyal, Raman Kumar, Mrityunjay, Faizy Abdul Kalam, Lavanya, Brajesh, Satyam and others, whose collective efforts added grandeur to the evening.

Ultimately, the symposium held on 28th September, 2025 emerged as a spiritual dance offering to Goddess Durga, leaving the audience with a sense of fulfillment and cultural pride.

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

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

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

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

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

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

🎶 Monsoon Melodies & Cultural Echoes

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

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

👣 Dance as Devotion

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

🌟 Presence of Stalwarts & Artistic Solidarity

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

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

🙏 Behind Every Great Evening…

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

🌸 A Living Space for Thought & Tradition

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

On the auspicious day of 10th July 2025, the Guru Purnima Celebration held at the Kala Sankul premises of Sanskar Bharati, New Delhi, transformed into a vibrant cultural expression of India’s eternal guru-shishya tradition — not just in words, but through the language of dance, music, and soul.

The program began with Nataraja worship and Guru Vandana, infusing the atmosphere with a rare spiritual luminosity. The sacred invocation was not merely a ritual—it became a journey of surrender, discipline, and artistic elevation.
To confine Nataraja merely as the “Lord of Dance” would be to overlook His cosmic magnificence. This deeper essence came alive in the words of Chief Guest, Sh. Murari Sharan Shukla, who eloquently remarked that Nataraja is not a symbol bound to art alone, but the embodiment of motion and universal consciousness itself. His reflection echoed through the hearts of the audience:

“The posture of Nataraja resonates with the movement of the cosmos—it is the rhythmic expression of Shiva’s creative power.”

Though Sh. Shukla’s address came at the culmination of the event, its philosophical resonance permeated every segment of the evening.

The musical trio that followed offered a melodic glimpse into the richness of Indian ragas. Yagyata Gaba’s performance reflected youthful innocence intertwined with musical maturity. Then came Urja Akshara, who rendered a composition in Raga Desh, evoking the musical aroma of the monsoon. Finally, the ensemble presentation by disciples of Sneha Mukherjee – Manya Narang, Ruhi Jaiswal, Lavanya Sinha, and Siddh Jaiswal – stood as a living testimony to the bond between guru and disciple.

Their collective performance glowed not only with technical finesse but with grace, harmony, and discipline. It was an offering, filled with sweetness and reverence, a melody wrapped in devotion.

The sequence of dance performances that followed created a visual symphony for the soul. Nandini’s Kathak recital, a tribute to her guru Smt. Shruti Sinha, was a dance of devotion – an artistic pranam. Through the rhythm, expression, and precision of Kathak, she sculpted an unspoken homage to her teacher. The event was anchored gracefully by Garima Rani, whose poised compering added charm to the proceedings.

This celebration was far more than an annual ritual – it emerged as a sacred yajna, where each disciple offered their art in heartfelt tribute to their guru. Every act on stage was not just a performance, but a living sentiment – of respect, surrender, and the continuation of a timeless legacy.

This Guru Purnima will be remembered not only for its artistic brilliance, but because it upheld a profound truth:

That the Guru is the light of life, and Art is the language of that light.

Sanskar Bharati must be lauded for keeping this flame alive — not just on stage, but in the spirit of every participant. In honoring the guru, they honored the very soul of Indian cultural heritage.

New Delhi – The monthly symposium held at Kala Sankul, the central office of Sanskar Bharati, became a resplendent celebration of Indian classical heritage and cultural contemplation. Designed to merge the profound legacy of India’s traditional arts with contemporary discourse, the event stood as a testament to the enduring relevance of our civilizational ethos.

At the core of the symposium was an enchanting performance of Sattriya—the classical dance form rooted in the 15th-century Vaishnavite devotional movement of Assam, pioneered by the great saint Srimanta Sankardev through his Ankiya Naat. In a performance that stirred both the senses and the spirit, dancers Sukanya Barua and Sumanya Kashyap brought the divine art form to life. Their presentation, steeped in rigorous training, aesthetic sensitivity, and rhythmic precision, unveiled the spiritual depth and narrative beauty intrinsic to Sattriya.

Complementing the artistic experience was an intellectually enriching keynote address by Dr. Sachchidanand Joshi, Member Secretary of the Indira Gandhi National Centre for the Arts (IGNCA), Delhi. In his address, he eloquently advocated for the inclusion of the Bhagavad Gita and the Natyashastra in UNESCO’s World Heritage List. “The Gita is not merely a religious scripture,” he emphasized, “but a timeless philosophy of life; and the Natyashastra, the scientific foundation of Indian artistic consciousness.” His words resonated deeply, drawing attention to the unfortunate irony that many of India’s priceless spiritual texts remain better preserved abroad than within our own institutions.

Shri Joshi also raised a critical concern regarding the preservation of India’s manuscript wealth—while India houses the largest number of ancient manuscripts globally, the number of scholars actively studying and interpreting them remains alarmingly low. His reflections served not just as commentary, but as a call to action—urging institutions, artists, and scholars toward research and revival.

The symposium saw the gracious presence of distinguished personalities from the cultural and academic domains. Among them were Dr. Vinod Narayan Indurkar, Chairman of CCRT; Sh. Rahul Kumar, Deputy Director, CCRT; renowned Odissi exponent Kasturi Patnaik; Sh. Jitendra Kumar, Convenor of the Visual Arts Department, Sanskar Bharati Delhi; Shri Raj Upadhyay, Performing Arts Convenor; playwright Sh. Alok Shukla; art critic Shashi Prabha Tiwari, along with many other senior artists, scholars, and cultural connoisseurs.

A large team of dedicated volunteers played an integral role in the successful execution of the event. Key contributors included Convenor Garima Rani, Co-convenor Vishwadeep, Sneha Mukherjee, Eminent Theatre Director Shyam Kumar, Shraboni Saha, Saurabh Triathi, Harshit Goyal, Pradeep Pathak, Muskan, Khushi, Kriti, Sakshi Sharma, and Tarushi, whose behind-the-scenes efforts were deeply appreciated.

The proceedings were elegantly compered by senior anchor Bharati Dang, whose poise and eloquence added grace to the evening. The formal vote of thanks was delivered by Sh. Kuldeep Sharma, convenor of the theatrical wing, and the event concluded on a tranquil note with the chanting of the Shanti Mantra.

More than just a cultural evening, this symposium served as a meaningful reminder of India’s vast artistic and philosophical legacy. It illustrated how, even in an age of rapid modernization, there remains a deep well of tradition from which we continue to draw inspiration. It reaffirmed that tradition and progress are not opposing forces—but vital companions on the journey of cultural continuity.

The monthly cultural symposium held at Sanskar Bharati’s central office, Kala Sankul, has blossomed into a vibrant celebration of Indian art and heritage, where the essence of tradition comes alive in its most graceful form. This month’s gathering was made truly special by the presence of the Chief Guest, Padma Shri Smt. Nalini-Kamalini, the renowned Kathak duo, whose distinguished contribution to Indian classical dance brought gravitas and inspiration to the evening.

The program began with the auspicious lighting of the ceremonial lamp, symbolizing the light of knowledge and culture. The ceremony was conducted by Padma Shri Shrimati Nalini-Kamalini, Sh. Vijay Kumar (Regional Organizational Secretary, Sanskar Bharati), Sh. Ashok Tiwari (President, Kala Sankul), Smt. Shruti Sinha, and Sh. Raj Upadhyay (Coordinator, Performing Arts, Delhi Region).

The cultural performances commenced with a mesmerizing Kathak recital by Ms. Anjali Munjal, who beautifully portrayed the depth of classical dance through an elegant blend of laya, taal, and expressive bhaav. She was followed by Ms. Damini Bisht, whose powerful Kathak performance, enriched with emotive expressions and rhythmic finesse, captivated the audience.

The evening reached a deeper resonance when the Chief Guest, Padma Shri Shrimati Nalini-Kamalini, took to the stage to address the gathering. Kamalini ji shared,

“Art is not merely an expression—it is the beauty of the soul, shaped by years of devotion and discipline. It refines the individual and uplifts society.”

She emphasized the value of consistency, purity, and dedication in artistic practice, highlighting art’s transformative power as a tool for national development.

“In today’s world,” she said, “art awakens inner consciousness, fosters social unity, and becomes a powerful medium for cultural resurgence.”

The symposium was gracefully anchored by Garima Rani and Shri Vishwadeep, who maintained a seamless flow and upheld the dignity of the evening. The event was enriched by the presence of many eminent personalities from the cultural sphere, including Sh. Pradeep Mohanty (Registrar, National School of Drama), Kathak Guru Subhash Ji, Chhau exponent Sapan Acharya Ji, renowned Kathak artist Anu Sinha, Deepali Sinha, and the duo Vikash-Aparna, among others.

The success of the event was the result of sincere efforts by a committed team of volunteers: Shraboni Saha, Sneha Mukherjee, Sakshi Sharma, Bharti Dang, Priyanka, Nandini, Aanchal, Ayushi, Sakshi, Tarushi, Senior Theatre Artist Shyam Kumar, Kuldeep Sharma, O.P.Sagar, Saurabh Tripathi, Raman, Harshit, Digvijay Pandey, Brijesh, Shivam, Satyam, and Mrityunjay—whose dedication brought vitality to the entire celebration.

Toward the end, Smt. Shruti Sinha delivered a heartfelt vote of thanks, expressing gratitude to all artists, dignitaries, and organizers. The symposium concluded with the collective chanting of the Shanti Mantra, a sacred moment that left an everlasting impression of the divinity and elegance of Indian art and culture in the hearts of all present.

The “Nritya Shikhar Mahotsav 2025,” held at Triveni Kala Sangam in New Delhi, emerged as a grand celebration of the dignity and tradition of Indian classical dance. Organized by the Urvashi Dance Music Art & Culture Society, the festival introduced art enthusiasts to various classical dance styles while elevating Indian cultural heritage to new heights.

On this occasion, Shri Prabhat Kumar, President of Sanskar Bharti Delhi, graced the event as the chief guest. The festival also honored esteemed personalities from the arts world. Pandit Vijay Shankar Mishra, Shri Ashok Jamanani, and Shri Ashok Jain were presented with the Urvashi Kala Samman. Distinguished guests such as Shri Ashok Tiwari (Secretary, Sanskar Bharti), Padma Shri awardee and renowned Odissi dancer Smt. Madhavi Mudgal, and Shri Pradeep Kumar Pathak (Secretary, Kala Chaitanya) added further prestige to the event with their presence.

The festival featured mesmerizing performances in various classical dance styles like Kathak, Odissi, and Chhau. Among them, a standout performance was delivered by the dynamic young Kathak dancer Vishwadeep from the Jaipur Gharana.

Vishwadeep’s performance was among the most powerful and talked-about presentations of the event. Trained in the Jaipur Gharana tradition, this young artist brought to life the strength, emotion, and rhythmic excellence of Kathak. He began with Chaturbhuj, depicting the four-armed form of Lord Vishnu through expressive dance. His dynamic gestures, balanced movements, and fluid expressions made the performance truly memorable.

Following that, he presented a dance drama titled Ravan, which portrayed the complexities of Ravan’s personality and his inner psychological turmoil. This unique choreography blended traditional Kathak elements with deep emotional storytelling. Directed and choreographed by the acclaimed Kathak guru Shama Bhate, the piece preserved the purity of the dance form while offering a fresh perspective.

Vishwadeep’s performance was not limited to technical brilliance; through his expressions and body language, he powerfully conveyed the varied emotions within Ravan—pride, power, wisdom, and self-reflection. Especially gripping was his portrayal of Ravan’s internal struggle, which left the audience spellboun.

His mastery over footwork, rhythmic patterns (chakradhars and parans), and emotional depth made the performance unforgettable. The audience greatly appreciated his energy, technical finesse, and expressive storytelling. His presentation was not just a classical dance recital, but a dramatic narrative that showcased Kathak as a potent medium for storytelling. When he embodied Ravan on stage, it felt as though the entire auditorium was witnessing a pivotal moment from an epic, with Ravan in deep introspection. Vishwadeep performed with such natural ease that it didn’t feel like a traditional dance performance—it felt like a living, breathing theatrical experience.

The hall erupted in applause after his performance. It would not be an exaggeration to say that Vishwadeep’s presentation made “Nritya Shikhar Mahotsav 2025” a cultural milestone that will be remembered for years to come.

Other notable performances included Pune’s Ameera Patankar and Delhi’s Shobha Bisht. Shobha’s Odissi performance beautifully blended devotion, grace, and feminine dignity. The Chhau performance, directed by Guru Ajay Bhatt, was packed with energy and heroic expression (veer rasa).

The Kathak duet by Gaurav and Himani demonstrated the power of dialogue and harmony in dance. Their performance showcased a unique balance of creativity, technique, and synchronization.

Smt. Rekha Mehra, President of the Urvashi Dance Music Art & Culture Foundation, played a pivotal role in making the event a resounding success. Her dedication to dance and commitment to culture imbued the festival with both dignity and artistic excellence.

“Nritya Shikhar Mahotsav 2025” was more than just a cultural event—it was a living celebration of tradition, showcasing the continuity and creativity of Indian classical dance. For both performers and audiences, it was an inspiring experience that will be cherished for a long time.

New Delhi, March 30, 2025- The central office of Sanskar Bharati, ‘Kala Sankul,’ witnessed a grand celebration on the auspicious occasion of the Hindu New Year with its Monthly Art Symposium. The event showcased an exquisite array of Indian cultural performances, leaving the audience spellbound.

The program commenced with the ceremonial lighting of the lamp, followed by a mesmerizing Kathak performance by the Alaknanda Cultural Group, which highlighted the grandeur of the Indian classical dance tradition. Subsequently, Kuleshwar Thakur and his group captivated the audience with an enthralling Chhau dance performance, characterized by its unique style and expressive gestures.

Renowned Odissi dancer Kavita Dwivedi, addressing the gathering, emphasized that the Indian New Year is not just a date but a significant representation of cultural identity, natural lifestyle, and deep-rooted traditions.

Vijay Kumar, North Zone Organization Minister of Sanskar Bharati, elaborated on the scientific significance of the Indian New Year, highlighting seasonal transitions, the commencement of new academic sessions, financial year changes, and the overall transformation in nature. He also underscored India’s pioneering role in developing an artistic system of timekeeping, which has influenced the world. Additionally, he detailed the importance of the Indian calendar, lunar dates, and festivals.

The event saw an impressive turnout of artists, culture enthusiasts, and distinguished guests. Among the notable attendees were senior playwright J.P. Singh, theater artist Rohit Tripathi, Chandrakanta Tripathi, dancer Ritu Shree, art critic Shashi Prabha Tiwari, NSD Secretary Pradeep Mohanty, and Kathak dancer Raksha Singh DeWitt, along with several other prominent figures.

Promoting environmental conservation, Mr. Joginder distributed flower seeds and Tulsi saplings, urging attendees to plant them as a symbolic gesture for the New Year and contribute to ecological preservation.

The success of the program was attributed to the collective efforts of Delhi Province Stage Art Coordinator Raj Upadhyay, senior theater artists Shyam Kumar, Shraboni Saha, Garima, Sneha Mukherjee, Raman Kumar, Vishwadeep, Pradeep Pathak, Mrityunjay, Brijesh, Shivam, Sushank, Nandini, Kathak dancer Sakshi Sharma, Priyanka, and Sakshi. The event was expertly hosted by Bharti Dag, while symposium coordinator Shruti Sinha delivered the vote of thanks.

Sanskar Bharati’s ‘Kala Sankul’ continues to host such events regularly, ensuring the preservation and promotion of Indian art, culture, and traditions.

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

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

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

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

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

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

The monthly seminar organized at Sanskar Bharti’s central office ‘Kala Sankul’ in New Delhi proved to be a memorable occasion for art and culture lovers. In this year’s event, renowned theatre artist and Sangeet Natak Academy Award winner Shri Lokendra Trivedi presented his views on the topic “Our rich theatre-music tradition woven in folk theatre and its use in the present times”.

The programe began with lighting of lamps and the motto song of Sanskar Bharti. On this occasion, along with the team of Sanskar Bharti, many senior litterateurs, theatre artists and artists of the city were present. Prominent guests included former Secretary of Hindi Academy, Delhi, Hari Suman Bisht, senior theatre artist J.P. Singh, Nisha Trivedi, renowned Chhau Guru Sapan Acharya, Suresh Shetty, Vashisht Upadhyay, Bhupesh Joshi and many other eminent names.

Lokendra Trivedi’s lecture organized in the monthly seminar of Sanskar Bharati was an excellent effort to highlight the depth of Indian folk theatre tradition and its rich cultural heritage. Trivedi discussed his topic “Our rich theatre-music tradition woven in folk theatre and its use in present times” in a very simple, effective and factual manner.

His lecture style not only brought forth the features of folk theatre like Nautanki, Yakshagana, Bhavai, Tamasha, but also explained the relevance of these genres in the perspective of the new age. He stressed the need to preserve these ancient genres in the technological age and explained how connecting the new generation to them is the need of the hour.

The most notable part of the programme was that he raised the issue of making the collection of folk theatre available to the general public at the government and non-government level. This suggestion can be an important step towards preserving the Indian cultural heritage and taking it to new heights.

The Q&A session in the seminar made the dialogue between the audience and the lecturer more effective. The management, conduct and participation of the program show that Sanskar Bharti is not only a pioneer in the promotion of Indian art and culture, but is also active in connecting it with the new generation.

The seminar was conducted very effectively by Garima Rani. The contribution of “Kala Sankul” arrangements in-charge Mr. Digvijay Pandey, coordinator of the dance music seminar Shruti Sinha, co-convenor Vishwadeep, guide senior theatre artist Shyam Kumar and Raj Upadhyay was especially commendable in the success of the program. Apart from this, Harshit, Brajesh, Vijendra, Satyam and Shivam also played an important role in making the event successful.

In the end, the theatre seminar coordinator Mr. Kuldeep Sharma presented the vote of thanks. This event proved to be inspirational and informative for Indian folk art and theatre lovers. Such initiatives will definitely help in preserving and enriching our cultural heritage.

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

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

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

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

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

Independent Project by Abhinav Sharma

Guide ⇒ Prof. Manohar Khushalani

References :

1. Kolakli-Malabar Toursim
2. Types of Kolkali