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.

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.

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

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

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

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

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

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

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

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

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

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

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

New Delhi.
The central office “Kala Sankul” of Sanskar Bharati hosted a meaningful symposium that brought together artistic perspectives, creative expression and cultural dialogue under one roof. The event marked three successful years of the Kala Symposium Series, making the gathering a moment of both reflection and renewal.

The program commenced with a traditional lamp-lighting ceremony performed by the Chief Guest Dr. Vinod Narayan Indurkar (Chairman, CCRT), Symposium Convener Shruti Sinha, Co-convener Vishwadeep Ji, Program Coordinators Sakshi Sharma and Sneha Mukherjee.

With the theme “The Role of CCRT in the World of Art from an Indian Perspective,”
Dr. Indurkar delivered the keynote address. He emphasized that:

“Indian art is not merely an act of expression — it is a worldview, a way of life. Our responsibility is to carry this consciousness forward to the next generation through structured institutional efforts.”

He highlighted CCRT’s contribution in preserving India’s folk and classical traditions, supporting artists, and strengthening cultural awareness at the national level. His address offered a deep insight into how policy, pedagogy and cultural values interconnect in shaping India’s artistic future.

Artistic Presentations Enrich the Dialogue

The symposium was further elevated by soulful performances.
Ujra Akshara, Prof. (Dr.) Rachna and Sadhit Kaushal presented musical renditions that echoed the cultural spirit of India. Aparna Sarathe and Aman Pandey expressed philosophical ideas through Kathak, transforming thought into movement and emotion.
These artistic offerings ensured that the gathering was not only intellectually stimulating but also emotionally resonant.

A Gathering of Artists, Scholars and Young Voices

The event witnessed enthusiastic participation from artists, cultural practitioners, scholars, students and young art enthusiasts.
The symposium concluded with a shared resolve to revitalize cultural awareness and sustain the continuity of Indian artistic heritage.

Organizing Team and Contributors

The successful execution of the monthly symposium was supported by:
Harshit Goyal, Sneha Mukherjee, Garima Rani, Pradeep Pathak, Priyanka, Nidhi Tiwari, Deepti, Brijesh Kumar, Vijender Kumar, Sushank and Mrityunjay Ji.
Kuldeep Sharma skillfully conducted the proceedings.

Kala Sankul’s Commitment

Kala Sankul reaffirmed its mission:

“This platform will continue to recognize and encourage artists and institutions that bring forward the sensitive, meaningful and socially relevant questions of art, culture and the nation with a constructive and courageous vision.”

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.