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

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

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

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

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

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

Delhi based Natsamrat once again brought comedy filled plays for the audience. Plays written by Anton Chekhov, Moliere and Satya Prakash were staged under the direction of Shyam Kumar. On 2nd and 5th October such plays were staged in LTG Auditorium (Blank Canvas), Mandi House, New Delhi in which the director also tried to give a message to the society through his plays and that message touched the hearts of the audience.

On 2nd October two plays were staged. The first play “The Proposal” written by Anton Chekhov was staged. This is the story of a young man who proposes marriage to his neighbour’s unmarried daughter. The story gets worse when the three of them start arguing about whose property it is and whose dog is better.

The play “Kallu Nai MBBS” written by Moliere was staged. The audience gathered in large numbers for the presentation of the play. The audience applauded every dialogue. All the characters played their roles well.
The gist of the play is that a barber is always drunk and beats his wife. The barber’s wife promises herself that she will teach her husband a lesson. Meanwhile, she meets a servant who is looking for a doctor to treat their master’s daughter’s dumbness. The barber’s wife tells him that there is such a doctor here, but he does not consider himself a doctor until he is beaten up properly. The servant beat the barber and force him to become a doctor and take him to his master. Later on, the play takes a very good turn.

On 5 October, again “The Proposal” play was staged along with “Kambakht Ishq” written by Satya Prakash. In today’s time, life has become so busy that children do not have time for their parents, due to which their parents start falling ill. Especially when someone’s mother is alone and someone’s father is alone. The story of the play Kambakht Ishq touched the hearts of the audience along with laughter because somewhere probably everyone was finding themselves in the same place which was being shown in the play.

Artists Vishwajeet, Munmun, Arvind Shandilya, Sudhir Khanna, Aman Kumar, Soumya Yadav, Shivangi and Raman Kumar played their roles very well. Stage Managers Sunil Rathore and Suraj Singh, Set Managers Naushad and Rohit Prasad, Make-up artist Payal and Rajrani, Costume assistants Chhobi Saha and Rekha Devi, Music Operated by Vansh Rathore and light design by Natsamrat’s director Shyam Kumar.

29 September, New Delhi – In order to promote art and literature, the monthly theatre seminar organised by Sanskar Bharti, Delhi was organised at ‘Kala Sankul’. The main theme of this seminar was ‘Indian perspective and challenges in modern theatre writing’. Director of National School of Drama (NSD) Chittaranjan Tripathi and senior theatre critic Anil Goyal were present as keynote speakers.

In his speech, Chittaranjan Tripathi expressed deep concern over the current state of Indian theatre institutions and writing. He said that in today’s time there is a huge shortage of writing material, which does not present the society and Indian perspective in the right way. He stressed that the study of Indian epics like Mahabharata is very important to understand the art, culture and history of India. According to Tripathi, today’s youth is interested in theatre, but it is very important to write keeping Indianness at the centre.

He also discussed the tradition of folk theatre and said, “When we understand the folk, we will be able to make theatre better too.” Explaining the importance of folk theatre, he said that it is a genre that is born and survives among the common people, which develops by keeping their life and behaviour at the centre.

Drama critic Anil Goyal also expressed his views on the Indian theatre tradition and criticised the wrong portrayal of history by some theatre writers of the past decades. He described the lack of young theatre writers as the biggest challenge of the present times. Goyal said, “The theatre world has always felt the lack of good writers. The film world may have got better writers, but this lack can be clearly seen in the theatre field.”

It was also discussed in the seminar that in the desire for political correctness, difficult and complex issues did not find a place in plays. Referring to the writings based on the wars of 1962 and 1971, he said that films were made on these historical events, but effective plays were not written.

The program was inaugurated by National Organization Minister of Sanskar Bharati Abhijit Gokhale, Director of National School of Drama (NSD) Chittaranjan Tripathi, Senior Critic Anil Goyal, Kuldeep Sharma. Ashok Tiwari, Digvijay Singh, Registrar of NSD P.K. Mohanty and Deputy Registrar O.P. Sagar were present.

The presence of many Senior Theatre Director’s like Mr. Ramdayal Sharma, Avtar Sahni, J.P. Singh, Rohit Tripathi, Chandrakanta Tripathi, Shyam Kumar, Raj Upadhyay, Bhupesh Joshi and Vashisht Upadhyay made the program special. The successful organization of the program was a proof of the dedication of all the members of Sanskar Bharati.

This seminar proved to be an important platform for Indian theatre, where serious discussions were held on the current challenges of playwriting from the Indian perspective. Emphasizing the relevance of epics like Mahabharata, Tripathi told the need for playwrights to focus on Indian context. Anil Goyal, on the other hand, openly expressed his concerns on the lack of young writers and absence of serious subjects.

Overall, this symposium provides a great opportunity to rethink about the direction and challenges of writing in Indian theatre, which can provide inspiration and direction to upcoming writers.

डॉ तबस्सुम जहां।

रोहतक सुपवा में संपन्न हाइफा का दूसरा वार्षिकोत्स्व। रंगारंग कार्यक्रम में शामिल हुईं हरियाणा की अनेक मशहूर हस्तियाँ।

शनिवार 28 सितंबर, हरियाणा प्रदेश के सिने कलाकारों की एकमात्र संस्था हरियाणवी इनोवेटिव फ़िल्म एसोसिएशन (हाइफा) का दूसरा वार्षिक पुरुस्कार वितरण समारोह पी एल सी सुपवा रोहतक में संपन्न हुआ।

कार्यक्रम का आरंभ मुख्य अतिथि यशपाल शर्मा जी के स्वागत उन्हें पुष्पगुच्छ देने। दीप प्रज्वलन और गणेश वंदना के साथ प्रारंभ हुआ। इसके उपरांत हरियाणवी कलाकार योगेश वत्स ने सरस्वती वंदना गा कर प्रोग्राम का शुभारंभ किया।
सर्वप्रथम हाईफा अध्यक्ष श्री जनार्दन शर्मा द्वारा सभी का अभिनंदन एवं आशीर्वचन किया गया। उन्होंने कहा कि यह दौर हरियाणवी सिनेमा का ऊंचाइयों का दौर है। यह हाईफ़ा का बेहतरीन समय है

उसके उपरांत हाईफा मुख्य सचिव रामपाल बल्हारा द्वारा हाइफ़ा में पूरे वर्ष हुए गतिविधियों की वार्षिक सूचना प्रस्तुत की गई। रामपाल बल्हारा सर ने हाईफ़ा के गठन, उद्देश्य और वर्तमान गतिविधि पर खुलकर चर्चा की।

मुख्यअतिथि यशपाल शर्मा द्वारा आशीर्वचन एवं हाईफा के दूसरे वार्षिकोत्सव कार्यालय को शुरु करने की घोषणा की। “उन्होंने कहा कि हरेक आदमी हरेक काम नहीं कर सकता इसलिए अपना अपना काम करते रहना चाहिए। सब में अपनी काबलियत है और उसे जारी रखा जाना चाहिए और हाइफ़ा ने यह साबित करके दिखा दिया है।”

प्रोग्राम में आगे हाईफा कुलगीत के बाद हाईफ़ा कलाकार सदस्यों द्वारा सांस्कृतिक कार्यक्रमों की प्रस्तुति की गई सबसे पहले हरियाणवी कलाकार मीना मलिक द्वारा नृत्य प्रस्तुत किया गया। जिससे दर्शक दीर्घा में बैठे सभी लोग झूम उठे। आगे श्री चंद्रशेखर ने द्वारा रसिया पेश किया गया। इसके बाद मंच से महिपाल पठानिया ने अपनी मधुर आवाज़ में लोकगीत पेश किया।
सुश्री सोनिया द्वारा लाजवाब डांस परफॉर्मेंन्स ने सबको अपने साथ थिरकने पर मजबूर कर दिया। श्री सुधीर ढांडा और निमिषा द्वारा कविता, सुनीता डागर द्वारा गीत पेश किया गया। सुश्री हितांशी और बेबी मायरा द्वारा प्रस्तुत डांस ने समा बांध दिया। सुश्री ज्योति आर्य द्वारा गीत, यश कीर्ति द्वारा गीत, सुश्री सुदेश द्वारा नृत्य व श्री योगेश वत्स द्वारा रागनी/गीत, सुश्री केलापति द्वारा लोकगीत और श्री इंदर लांबा द्वारा रागनी प्रस्तुत की गई और अमन ने गीत पेश किया जिसे सभी लोगों ने मंत्र मुग्ध होकर सुना।

कार्यक्रम में आगे इस साल पुरुस्कृत शॉर्ट फिल्म्स की स्क्रीनिंग हुई। इस बरस का हाईफ़ा लाइफ टाइम अचीवमेंट अवार्ड डॉ सुधीर शर्मा और डॉ रामपाल चहल जी को हरियाणा में उनकी अतुलनीय योगदान के लिए दिया गया।

हाईफ़ा कहानी प्रतियोगिता के अनर्गत प्रथम पुरस्कार कहानी ‘आवाज़े’ के लिए डॉ. नवरत्न पांडेय को दिया गया। वहीं द्वितीय पुरस्कार (संयुक्त) रूप से कहानी ‘गुरु दक्षिणा’ के लिए डॉ. तबस्सुम जहां और ‘आधी यशोदा’ कहानी के लिए प्रतीक्षा रम्य को दिया गया। तृतीय पुरस्कार ‘अमावस’ कहानी के लिए डॉ. ललिता ने अपने नाम किया।
सांत्वना पुरस्कार के अंतर्गत कहानी ‘कामवाली बाई’ के लिए डॉ. जोगेंद्र कुमार, कहानी ‘अनन्या’ के लिए चंद्रशेखर शर्मा और ‘इंसान पादरी के सामने कन्फ़ेशन करता है’ के लिए राजकुमार गर्ग को दिया गया। पुरुस्कार वितरण के बाद कहानी प्रतियोगिता के निर्णायक मंडल में प्रमुख सदस्य रहे डा. मधुकांत, डा. रमाकांता शर्मा और कमलेश भारतीय को अंगवस्त्र देकर सम्मानित किया गया।

हाईफ़ा की लघु फिल्म प्रतियोगिता के अंतर्गत
प्रथम पुरस्कार ‘फांस’ फ़िल्म के लिए उसके डायरेक्टर आकाश सिंह को दिया गया। द्वितीय पुरस्कार ‘ऊक चूक’ के लिए अभिमन्यु यादव और तीसरा ‘अहसास’ फ़िल्म के लिए
राजू मान सिंह ने अपने नाम किया।
लघु फिल्म प्रतियोगिता के लिए ही सर्वश्रेष्ठ अभिनेता की कैटेगरी में राजकुमार धनखड़ को फ़िल्म ऊक चूक के लिए पुरुस्कृत किया गया। सर्वश्रेष्ठ अभिनेत्री इसी फ़िल्म के लिए
सोनम सैनी को दिया गया।
हाईफ़ा वीडियो गीत प्रतियोगिता के लिए
प्रथम पुरस्कार ‘आनंद काया’ के लिए साहिल संधु को दिया गया। इस श्रेणी में द्वितीय पुरस्कार ‘आपा दोनों जने’ के लिए सुखबीर गिल और तृतीय पुरस्कार ‘याद पुरानी’ वीडियो के लिए अमित भाना को दिया गया।

वीडियो गीत प्रतियोगिता की कैटीगरी में
सर्वश्रेष्ठ गायक का पुरुस्कार (संयुक्त) रूप से ‘छोरी डटज्या’
के लिए उमेश वर्मा और ‘आपा दोनों जने’ के लिए बी. पारस को मिला। सर्वश्रेष्ठ गायिका में मीनाक्षी पांचाल को गीत ‘आनंद काया’ के लिए पुरुस्कृत किया गया।

वृतचित्र प्रतियोगिता की श्रेणी में प्रथम पुरस्कार ‘धूमिल धरोहर’ के लिए निमिशा सूर्यांशी को मिला। पुरुस्कार के अंत में। अंत में ज्यूरी कमेटी के महत्वपूर्ण सदस्य राजीव भाटिया, प्रतिभा सुमन, मनु गौतम, विजेता दहिया और संदीप गोयत को भी अंगवस्त्र देकर सम्मानित किया गया।

कार्यक्रम को आगे बढ़ाते हुए रंगारंग कार्यक्रम प्रस्तुत करने वाले हाईफ़ा कलाकारों को स्मृति चिन्ह चिन्ह देकर सम्मानित किया गया इसके अतिरिक्त मुख्य अतिथि को स्मृति चिन्ह देकर सम्मानित किया गया और अंत में वरिष्ठ कलाकार राजू मान सिंह द्वारा सभा में मौजूद सभी का धन्यवाद ज्ञापन किया गया।
शाम को राष्ट्रगान के साथ कार्यक्रम का सफल समापन हुआ।

On the 14th and 15th of September, *Saiyan Bhaye Kotwal* was staged by New Delhi Performers at Alliance Française de Delhi, Lodi Estate, New Delhi, under the direction of Basab Bhattacharya. This musical comedy play, a Hindi adaptation of the renowned Marathi play *Vichha Majhi Puri Kara*, originally written by Vasant Sabnis and translated into Hindi by Usha Banerjee, focused on the theme of corruption. Through humor, music, and lively performances, the play delivered sharp satire.

Performed by the talented cast of *New Delhi Performers*, the play balanced entertainment with a strong message. It offered incisive commentary on power, greed, the inefficiency of administrative systems, making critical observations through its humorous lens.

The music and dance elements were key in keeping the audience engaged. The main objective of the play highlighting corruption through satire was successfully conveyed. Costumes and choreography were commendable, adding a vibrant touch to the performances. The inclusion of contemporary film songs connected the play to the present day, allowing the audience to relate to the storyline more effectively.

The performances were a highlight, with Dhruv Sharma playing Maharaj, Animesh Singhal as Hawaldar, Arpan Arora in the role of Pradhan, and Abhishek as the energetic Sipahi. Chetna portrayed Mainavati, while Ritwik Marwah took on the role of Kotwal. Saurabh Bhutoria, in the role of Sakhiya, won the audience’s applause with his stellar performance. The narrators, Hardik and Sheetal Marwah, added a guiding presence to the story. Behind the scenes, Vedant and Rinki lent their voices, while Dinesh played the harmonium and Harsh took charge of the dholak. Ved Deep led the Music, and Ritesh handled the lighting design.

Overall, *Saiyan Bhaye Kotwal* offered an engaging musical experience where the blend of music and lively performances drove the story forward. The cast’s energetic presentation ensured that the audience left the theater entertained and impressed.

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

On August 4, 2024, Mask Players Art Group performed the play “Prem-Parinde” at the Rangparivartan Auditorium in Gurugram. Written and directed by Chandrashekhar Sharma, the play delves into the modern trend of forming romantic relationships without understanding their depth, turning it into a social pressure for today’s youth. This phenomenon is leading to crimes in the name of love and causing familial disintegration. Additionally, social media is exacerbating the situation, with students prioritizing creating reels over building their future.

The play conveys its serious message in a humorous manner. The main character, Nisha, is a fan of a superstar and is so obsessed with movies that she lives her life in a cinematic way. This obsession leads her to fall in love with Rajan, a loafer who resembles a superstar, and she even finances his expenses. Their movie-like love story reaches a point where they realize they have only been deceiving each other under the guise of love and don’t truly understand what love is.

The roles were well-portrayed by Pooja Singh as Nisha, Ashish Sharma as Rajan, Rakesh Sharma as the father, Hansika Jain as the wife, and Parth Srivastava as Bhola. The actors’ timing was impeccable, adding to the entertainment of the audience. Behind the scenes, Nikhil Jha handled the lights and Mayank Sharma managed the music, both contributing significantly to the success of the presentation.

The play, while tickling the audience’s funny bones, conveyed a profound message relevant to today’s youth.

Conversations: Before I Forget

Reviewed by Manohar Khushalani

M.K. Raina’s memoir, “Before I Forget,” is a deeply moving chronicle of his multifaceted life as a theatre actor, director, and cultural activist. The memoir weaves through various stages of his life, from his serene childhood in Kashmir to his influential role in Delhi’s theatre scene, and his poignant experiences during the turbulent periods of Kashmir’s history. At IIC,

Sujata Prasad and Oroon Das, conducted an extremely engaging and memorable conversation with the author.

His narrative began with memories of his early years in Kashmir, painting a picture of harmony and cultural richness. He describes the idyllic days in the Sheetal Nath Sathu Mohalla, where Hindus and Muslims lived together in peace, and his nurturing education at Lal Ded Primary School. This nostalgic recounting provides a stark contrast to the later chapters, which detail the descent of Kashmir into violence and chaos in the 1990s.

The core of Raina’s memoir focuses on his efforts to use theatre as a tool for social change and healing. Despite the insurgency and violence in regions like Kashmir and the North-East, Raina set up theatre workshops aimed at reviving folk traditions and fostering community spirit. His work often put him in danger, yet he persisted, driven by a cause greater than activism—a belief in mending the fabric of society. One of his significant achievements was the successful theatre workshop in Kashmir in 2000, where he taught young locals not just theatre, but values of rationality and responsibility.

Raina’s reflections on the political and cultural history of India are profound. He recounts witnessing turbulent times, the Emergency period, Indira Gandhi’s assassination, the Delhi riots, and the death of playwright Safdar Hashmi. These events are narrated with a historian’s precision and a poet’s sensitivity, capturing both the joy and sorrow of living through India’s tumultuous times.

The memoir delves deeply into the traumatic period of the 1990s in Kashmir. Raina’s mother’s illness during the violence-ridden winter. Amidst curfews and security checks, he navigated the challenges of getting medical care for his mother, only to face the heartbreak of her passing. The exodus of Kashmiri Pandits during this period is another painful memory, highlighting the erosion of centuries-old communal bonds.

Raina’s narrative does not shy away from the complexities and mistrust that grew among communities: How even brothers became strangers, emphasizing the profound impact of fear. His return to Kashmir in the 2000s to conduct theatre workshops marked a significant effort to rebuild trust and revive cultural practices like the traditional folk theatre, Bhand Pather.

Raina balances personal anecdotes with broader socio-political observations. His encounters with cultural luminaries in Delhi, such as Shabana Azmi, Naseeruddin Shah, and Om Puri, are interspersed with reflections on the decline of the city’s once-vibrant theatre scene

“Before I Forget” is a testament to M.K. Raina’s unwavering dedication to his craft and his cause. It is a poignant reminder of the importance of cultural heritage in fostering understanding and unity in times of conflict. His declaration, “We should never forget but always forgive”

First Published in IIC Diary April-May 2024

Review by By Manohar Khushalani

The launch and discussion at the India International Centre (IIC) of a multilayered narrative, “Ebrahim Alkazi: Holding Time Captive,” shed light on the life and legacy of Ebrahim Alkazi, a towering figure in twentieth-century Indian theater and visual arts. Amal Allana, Alkazi’s daughter, presents a meticulously researched account of her father’s life, offering insights into his role in shaping the cultural landscapes of Mumbai and Delhi from the 1940s to the 2000s.

Ebrahim Alkazi, renowned as a theater doyen and pedagogue, passed away at the age of 94, leaving behind a monumental legacy in Indian theater. His career spanned an impressive 74 years, during which he directed iconic plays such as Girish Karnad’s “Tughlaq” and mentored generations of actors, including Naseeruddin Shah and Om Puri. Alkazi’s upbringing, education, and early associations with the Bombay Progressive Artists’ Group laid the foundation for his groundbreaking contributions to Indian theater.

As the longest-serving director of the National School of Drama, Alkazi revolutionized Hindi theater with his visionary approach and technical precision. His establishment of the Repertory Company and the School of Dramatic Arts showcased his commitment to nurturing talent and promoting theatrical excellence. Beyond theater, Alkazi’s influence extended to the visual arts, as evidenced by his founding of the Art Heritage Gallery in Delhi with his wife, Roshan Alkazi.

Allana’s biography not only celebrates her father’s professional achievements, but also delves uninhibitedly into his personal life, providing a nuanced portrait of a multifaceted individual. Through interviews, archival research, and personal recollections, Allana, herself a renowned and celebrated theatre director, offers readers a glimpse into Alkazi’s emotional journey and his profound impact on modern Indian cultural history.

The discussion at the IIC, moderated by Naman Ahuja, further enriched the narrative, with Allana engaging in conversation about her father’s legacy and the process of writing his biography. Dramatic readings by two actors, Sonam Kalra and Rehaan Engineer, added depth and resonance to the event, underscoring the theatricality inherent in Alkazi’s life and work.

Overall, “Ebrahim Alkazi: Holding Time Captive” stands as a testament to the enduring legacy of a cultural icon. Allana’s narrative, both enthralling and critically astute, pays homage to Alkazi’s monumental contributions while situating him within the broader context of modern Indian cultural history.

First Published in IIC Diary February-March 2024

New Delhi, July 28, 2024: The “Bharatmuni’s Natya Shastra – Tradition and Experimentation” symposium, hosted by Sanskar Bharati’s ‘Kala Sankul,’ was graced by the presence of renowned classical artist and theater theorist Professor Bharat Gupt. His insights on the significance and deep aspects of ancient Indian theater added great value to the event.

In his address, Professor Gupt highlighted the crucial elements of ancient Indian theater. He remarked that while the British sought to revive Indian drama through European theatre during the Islamic period in India, Indian historians have not done justice to the native dramatic traditions. He also expressed concern that successive governments since independence have largely ignored the importance of drama.

Professor Gupt questioned why, from Kashmir to Kanyakumari, there is no memorial for Bharatmuni, the father of Indian theatre, despite India having one of the oldest theater traditions in the world. He praised the linguistic integration in ancient Indian dramas as a unique example of Indian tradition and lamented the lack of due respect due to conflicting historical narratives among scholars.

He stressed the need to unify the two streams of Indian tradition—ancient and urban—and underscored the significance of linguistic integration in theatre. The symposium saw participation from students, professors, playwrights, and theatre practitioners who discussed the necessity of innovation in drama.

Sanskar Bharati ‘Kala Sankul’ organizes monthly symposia on various subjects like music, dance, folk dance, literature, and visual arts on the last Sunday of each month. These symposia, held at the Kala Sankul on Deen Dayal Upadhyay Marg, review and discuss the challenges and integration of Indian art perspectives.

The event was attended by notable artists such as Padma Shri Ram Sutar, Padma Shri Ranjana Gauhar, Bharatanatyam dancer Rama Vaidyanathan, Flutist Pandit Chetan Joshi, Jayaprabha Menon, Abhay Sopori, Meenu Thakur, and Professor Chandan Chaubey.

The success of the symposium was attributed to the efforts of the organizing team, including Coordinator Kuldeep Sharma, Advisor Raj Upadhyay &  Shyam Kumar, Assistant Coordinator Raman Kumar,  Anjali Kumari, Sujata Kumari, Saurabh Kumar, Shruti Sinha, Vishwadeep, Sakshi Sharma, and  Dr. Prashant Upadhyay, Brajesh Bhatt, Dr. Shailesh Srivastava, Brijesh, Shivam, Vijendra and Mani Kumar.

Prominent theatre artists, playwrights, directors such as Professor Chandan Chaubey, Delhi University theater critic Lokendra Trivedi, Senior Social Worker Khulna Sahni, theater director Rohit Tripathi, J. P. Singh and Chandrakanta Tripathi were also present. The symposium was successfully conducted by Garima Rani.