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.

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.

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.

New Delhi, September 5, 2025. The Sammukh Auditorium at the National School of Drama (NSD), New Delhi, witnessed a powerful confluence of literature and theatre with the staging of two acclaimed stories by Senior Poet–Novelist, Director of Vishwarang, and Chancellor of Rabindranath Tagore University, Sh. Santosh Choubey—*Unke Hisse Ka Prem* and Garibnawaz. The plays were directed by veteran theatre director Devendra Raj Ankur and presented by Sambhav Art Group, Delhi, under the aegis of Vanmali Srijan Peeth.

Sh. Santosh Choubey, celebrated for his profound and sensitive contribution to Hindi literature and theatre, has carved a niche through his exploration of human emotions and the complexities of contemporary society. His stories, marked by simplicity of language and depth of expression, continue to inspire both readers and performers.

In Unke Hisse Ka Prem, the fragmented relationships and emotional struggles of an institutional boss are revealed through the unique perspectives of inanimate objects—his desk, pen, chair, diary, and mirror. By transforming these objects into living witnesses, Shri Santosh Choubey’s pen captures the poignancy of solitude and the delicate nuances of human vulnerability.

Garibnawaz, on the other hand, starkly contrasts capitalist success with the resilience of the working class. The clash between Vishwamohan’s opulent BPO office—symbol of globalized affluence—and the modest yet spirited Garibnawaz Chicken Shop next door, becomes a metaphor for the strength of labor and grassroots survival. Here, Sh. Santosh Choubey incisively exposes the paradoxes of urban politics, unauthorized encroachments, and local power nexus.

The stage came alive through remarkable performances by Nidhi Mishra, Gauri Dewal, Rachita Verma, Amitabh Srivastava, Amit Saxena, Prakash Jha, Harikesh Maurya, and Sahaj Harjai. The evocative musical design by Rajesh Singh and Sahaj Harjai, complemented by the lighting design of Raghav Prakash Mishra, intensified the impact of the narratives. The evening was skillfully anchored by Vikrant Bhatt, Associate Director of Tagore Theatre School.

Adding a visual dimension, an exhibition based on the works and books of Shri Santosh Choubey was curated by Prashant Soni, Vikrant Bhatt, Upendra Patne, and Yogesh Kumar. The Sammukh Auditorium was packed with an enthusiastic audience, who responded with admiration for this rare blending of literature and performance.

Without relying on elaborate sets or theatrical gimmicks, the evening reaffirmed that the strength of theatre lies in the richness of writing and the precision of direction. The pen of Sh. Santosh Choubey and the direction of Devendra Raj Ankur together proved that great stories are as alive on stage as they are in the imagination of the reader.

New Delhi, August 31
The monthly symposium at the Central Office of Sanskar Bharati once again emerged as a vibrant confluence of art, literature, and culture. This gathering witnessed a rare harmony of music and theatrical literature, leaving the audience deeply moved and inspired.

The evening commenced with a soulful performance by young vocalist Suhani Kaushik and flutist Sumit Sharma, whose melodious notes transported the audience into a realm of devotion and artistic grace, setting the perfect tone for the sessions ahead.

The highlight of the symposium was the intellectual discourse on “Playwriting from a Social Perspective: Possibilities and Challenges”, led by Prof. Rajnish Kumar Mishra of Jawaharlal Nehru University and Prof. Chandan Chaubey of Delhi University.

Prof. Mishra emphasized that no art can achieve true meaning without immersing itself in the life of the people. He observed that even today, society often feels uneasy when confronted with literature that dares to mirror its realities.
Prof. Chaubey, on the other hand, highlighted how devotional traditions found their widest expression through performing arts, which have carried culture directly into the hearts of the masses. He further reflected on the responsibility of playwrights, noting that their craft contributes to shaping the cultural and historical dimensions of character creation.

The thought-provoking addresses inspired the audience towards deeper reflection and dialogue. The session was skillfully moderated by Raj Upadhyay, Stage Arts Coordinator of Delhi Province.

More than just a platform for artistic expression, Sanskar Bharati’s monthly symposium reaffirmed its role as a forum for meaningful intellectual engagement on art, society, and culture. Once again, the event underscored the timeless truth that art, literature, and society together shape the cultural personality of the nation.

The program was graced by eminent Mohan Veena artist Ajay Kumar, Sanskar Bharati Delhi Province Minister Dr. Prashant Upadhyay, along with distinguished professors, research scholars, and students of Delhi University.

The success of the symposium was made possible through the dedicated efforts of Program Coordinator Kuldeep Sharma, Symposium Coordinators Shruti Sinha, Bharti Dang, Garima Rani, Sneha Mukherjee, Harshit Goyal, Saurabh Tripathi, Vijender Kumar, Sushank, Brijesh and team members. A special appreciation goes to Vishwadeep, who not only played a vital role as co-coordinator but also skillfully conducted the stage proceedings with grace and excellence.

Reading at IHC
From my new book
The poem ‘Kilmoras and Hisalus’,
About my childhood
In Fernlodge Barlowgunj,
And the denizens
Of that village.

By Rachna Joshi

Kilmoras and Hisalus

Eating kilmoras and hisalus

On the way to Naala Pani
Past the Old Brewery
And Sikandar Hall.

Fern Lodge perched atop a hillside
With peach and plum trees
Trailing along a slope.

Below, the cowshed
Where the gwala comes to milk the cows
And to keep encroachers at bay
Who are creeping up the hillside.

Barlowgunj Market
With Chaman Lala’s shop
And the schoolchildren
From St. George’s
Coming for tuck.

Chachi and Buaji in the kitchen
On stilts
Churning out pots of soup.

The old piano in the drawing room
Which children liked to play.
Patties and pastries in the evening.
Granpa’s green fingers in the nursery
Where there were fuschias and begonias
As well as a beehive.
Hydrangeas in the gardens

Rhododendron Squash

Mountains are a special place
Where the mind soars
Above the mundane
and how creativity flowers
among the cedars and rhododendrons.

Granma making rhododendron squash.
Her deft fingers cutting the flowers
And cooking them
In sugar syrup.

This is how I would
Like to remember
My childhood
In Fern Lodge Barlowgunj.
Mussoorie Modern School

I remember
The pipes used to freeze
In winter in Chaman Estate.
In the hostel dorms
The matron used to change our clothes.

I remember the Tibetan teacher
Putting butter and salt
In her tea
In the mess.
Thal jus mukh, kator jus aankh.

Mr. Viegas, the Principal,
With his wife Shirley and daughter Candy
In a cottage by the side.
Framed by flowering beds.

Driving to Dehradoon

Driving to Dehradoon
Passing Duckchick
And Chital at Khatauli.
Seeing the travelers and itinerants.

Having pakoras and chai,
With the canal nearby
And the bridge.

Attending the Doon readings
At Hotel Aketa in Rajpur.
With Mountain Echoes, Penguin
And Doon Library.

Shekhar Pathak, Ruskin Bond
And Anjali Nauriyal,
Poetry of the hills.

The stately Rajpur Road
With Daalanwaala and
Welham Girl’s High School.
Astley Hall and Ellora’s.

The Tibetan monastery
At the end of the road
Near Sahastradhara.

Getting caught in traffic jams
While returning on Easter
From Dehradoon.

Seemadwar

Walking to Seemadwar
After eating khichri
And passing Jagdamba’s shop
At Indiranagar.

Mrs. Chaturvedi’s house
And HARC.
Shukla Marriage Bureau
And Anurag Paudhshala.

Sun Chasers
Where Sumitaji
Is having a conversation
With the owner.
A budding romance.

Ganga Aarati

Ganga Aarati
At Haridwar
With diyas floated
On the Ganges,
And the waving of lamps.
Chanting and singing.

RACHNA JOSHI

Rachna Joshi is a poet and reviewer who has lived in India and North America. She has written five collections of poems: Configurations (Rupa & Co., 1993); Crossing the Vaitarani (Writer’s Workshop, 2008); Travel Tapestry (Yatra Books, 2013); Monsoon and Other Poems (Tethys, 2020); and Unraveling (Authors Press, 2024) She has a master’s in Creative Writing from Syracuse University in upstate New York, and has been widely published in magazines and anthologies in India and abroad. She worked as Senior Assistant Editor at the India International Centre, Delhi, for 28 years and lives in Noida, U. P. 

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, Priyadarshini Vihar –From May 27th to 29th, Kala Chaitanya Society organized a grand three-day Tabla and Dholak workshop at the Priyadarshini Vihar Club. The workshop was conducted by Dr. Shrikant Shukla, an awardee of the Uttar Pradesh Sangeet Natak Akademi and a distinguished expert in Tabla and Dholak. Art enthusiasts from Delhi-NCR and nearby regions participated with great enthusiasm.

The workshop was completely free of cost and open to individuals of all age groups. Participants received intensive training in the fundamentals of Tabla and Dholak, including basic techniques, understanding of rhythmic cycles (taals), hand coordination, and practical aspects of rhythm and tempo.

Sh. Vishavdeep, the President of Kala Chaitanya Society and an internationally acclaimed Kathak artist, shared that the objective of this workshop was not only to impart training but also to preserve and pass on vanishing art forms to future generations. He remarked,”Just as ancient languages like Prakrit and Pali faded away due to lack of preservation, many art forms are also nearing extinction. It is our collective responsibility to ensure that cultural conservation does not remain confined to words, but is practiced at a grassroots level”.

The Society’s Secretary, Sh. Pradeep Kumar Pathak, emphasized that the initiative aimed to connect people from all walks of life with music. He believes that engagement with the arts positively influences one’s mindset, sensitivity, and social behavior.

The workshop commenced with a ceremonial welcome by Sh. Ashok Tiwari, Secretary of Sanskar Bharati – Kala Sankul, who felicitated Dr. Shrikant Shukla with a traditional angavastram. The event was graced by several esteemed personalities, including senior Kathak guru Sh. Subhash Chandra, renowned theatre artist and Head of the Theatre Department at Modern School, Delhi, Sh. Raj Upadhyay, Secretary of Priyadarshini Vihar Club, Smt. Shikha Sobti, and Head of Dance at Mata Gujri School, Smt. Ruchika Bagga.

Over the course of three days, the workshop fostered an atmosphere of inspiration and deep emotional engagement. Participants described the experience as invaluable and expressed a keen desire for more such initiatives in the future.

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.

Held from May 19 to 22, 2025, at Kala Sankul, Sanskar Bharati’s esteemed cultural centre in New Delhi, the group art exhibition “पछ्याण” (meaning identity) is a compelling tribute to the artistic spirit of Uttarakhand. Organized by the Rangeet Art Centre, Haldwani (Nainital), the exhibition aims to give national visibility to the region’s artists—both emerging and established.

This thoughtfully curated event showcases contemporary artworks that are deeply rooted in the cultural soil of Uttarakhand. It presents a striking fusion of folk traditions and modern expression, offering viewers a fresh perspective on the region’s identity, struggles, and everyday beauty.

The inaugural event was attended by notable figures including Shri Ashok Tiwari (Central Executive Member & Secretary, Sanskar Bharati), Shri Digvijay Pandey (Manager, Kala Sankul), Shri Himanshu Dabral (Programme Coordinator, Lalit Kala Akademi), and senior artists Naval Kishore and Ajay Sameer, who lent their support and presence to the cause of regional art.

The artworks featured in पछ्याण reflect the landscapes, lifestyles, and layered emotions of mountain life. From the role of women in society to the quiet resilience of remote communities, each canvas tells a story with nuance and sincerity. In some works, traditional folk art forms like Aipan are reimagined through a contemporary lens—bridging past and present in powerful visual narratives.

The exhibition includes works by a diverse group of artists:
Tshering Negi, Priyoum Talukdar, Kusum Pandey, Papil Manna, Maninder Singh, Shanu Sharma, Chetan Joshi, Kaveesh Nabiyal, Ritika Bhatt, Dipanshu Dugtal, Khasti Palari, Riya Kabdal, and Archita Padiyar.
Despite their varied techniques and themes, what unites them is a shared commitment to giving voice to Uttarakhand’s cultural heritage.

Located in the heart of Delhi, Kala Sankul is more than just a gallery—it is a dynamic space for artistic exchange rooted in Indian knowledge traditions. The venue regularly hosts panel discussions, performances, and cultural programs, making it an ideal platform for showcasing regional creativity on a national stage.

In essence,पछ्याण is not merely an art exhibition—it is a cultural statement. It reaffirms the idea that art, when grounded in identity and tradition, can transcend regional boundaries and speak to a larger collective consciousness.