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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

New Delhi, January 26: A special monthly symposium was organized at Sanskar Bharati’s central office, ‘Kala Sankul,’ on the eve of Republic Day. The theme of the symposium was “The Artist’s Vision of the Soul of the Indian Constitution,” with Shri Lakshmi Narayan Bhala Ji, a senior pracharak of the Rashtriya Swayamsevak Sangh and an expert on the Indian Constitution, as the keynote speaker.

The event began with floral tributes to the portrait of Bharat Mata and a ceremonial worship. During the session, Shri Bhala Ji shed light on the historical and cultural significance of the illustrations created by Nandalal Bose in the original manuscript of the Indian Constitution. He emphasized that these illustrations are not merely decorative but serve as a vivid reflection of Indian civilization, culture, and the soul of the Constitution. Through these artworks, the traditions, glorious history, and values of India’s freedom struggle have been effectively conveyed.

Shri Bhala Ji elaborated on the role of these illustrations in each chapter of the Constitution. He highlighted that great artist like Nandalal Bose dedicated their artistic expertise to give each page of the Constitution a unique identity. These illustrations incorporate significant elements from the Mahabharata, Ramayana, Buddhism, and key events of India’s freedom struggle, portraying the Indian Constitution as a living and inspiring document.

The symposium witnessed participation from a large number of art enthusiasts and thinkers, who regarded it as an inspiring opportunity to understand Indian art traditions. The officials of Sanskar Bharati expressed gratitude to everyone involved and resolved to continue organizing such motivational events in the future.

All India Organization Minister Shri Abhijit Gokhale and Area Organization Minister Shri Vijay Kumar were specially present on the occasion. The symposium was skillfully conducted by Garima Rani, while the vote of thanks was delivered by Shri Kuldeep Sharma, the convenor of the drama symposium. The success of the event was supported by significant contributions from Shri Vishwadeep, Pradeep Pathak, Ms. Anchal, Sushank, Shivam Mrityunjay, Saurabh, Harshit, Raman, and Kala Sankul’s administration head, Shri Digvijay Pandey.

This symposium was a commendable effort to unveil the depth of the Indian Constitution, and the unique aspects of Indian culture embedded within it. The illustrations by Nandalal Bose not only enhance the aesthetic appeal of the Constitution but also symbolize India’s soul and its rich historical heritage. Such events provide an opportunity to connect with Indian traditions and culture while deepening respect for the Constitution.

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

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

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

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

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

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

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.

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.

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.