Sanjukta Panigrahi's contribution to Odissi: 1944 - 1964
- Donovan Roebert
I have concentrated on the period 1944-1964 because these were the two decades that witnessed the first concentrated forging of renascent Odissi...

The last act
- GS Paul
Known for his iconic portrayal of characters from the epics, Kalamandalam Sivan Namboodiri recently announced his retirement from the stage.

Dancing across disciplines with innovation
- Merin James
Engineer-turned-dancer Dr. Jayachandran Surendran recently earned a design patent for Atam, India's first pedagogical dance tool that teaches form and style-neutral fundamentals to beginners.

Juhu beach to Kailash Mansarovar - Protima Bedi's fearless life. 'I have broken every rule'
- Debdutta Chakraborty
Protima Bedi was a model, Odissi dancer, and sanyasin before a landslide claimed her in August 1998. In one of her last letters, she wrote she was 'finally at peace'.

How Sudha Raghuraman is challenging the old hierarchies of Bharatanatyam
- Malini Nair
Unlike her peers, Raghuraman juggles a rare dual career as a sought-after solo vocalist and an accomplished dance musician.

Choreographing change: How Nirali Collective is negotiating with the classical
- Neelima Indraganti
Nirali is characterised by an evolving vision which rethinks the pedagogy of teaching dance, Bharatanatyam in particular, and the intent behind performance.

Are South Indian music clovers shifting towards Hindustani classical? Ajoy Chakrabarty weighs in
- Debasmita Ghosh
Pt Ajoy Chakrabarty highlights the distinctions between North and South Indian music, noting the divine focus of Carnatic compositions versus the everyday themes in Hindustani music.