Dancing a holographic consciousness
- Dr. Lata Surendra
My journey as a performer through six and a half decades is a personal exploration of a lifelong dance path, referencing the idea of a "holographic consciousness" as a way to describe the multifaceted, interconnected, and enduring nature of my identity and experience, which is deeply interwoven with the art form of Bharatanatyam.

Ramayana in Thailand & Cambodia
- Devdutt Pattanaik
In Thailand, the Ramayana functions as court theatre and royal imagery. In Cambodia, it functions as moral instruction carved into temple walls, most famously at Angkor Wat.

On letting disciplines misunderstand each other
- Masoom Parmar
Interdisciplinarity in the arts.

The future of the Sabha lies in differentiation
- Rohit Viswanath
Why artistes must rediscover their svadharma and build their own assemblies.

The spectacle and the spectator
- Sree Veena Mani
In his commentary on the Naṭyashastra, Manmohan Ghosh explains that Indian drama is conceived as prekṣa—a spectacle to be seen—while the audience is the prekṣaka, the spectator who beholds and interprets the performance.

The lyrical heartbeat
- Ileana Citaristi
Looking at how Jayadeva’s Geeta Govinda, a 12th century poem, continues to evoke the many shades of love.

The Myth of the "Either/Or"
- Dr Lata Surendra
A committed dancer does not choose between the stage and the hearth because for her life is not a dichotomy, but a deliberate choreography.

The delicate balance: Notes from the in-between generation
- Shreya Kumar Gopal Rao
Somedays, my life feels like a study in contrast. I wake up, surrounded by deadlines, ambitions, and dreams that stretch into the future.