We are pleased to share that we concluded the 8th INDICA Meta-Retreat “Indian Classical Dance: Beyond Proscenium – Seeking new directions,” at Bilvam Foundation, Tiruvannamalai, from 27-20 September. This two-day retreat was an exclusive platform for dancers, thinkers, and connoisseurs of dance to come together and discuss matters that deeply concern them and their art. Invited cohort members were Dr Anupama Kylash, Dr Himanshu Srivastava, Dr Sridhar Vasudevan, Shri. Renjith Babu, Sthapathi. Umapathy Acharya and Shri. Jayachandran Surendran.
The Meta-Retreat was designed for
- Practising or scholarly experience with one of the Bharateeya Dance Classical forms and a passion for imagining future frontiers
- A good appreciation for the Dharmic/Spiritual roots of our Natya-Parampara
- An appreciation of emerging frontiers
- An investment in the renaissance of our civilization
The MetaRetreat was led by well-known Kuchipudi dancer Ms. Pujita Krishna – garu.
The Context
The world of performing arts depends on various dynamic factors such as the audience, conducive stage, and availability of musicians. For classical dance, these factors are even more critical. Patronage to classical dance performances has significantly reduced for several reasons. In this context, the Meta-Retreat sought to explore the following:
- How can we take dance to the community instead of bringing the community to the proscenium, as has been the case for the last sixty or seventy years?
- Is it time to reflect on our past and future to find more enduring ways to present classical dance?
The Meta-Retreat resulted in vibrant discussions among all participants, leading to actionable solutions.
The Discussion
Over three days, artists, scholars, and practitioners gathered to examine Indian classical dance beyond the proscenium, exploring its deeper roots, changing contexts, and evolving needs. They began by questioning whether the six-inch mobile screen is supplanting the grand stage, and if that shift represents a genuine crisis or merely a mindset adjustment. Throughout the dialogues, participants emphasized how spirituality, architecture, sculpture, and dance share a common heritage—an “essence” or “secret” (Guhya Vidya) that underpins all these art forms. Reflecting on temple architecture and sculpting traditions, they noted with regret, the systematic erosion of artistic lineages in post-independence India while celebrating the resilience of dance and music, which, having thrived outside universities, continue to offer a living repository of cultural wealth. In their view, the guru–shishya framework remains a bedrock of transmission, though modern requirements demand formalized approaches and broader patronage.
The retreat highlighted both internal and external challenges: a decline in connoisseurship, an overemphasis on commodified “composition,” and an educational ecosystem ill-equipped to nurture either performers or rasikas. Personal journeys underscored how art can heal and inspire, even in adverse situations. Dancers recounted experiences of self-discovery in places like Kalakshetra, or gleaning wisdom from mentors who seamlessly bridged classical rigors and imaginative innovation. Attendees questioned decontextualized presentations that merely cater to popular taste, noting that when sacred content and ritual origins are stripped away, the art form risks becoming superficial. Dialogues also navigated socio-political factors—such as sabha favoritism, limited funding models, and state academies’ insufficient support—that hamper artists’ livelihoods and compromise the quality of performances.
Amid these concerns, participants proposed pathways for renewal. They acknowledged that while technique is always evolving, certain fundamentals, like the underlying philosophy of rasa and the primacy of rigorous pedagogy, remain constant. They stressed the need for a well-structured dance curriculum that integrates historical context, cultural literacy, and the science of movement. Parallelly, they urged the formation of cross-disciplinary research centers, connecting dance with architecture, psychology, and broader Indic knowledge systems. Some advocated establishing specialized teacher-training institutes for dance, akin to the Kalakshetra model, and strengthening alliances with private patrons, corporate sponsors, and IT professionals who can help devise sustainable economic models. In short, the consensus was that by fostering a new generation of dancers who are both technically adept and philosophically grounded, the classical arts can evolve without losing their distinctive essence.
Finally, the group emphasized creating connoisseurs through public education, reimagining performance spaces (including temples as vibrant cultural corridors), and embracing technology judiciously. They called for more MetaRetreat-like gatherings to facilitate ongoing dialogues, support experimental collaborations, and develop actionable strategies. The need for robust mentorship, including parent engagement in a child’s artistic journey, was widely recognized. Looking ahead, participants called for concerted efforts to codify terminology, document teaching methods, and legitimize the role of dance educators as indispensable to holistic learning. By combining a reverence for tradition with innovative pedagogies and institutional backing, they aimed to foster a living ecosystem where Indian classical dance not only survives, but actively shapes contemporary cultural discourse for generations to come.
INDICA MetaRetreats
The INDICA Meta-Retreat is an immersive program with the theme of Acharya-Ambience-Attitude. It is led by an Anchor, with the ambience of our ancient Gurukula-s, where all members of the cohort come together in an Upanishadic setup with an attitude to seek and learn from each other. This fosters an environment to imagine a future for a specific discipline they are passionate about and which is crucial for the renaissance of our civilization. Through this retreat, we seek to summarize the past, analyse the present, and synthesize a future in that discipline for Dharma.
