SCHOLARLY JOURNAL · PERFORMING ARTS · OPEN GLOBAL DIALOGUE

ISSN 3048-9849 · DOI Prefix 10.63984 · Quarterly

Insieme Arti-Journal for Performing Arts

A peer-reviewed scholarly journal for research, practice and critical dialogue across music, dance, theatre, cinema and interdisciplinary performance studies.

Published from Mysuru, India, Insieme Arti-Journal connects traditional knowledge, contemporary practice and international scholarship. We welcome original research from scholars, artists, practitioners and educators.

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Journal Title	Insieme Arti-Journal for Performing Arts	Subject Area	Performing Arts, Music, Dance, Theatre, Cinema	Are you a Performing Arts expert? Join our Review Panel Apply Now
Abbreviation	Ins Art	Frequency	Quarterly
DOI	Prefix: 10.63984	Online ISSN	ISSN: 3048-9849 (Online)
Print ISSN		Editor-in-Chief	Vid. Pushpa V Shankar
Publisher	Laasya Media	Managing Editor	Vid. Sneha V
Language of Publication	English \| Hindi \| Kannada \| Tamil	Indexing Database	Google Scholar, Crossref

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Volume 3, Issue 3, July-September 2026 Edition

Volume: 3 | Issue: 3 | Pub Type: Regular | Published on: 30-Sep-2026

This issue of Insieme Arti: Journal for Performing Arts explores diverse dimensions of Indian performing arts, with a focus on traditional, folk, and classical performance practices. The articles examine Koothanool and its perspectives on folk dance, along with the rich traditions of folk theatre and their cultural significance on Social Inclusion. The issue also presents scholarly perspectives on Kathak and Bharatanatyam. Through these varied studies, the issue brings together different artistic forms and regional traditions within the broader landscape of Indian performing arts. It aims to encourage interdisciplinary understanding and deeper research into India’s diverse dance and theatre heritage.

Creative Innovations of Kumudini Lakhia and the Modernization of Kathak: An Analytical Study

Dr Ranjana Upadhyay

Volume: 3, Issue: 3, Type: Regular | Views: 9 | Downloads: 0

Embodying the Festival: A Practice-as-Research Framework for Translating Swati Tirunal's Utsava Prabandha into Bharatanatyam

Mrs Sisira D

Volume: 3, Issue: 3, Type: Regular | Views: 7 | Downloads: 0

Reviving Folk Theatre Traditions as a Tool for Social Inclusion

Mr Abhishek Sharma

Volume: 3, Issue: 3, Type: Regular | Views: 11 | Downloads: 0

கூத்த நூல் அமைப்பும் வரலாறும்

Mrs Dr.R PRIYA DHARSINI

Volume: 3, Issue: 3, Type: Regular | Views: 6 | Downloads: 0

Volume 3, Issue 2 April - June 2026

Volume: 3 | Issue: 2 | Pub Type: Regular | Published on: 30-Jun-2026

This issue delves into the diverse world of classical and folk performing arts, exploring their historical roots, structural frameworks, and cultural significance across traditions. The articles examine the evolution of these art forms, their defining techniques, key practitioners, and the role they play in preserving cultural heritage. From classical music and dance to regional folk traditions, the content offers readers a well-rounded appreciation of the richness and depth that performing arts bring to human expression and cultural identity.

An Analysis of Traditional Instruments and Folk dance in Kenya

Mrs Vanama Sushma

Volume: 3, Issue: 2, Type: Regular | Views: 150 | Downloads: 0

THE ARCHITECTURAL AND LYRICAL NUANCES OF APŪRVA RĀGĀS BY PAṬNAM SUBRAMAṆYA IYER

Ms Sampoorna Rajyalakshmi Yayavaram

Volume: 3, Issue: 2, Type: Regular | Views: 131 | Downloads: 0

Laws for Musicians in Ancient India

Dr Keshavchaitanya Jagannath Kunte

Volume: 3, Issue: 2, Type: Regular | Views: 123 | Downloads: 0

भारतीय संगीत की रिकॉर्डिंग में संपादन (Editing) का महत्व

Mr ARPIT SHARMA

Volume: 3, Issue: 2, Type: Regular | Views: 116 | Downloads: 0

The Bifurcated Minor: A Comparative Analysis of Kīravāṇi in Carnatic and Kirwani in Hindustani Musical Traditions

Ms Bhavana U, Ruchira Kedar

Volume: 3, Issue: 2, Type: Regular | Views: 130 | Downloads: 0

Folk music influence seen in the Gēyanāṭaka “Nowka Charitramu” of Saint Tyāgarāja

Dr Amrutha Varshini HG

Volume: 3, Issue: 2, Type: Regular | Views: 129 | Downloads: 0

சங்கீத மும்மூர்த்திகளின் கீர்த்தனைகளில் தாளங்கள்

Mrs Shyamala Rangarajan, Umamaheshwari

Volume: 3, Issue: 2, Type: Regular | Views: 94 | Downloads: 0

Reimagining the Uttarāṇgam: Rhythmic and Melodic Innovations in the Varṇa-s of Dr. M. Balamuralikrishna

Mrs Prasanna VSL Namatheerdhala

Volume: 3, Issue: 2, Type: Regular | Views: 131 | Downloads: 0

SACRED STEPS UNDER COLONIAL SHADOWS

Miss S SHEVAANI S

Volume: 3, Issue: 2, Type: Regular | Views: 209 | Downloads: 0

The Madhyama Locus: Tonal Gravity, Structural Architecture, and Rasa Evolution in Ragas Keeravani and SimhendraMadhyama

Ms Bhavana U, Dr. Ruchira Kedar

Volume: 3, Issue: 2, Type: Regular | Views: 123 | Downloads: 0

Sounding the Sacred Earth: Indian Classical Music in the Age of the Anthropocene

Dr Lakshmi Surya Teja Bhavaraju

Volume: 3, Issue: 2, Type: Regular | Views: 147 | Downloads: 0

JOURNAL NEWS

Latest Announcements

Call for the Articles - Edition -July-September 2026, Volume 3, Issue 3

Insieme Arti - Journal for Performing Arts invites researchers, scholars, and practitioners to submit original, high-quality papers for Volume 3, Issue 3 (July-September 2026). This is an excellent opportunity to showcase your work and contribute to the advancement of Performing Arts. Publish with us for global reach, rigorous peer review, and diverse topic acceptance. Submission Deadline: August 31, 2026. Publication Date: September 30, 2026. Guidelines: Visit https://insiemearti.com/submissionguide.aspx for detailed submission guidelines

21-Jan-2026

ABOUT THE JOURNAL

Research rooted in practice, open to the world

Insieme Arti-Journal for Performing Arts was founded in 2024 in Mysuru, Karnataka. The journal provides a scholarly platform where established traditions and contemporary experimentation can be studied together.

We publish original, peer-reviewed work that connects theory and practice, encourages cross-cultural dialogue, and gives space to scholars as well as performing artists, educators and practitioners.

Aims & Scope Editorial Board Open Access Policy Editorial Policy Peer Review Process Publication Charges Editorial Contact

RECENTLY ACCEPTED ARTICLES

Creative Innovations of Kumudini Lakhia and the Modernization of Kathak: An Analytical Study
Kathak, a classical dance of North India is revered as a rich and vibrant dance form within the Indian Classical Dance tradition and believed to have originated from the ancient storytelling traditions. Initially, it was associated with temple and folk culture, but over time, it has constantly evolved under the influence of court culture, social changes, globalization and artistic innovation. In this evolutionary journey, many renowned artists have given Kathak a new direction and wider recognition through their creative vision and artistic experimentation. Among these, Kumudini Lakhia was one whose contributions to this art form are particularly noteworthy. She did not limit Kathak to traditional presentation, but incorporated contemporary ideas, abstract themes, and new possibilities of group choreography. She also experimented with costume, makeup, lights and used innovative vocabulary of dance in place of traditional ‘Tukdas’ and ‘Tihai’ in her productions. Her vision gave Kathak a broader and contemporary dimension. As a female artist, she not only established her own independent artistic identity but also played a significant role in establishing Kathak's new reputation not only on the national but also on the international stage.
Authors: Dr Ranjana Upadhyay	Arts Type: Kathak / Classical Dance / India
View Article	Submitted on: 21-Sep-2026

Embodying the Festival: A Practice-as-Research Framework for Translating Swati Tirunal's Utsava Prabandha into Bharatanatyam
This study employs Practice-as-Research (PaR) methodology to investigate choreographic strategies for translating Swati Tirunal's Utsava Prabandha Kritis into Bharatanatyam while preserving devotional authenticity. The research addresses a significant gap in contemporary dance scholarship, as these Malayalam-Sanskrit compositions remain largely absent from mainstream Bharatanatyam repertoire despite their narrative clarity, processional imagery, and devotional depth. Following Nelson's documentation-evidence-reflection cycle and Bolt's practice-led research paradigm, this study documents embodied choreographic experimentation through video documentation, reflective journaling, and iterative rehearsal cycles spanning eighteen months of intensive practice-based investigation. Theoretical framing draws on Nāṭyaśāstra abhinaya theory, Balasaraswati's temple-margam analogy, and Lemos's indexical continuity model to establish evaluative frameworks for assessing translation effectiveness and cultural authenticity. The research protocol systematically converts lyrical imagery, melodic structures, and ritual narratives into choreographic vocabulary through structured text-to-movement mapping, raga-tala correlation methods, and progressive abhinaya development strategies. Three detailed case studies—"Kanakamayam" (playful divine identification), "Āndōlika Vāhane" (palanquin procession dynamics), and "Saradindu Sumukha" (martial grandeur with devotional solemnity)—demonstrate how ritual narrative, lyrical imagery, and melodic structures can be systematically translated into dance vocabulary while maintaining devotional coherence. Findings reveal that devotional authenticity emerges not from strict replication but through strategic deployment of symbolic markers, embodied sincerity, and indexical continuity that preserves cultural connection while enabling artistic innovation. The research contributes a validated PaR protocol for temple repertoire adaptation, documented choreographic strategies with visual evidence, and comprehensive pedagogical frameworks for curriculum integration. This framework offers a replicable model for expanding classical dance repertoires while ensuring cultural continuity through innovation, with implications extending beyond Bharatanatyam to other Indian classical forms seeking to incorporate regional devotional traditions.
Authors: Mrs Sisira D	Arts Type: Bharatanatyam / Classical Dance / India
View Article	Submitted on: 01-Sep-2026

Reviving Folk Theatre Traditions as a Tool for Social Inclusion
Folk theatre traditions have historically functioned as significant cultural institutions preserving collective memory, oral narratives, spiritual values, and social identity. In Western Odisha, folk theatre forms such as Pala, Daskathia, Dand Nata, and Sanchar represent dynamic artistic traditions deeply rooted in rural life and indigenous cultural practices. These performance traditions combine storytelling, music, dance, ritual practices, and dramatic narration to create participatory community experiences. However, modernization, urban migration, technological entertainment, and declining patronage have endangered these traditions. This research paper examines the role of folk theatre revival in promoting social inclusion, cultural preservation, emotional well-being, and community participation. The paper analyzes the historical significance of Western Odisha’s folk theatre traditions, their therapeutic and educational dimensions, and their relevance in contemporary society. Through a qualitative and analytical approach based on secondary sources and performance studies, the paper argues that folk theatre revival can strengthen social cohesion, preserve indigenous knowledge systems, and promote inclusive cultural development. The study further proposes strategies for the preservation and revitalization of folk theatre traditions through education, policy support, documentation, and community engagement.
Authors: Mr Abhishek Sharma	Arts Type: Jatra / Theatre / India
View Article	Submitted on: 06-Jul-2026

An Analysis of Traditional Instruments and Folk dance in Kenya
Folk Dance tradition has been an integral for of Kenyan cultural. Many of the traditional dance forms of Kenya are still intact. The fact that their ethnic diversity has a wide variation, the Traditional instruments plays a significant role as a cultural expression in their folk-dance tradition. This research analysis the different traditional instruments in Kenya and to understand how tey represent the respective culture of different tribes of Kenya. The study aims to understand if these instruments had any symbolic meanings that were used as a way of communicating the culture, beliefs, social roles among the various ethnic groups of Kenya. The Qualitative research methods such as literature review, observations, visual analysis, are used in the research work . The main results obtained through the research include , the different types of traditional instruments used by the Kenyans, and how these are connected to the folk dance culture of Kenya. The study concludes that the traditional instruments of Kenya and their link to the Kenyan folk-dance traditions. The research further demonstrates that traditional instruments are not merely musical tools but also powerful symbols of cultural identity and historical continuity. Their continued use in folk dance performances reflects the resilience of Kenyan traditions and their importance in maintaining the cultural heritage of diverse communities.
Authors: Mrs Vanama Sushma	Arts Type: Folk Dance / Folk Dance / Kenya
View Article	Submitted on: 17-Jun-2026

THE ARCHITECTURAL AND LYRICAL NUANCES OF APŪRVA RĀGĀS BY PAṬNAM SUBRAMAṆYA IYER
Many rāgas in today's carnatic fraternity survive solely through the compositions composed in those rāgas. There are many rāgas in which there are less than ten compositions and sometimes less than five too. Such rāgas exist through those compositions only. These compositions also act as a blue-print for exploring, expanding and elaborating such rāgas. The legendary 19th century composer Paṭnam Subramanya Iyer has turned as rare, undocumented and eka-kṛti (single composition) rāgas into structured, enduring kṛtis. This paper examines the musicological contributions of Paṭnam Subramanya Iyer in preserving few of such apūrva (rare) rāgas through his compositions, specifically focusing on Simhavāhini, Sindhu Mandāri and his own melodic creation Kadanakutūhalam. Through a qualitative analysis of historical treatises, structural notation, and lyrical prosody, this study gives a clear approach on how Iyer masterfully intertwined complex musical frameworks. The research explores his innovative and strategic way of inserting certain vakra (tortuous) svara prayōgas and specific nyāsa svaras that define the lakṣaṇa (characteristics) of these rāgas. Furthermore, the paper investigates the lyrical dimensions of these kṛtis, highlighting how Iyer aligned the prāsa (rhyme) and yati (caesura) of his Telugu and Sanskrit lyrics with the rhythmic structure. Structural analysis of these compositions demonstrates how Iyer established a definitive pedagogical framework. This study underscores how a single kṛti can systematically codify and preserve an entire rāga, serving as a vital repository for contemporary performers, researchers, and musicologists.
Authors: Ms Sampoorna Rajyalakshmi Yayavaram	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 11-Jun-2026

Laws for Musicians in Ancient India
This paper examines social laws governing performers and musicians in ancient India through texts such as Kautiliya Arthashastra, Samarangana Sutradhara, and Sutra texts, i.e. ancient Indian social law books such as Manu Smriti, Yājñavalkya Smriti, Nārada Smriti, Bṛhaspati Smriti, and Kātyāyana Smṛti. In this context, the paper comments on the social status of musicians in ancient India.
Authors: Dr Keshavchaitanya Jagannath Kunte	Arts Type: Hindustani Classical Music / Music / India
View Article	Submitted on: 10-Jun-2026

भारतीय संगीत की रिकॉर्डिंग में संपादन (Editing) का महत्व
भारतीय संगीत की रिकॉर्डिंग में एडिटिंग (Editing)एक महत्वपूर्ण और संवेदनशील प्रक्रिया है। पारंपरिक रूप से भारतीय संगीत अपनी सहजता और लाइव प्रस्तुति के लिए जाना जाता है। लेकिन आधुनिक रिकॉर्डिंग स्टूडियो में एडिटिंग तकनीक ने इसकी गुणवत्ता को एक नए स्तर पर पहुंचा दिया है। भारतीय संगीत पूरी तरह से राग(सुर) और ताल (लय) पर आधारित है। एडिटिंग टूल्स जैसे मेलोडी या ऑटो ट्यून की मदद से गायक या वादक की मामूली मानवीय अचूकों को ठीक किया जाता है। यदि कोई नोट थोड़ा सा भी अपस्वर (Out of Tune)हो जाता है तो एडिटिंग के जरिए उसे राग के सही सुर पर लाया जाता है। जिससे संगीत सुनने में बिल्कुल सटीक और मधुर लगता है।
Authors: Mr ARPIT SHARMA	Arts Type: Hindustani Classical Music / Music / India
View Article	Submitted on: 09-Jun-2026

The Bifurcated Minor: A Comparative Analysis of Kīravāṇi in Carnatic and Kirwani in Hindustani Musical Traditions
This research article presents a comparative musicological examination of Raga Kīravāṇi (21st Melakarta in the South Indian Carnatic system) and its North Indian counterpart, Raga Kirwani, in the Hindustani classical tradition. While both traditions share an identical structural scale equivalent to the Western Harmonic Minor (S - R2 - G2 - M1 - P - D1 - N3 - \dot{S}), their architectural execution, phrasing trajectories (sancharas / chalan), and microtonal ornamentations (gamakas / andolan) diverge fundamentally. This paper argues that Carnatic Kīravāṇi acts as an integrated, structurally rigid heptatonic scale anchored by heavy, oscillatory kampita gamakas on the Gandhara and Dhaivata, yielding an interiorized Karuna (pathos) and Bhakti (devotional) Rasa. Conversely, Hindustani Kirwani functions as a highly fluid, melody-driven framework where the Gandhara and Dhaivata are frequently rendered as stationary (achal) notes or gentle, linear glides (meend), invoking a more romantic, expressive, and cinematic aesthetic (Shringar Rasa). Through notation-based case studies of seminal compositions— specifically tracking the evolution from traditional South Indian kritis to North Indian gat frameworks— this study establishes a comprehensive framework for understanding how identical scalar materials are transformed by separate performance cultures.
Authors: Ms Bhavana U, Ruchira Kedar	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 04-Jun-2026

Folk music influence seen in the Gēyanāṭaka “Nowka Charitramu” of Saint Tyāgarāja
The Gēyanāṭaka “Nowka Charitramu,” attributed to Sadguru Tyāgarāja, presents a unique lyrical narrative centered on a symbolic boat ride between Lord Kṛṣṇa and the Gōpi-s. Deviating from the traditional portrayal of Rasa Kreeda found in the Bhagavata Purana, this operatic work explores deep devotion (prapatti) and divine love. It draws inspiration from regional literary traditions, such as the Bengali Nowka Vilasa, to forge a distinct spiritual path toward salvation. While Tyāgarāja's parallel opera Prahlada Bhakti Vijayamu remains firmly rooted in classical traditions, “Nowka Charitramu” stands out for its intricate synthesis of classical and folk elements. Though structured within a limited palette of sixteen classical ragas and traditional talas, the folk influence remains highly visible. This study examines how Tyāgarāja juxtaposes chaste Telugu Padyas (poetic verses) with simpler, dramatic Daruvus (songs) featuring colloquial language and local dialects. This deliberate linguistic and melodic simplicity reflects the innocence of the rural women of Gokula. Ultimately, this research underscores how Tyāgarāja leverages accessible folk traditions and familiar cultural motifs to bridge high art and community resonance, effectively illuminating the profound spiritual connection between the Jeevatma and Paramatma.
Authors: Dr Amrutha Varshini HG	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 03-Jun-2026

சங்கீத மும்மூர்த்திகளின் கீர்த்தனைகளில் தாளங்கள்
கர்நாடக இசை மரபில் "சங்கீத மும்மூர்த்திகள்" என்று போற்றப்படும் ஸ்ரீ தியாகராஜர், ஸ்ரீ சியாமா சாஸ்திரி மற்றும் ஸ்ரீ முத்துஸ்வாமி தீக்ஷிதர் ஆகியோர் இசை, இலக்கியம், பக்தி மற்றும் லய நுணுக்கங்களை ஒருங்கிணைத்து எண்ணற்ற கீர்த்தனைகளைப் படைத்துள்ளனர். இம்மூவரின் கீர்த்தனைகளில் தாளத்தின் அமைப்பும் பயன்பாடும் தனித்துவமான இடத்தைப் பெறுகின்றன. ஸ்ரீ தியாகராஜர் தமது கீர்த்தனைகளில் சர்வலகு நடை, பல்வேறு கிரகங்கள் (எடுப்புகள்), தேசாதி மற்றும் மத்யாதி தாள அமைப்புகளை திறம்படப் பயன்படுத்தியுள்ளார். சியாமா சாஸ்திரி மிஸ்ர சாப்பு, விலோம சாப்பு, த்விதாளக் கிருதிகள் மற்றும் சரபநந்தன தாளம் போன்ற அரிய லய வடிவங்களை கையாண்டு தமது தாளப் புலமையை வெளிப்படுத்தியுள்ளார். முத்துஸ்வாமி தீக்ஷிதர் சூளாதி சப்த தாளங்களை நவகிரகக் கீர்த்தனைகளில் பயன்படுத்தியதுடன், யதி அமைப்புகளையும் சிறப்பாகக் கையாண்டுள்ளார். இவ்வாய்வு, சங்கீத மும்மூர்த்திகளின் கீர்த்தனைகளில் காணப்படும் தாள அம்சங்களை பகுப்பாய்வு செய்து, அவர்களின் லயச் சிந்தனைகளின் தனித்துவத்தை எடுத்துரைக்கிறது.
Authors: Mrs Shyamala Rangarajan, Umamaheshwari	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 31-May-2026

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Insieme Arti-Journal for Performing Arts

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Latest Issue & Published Articles

Volume 3, Issue 3, July-September 2026 Edition

Volume 3, Issue 2 April - June 2026

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Call for the Articles - Edition -July-September 2026, Volume 3, Issue 3

Research rooted in practice, open to the world

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