Welcome to Insieme Arti-Journal for Performing Arts

Insieme Arti-Journal for Performing Arts emerges from the culturally vibrant city of Mysore, the illustrious Cultural Capital of Karnataka, where centuries-old artistic traditions continue to flourish amidst royal palaces and temple courtyards. Founded in 2024, this distinguished journal stands as a beacon for the performing arts community, creating a dynamic confluence where ancient wisdom meets contemporary innovation.

Rooted in the rich tapestry of Indian classical traditions yet embracing global artistic expressions, the journal serves as an intimate stage where diverse forms of creative expression find their voice. From the intricate footwork of classical dance that echoes through heritage halls, to the melodic ragas that have resonated for generations, from experimental theatre that challenges conventional boundaries to cinema that captures the human experience in motion—every facet of the performing arts finds scholarly exploration within these pages.

Our mission transcends mere academic publication; we endeavor to weave together the threads of rigorous research with the passionate voices of practitioners who breathe life into their art forms. The journal celebrates the symbiotic relationship between theory and practice, inviting contributions that illuminate the profound cultural, social, and aesthetic dimensions of performance.

With an unwavering commitment to originality, inclusivity, and cross-cultural dialogue, Insieme Arti-Journal embraces perspectives from every corner of the artistic world. We seek to amplify voices that have long deserved recognition alongside established scholars, fostering a global conversation that honors both traditional mastery and bold innovation.

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Journal Title	Insieme Arti-Journal for Performing Arts	Initials	Insieme Arti-Journal for Performing Arts	Join as Reviewer Register
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

Recent Publications: Grouped by Volume / Issue / Pub Type

Articles

Insieme_Arti - Parishodhana

Volume: 3 | Issue: 1 | Pub Type: Special Issue | Published on: 19-Jan-2026

Special Issue

The Untold Rāgās: Unveiling Kozhikōde's Forgotten Carnātic Composer-P.K. Sankaranārāyanan

Volume: 3, Issue: 1, Type: Special Issue | Views: 202 | Downloads: 0

Exploration of the Choreographic Approaches of Padmashri K. N. Dandāyudhapāṇi Pillai Through the Artistic Lens of Guru Bhanumati

Volume: 3, Issue: 1, Type: Special Issue | Views: 182 | Downloads: 0

Cradle to Classroom : Contribution Of 19th And 20th Century Composers For Children

Volume: 3, Issue: 1, Type: Special Issue | Views: 196 | Downloads: 0

An analysis of Nataraja Gopi Krishna’s Cinematic Choreographies.

Volume: 3, Issue: 1, Type: Special Issue | Views: 162 | Downloads: 0

Analysis of rāga Bēhāg in Karnāṭaka Music - with special reference to Tillānā-s of Lalgudi G. Jayaraman and M. Balamuralikrishna

Sugnan Dani

Volume: 3, Issue: 1, Type: Special Issue | Views: 304 | Downloads: 0

Thematic compositions and theme based programmes by Dr. Kumar Gandharva

Volume: 3, Issue: 1, Type: Special Issue | Views: 197 | Downloads: 0

Royal Composer Mysore Sadashiva Rao and his influence on Carnatic Music

Volume: 3, Issue: 1, Type: Special Issue | Views: 148 | Downloads: 0

Rare rāga-s handled by H Yoganarasimham -A lesser-known composer of Mysore

Volume: 3, Issue: 1, Type: Special Issue | Views: 180 | Downloads: 0

Varṇa-s Composed on Dēvi by Cuddalore M. Subramaniam

Mrs BHAVANA U, Ruchira Kedar

Volume: 3, Issue: 1, Type: Special Issue | Views: 165 | Downloads: 0

THE STUDY OF COMPOSITIONAL AND CHOREOGRAPHIC LEGACY OF NĀṬYĀCĀRYA H.R. KESHAVA MURTHY

Ms Lasya Priya Ravishankar

Volume: 3, Issue: 1, Type: Special Issue | Views: 184 | Downloads: 0

An Exploration into Understanding Movement Narratives and Characterization in the Choreographies of V. Seshu Parupalli in Select K. Vishwanath Films

Ms. Akanksha Garikapati, Nagalekha M

Volume: 3, Issue: 1, Type: Special Issue | Views: 207 | Downloads: 0

Ambi Dikshitar - A composer and Teacher of Karnataka music in the 19th Century

Mrs. Revathi Sadasivam

Volume: 3, Issue: 1, Type: Special Issue | Views: 137 | Downloads: 0

A Study of Musical Patterns in the Varnas of Lalgudi G. Jayaraman

Mr Ravindranath R, Keerthana S

Volume: 3, Issue: 1, Type: Special Issue | Views: 173 | Downloads: 0

Thyagaraja's Lullabies: A Musical Study

Ms. Layapriya CMR

Volume: 3, Issue: 1, Type: Special Issue | Views: 144 | Downloads: 0

Exploring the role of choreographers in designing solo compositions in Kūcipuḍi: Tradition in Transition

Mrs. Mythili P

Volume: 3, Issue: 1, Type: Special Issue | Views: 138 | Downloads: 0

Dance musicians of 19th and 20th century - Analyzing the Works of Composers during Mysore Wodeyar and Tanjore Maratha Period

Dr Ramya C R

Volume: 3, Issue: 1, Type: Special Issue | Views: 124 | Downloads: 0

Volume 2 Issue 4

Volume: 2 | Issue: 4 | Pub Type: Regular | Published on: 31-Dec-2025

This issue explores Indian performing arts as embodied, sonic, and visual expressions of philosophical and aesthetic thought. It examines Sattriya Nritya through a gendered perspective, focusing on the relationship between self, body, and identity within a devotional framework. Dance is viewed as a medium of spiritual practice, social meaning, and performative agency. The issue also analyzes Muttuswami Dikshitar’s Pancha Bhootha Linga Kshetra kritis as manifestations of sonic theology, linking musical form with elemental cosmology and sacred space. Carnatic music is positioned as a vehicle of metaphysical and aesthetic inquiry. Further, reflections drawn from Bhāruta Stūpa sculptures offer insights into ancient Indian musical practices and performance culture. Visual art is treated as an important historical source for understanding early sound traditions. Overall, the issue emphasizes interdisciplinary approaches across dance studies, musicology, philosophy, and art history, reinterpreting classical traditions through contemporary scholarly perspectives.

Sonic Theology and Elemental Cosmology: A Philosophical-Aesthetic Analysis of Muttuswami Dikshitar's Pancha Bhootha Linga Kshetra Kritis

Mr Arun Sankar R

Volume: 2, Issue: 4, Type: Regular | Views: 191 | Downloads: 0

Reflections on ancient Indian music from the bhāruta stūpa sculptures

Dr Keshavchaitanya Jagannath Kunte

Volume: 2, Issue: 4, Type: Regular | Views: 161 | Downloads: 0

Latest Announcements

Call for the Articles - Edition -April-June 2026, Volume 3, Issue 2

Insieme Arti - Journal for Performing Arts invites researchers, scholars, and practitioners to submit original and high-quality papers for the Edition April-June 2026, Volume 3, Issue 2. This is an excellent opportunity to showcase your work and contribute to the advancement of Performing Arts. Why Publish with Us? Global Reach: Expand your audience through our widely accessed platform. Quality Review: Rigorous peer review process by esteemed experts. Diverse Topics: Open to a wide range of subjects and perspectives. Submission Details Submission Deadline:31-05-2026 Publication Date:30-06-2026 Guidelines: Visit https://insiemearti.com/submissionguide.aspx for detailed submission guidelines

21-Jan-2026

RECENTLY ACCEPTED ARTICLES

Dynamics Aesthetics: The Co-existence of Dual Rasa in a Single Composition
Rasa, as codified in Bharata’s Natyasastra, forms the cornerstone of emotional experience in Indian art, especially in music and dance. In Carnatic music, rasa is not merely a theoretical concept but a lived aesthetic, expressed through sahitya (lyrics), raga bhava (the emotive essence of melody), and laya or tala (the rhythmic framework). Traditionally, Carnatic compositions emphasize a single predominant rasa, drawing listeners deeply into one emotional state. However, certain compositions deviate from this pattern by embodying dual rasa, where two contrasting emotions coexist or unfold sequentially. This phenomenon reveals the emotional and philosophical richness of Indian aesthetics, highlighting the interplay of human sentiment and divine qualities. The aim of this study is to situate dual rasa within the broader framework of Indian aesthetic theory and demonstrate how it manifests in select kritis (compositions). Rather than merely cataloging examples, the study investigates how sahitya , raga bhava and performance techniques interact to bring these emotional contrasts to life. It also explores the spiritual, aesthetic, and pedagogical implications of dual rasa, showing how it enhances both performer interpretation and listener engagement. The methodology is qualitative and interpretive, focusing on the analysis of texts and performances. First, the poetic imagery and emotional tones of the sahitya are examined. Simultaneously, the bhava of the raga is analyzed, since many ragas can express multiple emotions depending on how they are composed and performed. Finally, live and recorded performances are studied to understand how musicians vary melody, tempo, and expression to convey emotional transitions or coexistence. A clear example is Subbaraya Sastri’s “Sankari Sankuru” in Saveri raagam , which features both karuṇa (compassion) and raudra/vira (fierce/heroic) rasas. The opening lines reflect a humble plea for the goddess’s grace, evoking karuṇa through soft gamakas and a slow tempo. As the lyrics shift to describe the goddess’s fierce, protective nature, the musical phrasing becomes more forceful and brisk, expressing vira and raudra rasas. Saveri raaga, known for its ability to balance gentleness and intensity, serves as an ideal melodic medium for this emotional duality. Other compositions are discussed in the article. Dual rasa performances challenge artists to express opposing emotions with depth and sensitivity. For audiences, this creates a rich, immersive experience. In Indian aesthetics, such emotional contrasts like love and sorrow or valor and compassion are seen as complementary. Dual rasa reflects the idea that true beauty lies in the harmony of emotional opposites. In conclusion, dual rasa enriches Carnatic music by offering a deeper emotional and spiritual experience. It invites greater attention in performance, pedagogy, and scholarship not as an anomaly, but as a vital component of the art form’s expressive potential. By blending opposites, dual rasa affirms the unity at the heart of Indian artistic and spiritual expression.
Authors: Ms Yellai Samyuktha Lahari Bala	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 15-Mar-2026

The Beauty of Manipravaalam : Linguistic Fusion in Carnatic Music Compositions
Carnatic music is one of the richest classical traditions, where melody, rhythm, and lyrics interact intricately. Beyond musicality, its use of language plays a profound role. Manipravaalam is a classical literary and linguistic style blending Sanskrit with regional Dravidian languages—most commonly Tamil, Telugu, or Malayalam, and occasionally Hindi, English, or Urdu—where Sanskrit serves as the “mani” (gem) and the regional language as the “pravaalam” (coral). For example, the javali “Oh my lovely lalana elane pommanti” by Karur Shri. Shivaramayya blends English and Telugu. Studying manipravaalam reveals how language becomes a creative force, enriching expression and bridging classical and local cultures, reflecting South India’s inclusive tradition where fusion celebrates diversity and artistic freedom. This study explores how manipravaalam enhances beauty, meaning, and emotional depth in Carnatic compositions. It examines how this fusion helps composers convey complex ideas while connecting with varied audiences, demonstrating the culturally rich and inclusive nature of South Indian classical music. Sanskrit offers spiritual depth and structural clarity, while local languages add emotional warmth and lyrical ease. This balance supports gamakas, smooth melodic flow, and accessible devotional expression, allowing composers to combine classical poetry with regional nuance. Adopting a qualitative approach, the study analyzes selected kritis where manipravaalam is prominent. Textual and musicological analysis focuses on lexical blending, contextual meaning, and performance practice, supported by secondary sources including composer biographies, scholarly works, and oral traditions. The findings show that manipravaalam bridges sacred Sanskrit and emotive regional languages, enriching poetic and musical nuance, shaping pronunciation, tone, and interpretive depth. More than a stylistic device, manipravaalam is a cultural statement of unity in diversity, fostering connection among composers, performers, and audiences, while sustaining tradition and promoting evolution within Carnatic music.
Authors: Ms NITHYASHREE B	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 15-Mar-2026

Sounding the Body: The Relationship between Rhythm, Memory, and Movement in Kathak
Kathak, one of the major classical dance traditions of North India, is distinguished by its intricate rhythmic structures, improvisational vocabulary, and embodied musicality. Unlike dance forms in which music merely accompanies movement, Kathak situates rhythm within the dancer’s body, transforming sound into kinetic memory. This paper examines the relationship between rhythm, memory, and movement in Kathak, arguing that rhythmic practice (riyaz) functions as a system of embodied knowledge transmission. Drawing from performance studies, musicology, and embodied cognition theory, the study analyzes how tala, bol, tatkar, and layakari operate as mnemonic devices that shape technique, improvisation, and aesthetic experience. The paper further explores how rhythmic repetition, dialogic exchange, and oral pedagogy create a living archive of cultural memory within the dancer’s body. By positioning Kathak as a sonic-kinetic practice in which sound and movement co-constitute meaning, the study contributes to broader discussions on embodiment, performative memory, and interdisciplinary arts research.
Authors: Dr Tripti Gupta	Arts Type: Kathak / Classical Dance / India
View Article	Submitted on: 05-Mar-2026

Musical Compositions of MS Balasubrahmanya sharma
Lesser known Composers of 20 th Century. Abstract: Objective: To Explore Contributions of Less Known Telugu Vaggeyakara Mamillapalli Surya Balasubramanya Sharma . Introduction: Mamillapalli Surya Balasubramanya Sharma ( MSB) was Born in Rajamundry in 1929 .He Was Disciple of Vidwan Paidi Swamy. He was Awarded Direct A Grade By All India Radio Madras Station . He Lost his Vision for Left Eye At very young Age But Still His Career in Music Flourished.He Had worked as Head of Department of Music in Padmavathi Mahila Vishwavidyalayam and Sri Venkateswara University Tirupati. He had Set to Tune Many Annamacharya Sankeertanas and Part of TTD Composers Panel .One of His famous Compositions was "Adivo Alladivo" .As A Vaggeyakara His Works Include 12 Krithis ,1 Tatvam and 3 Tillanas which Have Varied Ragas and Talas which written On Various Dieties Making him Versatile Vaggeyakara .He had his name "Balasubramanya "As Pen name in All the Compositions . He has Unique Style of Writing On Particular Place ( Sthala) , Residing Diety . MSB had Created A Rare Raga "VijayaShankari " .As a Guru He Trained many Musicians and They Are successful in their Career .To Name Few SJanaki ,AP komala ,Lalitha Madhav ,KV Brahmanandam. Scope of Research: - Research Is Being Conducted in Bringing MS Balasubramanya Sharma Compositions and Annamacharya Sankeertanas into Limelight . Methodology: Qualitative Research -Got the First Hand Information from His Family In an Informal Interview. - Identified his Direct Disciples and Interviewed For Detailed study on Compositions . References: - Referred to Book Written by Dr.Nandanavanam Sivaram "MS Balasubramanya Sharma Sangeetha Sahitya Parisheelana " -KV Brahmanandam "Krithis and Tillanas Notations Of MS Bala Subrahmanya Sharma Compositions " Findings : - MSB Compositions Are in Vivadi Ragas like Sucharitra ,Dundubhipriya , Simhendramadhyamam,Rasikapriya . - He Was Proficient In Writing With Prosody In Short Span As many of MSB's Compositions Were Sung directly in Concerts on Spot . - His Usage of Sthala and Raga Mudras are Evident in Compositions . - MSB Created New Raga "VijayaShankari" which is Janya of 59 th Melakartha Dharmavathi .
Authors: Mrs A.MruduRavali Darbha, Mruduravali Darbha	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 02-Mar-2026

From Nāda to Melakarta: The Evolution of Rāga in Indian Knowledge Systems and its Relevance to the Sustainable Development Goals
The evolution of Indian classical music represents one of the most sophisticated intellectual trajectories within the Indian Knowledge Systems (IKS). Beginning with the metaphysical doctrine of Nāda and the tonal recitation of the Sāmaveda, Indian music developed through systematic refinements in śruti (microtone), svara (note), jāti (proto-rāga), grāma (scale system), mūrchanā (modal shift), and rāga (aesthetic melodic entity). Foundational treatises such as the Nāṭyaśāstra, Dattilam, Bṛhaddēśī, Saṅgīta Ratnākara, and Chaturdandi Prakāśikā progressively codified these developments, culminating in the 72 Melakarta system. This study employs historical-textual analysis to trace the transformation of melodic thought from Vedic chant to structured raga taxonomy. It further interprets rāga as a multidisciplinary knowledge system integrating acoustics, mathematics, psychology, pedagogy, and metaphysics. By mapping these principles onto selected United Nations Sustainable Development Goals (SDGs)—particularly SDG 3, SDG 4, SDG 11.4, SDG 16, and SDG 17—the paper argues that Indian classical music offers a sustainable epistemic model capable of addressing contemporary global challenges. The rāga system thus emerges not merely as a performing art tradition but as a living knowledge paradigm grounded in scientific rigor and cultural continuity.
Authors: Dr Ramya C R	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 25-Feb-2026

Anya Svara-s in Varṇa-s: An Insight into Rāga Lakṣaṇa-s
Varṇa is an important compositional form in the repertoire of Karnāṭaka classical music, as it bridges practice repertoire and performance repertoire. It serves as an introduction to the rāga and its grammar, through phrases and gamaka-s. This study examines how the presence of anya svara-s offers insights into rāga lakṣaṇa. The scope is limited to the tāna varṇa-s found in the books ‘Tāna Varṇakkaḍal volumes 1 to 4’ by V S Gomathishankara Ayyar, focusing on the rāga-s Tōḍī, Dhanyāsī, Lalita, Lalitapañcama, and Vasanta. By analyzing descriptions in musicological texts and notations in Tāna Varṇakkaḍal, this study identifies the occurrence of anya svara-s within melodic phrases and explores how these notations illustrate their usage and reflect performance practices of the time period. These anya svara-s, which are not explicitly found in contemporary renditions, may have been absorbed into gamaka-s. The presence of anya svara-s supports the understanding that svara-s in Karnāṭaka classical music are not merely discrete pitch positions but phrases that span across pitches with varying speed and intensity. The findings contribute to a deeper understanding of rāga identity, enriching both theoretical frameworks and practical pedagogy in Karnāṭaka classical music.
Authors: Dr Karthik G	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 31-Dec-2025

The Untold Rāgās: Unveiling Kozhikōde's Forgotten Carnātic Composer-P.K. Sankaranārāyanan
This research article delves into the significant contributions of Kozhikode P.K. Sankaranārāyanan, a lesser-known, notable composer hailing from Kozhikode, Kerala. Though relatively lesser-known compared to some of his contemporaries, Sankaranārayanan's compositions and musical innovations have enriched the Carnatic music landscape. This article aims to explore his unique musical style, scrutinise his notable works, and assess his eternal impact on the sphere of Carnatic music, shedding light on the contributions of this talented yet often ignored composer from Kerala. The primary intention of this article is to comprehensively examine the musical contributions. The scope of this research will encompass a detailed study of his compositions, focusing primarily on his publicly available work ‘Sangītha Pushpānjali’. The work includes 37 compositions, including many musical forms like varnas, kritis, bhajans and tillana-s.
Authors:	Arts Type: Classical Music / Music / India
View Article	Submitted on: 27-Dec-2025

Exploration of the Choreographic Approaches of Padmashri K. N. Dandāyudhapāṇi Pillai Through the Artistic Lens of Guru Bhanumati
This study explores the unique choreographic approaches of Padmashri K. N. Dandāyudhapāṇi Pillai (KND), an eminent composer, choreographer, and teacher, through the artistic lens of Guru Bhanumati, one of his disciples. Using qualitative and analytical methods, the research identifies distinctive aá¸avus, compositional styles, and choreographic innovations that characterize KND bani (style). It further examines how Guru Bhanumati adapted his choreographies for group dynamics while preserving the integrity of his tradition. The findings highlight the innovative execution of jathis, navarāgamālika Varnams, and pañcaratna tillanas alongside the challenges posed by limited documentation and reliance on oral traditions. This research contributes to understanding the pedagogical, aesthetic, and performative dimensions of KND’s bāni legacy and its transmission through discipleship.
Authors:	Arts Type: Bharatanatyam / Classical Dance / India
View Article	Submitted on: 24-Dec-2025

Cradle to Classroom : Contribution Of 19th And 20th Century Composers For Children
Music has played a crucial role in shaping children's cognitive, emotional, and cultural development. In the 19th and 20th centuries, South Indian composers created structured musical pieces for children, blending simple melodies, meaningful lyrics, and educational themes. These compositions introduced young learners to Carnatic music, moral values, and cultural traditions. Â This paper explores the contributions of notable composers such as Purandara Dasa, Paidala Gurumurthy Sastry, Prayaga Ranga Dasa, Palagummi Viswanadham, S. Rajeswara Rao, Devulapalli Krishnasastri, and Raallapalli Ananta Krishna Sharma. Their works range from folk rhymes to film songs and educational lyrics, all designed to support early childhood learning. Raallapalli Ananta Krishna Sharmaâ€™s revival of Annamacharyaâ€™s kritis provided children with devotional music in a simple, melodic format, making pieces like "Jo Achyutananda Jo Jo Mukunda" widely popular. This study examines the musical, rhythmic, and lyrical features that enhance language acquisition, memory, and emotional connection to music. By comparing traditional and modern adaptations, it underscores the relevance of these compositions in contemporary music education.
Authors:	Arts Type: Carnatic Music / Music / India
View Article	Submitted on: 24-Dec-2025

Navigating the Self, Body, and Identity through Sattriya Nritya: A Gendered Perspective
The body is the landscape upon which the ideals of cultures, rituals, rules, and boundaries are imprinted as a symbol of society across different cultures. This gains particular significance, especially in Indian Classical dance, where the pillars of ‘tradition’ and ‘culture’ epitomise the dancer’s role in upholding one’s customs. The body is increasingly brought into discourse through a controlled process of observation and supervision, operating through an internalised ‘self-surveillance’, conforming to culturally constructed ideals of femininity and masculinity. This paper challenges notions of an unchanging, natural body through the Indian Classical dance form of Sattriya Nritya. It was traditionally performed solely by male monks of the Sattras (monasteries) of Assam as a purely devotional act towards the worship of Lord Krishna, but is now being taught to females to showcase the rich history of India’s culture through the bodies of the female dancer. The paper will analyse how practitioners of the art form construct their notion of the ‘self’ through training. It will examine how gendered perceptions within Sattriya Nritya contribute to dancers' agency and their lived experiences. By tracing how ethical and cultural sensitivity inform embodiment and identity, it will attempt to offer a rather nuanced understanding of ‘dance’ as a site of individual and collective transformation.
Authors: Ms Rishika Kalita	Arts Type: Sattriya / Classical Dance / India
View Article	Submitted on: 21-Dec-2025

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Call for the Articles - Edition -April-June 2026, Volume 3, Issue 2

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