The preservation of Indian classical arts involves far more than keeping traditional movements alive on the stage. Behind every established dance form is a complex cultural knowledge system made up of repertoire, music, literature, choreography, teachers, performers, performance practices and historical records.
For Vikram Kumar B R, popularly known as Bathina Vikram Goud, protecting this wider ecosystem has become an important part of his work as an artiste, researcher, cultural organiser and editor.
His career in Kuchipudi and theatre, combined with academic research and cultural journalism, has shaped a philosophy in which preservation means documenting and supporting the complete artistic environment rather than focusing exclusively on performances.
Beyond Movements and Performances
Classical dance is often identified by its visible elements—movements, expressions, costumes and stage presentations.
But these are only one part of the tradition.
A dance production may be connected with specific literature, musical compositions, choreographic structures, historical stories and teaching traditions.
The knowledge required to perform a classical work may have been transmitted through generations of gurus and students.
Vikram Kumar believes that preserving the art therefore requires attention to all these elements.
A performance may last only a few minutes, but the knowledge behind it can represent decades or even centuries of cultural development.
The Role of the Guru
The guru has traditionally occupied a central position in Indian classical arts.
Technical knowledge, interpretation and performance discipline have often been transmitted through direct teaching.
For future generations to understand a tradition properly, it is important to preserve information about the gurus and practitioners who contributed to its development.
Documentation of artists can therefore become an important part of cultural preservation.
Biographical records, interviews, photographs, articles and archival recordings can help future students understand not only what was performed but also who taught, developed and carried particular traditions forward.
Preserving Repertoire
Repertoire forms another essential part of the cultural knowledge system.
Individual dance compositions may have specific histories, musical structures and performance conventions.
When repertoire is documented carefully, future practitioners have a stronger reference point for understanding traditional material.
Vikram Kumar’s approach places importance on preserving such information alongside the actual performance.
This is particularly relevant at a time when traditional material is increasingly being presented through digital platforms.
Choreography and Creative Interpretation
Classical traditions continue to evolve through the work of contemporary choreographers.
Artists may create new productions based on mythology, history, literature or social themes while drawing upon established classical techniques.
Vikram Kumar’s own choreographic work reflects this approach.
His productions have included Chenchu Lakshmi Narasimha Kalyanam, Swachh Ganga – Swachh Bharat, Maha Visakha Vaibhavam, Sri Krishna Leelalu, Society for Future and Youth Never Sleeps.
These works demonstrate how traditional dance techniques can be used to communicate different stories and themes.
For preservation to remain meaningful, the contribution of contemporary choreographers must also be recorded.
Documentation as Cultural Memory
One of Vikram Kumar’s central concerns is documentation.
Cultural traditions can be vulnerable when knowledge remains only in individual memory.
When an experienced artist passes away, important information can disappear if it has not been recorded.
Written publications, photographs, recordings and interviews can create a cultural memory that survives beyond individual lifetimes.
This is one reason Vikram Kumar has placed considerable emphasis on cultural journalism and documentation through The Dance India.
The Importance of Context
Simply recording a performance is not always enough.
A future researcher may need to know the name of the performer, choreographer, musical team, production, date, tradition and historical background.
Without such context, an archival recording may lose much of its research value.
Vikram Kumar’s preservation philosophy therefore focuses on connecting artistic material with the information surrounding it.
The goal is to ensure that future generations can understand both the performance and its cultural significance.
Cultural Journalism as Documentation
Publications can play an important role in building a permanent record of artistic activity.
As Editor-in-Chief of The Dance India, Vikram Kumar has been involved in documenting Indian dance through articles, profiles, reviews and cultural coverage.
Such publications can preserve information about established masters as well as emerging performers.
They can also provide historical references for researchers who want to understand how Indian dance developed during a particular period.
Protecting the Identity of Artists
Documentation also has an ethical dimension.
If a performance, photograph, article or choreography is circulated without identifying its creator, the cultural record becomes incomplete.
Vikram Kumar has advocated greater awareness of copyright and intellectual property rights because artistic ownership and documentation are closely connected.
Recognising creators helps preserve the history of how a particular work came into existence.
Digital Media and Cultural Preservation
The digital revolution has created enormous possibilities for cultural preservation.
Performances can be recorded and stored. Articles can reach readers across countries. Online festivals can connect artists who are geographically separated.
However, digital preservation also requires responsible documentation.
Files can be copied, modified or separated from their original context.
Vikram Kumar’s emphasis on attribution and intellectual property therefore complements his interest in digital cultural preservation.
The objective is to ensure that technology expands access without erasing cultural identity.
Festivals as Living Archives
Festivals can also contribute to preservation.
A cultural festival does more than provide a stage for performers. It brings artists, repertoire, audiences and traditions together at a particular moment in history.
When properly documented, festivals can become valuable records of the development of Indian classical arts.
Vikram Kumar has been associated with numerous festival initiatives, including Vysakhi Nrithyotsav, Bharat Nrithyotsav, Nataraj Nrithyotsav, Sathyabhama Yuva Nrithyotsav and other cultural platforms.
These events provide opportunities for both performance and cultural exchange.
Bringing Senior and Young Artists Together
A complete cultural ecosystem requires interaction between generations.
Senior masters possess knowledge gained through long experience. Young artistes need opportunities to observe, learn and develop.
Vikram Kumar’s festivals have sought to create platforms where established performers and emerging talent can participate within the same cultural environment.
This interaction helps create an informal transmission system alongside formal training.
Research and Preservation
Vikram Kumar’s own academic research has also influenced his understanding of cultural preservation.
During his studies at Andhra University, he conducted research into Siva Thandavam and Saptha Thandavam within the Kuchipudi tradition.
His dissertation also involved comparative study alongside the literary works of poet Puttaparthi Narayanacharyulu and received full approval from Andhra University.
Such research demonstrates the connection between performance and scholarship.
A classical artist can be both a practitioner and a researcher, contributing to the preservation of knowledge from different perspectives.
Books as Permanent Records
Vikram Kumar has also supported preservation through biographical publications.
He authored and distributed more than 10,000 complimentary copies of books including The Reformer, in English, and Kuchipudi Vythalikudu, in Telugu.
These works honour the life and contribution of Kuchipudi legend Padma Bhushan Dr. Vempati Chinna Satyam.
Distributing books widely creates another form of cultural access.
Unlike a single performance, a book can remain available to students, libraries, researchers and cultural enthusiasts for years.
Preserving Endangered Traditions
The same philosophy extends to folk and traditional arts.
India’s cultural heritage includes numerous regional traditions that may receive less attention than major classical forms.
Documentation can help preserve information about such traditions before important knowledge disappears.
Vikram Kumar’s cultural journalism and festival activities have included interest in documenting and promoting traditional artistic practices.
Preservation Without Freezing Tradition
There is an important distinction between preservation and stagnation.
Vikram Kumar’s work demonstrates an understanding that Indian classical arts must remain living traditions.
New choreography, new audiences and new performance platforms can exist alongside established practices.
Preservation does not require artists to stop creating.
Instead, it requires them to understand the traditions they inherit and maintain a clear connection with their sources.
Creating a Knowledge Chain
A sustainable cultural system connects several stages:
Guru → Student → Performer → Choreographer → Researcher → Documentarian → Audience
Each contributes to the survival of the tradition.
If one part of this chain becomes weak, cultural knowledge can become vulnerable.
Vikram Kumar’s career across performance, research, choreography, publishing and festival organisation reflects an attempt to strengthen several links in this chain simultaneously.
The Institutional Role
Institutions such as the Nataraj Music and Dance Academy, founded by Vikram Kumar in 2000, can provide a permanent structure for this work.
An academy can train students, organise performances, conduct workshops, support competitions and connect artists.
A publication can document their work.
A festival can bring them together.
Research can provide historical context.
Together, these activities form a more complete preservation system.
Looking Beyond the Present
Cultural preservation ultimately concerns people who have not yet been born.
The students of tomorrow will need reliable information about the artists and traditions that came before them.
They will need recordings, books, photographs, research, biographies and documented repertoire.
They will also need opportunities to learn directly from practitioners.
Vikram Kumar’s philosophy addresses this long-term responsibility.
A Complete Approach to Heritage
For Vikram Kumar B R, Indian classical arts cannot be reduced to performances alone.
They are living knowledge systems involving people, institutions, literature, music, choreography, research, documentation and cultural memory.
His work across these different areas reflects a consistent objective: to make sure that artistic heritage is not simply celebrated in the present but remains understandable and accessible in the future.
The challenge of preservation is therefore not merely to save a dance movement from disappearing.
It is to preserve the knowledge, people, stories, creative contributions and historical context surrounding that movement.
That broader vision has become a defining element of Vikram Kumar B R’s cultural work and forms an important part of his continuing effort to strengthen the foundations of Indian classical arts for future generations.