Indian classical dance has a strong presence across the country, supported by numerous festivals, cultural organisations, academies and independent practitioners. Behind every successful festival, however, is a complex process involving artist selection, scheduling, venue management, funding, publicity, institutional coordination and audience development. For cultural organiser and Kuchipudi exponent Vikram Kumar B R, popularly known as Bathina Vikram Goud, these realities highlighted the importance of giving festival organisers a collective platform.
This thinking contributed to the development of the Federation of Classical Dance Festival Organisers (FCDFO), an initiative intended to bring organisers and festival directors onto a common platform. The federation is based on the recognition that although festivals may differ in location, artistic focus and organisational structure, many of the challenges faced by their organisers are remarkably similar.
For years, individual festival organisers have worked independently to create opportunities for classical dancers. Their responsibilities extend far beyond arranging performances. They must identify suitable artists, build programmes, manage finances, develop audiences and maintain relationships with cultural institutions. When these efforts remain isolated, valuable experience and resources may not always be shared effectively.
FCDFO seeks to address this gap through cooperation.
The idea of a collective voice is particularly important for classical dance because the performing-arts ecosystem involves many interconnected participants. Artists depend on festivals for performance opportunities, while festivals depend on artists, audiences, sponsors, institutions and cultural networks. Strengthening communication between organisers can therefore benefit the wider community.
Vikram Kumar B R brings considerable experience to this vision through his involvement in numerous cultural programmes. His initiatives have included national and international dance festivals, youth-oriented platforms, music and dance programmes and digital cultural events. These experiences have provided an understanding of both the artistic and organisational sides of festival production.
One of the federation’s objectives is to encourage festival organisers to exchange knowledge and resources. Different organisations may have developed successful approaches to audience engagement, artist coordination, publicity or programme development. Sharing these experiences can help other organisers strengthen their own festivals.
Artist welfare is another important consideration. A healthy festival network should not only focus on the number of performances but also on creating meaningful and sustainable opportunities for practitioners. Greater cooperation among organisers can contribute to discussions about professional opportunities, support systems and long-term artistic development.
The federation’s vision also includes strengthening opportunities for young artistes. Classical dance requires years of disciplined training, but students eventually need platforms where they can gain professional experience. Scholarships, fellowships and youth programmes can help create a pathway from education to performance and, eventually, cultural leadership.
This approach connects directly with Vikram Kumar B R’s broader philosophy of cultural preservation. He has consistently emphasised that a traditional art form cannot survive through individual performers alone. It requires teachers, students, performers, organisers, researchers, institutions and audiences working together.
The emergence of digital platforms has further expanded the need for cooperation. Festivals can now reach audiences beyond their physical locations, but organisers must also understand new methods of communication, documentation and presentation. A network such as FCDFO can provide an environment for exchanging ideas as the cultural sector adapts to changing technologies.
At its core, the federation represents a shift from viewing festivals as isolated events to viewing them as interconnected parts of a larger cultural system.
For Vikram Kumar B R, this collective approach is consistent with his long-standing work in institution building. From establishing the Nataraj Music and Dance Academy to creating multiple festival platforms and supporting cultural documentation, his efforts have focused on building structures that can support traditional arts over the long term.
FCDFO consequently represents an organisational dimension of the wider movement to strengthen Indian classical dance. Its purpose is not to replace individual festivals but to connect them, encourage cooperation and give organisers a stronger collective voice.
In a cultural landscape where sustainability is as important as artistic excellence, collaboration among festival organisers can become a powerful tool. By bringing together people working behind the scenes to promote classical dance, FCDFO seeks to strengthen the foundation on which artists and festivals can continue to grow.
