Towards an inclusive margazhi

By Sukanya Sankar

At a time when the Margazhi season continues to expand in scale and diversity, initiatives like ‘Margazhi Matram’ stand out for reimagining not just programming, but the very experience of art. Conceived by Ranjini Kaushik under the aegis of SciArtsRUs, the festival is rooted in the belief that accessibility is not an add-on, but integral to artistic practice—where making art accessible to some ultimately makes it richer for all.

Emerging from a larger global vision shaped during the pandemic, the initiative responded to the lack of visibility for artists with disabilities, evolving into a platform that integrates them seamlessly with mainstream performers. Rather than isolating difference, Margazhi Matram foregrounds artistic excellence, bringing together practitioners across abilities, cultures, and geographies, including members of the global Indian diaspora.

What distinguishes the festival is its interdisciplinary and multi-sensory approach. By incorporating elements such as cymatics, sign language, abhinaya, and storytelling, and by actively leveraging technology and assistive tools, it creates immersive experiences that transcend linguistic and auditory barriers. This has enabled even aurally challenged audiences to engage with music in deeply meaningful ways, often for the first time.

Equally significant is the growing openness within the artistic community. Performers—both emerging and established—have shown a willingness to adapt their art, collaborate across abilities, and embrace inclusivity as an integral part of expression rather than an external requirement. This signals a gradual but important cultural shift within the classical arts ecosystem. 

Institutional partnerships have played a crucial role in this journey. Collaborations with organisations such as Bharatiya Vidya Bhavan, Indian Institute of Technology Madras, National Federation of the Blind, and Clarke School for the Deaf have enabled the integration of technology, research, and performance, while also expanding the reach of the festival to new audiences and spaces. These collaborations have not only enhanced visibility for artists but also strengthened the infrastructure needed to sustain inclusive practices. 

In conversation with Ranjini Kaushik

What first inspired you to conceptualise a festival like Margazhi Matram with a focus on inclusivity?

There were several reasons that inspired me to initiate an inclusive festival like Margazhi Matram. At the heart of our organisation, SciArtsRUs, lies a mission built on the twin pillars of inclusion and diversity, along with a strong commitment to making science, the arts, and their intersections accessible to all. When we speak of accessibility, it is essential to consciously include individuals with disabilities—those who are often overlooked in mainstream platforms. 

A second, equally compelling reason emerged during the pandemic. As numerous online concert platforms began to flourish, I observed that many exceptionally talented performing artists with disabilities were not receiving the visibility they truly deserved. This realisation led us to launch a global initiative within our organisation—Artabilities 4 All. Spanning countries such as the United States, Canada, the United Kingdom, Malawi, Rwanda, Uganda, and India, this initiative was designed to spotlight artists of diverse abilities across cultures, backgrounds, and genres.

During the Margazhi season, we introduced Margazhi Matram with a vision to integrate differently-abled artists with mainstream performers, ensuring they are recognised for their artistry rather than their disabilities. At the time, there was no multi-day festival with such an inclusive approach, and this platform was created to fill that gap.

Over the years, Margazhi Matram has grown into a truly expansive festival, embracing not only artists with disabilities but also cross-cultural practitioners, marginalised voices, and artists from the global Indian diaspora, fostering a rich and inclusive artistic dialogue.

You are based in the US. Do you conduct such festivals or programmes there too? 

Yes, we conduct similar initiatives in the United States and other countries, engaging both the Indian diaspora 

and diverse global audiences. Our programming brings together artists with disabilities and cross-cultural practitioners, creating inclusive and meaningful artistic platforms.

We collaborate closely with the National Federation of the Blind, with its President, Katelyn McKintyre, a distinguished blind soprano artist, serving on our advisory board. This association has enabled a range of engagements—both virtual and in-person—featuring artists from the organisation, while also shaping more authentic and sensitive approaches to accessibility. In the U.S., we consciously design programmes that resonate with Western audiences, presenting Indian classical arts through multi-sensory formats that transcend linguistic and auditory barriers.

This vision is furthered by young artists such as Rishabh Kaushik, who is exploring ways to make concerts accessible for the hearing impaired through tools like cymatics and sign language, and Nivritti Mahesh, a dancer with bilateral cochlear implants who is using technology to expand inclusivity in dance—both for audiences and performers—demon­strating how tradition and innovation can come together meaningfully. [See Sruti 471] 

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