Sara Singh talks about her intuitive style of work, Panorama Edition's latest outing at Gwalior Fort, and collaborating with local artists

Over the years, Panorama Edition, an international art festival, has emerged as a groundbreaking platform that  reimagines the relationship between contemporary art and heritage spaces. The latest edition, set against the majestic backdrop of Gwalior Fort, was no exception. Curated by Sarah Singh, an artist with decades of experience across multiple disciplines, the festival wove together history, performance, and artistic expression, with “desire” as its thematic anchor.

Since its inception in 2018, Panorama has travelled across India—Patiala, Jodhpur, Jaipur, Jaisalmer, and Gwalior—evolving into an immersive, multi-sensory experience. Singh’s curatorial vision extends beyond spectacle; she  emphasises sustainability, reimagining historic spaces while preserving their essence. In this conversation, Singh reflects on her journey, the significance of Gwalior Fort, and the evolving role of art in public spaces.

Harper’s Bazaar: How did Gwalior Fort shape the festival’s narrative? What were the challenges of organising an event at a historical site?

Sarah Singh: Each project is site-specific, drawing inspiration from the location’s architecture, landscape, and cultural history. For Gwalior, I explored the theme of desire, inspired by regional sculptures like the Shalbanjika.  The fort’s architectural diversity—ranging from a 16th-century palace wall to colonial-era ordinance buildings—created a complex yet symbolic meeting ground for global artists and local participants.

HB: How has Panorama evolved since its launch? What was new in this edition?

SS: Launched in 2018, Panorama started as an experimental project. I used my skills as a filmmaker, producer, director, and artist to conceptualise and break down how to make something happen on a logistical level while  championing creativity. The debut edition was at the 18th century Patiala fort, which had belonged to my family and has now been partly turned into a luxury hotel. Since its inception, the festival has since transformed with each edition. From a public, all-day event in Patiala to an exclusive evening affair in Jodhpur, and later an immersive theatrical experience in Jaisalmer, the format has remained fluid. There has never been a fixed format—one thing I had decided was it should be different in as many ways as possible so that the festival itself feels like an artwork. 

Gwalior saw the largest scale yet, with a 48-member cast and an expanded theatrical approach, integrating Hindustani classical musicians, dancers, and theatre students. 

HB: How does Panorama contribute to the global conversation on contemporary art and heritage?

SS: Panorama highlights lesser-known historic sites, bringing high-level artistic experiences beyond major metropolises. It also fosters deeper engagement with heritage by using locations as more than mere  backdrops. Sustainability is integral—by repurposing historic spaces, we promote traditional materials and building techniques, emphasising their relevance in modern architecture. These centuries-old structures offer valuable lessons in resource efficiency and environmental adaptability, reinforcing the need to preserve and learn from them.

HB: What role does the local community play at the festival, and how do you ensure their active participation?

SS: The festival thrives on collaboration rather than fusion. I aim to bring together distinct cultural visions while reserving their uniqueness. Collaboration allows for cultural collisions and exchanges that enrich the artistic experience. For the latest edition, I worked with many local participants—from well-regarded Hindustani classical musicians who are professors at the local music and arts university, a group of theatre students to local  singers and dance students. In fact, half the cast was local, and of course some of my on-ground help and production staff were also local.

Given the increasing homogenisation brought by AI (artificial intelligence) and technology, it is crucial to create spaces where diverse cultural narratives can coexist, interact, and inspire. By including voices that are often overlooked—people who might not have had the opportunity to perform before—I hope to break social barriers and create a more inclusive platform. I have an intuitive style of working and it has so far worked out really well. We have had great successes with this style in Jaisalmer and Gwalior, in particular. It's always very exciting to work with people who are not, let's say, too polished or even jaded. There’s an authenticity that comes alive because it is not manufactured. Working with fresh talent ensures that performances retain a raw, unpolished energy that feels organic and deeply engaging.

HB: Could you share a standout moment from this year’s festival?

SS: In Gwalior, we staged an ambitious, large-scale theatrical performance with artists from across the world. Initially, we weren’t sure if a rehearsal would be possible, which was a huge risk. What ended up happening was we did have the night before to do a rehearsal. The way I structured it was that we did sort of a tech test run with all the various elements and everybody got a sense of the space, the place, the location, the scale, as well as, of course, each other. 

Despite minimal preparation, the performance was a success—an hour of compelling, unscripted collaboration that left the audience wanting more. Many told me they wished it could have continued. This reaffirmed my belief in the power of intuition and improvisation. The magic of live performance lies in its unpredictability, and when artists trust the process, it leads to something truly unique. The way I work is I leave a lot of room for discovery. And I believe if, on an intuitive level, you’re very connected to where you want a project to go, somehow everything leads in that direction. The people I was working with were all performers and artists. So there was already some sort of discipline, commitment, and sophistication. I had trust that all would come together and work out beautifully.

HB: What are your future plans for Panorama?

SS: Panorama Edition remains an exciting platform because it allows me to integrate all my artistic disciplines—filmmaking, photography, live performance, design, and conceptual art. As long as it continues to inspire me, I will keep pushing its boundaries. I work with historic spaces, which in themselves become sources of creative inspiration. My process is deeply instictive; the moment I feel forced to imagine something, I know it’s time to move on.While I have ideas I want to explore, my focus remains on creating immersive experiences that engage both local and global audiences. Artistic creation is a process of continuous discovery, shaped by intuition and improvisation. The key is to stay connected to what is compelling and authentic, ensuring that every project remains meaningful. Whether a film, a performance, or an exhibition, the driving force behind my work is the need for sustained artistic engagement over time—something that truly captivates me day after day.

Images: Courtesy Panorama Edition

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