Oh! We are drifting from the ‘Margam’ talk, are we? Just like the ‘Margam’ itself has drifted considerably from where it began and lost its way into the dreary desert sand of dead habit that Tagore was anxious about. In today’s digital era when dance and music lessons are held on skype and social networking sites, who and what define a traditional ‘Margam’ or a proper guru? In a time when there are more festivals than dancers, who has the patience to sit and learn a ‘Margam’ the way it ought to have been done? This is the age of designer Margams. The economics of sabhas and festivals is directly proportional to a deterring performance. Dance is taught more in gymnasiums and human laboratories than in the custody of caring and concerned gurus. From obsession with lines to controversial content, anything can be presented. In an era of ‘Global baani’, anything can be patched to make an evening’s presentation. If one was to say that Bharatanatyam dance form in India was dying a slow torturous death, then the current state of the ‘Margam’ signifies its decreasing sluggish heartbeat. Who is accountable for this?