This blog task was assigned by Professor and Dr. Barad sir (Department Of English, MKBU).
Youth Festival 2025: The Harmony of Art, Culture, and Expression
The Spirit of Bhav Gunjan
Every year, the campus of Maharaja Krishnakumarsinhji Bhavnagar University transforms into a canvas of color, music, and creativity through its Inter-College Youth Festival, known as “Bhav Gunjan.” The term itself Bhav meaning emotion and Gunjan meaning resonance beautifully symbolizes the festival’s essence: the echo of emotions through art.
In 2025, the festival marked its 33rd edition, organized by the Department of Physical Education and Cultural Activities of MKBU. It was hosted in collaboration with several affiliated colleges and departments, turning Bhavnagar into a vibrant hub of artistic dialogue from 8th to 11th October 2025.
As a student of English literature, attending this festival was not merely an entertainment experience it was a journey of understanding how art and literature intersect with life, culture, and identity. The four-day celebration revealed that artistic expression is not a luxury but a language of resistance, awareness, and belonging.
The Youth Festival brings together young minds from various colleges, encouraging them to express their creativity through music, dance, drama, fine arts, and literary events. It provides a platform where individual talent meets collective consciousness. Every year, it becomes a meeting ground of voices some hopeful, some angry, some nostalgic, and some transformative.
When I first heard about Bhav Gunjan 2025, I expected it to be just another university event a competition full of performances and prizes. But as the days unfolded, I realized it was far more than that. It was a mirror of society and a celebration of youth identity.
The Festival as a Cultural Text
From a literary point of view, Bhav Gunjan can be understood as a living cultural text a performance that tells the story of a generation. Each event, whether a one-act play or a group song, reflects the struggles, emotions, and ideals of modern youth.
As M.H. Abrams describes in his Mirror and the Lamp theory, art serves both as a reflection of the external world (mirror) and as an illumination of the artist’s inner emotions (lamp). The performances at Bhav Gunjan beautifully embodied this duality. Students mirrored society’s challenges corruption, gender inequality, environmental decay while their art also served as a lamp, illuminating hope and humanity.
The festival’s theme this year, though not officially declared, seemed to revolve around social awareness and empowerment. Each day brought forward performances that questioned norms and celebrated resilience.
In this blog, I aim to revisit those four unforgettable days not only to describe what happened, but to interpret them as a student , as a young individual searching for meaning in expression.
Preview – Kala Yatra: The Beginning of Bhav Gunjan
In the next section, I’ll take you through the opening day Kala Yatra, a street parade of imagination and ideology. From costumes to slogans, it was a moving art gallery that set the one for everything that followed.
The Beginning of Bhav Gunjan: Kala Yatra and the Opening Ceremony
The morning of 8th October 2025 arrived with an air of excitement that no textbook could ever capture. The entire city of Bhavnagar seemed to vibrate with anticipation. Students dressed in bright costumes, carrying banners, drums, and placards, gathered at Shamaldas Arts College, the starting point of the grand Kala Yatra the procession that marks the ceremonial opening of Bhav Gunjan.
The Streets Turn into Canvases
The Kala Yatra is not just a parade; it is a moving art exhibition a dynamic expression of creativity, culture, and consciousness. The path from Shamaldas Arts College to J.K. Sarvaiya College was transformed into a living gallery. Each group represented their college with a unique theme that combined visual art, performance, and message.
Students wore symbolic costumes, painted their faces, carried handmade posters, and chanted slogans that reflected their collective concerns. This year, the themes ranged from environmental protection, women’s empowerment, cultural heritage, and mental health awareness to education inequality and digital dependence.
As I walked along the street, I realized that the Kala Yatra was not merely an artistic event it was a social statement. Through color and rhythm, students questioned society’s silence on issues that affect us all.
One particular group from Swami Sahajanand College performed a dramatic representation titled “Operation Sindhoor.” The performance addressed the ongoing struggles of women in India from domestic violence to the pressure of societal expectations. The students marched with red scarves symbolizing strength and courage, while one girl, painted in half red and half white, represented the duality of womanhood purity and power, sacrifice and rebellion.
As a spectator and student of English literature, I couldn’t help but connect this imagery with the portrayal of women in classical and modern texts from Shakespeare’s Desdemona to Ibsen’s Nora in A Doll’s House, and even to Arundhati Roy’s Ammu in The God of Small Things. Each, in their own time, embodied the same struggle between conformity and freedom that “Operation Sindhoor” portrayed so vividly on the streets of Bhavnagar.
Art as Awareness
The Kala Yatra reminds us that art is not confined to galleries or theatres; it belongs to the streets, where the public can engage with it directly. It transforms spectators into thinkers and participants. In that sense, the Yatra resonates with Bertolt Brecht’s concept of Epic Theatre, where the goal is not to entertain but to awaken awareness and critical thinking.
In the midst of music, slogans, and vibrant movement, there was a sense of unity a realization that creativity has the power to connect people beyond language and background. For many participants, it was their first chance to use performance as a voice for truth.
The Opening Ceremony: A Celebration of Talent
“Bhavgunjan” Youth Festival 2025: A celebration of Indian tradition and a platform for students’ creativity to soar high. 🇮🇳
The “Bhavgunjan” Youth Festival – 2025, organized by Maharaja Krishnakumarsinhji Bhavnagar University, was inaugurated under the guidance of the Hon’ble Vice-Chancellor Dr. Bharatbhai B. Ramanuj.
The festival was marked by vibrant displays of Indian cultural heritage and traditions.
Distinguished guests such as Member of Parliament Shri Nimuben Bambhaniya, MLA Shri Jitubhai Vaghani, and renowned artists Nirmalsinh Bhut and Vishalbhai Gadhvi graced the event with their presence and made it even more memorable.
Hon’ble Vice-Chancellor Dr. Bharatbhai Ramanuj stated that —
યુથ ફેસ્ટિવલ માત્ર એક કાર્યક્રમ નથી, પરંતુ સહભાગીતા, સર્જનાત્મકતા અને વ્યક્તિગત વિકાસનું જીવંત શાળારૂપ છે.” ✨
The auditorium was decorated with handmade posters of literary figures, musical instruments, and symbols of Indian heritage. The stage gleamed with light and anticipation. The inaugural speech emphasized how youth festivals serve as a bridge between education and creativity, reminding students that learning is not limited to books but extends to self-expression, collaboration, and social engagement.
As the performances began, the hall came alive with energy. The event categories “Surgunjan” (Group Song), “Rasagunjan” (Dance), and “Adivasi Nritya” (Tribal Dance) showcased an extraordinary diversity of Indian art forms.
The Surgunjan competition at the New Court Hall featured group songs that celebrated love, nature, and devotion. Among the many performances, the one presented by Radhika Mehta and Shruti Sonani from our Department of English stood out for its harmony and emotion. Their folk song blended Gujarati melody with heartfelt expression, evoking nostalgia and pride.
Meanwhile, the Rasagunjan competition at Atal Auditorium dazzled with colorful costumes and graceful movements. The Adivasi Nritya group performances carried an earthy power, reminding us of India’s roots the rhythm of the soil, the spirit of community, and the joy of dance that transcends modernity.
The Academic Significance of Performance
As I watched these performances, I began to view them through the lens of literary aesthetics. According to Aristotle’s Poetics, art is an imitation (mimesis) of life, but it elevates ordinary experience into something universal and meaningful. The group dances, folk songs, and dramatizations all achieved that transformation turning real emotions into shared symbols of human experience.
In addition, these performances reflected what John Dryden termed as “delightful instruction” art that entertains while teaching moral or social truths. The youth festival was not just a stage for competition; it was an educational space in itself, where literature, music, and performance became tools of learning.
The winners of the Quiz Competition Rajdeep Bavaliya, Rutvi Pal, and Sanket Vavadiya from our Department of English — brought further pride. Their success was not just academic but symbolic: it proved that intellectual curiosity and cultural participation can coexist. They represented the perfect balance of mind and emotion, which is the essence of liberal education.
The Emotional Pulse of the Festival
What makes Bhav Gunjan unique is not only the display of talent but the emotional bond that forms among participants. Behind every performance was a story of late-night rehearsals, nervous laughter, creative disagreement, and shared dreams.
Theatre, Music, and the Power of Expression
If the first two days of Bhav Gunjan 2025 celebrated art through movement, music, and visual creativity, the third day turned the stage into a mirror of society. Theatre, in all its forms — Ekanki (One-Act Play), Mime, Creative Choreography, and Mimicry became the heartbeat of the festival. It was a day when emotions, words, and silence spoke louder than speeches, and each performance felt like a revelation.
The Stage as a Mirror: Ekanki – The One-Act Play
Among all dramatic performances, one stood out for its boldness and emotional depth — “Ganga: Roar of Justice”, written by Anopsinh Sarvaiya, directed by Vipul Rathod and Jibril Parmar. Guided by Prof. Jagat Bhatt, and supported backstage by Nandish Padia and Rachit Mehta, this play transformed the stage into a battlefield for truth and morality.
Plot and Performance
The play explored the dark and painful realities of sexual violence, religious hypocrisy, and systemic corruption. At its core was Ganga a young girl born from a broken, cross-religious relationship. Her name, symbolizing purity and divinity, contrasted sharply with her tragic experiences. Both she and her mother became victims of exploitation by a self-proclaimed religious leader — a “swami” who used faith as a shield for his sins.
A police officer character was introduced, representing how institutions often fail to protect victims. The climax Ganga’s defiant outcry and the eventual imprisonment of the swami marked a cathartic moment for both performers and audience alike.
The entire hall fell silent as Ganga’s “roar” echoed a sound that was not just theatrical but emotional, personal, and deeply moral.
Analyzing “Ganga: Roar of Justice” through Aristotle’s Tragic Lens
Viewed through the lens of Aristotle’s Theory of Tragedy, the play becomes a modern reinterpretation of classical structure. Aristotle defined tragedy as the “imitation of an action that is serious and complete,” aimed at arousing pity and fear to achieve catharsis.
In this play:
Hamartia (tragic flaw) lies not in Ganga herself but in society’s collective blindness to injustice.
Peripeteia (reversal) occurs when the victim turns from silence to speech from oppressed to empowered.
Anagnorisis (recognition) happens when Ganga and the audience both realize that justice requires defiance, not endurance.
Catharsis is achieved when the oppressor faces the consequences of his own sins.
The moral and emotional purification that follows leaves the audience both heartbroken and inspired precisely what Aristotle envisioned for a perfect tragedy.
In literary terms, “Ganga: Roar of Justice” can also be viewed as a social tragedy similar to Arthur Miller’s “The Crucible” or Ibsen’s “A Doll’s House”, where personal rebellion becomes a symbol of collective liberation.
2.One act play - Dor
The play gracefully portrayed the profound depth of love intertwined with tragedy, revealing how heartfelt emotions often clash with the realities of life. In this scene, the emotional tension between the two characters symbolized the eternal struggle between love and destiny. Their eloquent dialogues, expressive movements, and culturally rooted costumes enriched the moment, merging traditional essence with universal sentiment. It reminded me that love in theatre is not confined to romance it embodies sacrifice, miscommunication, and the quiet resilience that sustains human bonds. This performance truly demonstrated how drama can transform private emotions into a shared, collective experience for its audience.
The Silent Voice: Mime and Visual Storytelling
If “Ganga” gave words to injustice, the Mime performances on the same day demonstrated how silence can be equally powerful. Mime, by its very nature, relies on gesture, rhythm, and expression what Indian aesthetics would call Abhinaya, the art of expressing emotion without words.
The participants performed themes like “Time,” “Social Media Addiction,” and “Environmental Loss.” Each act used synchronized movement and symbolic props masks, clocks, and mobile phones to comment on how human identity is fading behind technology and consumerism.
In this way, Mime fulfilled Bharata Muni’s Rasa Theory particularly Karuna Rasa (compassion) and Shanta Rasa (peace). The audience, though silent, was deeply moved. It was proof that language is not always necessary for understanding; the human face can speak all tongues.
When Time Became the Storyteller: Mimicry
The mimicry performance at the Youth Festival was one of the most entertaining events of the day. The performer skillfully imitated the voices, gestures, and expressions of famous personalities, actors, and politicians, making the audience burst into laughter. Each act was filled with humor, creativity, and perfect timing, showing the performer’s sharp observation and talent. Mimicry not only entertained everyone but also reflected how art can connect people through joy and laughter. The performance proved that comedy, when done with intelligence and respect, becomes a powerful form of artistic expression.
Among all performances, Mimicry by Nandish Padia was unforgettable. His piece retold the Ramayana from the perspective of Time (Samay) turning the ancient epic into a philosophical reflection on destiny, morality, and human limitation.
Nandish’s voice modulation and audiovisual coordination were so seamless that the performance felt cinematic. By making Time the narrator, he offered a cosmic view detached yet deeply involved. Through the passage of eras, Time became the witness of Rama’s virtue, Ravana’s pride, and humanity’s eternal cycle of victory and downfall.
This performance can be interpreted through T.S. Eliot’s idea of the “Objective Correlative.” The sound effects, voice tones, and visuals collectively became emotional triggers for the audience, evoking awe and introspection.
From an Indian theoretical perspective, the performance embodied Adbhuta Rasa (Wonder) the emotion of astonishment that connects the human with the divine.
Nandish’s mimicry did not just entertain; it educated. It bridged ancient wisdom and modern technology, proving that tradition, when reimagined, can still move hearts in the digital age.
Rhythm of Heritage: Folk and Classical Performances
The festival also showcased vibrant folk dances, including Raas, Garba, and Tribal Nritya. One memorable scene was of young girls performing a dance while balancing matkis (earthen pots) on their heads. This act, though seemingly simple, carried deep literary and cultural symbolism.
The matki, in Indian aesthetics, represents balance between body and spirit, art and discipline. As they danced, it reflected Shringar Rasa (beauty) and Veer Rasa (courage) the fusion of grace and strength.
Through such performances, students preserved the oral and kinetic traditions of India that date back to the Natya Shastra. These acts remind us that performance is not only entertainment but a continuation of cultural memory.
Creative Choreography and the Spirit of Innovation
Another highlight was the Creative Choreography competition. Participants blended classical moves with contemporary beats, merging Bharatanatyam postures with modern expression. The choreography carried themes like “Peace in Diversity” and “Women’s Voices Rising.”
Such hybrid forms echo the postcolonial idea of cultural hybridity, discussed by theorists like Homi K. Bhabha, who believed that true creativity emerges from the intersection of identities. In Bhav Gunjan 2025, this idea came alive students were not imitating the West or reviving the East, but creating something new, something distinctly their own.
Fine Arts: The Visual Language of Emotion
The Lalitkala vibhag showcased talents in painting, poster-making, collage, clay modelling, cartooning, and rangoli. Each art form became a medium for visual storytelling, turning creativity into social awareness.
1. Rangoli
The rangoli displays added a traditional and festive charm to the festival. Artists used colors, flowers, and natural elements to create patterns symbolizing harmony and joy. Each design reflected India’s cultural beauty and the unity within diversity.
2. Collage
The collage-making event stood out for its imaginative use of visuals. Participants assembled cut-outs and textures to express strong social messages from environmental care to equality turning paper into powerful statements.
3. Clay Modelling
This event showcased artistic craftsmanship. Students shaped meaningful forms out of clay, some depicting culture, others expressing social issues. It was fascinating to see how raw clay could transform into art that carried emotion and purpose.
4. Instant painting
The instant painting competition displayed artists’ creativity under time pressure. Despite limited time, the works showed impressive color balance, emotion, and imagination — proving that true art flows from the moment’s inspiration.
5. Cartooning
The cartooning section added humor and wit to the event. Artists used satire to comment on politics and society. Their expressive drawings made the audience laugh while also inspiring reflection showing that even simple lines can convey deep truth.
The Aesthetic of Collective joy
What united all these events from tragedy to comedy, from silence to song was the spirit of collective creation. The festival turned every participant into both artist and audience. The applause that followed each performance wasn’t just praise; it was a recognition of shared effort, courage, and expression.
In academic terms, this phenomenon aligns with Victor Turner’s concept of “communitas” the feeling of equality and unity that arises in cultural rituals and performances. For those four days, students weren’t just competing; they were part of a living community of art.
The youth festival gave students a sense of belonging. It allowed us to step beyond our classrooms and become part of a larger cultural dialogue. The rhythm of the drums in the Kala Yatra, the silence before a song began, and the applause after a powerful dance each moment carried a kind of sacredness that words can only partially capture.
As I left the auditorium that evening, I felt that the festival had already achieved its purpose. It had ignited something within us the courage to express, to question, and to connect.
Cultural Reflection and the Academic Value of Art
After four intense and beautiful days, Bhav Gunjan 2025 ended not as a closing, but as a beginning the beginning of a new understanding of how art, literature, and performance shape our minds, our identities, and our worldviews. Standing amidst the fading decorations and echoing applause, one could feel what the philosopher Friedrich Nietzsche once said: “We have art so that we shall not die of reality.”
The festival had become more than an event. It was a living classroom where books, theories, and emotions united in one experience. Every performance, whether dance, drama, or poetry, carried a lesson that no textbook could fully teach.
Art as Education: The Learning Beyond Classrooms
For literature students, Bhav Gunjan was a direct application of everything studied in the classroom from Aristotle’s Poetics to Bharata Muni’s Natya Shastra. The theories of drama, rasa, symbolism, and catharsis were no longer abstract; they came alive through human expression.
As participants and viewers, students witnessed:
Characterization and Conflict (as in the play Ganga),
Emotional Expression and Rasa Theory (in mime and dance),
Symbolism and Allegory (in mimicry and choreography),
Cultural Identity and Hybridity (in folk and fusion art).
This experiential learning bridges the gap between academic theory and creative reality, proving that art is both knowledge and experience. As John Dewey’s philosophy of education emphasizes, “We do not learn from experience; we learn from reflecting on experience.”
That reflection began the moment the lights dimmed and the curtains fell.
Cultural Revival and National Identity
Another crucial academic lens for understanding Bhav Gunjan is cultural nationalism. In today’s age of globalization, such youth festivals preserve India’s artistic heritage folk songs, classical instruments, and regional languages — reminding students of their cultural roots.
The performances celebrated not just personal creativity but India’s unity in diversity. From Garba in Gujarat to Tribal Dance from forest regions, every act symbolized how varied traditions flow into one national identity.
This echoes Rabindranath Tagore’s belief that art and culture are essential for a nation's soul that the true spirit of education lies not in imitation but in inspiration. Through Bhav Gunjan, students became carriers of that inspiration.
Feminist Consciousness and Social Awareness
One of the strongest undercurrents of the festival was women’s empowerment. Plays like Ganga: Roar of Justice and choreographies on “The Voice of a Woman” embodied the feminist principle of voice and visibility.
In feminist literary theory, this is called “writing the body” where art becomes a language for women to express pain, power, and resistance. By portraying female characters who fight patriarchy and reclaim identity, these performances connected classroom theories to social realities.
Such events show how literature and art are not separate from life but deeply intertwined with human justice and morality.
Art and Emotional Healing
From an emotional point of view, the festival also served as collective therapy. Many performances addressed trauma, mental health, and social isolation themes that modern youth often face silently.
Through the aesthetics of performance, participants released inner feelings turning pain into poetry, silence into sound, and fear into art. This is the very process that Carl Jung called “individuation,” where creativity helps in healing and self-discovery.
Watching students perform with such sincerity revealed the deep truth that art heals.
It not only entertains but transforms the individual into a more empathetic human being.
Postcolonial Voices: Reclaiming the Native Space
From an academic standpoint, Bhav Gunjan can also be interpreted through postcolonial theory especially Homi K. Bhabha’s idea of cultural hybridity. In the performances, students merged English literature with Indian culture, proving that identity is not imitation but reinvention.
A student performing Shakespeare in Gujarati rhythm, or blending Western mime with Indian mudras, was not copying but reclaiming the artistic space once dominated by colonial norms. It was a silent declaration: “We belong to both worlds the global and the local.”
Thus, Bhav Gunjan was not merely a festival; it was an act of decolonizing education through creativity.
Unity in Diversity: A Festival Beyond Competition
While there were prizes, the true spirit of Bhav Gunjan lay not in winning but in participation. In every laughter, every applause, and every shared stage, students discovered the value of teamwork, respect, and shared creativity.
In sociological terms, this is what Émile Durkheim called “collective effervescence” a moment when individuals experience unity and shared emotion that strengthens community bonds.
Such experiences are essential in academic growth because they cultivate emotional intelligence, leadership, and empathy qualities that every future scholar and citizen must possess.
Personal Reflection: Finding My Own Voice
As I look back at the festival, I realize it was not just an event I attended it was a journey that transformed me.
Watching the performers’ courage and creativity reminded me that every artist is a philosopher, and every performance is a question: Who are we, and what do we live for?
The energy, color, and emotion of those four days awakened something within me a desire to express, to write, to think deeply, and to live authentically.
I understood that art is not a luxury; it is a necessity. It teaches us to feel, to imagine, and to believe again.
Bhav Gunjan as an Academic and Spiritual Experience
In conclusion, Bhav Gunjan 2025 was not merely a youth festival it was an academic celebration of life itself. It bridged the gap between art and intellect, tradition and modernity, competition and cooperation.
It reminded us that education is not confined to classrooms or books but lives in every performance, every melody, and every creative soul.
Through this festival, students learned that literature is not only to be read but lived.
The voices that echoed on stage will continue to resonate in our minds, in our studies, and in our spirits.
Because Bhav Gunjan is not just an event.
It is a feeling a reminder that the heart of education beats strongest when it dances, sings, and dreams.
Thank you...
