The netizens and art enthusiasts of Ahmedabad eagerly wait for winter to attend festivals like Saptak, Abhivyakti and Kukdukoo, among others. Recently, I attended the 45th edition of the Vikram Sarabhai International Arts Festival from December 28 to 30, organised by the Darpana Academy of Performing Arts and featuring celebrated artists, activists, classical dancers, directors and composers from across the world. The iconic three-day festival’s uniqueness lies in its consistent commitment to expressing human emotions through literature while seamlessly blending tradition with innovation. This year, it embraced the theme of exploring “self” as an agency, weaving together diverse genres and artistic expressions from European and South Asian literature and cinema.
For anyone who grew up watching Bollywood films, the recurring theme of chasing dreams in a big city resonates deeply. From Nehruvian cinema to the late 90s, films have intricately woven the city into their narratives, blending its challenges and desires with the passage of time and creating timeless tales of ambition and transformation – almost like how Italo Calvino’s Invisible Cities features Marco Polo describing imagined cities to Kublai Khan, exploring themes of memory, desire and perception.
Unveiling urban paradoxes: Dichotomies of urban dreams and realities
The first day’s show opened with the play Meanwhile Elsewhere in Hindi, English, Italian and Gujarati. After the opening musical melody, the play featured four major plots in which Khan’s sleepy condition in the background dreamt up the mystery of the tale, which hinged the dialogue at the birth, growth and survival of human beings.
The very next scene of the performance was dedicated to the daily occurrences of city life itself – streets and food stalls being cleaned, barbers at work as well as city announcements to capture the idea of invisible connectivity among the citizens. The play revolves around four duos, each exploring different facets of the city and how its shifts bring both hope and despair. Through interconnected dialogues, the play weaves a narrative of the city as a paradoxical space – a place where hope and hopelessness coexist, where dreams are born, yet often tempered by reality.
Meanwhile Elsewhere. Photo: Tasnim Bharmal
A young man and woman, determined to start life in a city, find themselves grappling with the challenges of urban life. Their struggle to fit into the open-ended framework of societal expectations was powerfully portrayed, highlighting issues like identity, gender, race and the pressures of modern life. The anxiety over dissolving individuality into the city’s demands contrasts sharply with dreams, echoing the harsh realities faced by migrants in cities and resonating deeply with contemporary city issues of housing, traffic, quality of air etc. In parallel, a father-daughter duo explore the complexities of time and space, and life and death. In another frame, a Muslim truck driver’s story highlighted the struggles of “outsiders” in urban life.
The director of the play, Yadavan Chandran, continues to delve into nostalgia, emotions and memories of cities. Drawing from Marco Polo, he portrays cities as interpretations shaped by human experiences. The dialogues, “somehow my footsteps lead me here” and “in my dreams, I never sleep,” symbolise involuntary connection and boundless aspiration. Highlighting urban life’s dualities, Chandran told The Wire, “Relationships survive; humans don’t,” underscoring the lasting significance of human connections amidst their fleeting existence. Marco’s narration of 55 imaginary cities was intertwined with a poignant transition to 90s Ahmedabad as Mallika Sarabhai reflected on her St. Xavier’s days, cultural icons and vanished landmarks in conversation with her friend. Earlier, the play Kadak Badshahi, written and directed by the same artist, commemorated Ahmedabad’s 600th anniversary.
Mahabharata as a modern opera
The next day, the opera of Heroes And Gods inspired by the Mahabharata made Edoardo Catemario’s production an unprecedented addition to Ahmedabad’s cultural landscape. The theatre was packed as Catemario opened the play with a lyrical, instrumental piece that set the tone for the evening. The central theme, “Time as an essential placement of faith in the Mahabharata,” was introduced through a powerful monologue by Mallika and her team, followed by the song Who Am I? capturing the hero’s self-discovery from Mahabharata‘s characters like Yudhishthira, Arjuna, Karna, Bhishma and Duryodhana.
The opera masterfully shifted the audience’s perception, from karma as fate to time as a dynamic force shaping decisions. The narrative focused on two pivotal characters, Draupadi and Arjuna, alongside key chapters of the Mahabharata, including Draupadi’s swayamvara, the gambling game between the Kauravas and the Pandavas, the cheerharan (disrobing of Draupadi) and at last, the war. These moments were rendered through engaging monologues from the Mahabharata and songs blending the ancient tale with modern essence.
Draupadi’s character emerged as a powerful, self-decisive goddess, reclaiming her agency and wisdom in many scenes. The song dedicated to her reinforced her courage, highlighting her contentious wisdom without seeking help from any deity or spirit. In contrast, Arjuna, despite being a prince with the power to shape his future and kingdom, relied on Krishna’s guidance for critical decisions. This is actually what the director wanted to convey to the audience as during the post-performance conversation, he shared that he chose to retell the Mahabharata as an artist to pursue one of his dreams and aspirations he had long cherished since he was in music school.
The opera, ‘of Heroes And Gods’. Photo: Tasnim Bharmal
Further, reflecting on his scepticism, he highlighted how Italy’s art schools have been dominated by English plays for over 150 years, leaving little room for other cultural narratives to emerge. He described it as a journey outwardly vocal yet inwardly introspective. Using Arjuna as an example, he illustrated how one wrestles with reasons to avoid violence in any form. Such negotiations with the “self,” Catemario explained, are the essence of Dharma.
The show skillfully explored how fundamental aspects of “self” often overshadowed vision and agency. The modern interpretation of the Mahabharata delved into the nuanced struggles of faith, time and self-discovery. By reimagining these ancient characters and themes, the opera brought relevance to timeless questions, leaving a profound impact.
Blending philosophy, art and human expression
On the last day, a powerful rendition by Sona Mohapatra – who captured hearts nationwide when she performed Mujhe Kya Bechega Rupaiya on Aamir Khan’s iconic show Satyamev Jayate – struck a chord with the audience, addressing deep societal issues with unmatched passion. That performance not only showcased her vocal prowess but also established her as a voice of empowerment and change. Through her live performance, Mohapatra exemplified individuality, resilience and self-expression, as reflected in the diverse range of songs she has performed – from Bollywood to her own compositions.
Musical night featuring Sona Mohapatra. Photo: Tasnim Bharmal
The festival wound up with a profound exploration of the concept of “empowered self,” echoing philosopher Immanuel Kant’s idea. Each performance encapsulated this essence, weaving together stunning costumes, boundless energy and unforgettable experiences.
Tasnim Bharmal is a research consultant at Indian Institute for Human Settlements and an associate in the Arts & Social Science Department at Ahmedabad University.