Ahmedabad University’s Contemporary Arts Festival Sets the Stage for the School of Performing and Visual Arts

Ahmedabad University deepened its engagement with the arts and the city’s cultural fabric with the inaugural Sabarmati International Contemporary Arts Festival of Ahmedabad (SICAFA)​​​​​. More than a festival, SICAFA is a precursor to establishing the School of Performing and Visual Arts, reinforcing the University’s commitment to integrating artistic inquiry into its academic and civic mission.

Rooted in the belief that a thriving cultural ecosystem is essential for intellectual and social progress, SICAFA connects tradition with contemporary expression, fostering dialogue between artists, scholars, and the wider community. By bringing together performers, creators, and audiences in an immersive cultural experience, Ahmedabad University aims to celebrate artistic excellence and lay the groundwork for a dedicated academic space that will shape the future of performing and visual arts education.

Held from March 11–18, 2025, in partnership with Neekoee Foundation and the Polish Institute New Delhi, the festival transformed Ahmedabad into a vibrant hub of artistic expression, featuring a dynamic mix of theatre, folk dance, music, puppetry, storytelling, and thought-provoking conversations with renowned artists.

The festival, curated by Deepan Sivaraman​​​​​, Professor, School of Arts and Sciences​​​​​, Ahmedabad University, and Neena Naishadh, Founder, Neekoee Foundation, opened with the spectacular Manganiyar Seduction, directed by Roysten Abel, where a grand ensemble of 40 Rajasthani musicians performed within a four-story illuminated structure, mesmerising an audience of over 2,000 attendees. The performance set the tone for a week of artistic excellence and cultural immersion.

SICAFA showcased a diverse array of performing arts traditions. Amitosh Nagpal’s Middle Class Dream of a Summer’s Night, a contemporary theatrical piece, brought a fresh and imaginative perspective to modern Indian storytelling. Jeevit ya Mrit, an adaptation of Rabindranath Tagore’s celebrated short story, was presented as an extended monologue powerfully performed by the National Film Award winning actress Seema Biswas and directed by Anuradha Kapur, former Director of National School of Drama.

Folk traditions were equally celebrated, with Purulia Chhau, a spectacular masked dance-drama from West Bengal’s indigenous communities, captivating audiences with its vibrant energy and intricate choreography. Theyyam, Kerala’s centuries-old ritualistic performance, added a spiritual and visually arresting dimension to the festival.

The festival also featured Patrick Sims’ Puppetry Show, transporting audiences, especially children, into a world of imaginative storytelling. Saumya Joshi’s Oh Womaniya, a high-energy performance by Jigna Vyas, delved into the deepest facets of a woman’s identity and experiences, while Girish Karnad’s Hayavadana, adapted by Padma Shri awardee Neelam Mansingh Chowdhry, challenged audiences to rethink human identity and transformation.

The Anirudh Varma Collective (AVC) delivered a powerful closing act, seamlessly blending Indian classical music with contemporary influences, demonstrating the evolving landscape of artistic expression.

SICAFA also curated a special culinary arts segment, featuring India’s rich food heritage and its deep cultural connections. Engaging discussions on contemporary arts and their role in shaping cultural consciousness added further depth, bringing together distinguished artists and scholars for thought-provoking conversations.

A Cultural Movement for Ahmedabad

Beyond a contemporary arts festival, SICAFA was a cultural movement reaffirming the role of the arts in fostering critical thinking, creativity, and interdisciplinary learning. As Ahmedabad University progresses toward launching the School of Performing and Visual Arts, SICAFA will continue as an annual event, deepening the University’s engagement with the arts and further cementing Ahmedabad as a global cultural destination.

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