Campus Comes Alive: Youth Festival 2025 Diaries

From Green Rooms to Grand Applause: Inside Youth Festival 2025

BHAV GUNJAN YOUTH FESTIVAL 2025

This Blog is assigned by Dr. and Prof. Dilip Barad sir as an assignment regarding the 33rd Inter College  Youth Festival titled "BHAV GUNJAN"  held at The Maharaja Krishnakumarsinhji Bhavnagar University hosted by Physical Education and Cultural Department from 8th October'2025 to 11th October'2025.

Here is the brochure and time-table:

8th October'2025

The youth festival started with the Kala Yatra on October 08. The Kala Yatra competition marked the festival’s kick-off, where colleges and departments presented social themes in groups.  The Kala Yatra procession started from Shamaldas Arts College and concluded at J.K Sarvaiya College. Several powerful themes emerged in this year's Kala Yatra. These included the surge in rape cases, Gujarat’s cultural identity, the challenges in the education system, the negative impact of social media but the performance regarding Operation Sindhoor presented by Swami Sahajanand College won.

Here is the group photo of our Kala Yatra visit-

Department of English, MKBU

9th October'2025

Opening Ceremony:

To watch the live stream check these videos here-

This video presents the performances regarding "SURGUNJAN" performed at New Court Hall.

This Video showcases the "RASAGUNJAN" event held at The Atal Auditorium. 

These Videos shows the performances regarding Tribal dance- "ADIVASINRITYA".

10th October'2025

This video showcases the Dramatic performances "EKANKI" also called Single Act Play.

These Videos showcases the "Western Intrumental(Solo)" performances.

This video showcases the "MIME" performances.

This Video highlights the "Western Intrumental singing (Group)" performances.

 

This Video showcases the performances regarding "SHASTRIYA NRITYA".

This Video highlights the performances regarding “Folk Orchestra”.

 

This Video showcases the performances performed on "CREATIVE CHOREOGRAPHY".

This Video shows the "CLASSICAL SINGING (SOLO)" performances.

11th October'2025

This Video showcases the concluding activities of the Yuth Festival "BHAV GUNJAN".

My interpretation and observation regarding

BHAV GUNJAN YOUTH FESTIVAL 2025 -

• On the opening Ceremony in the performance regarding Folk Group singing, Radhika Mehta and Shruti Sonani from Depatment Of English participated in this forte and they performed really well.

• On the very same day, held at the Department Of English our seniors- Rajdeep Bavaliya, Rutvi Pal and Sanket Vavadiya participated in the Quiz competion and conquered the 2nd prize.

• Apart from this I also witnessed certain skit performances highlighting the current trends regarding GenZ's.

• Title "Genz Panchayat": This is the most direct clue. "Gen Z" refers to the current generation of young people, often associated with technology and modern issues, while "Panchayat" is a term for the local self-governance system in India, traditionally associated with villages and older, established norms. The combination suggests a focus on how Gen Z interacts with, challenges, or revolutionizes traditional Indian society and governance.

The Backdrop/Props:

• The prominent map of India in the colors of the Indian flag (Saffron, White, Green, with the Ashoka Chakra) signifies a focus on national identity, patriotism, or the future of the nation.

• The large white wings attached to the map or a performer suggest aspiration, progress, or flying high—perhaps Gen Z's dreams for India.

• The banner below the performers shows what looks like a village or rural scene, but with a modern twist. The letters "G.P.T" or similar text (which could be a playful reference to modern AI like GPT) are visible, further emphasizing the fusion of traditional rural life and modern technology/trends.

• The Performers: The young girls forming a pyramid structure suggest unity, collective effort, and dynamic energy, which aligns with a theme of the youth taking charge. Their bright, cohesive outfits also suggest a unified purpose.

• In short, the performance likely explores the intersection of youth culture, technology, and traditional Indian socio-political structures, potentially in a satirical, aspirational, or commentary-driven way.

This performance is a contemporary blend of patriotism and youth satire, best analyzed using Dryden's Concept of a "Play" and the contrastive element of Ben Jonson's Comedy of Humours.

Theory Applied	Element	Analysis
Dryden's "Play"	Purpose and Form	Dryden defined the play as a "just and lively image of human nature." This performance acts as a lively, aspiration-driven image of contemporary Indian youth culture (Genz) wrestling with traditional governance (Panchayat). It is designed to be didactic (educational/patriotic) while remaining entertaining.
	Verisimilitude (Appearance of Truth)	The play uses recognizable contemporary language and youth issues (implied via the "Gen Z" title and the use of the term "CGPT" on the banner) to connect with the modern audience, fulfilling the demand for a plausible reflection of social life.
Ben Jonson's Comedy of Humours	"Humour" as Obsession	While not a perfect fit, the performance can be seen as subtly satirizing the "humours" of the youth—their overwhelming optimism, national pride, and tech-driven approach (the "CGPT" reference), portraying these as defining, slightly exaggerated characteristics of the generation.

Category	Rationale
Bollywoodish Theatre Performance	This is the best fit. The performance uses spectacle (the large Indian map, wings, pyramid formation) and deals with themes of national aspiration and social change through a unified, high-energy presentation, typical of the dramatic, vibrant, and didactic style often seen in Indian popular culture and films.

• The theme of the skit is most likely Generational and Cultural Commentary on Modern Indian Society, particularly the obsession with Fame, Wealth, and Youth Culture.

Generational Clash/Social Commentary:

The "Grandfather" character represents the older generation, tradition, and perhaps simpler times. His desire to "come back from heaven" suggests a commentary on how appealing (or bizarre) modern life, wealth, and celebrity status are, even from an "afterlife" perspective.

The figures of Anant Ambani (representing immense wealth, business, and one of India's most powerful families) and Shubman Gill (representing modern-day sports celebrity, youth icon, and national attention) are the key markers of what the current generation values and is obsessed with.

The performance is likely using the grandfather's comic "return" to satirize the priorities of the modern world, comparing traditional values to the pursuit of celebrity and riches.

The Clock as a Symbol:

The prominent clock on the set reinforces the theme of Time, Change, and Mortality. It highlights the contrast between the grandfather's time and the modern era. It might also be a literal element of the plot, perhaps counting down the time the grandfather has to stay on Earth, or marking the time of his death/return.

Comic Yet Capturing:

The blend of the serious concept (death/afterlife) with the inclusion of contemporary celebrity figures (Ambani, Gill) is the core of the comic satire. The comedy likely comes from the grandfather's funny misinterpretations or reactions to modern things like social media, or his direct interactions with the celebrity characters.

• In essence, the theme is a light-hearted yet sharp look at the values of contemporary India as seen through the eyes of a bewildered, deceased elder.

This performance, described as "comic yet capturing" and featuring a time-traveling grandfather, is best analyzed using Irving Wardle's "Comedy of Menace" and elements of Martin Esslin's "Absurd Theatre."

Theory Applied	Element	Analysis
Irving Wardle's Comedy of Menace	Menace and Comedy	The performance balances two tones: the Comedy (the grandfather's funny confusion over modern life/celebrities like Anant Ambani and Shubman Gill) and the underlying Menace (the serious, unavoidable reality of mortality, time, and legacy represented by the clock and the death plot point). The grandfather’s return from the afterlife is both absurdly funny and philosophically terrifying.
	Anxiety and Uncertainty	The play exploits the anxiety of modern life: the overwhelming nature of wealth, celebrity, and cultural shift, filtered through the grandfather’s bewilderment.
Martin Esslin's Absurd Theatre	Nihilism and Meaninglessness	The grandfather's return from the dead to a world obsessed with fleeting celebrity (Ambani/Gill) can be viewed as an absurdist metaphor. His attempt to re-enter a world he no longer understands highlights the meaninglessness of human activity when divorced from enduring values. The clock emphasizes the arbitrary nature of time.

Category	Rationale
Sentimental Comedy / Comedy of Manners	It functions as a blend:
	1. Sentimental Comedy because the core conflict is often resolved through the restoration of traditional family values (the grandfather's perspective) after a period of emotional/social confusion. The "comic yet capturing" tone suggests a moral lesson achieved through sentiment.
	2. Comedy of Manners because it satirizes the "manners" of the contemporary elite (obsessions with figures like Anant Ambani and Shubman Gill) when contrasted with the values of the past (the grandfather's generation).

• The overarching theme of the cultural event shown in the photograph is the Celebration and Legacy of Indian Literature, Arts, and Cultural Figures.

This theme is clearly established by the visual evidence:

Tribute to Icons: The presence of multiple large standees displaying the portraits of prominent figures (likely famous Indian poets, writers, or social reformers) indicates the event is a formal tribute or commemoration of their contributions.

Literary/Theatrical Arts: The stage setup, including microphones, a small performance area, and people holding a harmonium and potentially a tabla (traditional Indian musical instruments), suggests that the event involves performances like poetry recitation, musical renditions of literary works, or dramatic readings. The presence of the theatrical masks on the central stand also points to a focus on drama and storytelling.

Cultural Dialogue and Education: Events of this nature (like the literary festivals described in the search results) are typically held to promote cultural awareness, encourage dialogue about literature, and educate the audience about the rich history and diversity of Indian languages and artistic expression. The blank screen suggests the use of visual aids for an audience in a formal hall setting.

• The performance is a blend of visual tribute and live art, dedicated to honoring the intellectual and artistic heritage of India.

• In this scene, the performers vividly portray Raudra Bhava — the emotion of intensity and righteous anger — through powerful expressions and commanding gestures. This evokes the Veer Rasa, the essence of heroism and courage, capturing a moment of moral strength and emotional depth. The posture, energy, and synchrony of the actors create a striking visual that embodies the timeless spirit of valor and conviction.

This picture shows-

Theme: The blending of Indian traditional aesthetics with Western literary classics.

Literary Connection: The costumes and expressive body language reflect Indian classical theatre traditions (like Kathakali or Yakshagana), while the Shakespeare poster hints at Western influence. This symbolizes how literature transcends boundaries, adapting Shakespearean emotions — love, power, betrayal — into culturally local forms.

SHAKESPEARE IN THE INDIAN CONTEXT-

Theme: Reinterpreting Shakespeare through Indian eyes.

Literary Connection: India has a long history of adapting Shakespeare from Othello becoming Omkara to Macbeth turning into Maqbool. This performance might represent how universal human emotions can be retold through local expressions, costumes, and language, keeping the essence of Shakespeare alive in new contexts.

• Like in Shakespeare’s tragedies and comedies, the exaggerated expressions and gestures in the skit highlight how performance brings text to life. It’s reminiscent of the Rasa theory in Indian aesthetics where emotions like love, anger, or heroism connect the audience to the story.

This event, centered on literary figures and musical performances, is not a narrative play but a cultural function. However, the performance element itself can be viewed through Dryden's broad definition of "Play".

Theory Applied	Element	Analysis
Dryden's "Play"	Purpose (Instruction & Delight)	The primary purpose is instruction and delight, a key concept for neoclassical critics like Dryden. It instructs the audience on the legacy of great Indian writers and poets (via the standees) and delights them through music and poetry (the live performance).
	Cultural Reflection	The event acts as a "just and lively image" of the cultural and literary landscape of India, celebrating its heritage and reinforcing cultural values among the youth, thus fulfilling the didactic role of drama.

Category	Rationale
Anti-Sentimental Comedy / Comedy of Manners	While not a play, the dramatic elements fit:
	1. Anti-Sentimental Comedy (or a satirical literary gathering) applies if the intent is to critique or debate the legacies of the great writers, using intellectual rigor over mere emotional appeal.
	2. Comedy of Manners could apply if the focus is on satirizing the high-society mannerisms, pretension, or rigid formalities of a typical literary festival or intellectual gathering. Since the image shows a formal tribute, it is more a formal performance than a true comedy, but the closest satirical category would be Comedy of Manners if the speakers are engaging in intellectual one-upmanship.

Ganga: Roar of Justice – A One-Act Play That Demands Accountability

The concise nature of the format forces performed by The KPES College written by Anopsinh Sarvaiya and directed by Vipul Rathod and Jibril Parmar and students were guided by Prof. Jagat Bhatt and also Nandish Padia and Rachit Mehta supported a lot from the backstage.the narrative to be direct and hard-hitting, turning a complex social commentary into a devastatingly effective theatrical event.

The Theatre of Injustice

The stage design was immediately arresting. Under the dark shadows of the auditorium, the set was dominated by stark representations of Hindu mythology—the contrasting images of Lord Shiva and the fierce, primal goddess Maa Kali. This wasn't just decoration; it established the theme of the performance: a battle for justice that transcends the human realm, calling on divine, destructive power to right a grievous wrong.

The plot, compressed for the one-act stage, is a chilling indictment of social failures:

The Abuse of Trust: A revered religious figure, a "swami," is revealed as a predator, having sexually assaulted both a mother and later her daughter, Ganga. The inclusion of a character in a police uniform on stage is a grim symbol of the systemic failure, representing the corruption that allows the swami to control the law.

The Burden of Identity: The central character, Ganga, is a symbol of marginalized identity—a Muslim girl named by her mother after the sacred river, born of a failed cross-cultural relationship, and rejected by her stepfather. Her fight for justice is compounded by the pre-existing traumas of familial rejection and social isolation.

The Roar of the Victim

What makes "Ganga: Roar of Justice" a compelling work of art is its unwavering focus on Women Empowerment in the face of absolute betrayal. The play doesn't linger on victimhood; it accelerates toward defiance.

The ultimate act of the play—Ganga’s single-minded pursuit to ensure the swami is jailed—is a profound victory against a cycle of patriarchal violence and systemic injustice. Her "roar" is not just for herself, but for her mother, and for every woman failed by figures of authority and family.

In its tight, intense, one-act structure, the performance successfully strips away complexity to reveal a single, urgent message: The fight for justice requires breaking the cycle of silence, regardless of the power of the oppressor.

If this powerful one-act play ever comes to a venue near you, I urge you to see it. It is a necessary, cathartic, and ultimately hopeful declaration that the victim’s voice can, and must, prevail.

This intense, one-act performance about sexual violence, corruption, and the fight for justice is best analyzed through the lens of Aristotle's Theory of Tragedy.

Theory Applied	Element	Analysis
Aristotle's Tragedy	Plot (Complex Action)	The plot involves a change of fortune ("reversal") from helplessness to victory (putting the swami in jail), driven by the protagonist's (Ganga's) "roar of justice." The central action is serious and complete.
	Hamartia (Tragic Flaw)	While not a flaw in the traditional sense, Ganga's vulnerability stems from a tragic intersection of social/familial rejection (being named Ganga but from a Muslim background, and her mother's abuse). Her suffering is a direct result of the societal and moral decay around her.
	Pathos (Suffering)	The plot is saturated with suffering (pathos): the rape of the mother and daughter, the police corruption, and familial rejection. This evokes pity and fear (eleos and phobos) in the audience.
	Catharsis (Purging of Emotions)	The successful conviction of the powerful perpetrator (the swami) provides the audience with a cathartic release. The "Roar of Justice" resolves the tension, purging the accumulated pity and fear.

Category

Rationale

Classical Tragedy / Modern Tragicomedy

Classical Tragedy applies due to the profound suffering, the serious and complete action (rape and corruption), and the cathartic resolution (justice achieved). It leans toward Modern Tragicomedy because the tragic themes (violence, social trauma) are resolved by a triumph in the face of modern institutional failure, leaving the audience with a mix of despair over the injustice and hope for the future.

I also witnessed amazing Mimicry performances and Nandish Padia outshined everyone.

Here is the video regarding mimicry-

• The Mimicry portrayed great audio visuals on Ramayana narrated by Time/Samay and he also won the first prize for this greatly visualistic performance.

• By making Time the narrator, the creator offered a profound, almost cosmic perspective on the Ramayana. Time becomes both the observer and the ultimate truth-teller witnessing the rise and fall of kings, the virtue and flaws of humanity, and the cyclical nature of destiny. It’s not just a retelling; it’s a reminder that everything  from Rama’s triumph to Ravana’s downfall unfolds under the gaze of Time.

• The audio-visuals in this rendition are nothing short of mesmerizing. The Mimicry uses striking imagery, smooth motion graphics, and cinematic sound design to merge ancient emotion with modern expression. The music and narration sync perfectly, evoking awe and introspection. Every frame feels deliberate a painting in motion that honors the epic’s grandeur while appealing to today’s audiences.

Apart from these I attended several Folk and western performances as well.

They are-

• This picture, featuring girls performing a folk dance while balancing matkis (earthen pots) on their heads, connects profoundly with Indian literature and aesthetics through several key themes.

Thematic Connections in Literature and Aesthetics

1. Rasa Theory and Emotional Expression

The performance can be analyzed through the lens of Rasa theory, the foundational concept of Indian aesthetics derived from Bharata Muni's Natya Shastra. The dance likely evokes specific rasas (aesthetic flavors):

Adbhutha Rasa (Wonder/Astonishment): Generated by the skill and grace of the dancers balancing the pots, creating a sense of awe.

Shringara Rasa (Love/Beauty): Expressed through the dancers' graceful movements, costumes, and overall captivating presentation. Many folk dances revolve around themes of love, courtship, or devotion.

Vira Rasa (Heroism/Enthusiasm): Could be subtly present in the energy and stamina required to perform such a demanding dance with heavy pots.

Shanta Rasa (Peace/Tranquility): Achieved through the rhythmic and harmonious collective movement.

• The successful performance, by engaging the audience's emotions, allows them to experience rasanubhava (the enjoyment of the aesthetic experience).

2. Symbolism of the Matki and Water

• The matki, particularly when used to carry water, is a potent symbol deeply ingrained in Indian literature, mythology, and art.

Feminine Identity and Daily Life: In literature, the matki symbolizes the daily life and essential role of women, especially in rural settings, often associated with fetching water from a well or river. This imagery appears frequently in folk songs, ballads, and the devotional poetry of the Bhakti movement (e.g., songs describing Gopis carrying pots to the Yamuna).

The Pot as the Body: Mystical poetry, including some Nirguna Bhakti and Sufi verses, often uses the fragile, earthen pot (ghata or matka) as an analogy for the human body, which holds the jiva (soul/spirit). The act of balancing the pot can symbolize the soul's journey and the need for balance in life.

Abundance and Ritual: The pot is also an ancient symbol of the kumbha (pitcher), representing abundance, fertility, and the life-giving nature of water. It is central to many Hindu rituals, including the famous Kumbh Mela, lending a sacred and auspicious aesthetic to the dance.

3. Aesthetics of Ornamentation and Costume

• The bright, traditional costumes and ornamentation worn by the dancers are essential to Indian aesthetics (Alankara Shastra).

Alamkara (Ornamentation): In literature and drama, alamkaras are figures of speech that beautify the text. Similarly, in dance, the elaborate costumes, jewelry, and makeup (known as Aharya Abhinaya in Natya Shastra) serve as visual alamkaras, enhancing the beauty and regional authenticity of the performance.

Regional Identity: The specific style of dress (likely a ghagra-choli) and the dance form identify a particular folk tradition (such as Garba, Ghoomar, or another regional dance from Gujarat/Rajasthan, given the banner context). Folk literature and aesthetics thrive on celebrating this distinct regional identity, preserving cultural narratives and styles that often contrast with the more formalized "classical" traditions. The banner in the image, mentioning a Yuva Mahotsav (Youth Festival), signifies the aesthetic value placed on preserving these vibrant cultural forms.

• The stage at the BHAV GUNJAN YOUTH FESTIVAL 2025 came alive with an electrifying performance of Raas, showcasing the deep cultural roots and energy of the students from Maharaja Krishnakumarsinhji Bhavnagar University.

• More than just a dance, the Raas performance was a spectacle of synchronized movement, vibrant color, and pulsating rhythm. Dressed in traditional attire—the girls in their colorful ghagra-cholis and the boys in festive kediyus—the participants wielded their dandiyas (decorated sticks) to create the iconic, rhythmic clack that defines this folk form.

• Raas is intrinsically linked to the story of Lord Krishna and the Gopis, symbolizing the circle of life and the divine leela (play). This inter-departmental competition brought together departments in a thrilling display of teamwork and cultural pride, proving that the traditional spirit of Gujarat shines brightest when celebrated by its youth. It was a truly mesmerizing moment of tradition meeting youthful exuberance!

• The BHAV GUNJAN YOUTH FESTIVAL 2025 stage transformed into a musical arena as the talented students from K.P.E.S. College delivered a captivating performance in the Western Singing category.

• With their coordinated black-and-white attire, the group presented a polished and professional look that perfectly matched their vocal delivery. The performance was a fresh, modern counterpoint to the traditional folk dances, showcasing the diverse talents nurtured at the university.

• Their harmonies and stage presence captivated the audience, demonstrating not only vocal skill but also the rigorous practice and teamwork involved. This moment highlighted the fact that college youth festivals are a vibrant platform for all art forms—from the classical and folk to the contemporary and global! A stellar performance that truly resonated with the spirit of the youth festival.

The Rhythmic Heart of Gujarat: Bhavgunjan's Folk Orchestra 

• BHAV GUNJAN YOUTH FESTIVAL 2025  stage recently hosted a powerful performance that truly captured the rhythmic soul of Gujarat: the Folk Orchestra.

• Against a backdrop of vibrant traditional decorations, a group of young musicians, splendidly dressed in colorful kediyus and turbans, delivered a performance that resonated with infectious energy. The air was thick with the rich sound of traditional instruments—from the deep thumps of the Dhol and Dholak to the sharp, intricate beats of the tabla.

• The highlight of the show was undoubtedly the mesmerizing "Sarkari" beat. This rhythm, which has become a staple of high-energy Gujarati folk and wedding music, provided a driving, instantly recognizable pulse that had the entire audience moving. It wasn't just music; it was a rhythmic celebration of cultural heritage, expertly executed by the university's talented students.

• This performance proved that even in modern youth festivals, the traditional Folk Orchestra remains the ultimate source of energy and regional pride!

• The whole auditorium fell silent for our own classmate, Sandip Jethva. His performance of Raag Bhupali on the flute (bansuri) was absolutely breathtaking. Choosing this serene, pentatonic raga, Sandip didn't just play the notes; he created an atmosphere of peace and devotion. It was a beautiful reminder that amidst all the competition, the heart of our culture lies in these timeless melodies.

Apart from this I also witnessed great Debates and two of them are of our English Department- Shehzad Chokiya and Bhargav Makwana who debated very nicely and precicely on the current topics of politcs, mass media and so on.

Besides this I also enjoyed the creation made in FINE ARTS which are as follows-

• My senior, Krishna Vala participated in Clay Modelling where her clay model, featuring a hut (kothi) and a well (kuva), is a perfect example of Aestheticism rooted in Theme.

Theme: Rural Simplicity and Sustainability: The miniature landscape immediately evokes the quiet, self-sufficient life of a Gujarati village. The hut represents shelter, home, and traditional architecture, while the well symbolizes the source of life, community, and the essential connection to nature.

Aestheticism: Form and Texture: The art form is inherently tactile and aesthetic. The rough, unfinished clay texture is deliberately chosen to convey authenticity and an organic connection to the earth. The structure’s simplicity (a basic well and hut) adheres to the minimalistic aesthetic often found in folk art, where function and form merge beautifully.

Didacticism (Subtle): The model serves as a quiet instruction, reminding the viewer of the value of basic resources (water) and traditional, simple living, standing in soft contrast to modern complexity.

• My classmate, Vanita Baraiya used  recycled newspaper in her painting which adds another fantastic dimension—the intersection of Aesthetics and Didacticism through material and message.

• Vanita Baraiya's work is a brilliant example of the Aesthetics of Sustainability.

Aestheticism: She transformed discarded newspapers into an intricate, textured mosaic. This technique (collage/mixed media) is visually rich, with the tiny fragments creating a unique texture that speaks to the patience and dedication of the artist. The beauty is not just in the subject matter (a still life, likely), but in the ingenuity of the material.

Didacticism: Her choice of recycled material is highly didactic, subtly teaching the importance of resourcefulness and eco-consciousness in art. It turns a "waste" product into a vehicle for beauty.

My personal feeling and emotions regarding

 BHAV GUNJAN YOUTH FESTIVAL 2025 

• The BHAV GUNJAN YOUTH FESTIVAL 2025 wasn't just another college festival; it was a deeply personal journey through art and culture. Walking into the main arena, I felt an immediate surge of energy, but the true highlight was seeing my own friends and seniors contribute to that atmosphere, connecting us all to something much larger than a competition.

• Overall, the Mahotsav was a vivid, emotional, and intellectually stimulating experience. I felt a strong connection to our culture, a deep pride in my peers, and a renewed appreciation for how art—whether a flute melody or a sculpture made of newspaper—tells our story.

• What an incredible day at the Youth Festival! It wasn't just a showcase of talent; it felt like a deep dive into India's cultural and social mind, moving effortlessly from high-stakes drama to satirical comedy, and culminating in pure, vibrant tradition.

• A moment of quiet reverence was the Literary and Cultural Event. It wasn't drama, but it was essential. Standing there in the auditorium, surrounded by the standees of great Indian writers and poets, felt like being in a hall of fame. The musical performance with the harmonium connected those literary legacies to the living art of music and performance, grounding the whole festival in the rich cultural history that inspires all the drama and dance.

On the last day our seniors- Rajdeep Bavaliya, Rutvi Pal and Sanket Vavadiya who participated in the Quiz competion which was held at our Department, The Department Of English were given their medals and certificates of conquering the 2nd prize and Prakruti Bhatt ma'am and Megha Trivedi ma'am joined them.

I also clicked a photo with our winners-

Here is a photograph of the participants, the volunteers from The Department Of English along with our professors-

Apart from these here are other photographs I clicked and made some amazing memories acedemically and culturally -

Later on the Quiz Competion winners were felicitated by the Head of Department Of English, Dr. Dilip Barad sir.

• Stepping into the Youth Festival for the first time as a member of this university was an absolute blast! Having just joined, I wasn't sure what to expect, but I have to say, it was an unforgettable introduction to the vibrant spirit and talent here. That day set a high bar for my time at the university—I'm so glad I got to experience it!

• As a newcomer to this university, attending the annual Youth Festival marked my inaugural major campus event. I was genuinely impressed by the scope and execution of the performances. The festival provided a compelling showcase of student talent and culture, making it an exceptionally memorable first experience and a fantastic welcome to the institution.

• My first Youth Festival as a part of this university community was, without a doubt, a memorable one. Having missed previous years, I was completely unprepared for the sheer diversity and depth of the performances. From the powerful social commentary of the drama pieces to the pure, energetic joy of the folk dances, the entire day was a brilliant testament to the talent here. It was the perfect initiation, and I'm already looking forward to the next one!

THANK-YOU!