Bhav Gunjan Youth Festival 2025

Bhav-Gunjan Yuvak Mahotsav 2025: A Celebration of Talent, Creativity, and Social Consciousness at MKBU

This blog is written as a task assigned by the Head of the Department of English (MKBU), Prof. Dr. Dilip Barad.

Maharaja Krishnakumarsinhji Bhavnagar University (MKBU) celebrated its 33rd Youth Festival, Bhav-Gunjan Yuvak Mahotsav 2025, from 8th to 11th October 2024. Organized by the Physical Education Department, the festival showcased the artistic, intellectual, and cultural talents of students from 68 colleges, involving approximately 949 participants. The festival retained MKBU’s tradition of combining aesthetic expression with social awareness, critical thinking, and moral reflection.

The Five Pillars of Art: Introducing the 'Gunjan' Themes

એમ્ફી થિયેટર – નૃત્ય – ગુંજન મંચ (Amphitheater – Nr̥tya – Guñjana Man̄ca)

• રીપોર્ટિંગ / રજિસ્ટ્રેશન — એમ્ફી થિયેટર (Reporting / Registration — Amphitheater)

• ઉદ્ઘાટન સમારોહ — એમ્ફી થિયેટર (Inauguration Ceremony — Amphitheater)

• મિમિકી — એમ્ફી થિયેટર (Mimicry — Amphitheater)

• લોકનૃત્ય / આદિવાસી નૃત્ય — એમ્ફી થિયેટર (Folk / Tribal Dance — Amphitheater)

• સમૂહગીત (ભારતીય) — એમ્ફી થિયેટર (Group Song — Indian — Amphitheater)

• Western instrumental (solo) — એમ્ફી થિયેટર (Western Instrumental (Solo) — Amphitheater)

• પાશ્ચાત્ય ગાયન (સોલો) — એમ્ફી થિયેટર (Western Singing (Solo) — Amphitheater)

• સમૂહગીત (પાશ્ચાત્ય) — એમ્ફી થિયેટર (Group Song — Western — Amphitheater)

• લોકવાદ્યવૃંદ — એમ્ફી થિયેટર (Folk Instrument Ensemble — Amphitheater)

• ક્રિએટિવ કોરિયોગ્રાફી — એમ્ફી થિયેટર (Creative Choreography — Amphitheater)

• પૂર્ણાહુતિ સમારોહ — એમ્ફી થિયેટર (Closing Ceremony — Amphitheater)

અટલ ઑડિટોરિયમ – રસ – ગુંજન મંચ (Atal Auditorium – Rasa – Guñjana Man̄ca)

• સ્કીટ — અટલ ઑડિટોરિયમ (Skit — Atal Auditorium)

• એકાંકી-1 — અટલ ઑડિટોરિયમ (One-act Play 1 — Atal Auditorium)

• એકાંકી-2 — અટલ ઑડિટોરિયમ (One-act Play 2 — Atal Auditorium)

• શાસ્ત્રીય નૃત્ય — અટલ ઑડિટોરિયમ (Classical Dance — Atal Auditorium)

• શાસ્ત્રીય વાદન (તાલ વઘ) — અટલ ઑડિટોરિયમ (Classical Instrumental — Rhythm Section — Atal Auditorium)

• શાસ્ત્રીય વાદન (સ્વર વઘ) — અટલ ઑડિટોરિયમ (Classical Instrumental — Melody Section — Atal Auditorium)

નવો કોર્ટ હોલ – સૂર – ગુંજન મંચ (New Court Hall – Sūra – Guñjana Man̄ca)

• સુગમ ગીત — નવો કોર્ટ હોલ (Sugam Geet / Light Music — New Court Hall)

• શાસ્ત્રીય ગાયન — નવો કોર્ટ હોલ (Classical Vocal — New Court Hall)

• વક્તૃત્વ — નવો કોર્ટ હોલ(Elocution— New Court Hall) 

• ડિબેટ — નવો કોર્ટ હોલ (Debate — New Court Hall)

બાહ્ય અભ્યાસક્રમ ભવન – રંગ – ગુંજન મંચ (External Department – Raṅga – Guñjana Man̄ca)

• તત્કાળ ચિત્ર (Instant Painting) — બાહ્ય અભ્યાસક્રમ ભવન (Instant Painting — External Department)

• પોસ્ટર મેકિંગ — બાહ્ય અભ્યાસક્રમ ભવન (Poster Making — External Department)

• કાર્ટૂનિંગ — બાહ્ય અભ્યાસક્રમ ભવન (Cartooning — External Department)

• ક્લે મોડેલિંગ — બાહ્ય અભ્યાસક્રમ ભવન (Clay Modelling — External Department)

• રંગોની (Rangoli) — બાહ્ય અભ્યાસક્રમ ભવન (Rangoli — External Department)

અંગ્રેજી ભવન – શબ્દ – ગુંજન મંચ (Department of English – Śabda – Guñjana Man̄ca)

• પ્રશ્નમંચ (પ્રિલિમિનરી) — અંગ્રેજી ભવન (Quiz (Preliminary) — Department of English)

• પ્રશ્નમંચ (ફાઇનલ) — અંગ્રેજી ભવન (Quiz (Final) — Department of English)

Kala-yatra – A Moving Canvas of Themes

The Youth Festival 2025 at Maharaja Krishnakumarsinhji Bhavnagar University commenced with a vibrant Kalayatra (Art Procession) on 8th October 2024, emphasizing national unity and cultural pride. This procession served as a dynamic introduction to the festival, merging performance art, creativity, and social commentary in a public space.

Schedule & Route

• Reporting Time: 3:00 PM at Shamaldas Arts College

• Procession Start: 4:30 PM

• Procession Route:
  Shamaldas Arts College → Central Salt → Gulista Ground → Atabhai Chowk → Rupani Circle → Sardarnagar Circle

• Procession End: Sardarnagar Circle near J.K. Sarvaiya Group of Colleges

Participation & Scale

Approximately 550 students from various colleges took part in the Kalayatra, presenting tableaux and performances that combined artistic skill with social awareness. The event highlighted students’ ability to creatively interpret cultural, technological, and patriotic themes.

Themes and Performances

1. Operation Sindoor – Courage Against Terrorism

   • Portrayed India’s response to terrorism after the tragic Pahalgam attack on 22nd April 2025.

   • Depicted the precision of Operation Sindoor, targeting terrorist camps while avoiding civilian harm.

   • Expressed moral courage, justice, and resilience through symbolic tableaux.

2. Swadeshi Bharat – Patriotism & Indigenous Pride

   • Celebrated local culture, traditional crafts, and the Vocal for Local movement.

   • Encouraged students to support regional communities and businesses.

3. Heart of Gujarat – Rural Life & Traditions

   • Showcased the agricultural and cultural heritage of Gujarat, emphasizing traditional lifestyles, community values, and folk aesthetics.

4. Contemporary Social Themes

   • Mobile Addiction & Technology: Highlighted modern dependency on gadgets and social media.

   • Environmental Awareness: Presented issues like river conservation, deforestation, and ecological responsibility.

   • Unity for a Self-Reliant India: Promoted national integration and teamwork among students.

Inauguration & Dignitaries

• The Kalayatra began from Shamaldas Arts College and was inaugurated under the chairmanship of Vice-Chancellor Dr. Bharat B. Ramanuj, who highlighted the festival as an opportunity to celebrate hidden talents.

• Distinguished guests included:

  • Dr. Girishbhai Patel, Dean, Homeopathy College

  • Dr. Dilipsinh Gohil, Director of Physical Education

  • Dr. Sureshbhai Savani, Founder Trustee, Sahajanand College

Host Institution Support

• Sahajanand College of Commerce and Management arranged meals for all participants.

• The event attracted large crowds of students, citizens, and art lovers, showcasing Bhavnagar’s vibrant cultural landscape.

Critical Observations

• The Kalayatra successfully combined art, culture, and social consciousness, demonstrating students’ ability to communicate messages visually and performatively.

• Themes like Operation Sindoor and environmental conservation revealed ethical awareness alongside artistic skill.

• The procession’s organization, from registration to completion, reflected meticulous planning, although the sheer number of participants made it challenging for the audience to absorb every performance fully.

Significance

• The 33rd Youth Festival, titled “Bhavgunjan,” symbolized the rhythm, energy, and spirit of young creativity.

• By starting the festival with a moving canvas of social, patriotic, and cultural narratives, the Kalayatra set the tone for subsequent events across multiple stages.

• The combination of traditional tableaux, modern social themes, and youth engagement reinforced MKBU’s commitment to holistic cultural education and moral reflection through performing arts.

Inaugural Ceremony – A Grand Beginning

The 33rd Youth Festival of MKBU, titled “Bhavgunjan”, officially began on Thursday, 9th October 2024, at 10:00 a.m. in the Amphitheater of Maharaja Krishnakumarsinhji Bhavnagar University. The ceremony marked the formal commencement of four days of artistic, cultural, and intellectual activities.

Participation & Attendance

• Approximately 949 students from 66 colleges participated in the festival.

• The ceremony was presided over by Prof. (Dr.) Bharatbhai Ramanuj, Vice-Chancellor of MKBU.

• Guests of Honour:

  • Union Minister Nimu Ben Bambhaniya – delivered a speech on youth empowerment.

  • MLA Jitu Vaghani – addressed students with motivational guidance.

  • Lyricist Niren Bhatt – shared personal experiences and insights from his artistic journey.

• Welcome & Coordination:

  • Guests were welcomed by Dr. Dilipsinh Gohil, Director of Physical Education.

  • Vote of Thanks was delivered by Dr. Bhavesh Jani, Acting Registrar of the University.

Opening Performances

1. Traditional Welcome:

   • Performed by 30 students of Bhaktraj Dada Khachar Arts and Commerce College, Gadhada.

   • The performance combined ritualistic elements with dance, highlighting Gujarat’s cultural heritage.

2. Kathak Dance:

   • Presented by students of Kalarpan Raas Academy.

   • Theme: Goddess Bhagwati, integrating classical choreography with devotional expression.

3. Folk Group Singing:

   • Radhika Mehta and Shruti Sonani from the Department of English participated.

   • Celebrated folk music traditions, evoking the joy and vibrancy of youth engagement in traditional art forms.

Dignitaries’ Speeches

1. MLA Jitu Vaghani:

   • Encouraged students to “carry responsibilities with confidence” and embrace enthusiasm for success.

   • Highlighted the importance of contributing to society post-university.

   • Critique: Speech was aspirational but abstract, lacking concrete guidance on actionable strategies.

2. Union Minister Nimu Ben Bambhaniya:

   • Focused on youth empowerment and entrepreneurship.

   • Highlighted India as the third-largest startup ecosystem, citing 1.6 lakh startups and 17 lakh employment opportunities.

   • Critique: While patriotic and motivational, the speech did not connect statistics to students’ immediate opportunities.

3. Niren Bhatt (Scriptwriter & Lyricist):

   • Shared how participation in University Youth Festivals shaped his career.

   • Emphasized collaboration, learning from peers, and enjoying the festival fully.

   • Critique: Anecdotal and relatable, providing practical inspiration grounded in personal experience.

Ceremony Observations

• The ceremony began an hour late, causing some restlessness among students.

• Despite delays, the combination of traditional and classical performances created a cultural and aesthetic grandeur.

• The event demonstrated MKBU’s commitment to holistic student engagement, blending intellectual, artistic, and moral growth.

• The inaugural ceremony set the tone for the entire festival, emphasizing discipline, artistic excellence, and cultural awareness.

• Folk singing and Kathak performances showcased students’ technical skill, creativity, and devotion.

• Guests’ speeches, though varying in practical applicability, contributed to motivating and energizing the student audience.

• The ceremony reinforced the festival’s ethos of fostering talent, unity, and social consciousness among youth.

1. Amphitheater – Nr̥tya – Guñjana Man̄ca

The Amphitheater served as the primary venue for dance, musical, and large group performances, featuring both traditional and contemporary elements. Sub-events included:

• Reporting / Registration – Organized at the Amphitheater to manage participants’ entry.

• Inauguration Ceremony – Official opening of the stage and festival activities.

• Mimicry – Performances showcased creativity and humor.

• Folk / Tribal Dance – Students presented traditional dance forms reflecting rural life, local culture, and indigenous heritage.

• Group Song (Indian) – Celebrated Indian classical and folk music traditions.

• Western Instrumental (Solo) – Showcased students’ skill in Western instruments individually.

• Western Singing (Solo) – Solo vocal performances in Western music style.

• Group Song (Western) – Collaborative Western vocal performances.

• Folk Instrument Ensemble – Students performed using traditional instruments, preserving regional musical identity.

• Creative Choreography – Innovative presentations that merged mythology, devotion, and contemporary ideas.

• Closing Ceremony (Purnahuti Samāroh) – Culmination of the Amphitheater events, awarding winners and celebrating participation.

2. Atal Auditorium – Rasa – Guñjana Man̄ca

The Atal Auditorium focused on drama, classical dance, and classical instrumental performances:

• Skit – Short plays with social, cultural, and satirical themes.

• One-act Play 1 & 2 – Narrative-driven performances exploring societal, historical, or mythological topics.

• Classical Dance – Showcased students’ mastery of Indian classical forms.

• Classical Instrumental Music (Rhythm Section / Percussion) – Tal-based percussion performances, emphasizing coordination and technique.

• Classical Instrumental Music (Melody Section) – Students performed melodic instruments, demonstrating technical finesse and emotional expression.

3. New Court Hall – Sūra – Guñjana Man̄ca

New Court Hall was the center for vocal music, oratory, debate, and literature-based performances:

• Sugam Geet / Light Music – Semi-classical and contemporary vocal performances.

• Classical Vocal Music – Students demonstrated disciplined training in Indian classical singing.

• Vastutva – (As listed in the source; likely thematic or creative presentation).

• Debate – Addressed current socio-political and cultural issues, fostering critical thinking.

4. External Department – Raṅga – Guñjana Man̄ca

The External Department highlighted visual arts and fine arts competitions:

• Instant Painting – Students created paintings in a limited time, testing creativity under pressure.

• Poster Making – Visual communication focused on social messages or campaigns.

• Cartooning – Satirical artworks addressing contemporary issues.

• Clay Modelling – Sculptural creations reflecting aesthetic and cultural themes.

• Rangoli – Temporary decorative art using colors, expressing unity, youthfulness, and creativity.

5. Department of English – Śabda – Guñjana Man̄ca

The English Department hosted literary and intellectual competitions, promoting critical thinking and academic engagement:

• Quiz (Preliminary & Final) – Focused on general knowledge, literature, and interdisciplinary topics. Participants included Rutvi Pal, Rajdeep Bavaliya, and Sanket Vavadiya, who secured the 2nd prize.

Highlights of Student Performances at Bhavgunjan Youth Festival 2025

The 33rd Youth Festival of MKBU – Bhavgunjan 2025 was an extravaganza of talent, creativity, and cultural expression. Students from various colleges showcased their skills across multiple stages and competitions, reflecting artistic discipline, social awareness, and intellectual engagement.

1. Mime Performances: Silent Narratives with Social Messages

The mime competition at Bhavgunjan 2025 stood out for its thought-provoking themes and expressive storytelling. Each performance used silent expression to communicate social, ethical, and environmental messages, demonstrating exceptional creativity and emotional depth.

Themes & Highlights:

1. Operation Sindoor: Courage Against Terrorism and Injustice

   • Inspired by the Pahalgam terrorist attack on 22 April 2025 by “The Resistance Front.”

   • Highlighted India’s measured response through Operation Sindoor, targeting terrorist camps while avoiding civilian and military casualties.

   • Performance conveyed moral courage, resilience, and justice through gestures and symbolism.

2. Charan Kanya: Tradition Meets Injustice

   • Explored exploitation of women under faith and tradition, based on Charan women of Gujarat and Rajasthan.

   • Highlighted moral conflict between blind faith and dignity, emphasizing that spiritual identity should not override human rights.

3. Modern Robert: The Dehumanizing Effects of Technology

   • Satirical depiction of contemporary life where humans resemble robots due to social media and gadget dependence.

   • Emphasized loss of spontaneity, emotional connection, and empathy through synchronized robotic gestures.

4. Samrat Ashok: Journey from Violence to Peace

   • Reimagined Emperor Ashoka’s transformation after the Kalinga War.

   • Symbolized inner turmoil, moral awakening, and embrace of nonviolence, delivering a message of compassion over aggression.

5. Jameen Jungle: Conflict Between Nature and Greed

   • Depicted environmental degradation caused by human greed and industrial expansion.

   • Conveyed ecological awareness and responsibility through gestures and visual storytelling.

• These mime performances reflected profound engagement with contemporary realities, combining social awareness with artistic skill.

• The festival reaffirmed MKBU’s role in nurturing ethical reflection through performing arts.

2. Folk Dance Performances

Theme: Indian folk traditions, rural life, and community celebrations.

Notable Performances:

1. Matki Dance

   • Girls balanced earthen pots on their heads, symbolizing water, femininity, and rural aesthetics.

   • Evoked multiple rasas, including wonder, beauty, heroism, and peace.

2. Raas Dance

   • Students performed traditional Gujarati folk dance with dandiyas, celebrating divine leela, teamwork, and cultural pride.

• Folk dances highlighted team coordination, cultural identity, and rhythmic precision, leaving a lasting impression on the audience.

3. One-Act Plays and Skits

Theme: Social commentary, contemporary issues, and cultural critique.

Notable Performances:

1. One-Act Play: Ganga – Roar of Justice (KPES College)

   • Focused on women empowerment, justice, and societal failures.

   • Directed by Prof. Jagat Bhatt, Vipul Rathod, Jibril Parmar, supported backstage by Nandish Padia and Rachit Mehta.

2. Skits:

   • Genz Panchayat: Explored generational perspectives and youth values, blending satire, patriotism, and commentary.

   • Time-Traveling Grandfather: Comic satire highlighting clash between traditional values and modern obsession with fame, wealth, and celebrity culture.

   • Socio-Religious Tensions: Addressed contemporary social and religious issues.

   • Courtroom of Nutrition: Satirical critique of processed food and health hazards (all-female cast).

   • Erosion of Family Ties: Explored emotional distance between generations.

   • Price of Education and Living: Critiqued commercialization, soaring costs, and inflation.

   • Sannata – The Sound of Silence: Advocated action against societal apathy and injustice.

• Skits and one-act plays successfully blended entertainment with reflection, fostering social awareness, satire, and emotional engagement.

4. Musical Competitions

Stages & Events:

1. Amphitheater – Gunjan Manch

   • Group Singing (Indian), Western Instrumental (Solo), Western Vocal (Solo), Folk Music Ensembles, Creative Choreography.

2. New Court Hall – Surgunjan Manch

   • Classical Singing, Oratory, and Debate Competitions

   • Debates included topics like:

     • Artificial Intelligence: Necessity or Risk?

     • Indian Marriage System: Traditional or Dynamic?

     • Development Dilemma: Real or Illusory?

• Classical Vocal: Radhika Mehta

• Classical Instrumental (Melodic): Sandipkumar Jethava

• Western Singing (KPES College): Polished harmonies, modern vocal techniques

• Folk Orchestra: Traditional Gujarati rhythms and instruments

• Flute Performance: Raag Bhupali by Sandip Jethva, evoking peace and devotion

• Music competitions demonstrated discipline, coordination, and creativity, offering both aesthetic and emotional engagement.

5. Literary & Intellectual Competitions

Events & Participants:

• Quiz Competition (Department of English): Rajdeep Bavaliya, Rutvi Pal, Sanket Vavadiya – secured 2nd prize

• Debate/Elocution: Shehzad Chokiya, Bhargav Makwana

• Theme: Knowledge, critical thinking, rhetorical skills, and healthy academic competition

• Literary competitions encouraged intellectual engagement, articulation, and analytical skills, complementing artistic performances.

6. Lalitkala Vibhag (Fine Arts)

Theme: Visual literacy, silent expression, and creativity

Events & Participants:

• Rangoli: Jyoti Mer – temporary mandalas representing unity and youthfulness

• Clay Modelling: Krishna Vala – miniature hut and well, reflecting rural simplicity and sustainability

• Poster Making: Divya Paledhara – visual argument and social messages

• Cartooning: Shruti Sonani – satirical social critique

• Paper Collage (Recycled Newspaper): Vanita Baraiya – fusion of aesthetic creativity and eco-consciousness

• Instant Painting: Jaypal Gohel

• Fine arts competitions emphasized creativity, sustainability, social commentary, and aesthetic innovation.

Closing Ceremony 

https://www.youtube.com/live/EwYUezYbSPY?si=_mAc-P3wk5FQIeUt

Sahajanand College Retains General Championship for the Fourth Consecutive Year

The 33rd Youth Festival – Bhavgunjan 2025 of Maharaja Krishnakumarsinhji Bhavnagar University concluded with grandeur, enthusiasm, and cultural splendor. The three-day event transformed the university campus into a pulsating hub of youthful energy and creativity. Students from 68 institutions, totaling 949 participants, competed across 27 events covering five major divisions — Nrutya (Dance), Sangeetik (Music), Ras (Drama), Rang (Fine Arts), and Shabda (Literature).

A Festival of Talent and Triumph

Sahajanand College of Commerce and Management once again emerged as the General Champion, marking its fourth consecutive victory, while KPES College secured the Runner-up position. With a commanding lead — Sahajanand scoring 140 points against KPES’s 56 — the college reaffirmed its dominance in creative and performing arts. The event culminated in an atmosphere of joy, music, and applause as students celebrated their collective success with fervor.

Cultural and Artistic Splendour

The festival was more than just a competition; it was a celebration of art and imagination. Across multiple stages — Nrutya Gunjan Manch (Amphitheatre), Ras Gunjan Manch (Atal Auditorium), Sura Gunjan Manch (New Court Hall), Rang Gunjan Manch (Fine Arts Building), and Shabda Gunjan Manch (Department of English) — students presented exceptional performances in classical dance, mime, one-act plays, debate, painting, clay modeling, and group singing.
Each performance reflected not only regional diversity but also a deep artistic commitment, embodying what Wordsworth might call the “spontaneous overflow of powerful feelings.” The festival celebrated the union of intellect and emotion — the essence of liberal education.

Leadership and Inspiration

The closing ceremony was graced by eminent personalities.

• Dr. Bharat Ramanuj, Vice-Chancellor of MKBU, praised students’ creative spirit, stating that they “expressed their imagination through colors, forms, and rhythm — transforming art into reflection.”

• Collector Manish Kumar Bansal admired the festival’s discipline and organization, calling Bhavnagar a “city of celebrations.”

• MLA Dharsibhai Pandya encouraged students to promote Swadeshi by supporting local artisans and products during the festive season.

• Former Vice-Chancellor Dr. Zala urged students to recognize the collective effort behind every medal — that success is shared, not solitary.

• Yuvraj Jayatnrajsinh Gohil of Bhavnagar royal family reminded students to stay connected with their university identity and promised personal support whenever needed.

Critical Reflection: The Spirit of Youth and the Shadow of Competition

From a critical standpoint, the Youth Festival beautifully illustrates the Arnoldian ideal of “sweetness and light,” promoting culture as the harmonious development of the mind and soul. It encourages students to blend aesthetic sensibility with intellectual inquiry — much like the Romantic belief in imagination as the supreme faculty.

However, one must also address the postmodern paradox of such festivals: in celebrating unity, they sometimes emphasize rivalry. The overemphasis on winning — with clear hierarchical distinctions between champion and runner-up — can overshadow collaborative creativity. Yet, this very tension fuels artistic evolution, reminding us of Bakhtin’s “carnivalesque” — a festive space where contradictions coexist, authority is inverted, and voices of difference find expression.

Conclusion: A Celebration Beyond Victory

The Bhavgunjan Youth Festival 2025 stood as a testament to the creative vitality of Bhavnagar’s youth — a confluence of art, intellect, and passion. The event not only showcased the city’s artistic pulse but also affirmed the university’s role as a crucible of ideas and culture. Whether through Sahajanand College’s consistent excellence, KPES’s spirited participation, or the guidance of mentors, the festival embodied the transformative power of education — where performance becomes poetry, and youth becomes art in motion.