In the heart of Panjim, amidst the sway of Palolem winds and the rhythm of rustling palms, the Serendipity Arts Festival unfolded something audacious — The Brij Incubator — a live pitch arena where dreams met cold, curious eyes à la Shark Tank, but for the world of art and craft startups. Here, young makers stood before judges like gladiators of craft, not just seeking capital but demanding dignity for traditions underestimated for too long.
This December, as the Serendipity Arts Festival returned for its 10th milestone edition, Panjim’s riverfront, heritage buildings, art districts, auditoriums, and open-air stages came alive with over 250 curated projects, bringing together artists, performers, musicians, chefs, designers, and storytellers from across India and the world.
Marking a decade of cultural engagement, the Serendipity Arts Festival has embraced a nomadic turn, travelling across cities and continents to spark dialogue between diverse creative communities. From poetry, performance, and exhibitions in Birmingham to collaborations in Ahmedabad, ghazal evenings in Delhi, River Raag experiences expanding to Varanasi, and curated gatherings in Chennai and Gurugram, the festival has reimagined how art moves and connects. With Dubai as its next stop and Paris on the horizon, the journey will culminate in Goa next year with its largest edition yet
The 10th edition featured an exceptionally strong theatre programme, ranging from intimate monologues to expansive, multi-sensory productions. Audiences encountered stories that moved from small towns and villages to mythical realms, including the award-winning ‘Nihsango Ishwar,’ the imaginative ‘The Legends of Khasak,’ and experimental works such as ‘Handle With Care’ and ‘Bob Marley from Kodihalli,’ blending humour, realism, and contemporary concerns.
Krzysztof Garbaczewski’s presence at Serendipity Arts Festival underscored the festival’s commitment to reimagining the future of theatre through dialogue and experimentation. On his first visit to India, the renowned Polish director reflected on the deep, reciprocal influence between Indian performance traditions and Polish theatre, noting that the legacy of Grotowski inspires him even today. Garbaczewski spoke about his work with the Dream Adoption Society, where he is developing a “digital performance network” that enables artists to create simultaneous, hybrid performances across continents using virtual reality, live streaming, and new media. For Garbaczewski, this form of theatre is not about spectacle but access: “Using VR makes a difference—the audience is no longer only a spectator, but also becomes an actor in that medium,” he observed, framing technology as a tool to democratise performance and expand artistic collaboration beyond borders.
Spiritual Suspension by the noted Polish Sculpter Tomasz Koclęga presented a striking sculptural installation of monumental white human figures in dialogue with oversized heads, evoking themes of intellect, consciousness, and spiritual reflection. Complementing this was a jazz concert by Light Star Guiding. Directly from Warsaw on a concert tour of India as part of the Jazz Po Polsku project, their bold experimentation and dynamic performance transformed the space into an immersive, electrifying sonic experience.
Another highlight was Razai — a multidisciplinary performance that fuses AIgenerated music, projection-mapped visuals, and contemporary dance into a sensory and living tapestry. Speaking about the work, technical director and scenographer Gaurav Singh Nijjer explained, “Razai was conceived as a space that listens as much as it speaks. Rather than building a fixed stage, we focused on creating a system where architecture, objects, technology, and human presence continuously affect one another. The room changes with every movement and encounter, allowing memory and experience to be fluid.”
This year, Ukraine made its debut at the Serendipity Arts Festival with a programme centred on elements inscribed on UNESCO’s Intangible Cultural Heritage lists. Visitors took part in hands-on workshops dedicated to Petrykivka decorative painting and traditional Ukrainian embroidery, and were also introduced to Ukrainian gastronomy through borshch and palianytsia, the traditional Ukrainian bread. The interactive format allowed festival-goers to experience Ukrainian culture through heritage practices recognised by UNESCO.
Reflecting on her participation in ‘Poems on the Move’ at Serendipity Arts Festival 2025, poet Suchitra Choudhary described the experience as poetry breaking free from the page and entering everyday life—travelling through shuttles, walkways, and unexpected encounters across Goa. “Poetry does not need a stage—it needs presence,” Suchitra observed, capturing the spirit of the initiative as one rooted in movement, chance, and intimate human connection.
What ultimately set Serendipity Arts Festival apart was its seamless integration with the city itself. Rather than unfolding within a single venue, Panjim became the festival’s living canvas—heritage spaces, public parks, riverbanks, and hilltop arenas each hosting distinct artistic experiences. From exhibitions and theatre at the Old GMC Complex to open-air music and interactive works at the Art Park, magical River Raag performances on the Mandovi River (Santa Monica Jetty), and electrifying evening concerts at Nagalli Hills, the festival transformed the city into a shared, immersive cultural landscape.
