Exploring the Art of Curation: Lessons from Sarngadeva Samaroh

For several years now, I have eagerly attended the Sarngadeva Samaroh, an annual festival organized by Mahagami Gurukul in Chhatrapati Sambhaji Nagar (formerly known as Aurangabad). This festival, conceptualized by the accomplished dancer and educator Parwati Dutta, serves as an oasis for the performing arts in a region not traditionally known for its classical music or dance. Given the geographical, economic, and cultural challenges here, it is nothing short of a miracle to witness such dedication to the arts.

Each year, I spend four enriching days at the Sarngadeva Samaroh. It’s not just a festival; it’s a retreat that allows us to learn, observe, and immerse ourselves in the finer aspects of performing arts. Many like me return every year, seeking to deepen our understanding and appreciation of this vibrant field.

What Does Curation Mean?

Before delving into the specifics of Sarngadeva Samaroh, let’s take a moment to think about the concept of curation. The term is often thrown around in various contexts—from art exhibitions to performance festivals—but what does it really mean? Originally stemming from the Latin word “curare,” meaning “to take care of,” curation has evolved over time. It once referred strictly to managing collections in museums but has now expanded to embrace a broader creative responsibility.

A curator connects people to themes, ideas, and cultures. They craft an experience that encourages deeper engagement with the arts. However, when it comes to performing arts in India, one must question whether our curators are delivering on this promise. Do they facilitate meaningful conversations and explorations of the art forms?

The Role of Parwati Dutta

In this context, Parwati Dutta’s work with Sarngadeva Samaroh deserves attention. Her dual role as a performer and curator makes her distinct in the landscape of Indian performing arts. There’s often skepticism surrounding the ability of a performer to wear the hat of a curator, but there’s no conflict here. In fact, performers often bring unique insights into curation due to their intimate familiarity with the art form’s challenges and intricacies.

Examples of innovative curation in the performing arts can be seen in festivals like Baajaa Gaajaa, curated by Shubha Mudgal and Aneesh Pradhan. The ability of artists to conceptualize their festivals allows for a deeper understanding of the art forms involved.

Engaging Conversations and Broader Themes

In 2025, Sarngadeva Samaroh celebrated its 16th edition, filled with performances each evening. The mornings, however, are dedicated to discussions, artist interactions, and even research presentations by emerging scholars. This blend of art and education is what sets the festival apart.

You might wonder—why discuss literature and history at a festival dedicated to dance and music? It’s a thought-provoking question that highlights the interconnectedness of disciplines. Can the performing arts truly exist in isolation? The relationship is symbiotic; musicians and dancers often pull from a wealth of texts and histories as they create.

At Sarngadeva Samaroh, the focus remains on the harmony of tradition and innovation, termed Shastra – Prayoga-Parampara-Anusandhan. It’s clear that meaningful dialogue is crucial, and Parwati Dutta understands how to bring together performers, students, scholars, and audiences for this purpose.

Building a Creative Community

Over the years, I’ve seen Sarngadeva Samaroh foster a creative community of learners and seekers. Audience engagement is not merely about passive observation; it’s about active participation. We’ve established a “creative community” that thrives on sustained, inclusive curation—a hallmark of what Parwati Dutta has accomplished at Mahagami Gurukul.

Discussion topics at the festival span everything from choreography and music-making processes to artistic research. Interactions often lead to collaborative work and problem-solving among community members. This format encourages free thinking, questioning, and ultimately, the growth of the performing arts ecosystem.

Conversations Beyond the Stage

One of the standout features of Sarngadeva Samaroh is the opportunity to engage with artists beyond their performances. While concerts evoke enjoyment and reflection, the festival encourages dialogues with artists, allowing us to understand their creative processes. How does music come to life? What motivates a dancer’s choreography? Such questions deepen our appreciation for the art form.

The need for an open dialogue between scholars and practitioners in the performing arts is essential. For many, ignoring theory in favor of traditional wisdom can be a flawed approach. Instead, combining practical experience with theoretical knowledge enables richer and more informed performances.

Embracing Diversity in Art

Events like Sarngadeva Samaroh emphasize the importance of programming diversity. While many festivals lean towards popular artists, true curation brings lesser-known but equally deserving talents into the spotlight. By blending classical and folk art forms, Parwati Dutta challenges preconceived notions about hierarchy in performing arts.

Art festivals are ephemeral—lasting only a few days—but institutions like Mahagami Gurukul work tirelessly throughout the year to uplift the performing arts community. Despite financial challenges, their determination to foster a space for education and appreciation of these art forms is commendable.

Conclusion

Curation isn’t just about picking artists or performances; it’s about creating an environment that facilitates discussion and exploration. Sarngadeva Samaroh embodies this ethos beautifully, transforming a four-day festival into a hub for inquiry and connection.

As we move forward, it will be vital for festivals like this to sustain their models focused on education and community rather than just commercial success. With visionaries like Parwati Dutta at the helm, I have no doubt they will continue to thrive.

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