Panjim, Goa: As it completes ten years, the Serendipity Arts Festival (SAF) returns to Panjim with its largest, most ambitious and accessible edition yet, reaffirming its place as one of India’s most significant multidisciplinary cultural platforms. Running from December 12 to 21, 2025, the festival will feature over 250 projects, led by 35+ curators, spread across 12 venues across the Goan capital.

What makes this tenth anniversary especially significant is that SAF’s celebrations began months before its official opening—spanning cities across India and even reaching overseas, signalling how far the Goa-born festival has travelled since its inception.

A Year-Long Prelude to a Landmark Edition

The tenth-year celebrations kicked off in May 2025 with a Mini Edition in Birmingham, UK, marking SAF’s growing global footprint. Over the following months, the festival made artistic interventions across the country: an evocative performance at Ahmedabad Cultural Week, a ghazal evening at Delhi’s Safdarjung Tomb, the much-loved River Raag sunset cruise in Varanasi, a curated celebration of Tamil culture in Chennai, and electronic B-Side Sessions in Gurugram.

“These were not standalone events,” curators emphasised, “but preludes to a much larger artistic takeover.”

Panjim as a Living, Breathing Cultural Canvas

From riverfronts and promenades to beaches, parks, jetties and historic buildings, Panjim itself becomes the festival’s canvas. The Old GMC building at Campal—now dominated by artist Diptej Vernekar’s towering Narakasur installation, acts as SAF’s nerve centre, anchoring the festival’s visual identity.

The festival officially opened with large-scale concerts by Clay Play and Palette(s) at The Arena, Nagali Hills Ground, with Motown Madness and The Revisit Project headlining subsequent nights. While music sets the tone, exhibitions and experiential venues open to the public from December 14, inviting visitors into a multi-sensorial, cross-cultural exploration of art, craft, performance, and food.

SAF 2025’s performance programming spans continents and centuries, reconstructing Mumbai’s early jalsa music clubs, tracing divine feminine energies through Goddess Bhagavathy, revisiting 180 years of Marathi theatre, and reimagining puppetry traditions. Artists from across South Asia and beyond blur disciplinary boundaries, creating unexpected collaborations.

Yet, Goa remains at the heart of the festival. Highlights include Goa’s Smallest Big Tradition: The Mini Narkasur Archive, the Terra-Grove terracotta pavilion crafted from kulhads at Miramar Beach by architect Vinu Daniels, and Not a Shore, Neither a Ship, But the Sea, an exhibition curated by Sahil Naik exploring Goa’s oceanic and maritime histories through intergenerational voices.

Food as Memory, Culture and Performance

Food takes centre stage as both art and archive. The Culinary Odyssey of Goa, curated by Odette Mascarenhas, traces the state’s layered culinary history, from Hindu artisans and Gaud Saraswat Brahmins to Muslim descendants of the Bijapur dynasty, Indo–Luso influences and Christian kitchens.

Meanwhile, Goa is a Bebinca, curated by chef Manu Chandra with sensorial design by paChaak, offers an immersive dining experience where food, sound and memory unfold together.

In a first since 2017, a docked barge at the Captain of Ports Jetty, Old Goa, has been transformed into a floating gallery, curated by Veerangana Solanki, encouraging slow, mindful engagement with art against the rhythm of the Mandovi river.

Craft, Memory and the Museums of Making

At the Old GMC Complex, exhibitions foreground craft as living knowledge. Hands, Tools, and the Living Thread, curated by Sandeep Sangaru, offers an intimate look into Kashmiri craft ateliers, presenting everyday tools, sketches and materials as carriers of generational wisdom. Complementary workshops introduce visitors to Namda felting, papier-mâché, and Kari-Kalamdani Naqqashi, led by master artisans.

Other highlights include Home is Where the Heart Is, curated by Kristine Michael, exploring memory and migration through handmade materials, and Stepwells: Poetry in Craft, curated by Anjana Somany, which immerses audiences in the mythic and architectural worlds of Gujarat and Rajasthan’s stepwells.

Designer Rashmi Varma’s Infinite Drape reimagines sari draping as an evolving, living craft, while The Voice of Fashion, SAF’s art partner, will host guided craft walkthroughs led by editor Shefalee Vasudev.

An Inclusive Festival by Design

Inclusivity remains central to SAF’s vision. Therefore I Am, curated by disability campaigner Salil Chaturvedi, features seven artists from across India working across media to document how disability shapes creative practice.

The programme also includes performances in Indian Sign Language, bird-watching trails for blind audiences, operatic satire on Ambedkarite youth experiences, and Cinema for Every Sense, enabling blind and low-vision audiences to experience Hindi cinema through audio descriptions.

With participation from leading artists, musicians, chefs, thinkers and craftspeople, Serendipity Arts Festival 2025 is not merely a celebration of a decade, it is a statement of intent, positioning Panjim as a global crossroads of art, culture and lived experience.