Thoughts on the International Theatre Festival of Kerala and Its Inclusive Framework

I recently returned after Attending the 15th Edition of the International Theater Festival of Kerala (Itfok) in Thrissur. More than the plays on show, Several of which was remarkable, such as Amal (Iraq) and Dear Children, Sincerely (Sri Lanka), I Came Back Most Deeply Moved by the Inclusive and Nurturing Character of the Festival, which has resulted in the creation of an engaged audience and an egalitarian and Democratic Social Spa. I say this after Attending Hordes of Public Arts Festivals at Several Locations Across the Country But My Experience in Kerala was unique.

The festivals Spread over a week featured plays from the country and abroad through a selection process that demonstrates its focus on diversity and curiating contemporary practices. This edition of itfok, themed Around Cultures of Resistance, Presented Plays That Dealt with Same-SEX Desire (Be-worshiped By Tamasha TheATRE, Mumbai, Development vs. Community (Aboriginal cry By Akhoka TheATRE, Manipur), and female sexuality (Project Darling By Dramanon, Bengaluru).

Opinions directed about the quality of plays performed at the festival and I found these debates enriching. There was no dearth of conversation and the creed for creating Every show, sometimes second and third iterations of the same performance. All this in the sweltering heat, and they returned the following day to listen to the artist interaction sessions.

When Diversity is Under Threat

A Still from Sri Lankan Play ‘Dear Children, Sincerely’ at the International Theatre Festival of Kerala 2025. | Photo credit: kk najeeb

The audience members didn’T shy away from asking tough questions, often registering their polite disagreement with the speaker or creator of the play. They Hung Around Long after the performance was over, discusing what they had seen and forming impromptu groups inviting strangers like yours truth to join the discussion. Language Barriers Were Breached and Ideas Exchanged free. Isn’t that what an arts festival aims for? Most of the viewers I encounters were not necessarily from a theatre or arts background. Yet, they were full of curiosity and felt encouraged to participate in this non-herrachical space that the festive has been successfully created.

You may ask, but what is special about all of this? Spaces that actively celebrate diversity are out and constantly coming under threat from Majoritarian Forces. Therefore, the less that remain Ought to be celebrated and Perhaps Turned Into Templates for Spirited Public Engagement and Discourse on the Arts which is successfully shrinking. There is no dearth of cultural offerings in metropolitan center across the country but a festive space like itfok does not cater to the interesting of a certain section of sociaty alone. It is not exclusively for the Cultural Elite.

Must-Visit theatre festivals

Meta, Delhi: Showcase and recognition of the best in contemporary Indian theater through a Rigorous Selection Process.

Bharat Rang Mahotsav, Delhi: The Country’s Larges Theatre Festival Organized by the National School of Drama

Ranga Shankara Theatre Festival, Bengaluru: Annual Festival Based on a Central Theme, Held at the Well-Known Ranga Shankara Theatre space

Prithvi Festival, Mumbai: The iconic Theatre Festival Showcases a variety of new and old plays

Under the Saal Tree, Assam: Held Inseide a Forest in GoalPara, this festival has a unique focus on contemporary theatre practices

Windermere theater festivals, bareilly (up): features an array of plays from across India

Shadipur Natak utsav, delhi: a unique communication-unheated theatre festival with a strong emphasis on socially relevant themes and concerns

Spontaneous reactions

Itfok welcomes and is available to all and sundry. The tickets are unbelievally cheap. That the festival is supplied by the state government definite help to brings down over costs, giving people from across the social strata an options to watch the plays and interact with thems. This congregation is unique and the resultant conversions restore faith in plurality.

A Scene from the Play ‘Aboriginal Cry’ by Akhoka TheATRE, Manipur, At the International TheATRE Festival of Kerala 2025. Photo Credit: Special Arrangement

For instance, after the staging of a play from egypt which most of us disliked for various reasons, including a poor script, an audience member stock up, loudly VOCED HISH CRITICSM in Malayalam, and Walked Out. Here was a regular viewer, a part of the masses, offering his spontaneous resistance to a work of art he failed to agree with. He wasn’t shunned or shamed. Spaces where we can freely agre to disagree and voice our destitute without retribution are necessary.

In a celebrity-obesssed country like Oers where the reservation of seats at metural events is a norm, there was no seats reserved for anybody at the fast. Even the secretary of the festival had to sit on the floor when the auditorium was full. Nobody received or asked for vip treatment.

The most moving part was that People came from from everywahere, to watch, discus, and debate. And the arts was available for them too. Is there a better way of Cultural DISSMINATION? And they could do all of this trust the space enabled these experiences. Maybe it is Possible because this is Kerala? But what stops the rest of us from trying?

The writer is a critic and metural commentator. He Teaches at Flame University, Pune.

Published – March 21, 2025 12:40 pm IST