Is Bengaluru just the “IT hub of India”?

By Shruti and Akhiya

---

Or is it slowly becoming a nucleus of Cultural thought, display, and preservation?

This January, from the 16th to the 25th, Unboxing Blr hosted its grand annual cultural festival, the Blr Hubba. Spanning over 30+ venues, 350+ events of over 12 genres, Blr Hubba has become a way for Bengaluru to flaunt its Cultural side. Blr Hubba 2026 was the 3rd edition of this event, considering it was born in 2023. Co-founded by Prashanth Prakash to bridge cultural gaps between new and old residents, Blr Hubba acts as a fabric that weaves together pan-indian consciousness. 

Initially inspired by the Edinburgh Fringe Festival, Blr Hubba has constructed itself as an event that caters to all ‘Bangaloreans’, natives and migrants alike. This is evident by, firstly, the kind of sub-events that are conducted as a part of the festival, and secondly, how the events are curated and placed. For example, before the showcase of the Sirat Trio, which includes Akram Abdulfattah (Palestinian Violinist), Mandola Joy (Bengali Classical Solo Artist), and Rupak Dhamankar (Percussionist from Mumbai), the event was opened by local artists, Ila Dilip (Carnatic Vocalist and Violinist) and Ranjini Venkatesh (Percussionist). The curation of events is done in such a way that prioritises both International, National and Regional Cultural elements. 

Sub-festivals include Kantha (multi-genre musical acts), Raste Hubbas (9 hyper-local street festivals), Nartisu (dance performances across venues), Nataka Hubba (theatre performances across venues, and Churumuri (miscellaneous performances across venues), etc. This 10-day event successfully transforms landmarks into immersive spaces of cultural exchange and prioritises participation over spectatorship.

Blr Hubba is just one component of the aspirational shift the state is attempting to drive. The Government of Karnataka is playing a pivotal role in this recent policy of cultural sustainability. By providing support and funding for this initiative, the government is actively contributing towards Bangalore’s upcoming status as a cultural city. 

This raises the question of whether the ‘Bangaloreans’ are ready to accept this shift in the city’s narrative from an IT hub to a culture hub, or if their perceptions do not align with what the city is trying to be. The long-time Kannadigas and tech migrants often feel disconnected from each other. Blr Hubba’s soft infrastructure enables interactions via hyper-local installations in neighbourhoods like Koramangala, Malleshwaram, etc. Events transform landmarks like Freedom Park, which is essentially a place of protest, into a site of art, music and culture. This reminds ‘Bangaloreans’ of Bengaluru’s cosmopolitan, community-rooted spirit. Residents report feeling culturally connected to the city. As mentioned before, Blr Hubba doesn’t curate niche fests; it synthesises a pan-Indian diversity with local flavour. This process counters the “IT City” narratives, therefore sparking talks of Bengaluru being South Asia’s cultural capital (which Blr Hubba is attempting to establish). 

Despite this, does this ongoing transformation of the city hold up the flame to a new identity for Bangalore just yet? Or does it become another attempt, subdued by the overwhelming demands for a capitalistic-driven, tech-influenced metropolis for the indefinite future?