“ Art isn’t CSR for us, it’s a strategic investment”: Jay Shah On Mahindra’s Cultural Mandate

Jay Shah, Vice President and Head of Cultural Outreach at the Mahindra Group, has become one of India’s leading corporate champions of the arts. By steering landmark initiatives such as the Mahindra Blues Festival, Mahindra Kabira Festival, and META, he has helped build a cultural ecosystem where music, community, creativity, and corporate purpose come together with intent and impact.

In this interview, Jay Shah reflects on how Mahindra is shaping India’s cultural landscape through immersive, community-led festivals, why live experiences matter more than ever, and why India’s cultural and events economy is primed for major growth.

Here are edited excerpts:

As audiences shift from digital fatigue to experiential depth, how is Mahindra reimagining its cultural programming to meet this demand for real-world, meaningful engagement?

Our programmes began 20 years ago, and from the very start, they have always been rooted in live, experiential culture. We have never created festivals with a digital-first audience in mind; digital has only ever been a tool for spreading awareness, not the core of what we do.

Today, the six festivals on our roster remain purely experiential. We started two decades ago with a theatre festival which, as you know, can only be truly appreciated live. Over the years, we expanded to include Mahindra Blues, the Kabira Festival, the Sanatkada Festival in Lucknow, the Percussion Festival in Bengaluru, and the Roots Festival in Hyderabad. Each of these is built around touch-and-feel, in-the-moment cultural experiences,something we believe is the most authentic way to engage with the arts.

During COVID, we briefly turned to digital formats to ensure artists received some support and audiences had access to entertainment during a difficult time. But at our core, and for the most part, our festivals continue to be live, immersive experiences.

What new opportunities do you see emerging at the intersection of technology and live experiences,especially as younger audiences turn online interests into in-person cultural communities?

Absolutely. When it comes to culture and the arts, it’s impossible to ignore the importance of the real world. Technology and virtual tools can certainly complement or enhance an experience, but at the core, we firmly believe that the purity of the arts is best preserved and best enjoyed,live.

As I mentioned, technology will continue to help us spread awareness and may enrich certain aspects of the audience journey. For example, at the Mahindra Blues Festival, we create a deeply immersive experience at Mehboob Studio, and we capture parts of it to share with our online community. The same is true for the Mahindra Kabira Festival in Banaras.

But no matter how well it’s recorded, someone watching from home will never get even five percent of what it feels like to sit by the ghats at sunrise, feel the cool air on their skin, and experience the music in that setting. Some moments simply cannot be replicated on a screen.

How is Mahindra shaping the next generation of festivals as platforms for inclusivity, innovation, and deeper emotional connection rather than just entertainment?

If you look at the way we began, theatre has always been central to our vision. Theatre is a visceral art form,it is the fountainhead of all the arts. And the kind of work we champion through the Mahindra Excellence in Theatre Awards and Festival (META) in Delhi reflects that. It brings together both grassroots theatre and productions from major metros, creating a truly representative national platform.

Our process is rigorous. Each year, we call for entries and receive nearly 400 applications from across India, including Tier 2 and 3 cities. A selection committee then chooses 10 productions solely on the basis of theatrical excellence,nothing else. It has nothing to do with how much money has been spent on elaborate sets or grand production value. A stage could be completely bare, with nothing but a single rope hanging from the ceiling. But if that minimalistic set heightens the storytelling and enriches the theatrical experience, it is considered excellence. That is the lens through which we evaluate.

All the theatre showcased in Delhi under META, while naturally entertaining,because art itself is inherently engaging,is not created for entertainment alone. Our purpose goes beyond that. We believe in education, in spreading awareness, and in giving a platform to the underprivileged, the overlooked, and the underrepresented.

Take, for example, the Mahindra Sanatkada Lucknow Festival. Our decision to support and grow this festival was driven entirely by the remarkable work done by our partner NGO, Sanatkada. They work closely with women in purdah and Dalit women in the region, who come together to form the heart of this festival. Its backbone is craft,artisans and craftsmen from across the country gather here to exhibit their work, conduct workshops, and celebrate traditional craft practices. Around this, we weave music, food, and cultural experiences.

The larger intention is to revive and preserve the Lakhnavi tehzeeb,its elegance, its refinement, its cultural soul,which has, unfortunately, faded over the years.

So yes, entertainment naturally occurs through the programs we curate. But our core mission is far deeper: to educate, to nurture awareness, to uplift artisans, and to give deserving musicians and creators,many of whom rarely find mainstream visibility,the platform they deserve.

Which festival and audience trends for 2025 most stand out to you and how are they influencing the way you curate experiences across the Mahindra ecosystem?

All our festivals are so distinct from one another that it’s hard to point to one unifying trend. But if I absolutely had to identify something that is becoming increasingly noticeable, it is this: the growing interest of younger generations in art forms beyond mainstream popular culture.

Of course, if there’s a Taylor Swift concert, you will naturally see Gen Z and Gen Alpha turning up in huge numbers. But what’s truly heartening is seeing the same young audiences show up with equal enthusiasm for Kabir’s music in Banaras, or immersing themselves in the atmosphere of the Mahindra Blues Festival in Mumbai,a genre that is not traditionally popular in India. Blues, after all, is an American art form, and even in the U.S., it appeals largely to a certain older demographic. Yet Mumbai completely defies that pattern. At the Mahindra Blues Festival, you’ll find young, trendy audiences standing shoulder to shoulder with seasoned, well-travelled listeners.

So, if I were to define a trend, it would be this: young people are increasingly seeking out real experiences. They want to step beyond their digital universes and engage with cultural spaces that offer depth, richness, and something meaningful. Their willingness to explore, participate, and immerse themselves in diverse art forms is perhaps the most encouraging shift we’re seeing today.

How is Mahindra integrating music more strategically across its festivals, and what shifts do you foresee in India’s live music landscape over the next few years?

All our festivals,except the theatre festival and, to some extent, the Sanatkada Festival—are rooted in music. Whether it’s the Blues Festival, Kabira, the Percussion Festival, or Roots, each one is led by music. Even at Sanatkada, where food and craft form the backbone, music remains an essential part of the experience. And theatre, of course, stands apart on its own; some years a musical takes centre stage, and some years it doesn’t.

India still faces challenges like limited purpose-built venues and regulatory bottlenecks. How is Mahindra navigating these constraints while tapping into the fast-growing opportunity of event tourism?

Musical experiences in India are becoming sharper and far more refined as the ecosystem matures. Several venues now offer state-of-the-art facilities,like the Jio World Convention Centre, NMACC, RCP, the Jio Gardens, and even what we create at Mehboob Studio, where an old Bollywood space is transformed into a technologically advanced, international-standard venue for the Blues Festival. These shifts show how far India has come in offering world-class entertainment to audiences.

But infrastructure remains a key concern. India needs many more spaces like NCPA, NMACC, and other cultural parks. Just today, there was news of the government and CIDCO exploring the development of a world-class, 25,000-seater amphitheatre in Navi Mumbai for large concerts,an encouraging sign. Cities, especially in Tier 2 regions, need to build diverse venues: not just large arenas, but also intimate spaces like Prithvi Theatre or the NCPA Experimental, which offer completely different yet equally valuable experiences.

Until such infrastructure grows, we’ve always made the best of what we have. The Kabira Festival, for instance, was initially conceptualised for an auditorium in Delhi, but we ultimately took it to the ghats of Banaras. And what better canvas could there be than the world’s oldest living city, with the Ganga flowing by, and the ghats where Kabir himself lived, walked, preached, and sang? Banaras, in many ways, becomes a natural theatre for Kabir’s music,an experience that no enclosed venue can replicate.

So, while India continues to build its cultural infrastructure, curators must look beyond conventional venues and seek out unconventional, meaningful spaces that elevate the art itself.

How do you integrate artists in your festivals?

So it really depends on which festival we’re talking about. Take the Mahindra Kabira Festival, for example. Its curation is designed around bringing the words of Kabir back into public consciousness. Many of us may have learnt a Doha or two in school, but rarely revisit him afterward. It’s important to reintroduce Kabir in ways that resonate with contemporary audiences.

Traditionally, Kabir’s poetry has been sung in folk traditions by Kabir Panthis. But not everyone,especially younger audiences or those inclined toward classical music,connects to just one form of Kabir’s music. Which is why, when curating the festival, we work with artists across genres: Hindustani classical, Carnatic, folk, and even rock.

Last year, for instance, we had Thaikudam Bridge, a Carnatic rock band, and this year we have Agam. We collaborate closely with these artists, and they happily take on the challenge of adapting Kabir’s words into their own musical style.

Alongside them, we also feature someone like Rahul Deshpande, a renowned classical musician, who might present Kabir within a larger set of classical compositions. Classical music lovers gravitate to him; folk music fans connect with artists like Mahesh Aram; younger audiences enjoy Agam or the incredible jazz-Carnatic ensemble from the US, led by Aditya Prakash, who is creating an entire set based on Kabir this year.

So, to answer your question, the curation is done with audience diversity in mind. Audiences are not homogenous,different people engage with music in different ways. Our aim is to offer something for everyone, so each person finds what they love while also getting exposed to forms they may not be familiar with. And, hopefully, they discover something new to appreciate.

With consumers increasingly wanting to “belong” to a festival rather than simply attend one, how is Mahindra building cultural communities and do you believe brands in 2026 will move from merely sponsoring culture to actively shaping it?

Right,so that’s essentially two questions.

When we started, the idea was always community outreach. My function is called Cultural Outreach, and it’s entirely about building communities around specific art forms.

For example, if you come to the Mahindra Blues Festival year after year, you’ll notice almost a tribe of the same people who return annually and jive to the fantastic curation we put together for blues music.

Similarly, if you come to Kabira, you’ll see familiar faces each year,people who had a great experience the first time, returned the next year with their neighbours and friends, and came back the third year with even more people. That, to us, is what community-building truly means.

It’s not just about nurturing a community around an art form or a festival, but also about cultivating a community that expresses genuine brand love for Mahindra. And that, ultimately, is the larger intent of our cultural outreach initiatives,to deepen affinity for the Mahindra brand so that when people are out in the market making a product or service purchase, they consider our offerings favourably.

Communities are at the core of every festival we curate. We’ve just launched the Root Festival in Hyderabad, on our Mahindra University campus, and the primary community we are engaging there is the student body,over 6,000 students. It’s about mobilizing that community to appreciate Indian culture and building awareness of the rich traditions we inherit, especially for a young audience.

Now, coming to the second part of your question,I honestly cannot say what other brands plan to do, what their imperatives are, or what goals they are chasing. What works for us is building cultural platforms through which we engage communities, grow them, and, in return, earn brand love.

Other brands will have their own approaches to consumer engagement. We would certainly hope,purely for the sake of art and culture,that more corporates step forward and participate. But whether they do or not is entirely their prerogative.

One would hope they see the value in supporting the arts, because art doesn’t just entertain; it offers identity, reflection, and a space to unwind in our increasingly busy lives.

Historically, kings, Maharajas, and wealthy patrons like the Medicis in Italy funded art and artists. In today’s world, governments are understandably focused on fundamental necessities,roti, kapda, makaan. It is unrealistic to expect them to shoulder the full responsibility of supporting the arts. This is where corporates must step in.

And it’s important to understand: for us, cultural outreach is not merely a feel-good activity or a CSR obligation. It is a strategic investment that gives us significant returns.

If more corporates recognize that supporting the arts is not just philanthropy or an act of good citizenship,but a practice that delivers real dividends to the organization,then perhaps they will find greater motivation to participate.

What we can expect in Mahindra festival feb 2026?

As usual, you’ll see some of the best blues bands from across the world,primarily from the US,but this year, we also have a British band joining the lineup.

The artist announcement will happen around the 11th of December, so please watch out for that.

We pride ourselves on creating a truly unique vibe at the Mehboob Studio. As I mentioned earlier, many people return year after year just to experience the atmosphere we create,one that feels like an international-level music festival.

You will continue to see Indian bands represented as well. We always begin the festival with an Indian blues band, and our Blues in Schools program remains an important part of the festival. Through this initiative, our Nanhi Kalis,supported by our group’s girl-child education program,collaborate with students from the Kadakia International School. They learn the blues together and perform at the festival as a choir, and you can expect to see them again this year.

You can also expect a thoughtfully curated selection of food and beverages that complements the Mehboob Studio vibe and the spirit of the blues.All in all, it promises to be a wonderful experience,one that audiences have cherished for the past 13 years. This will be the 14th edition of the festival.

How does Mahindra view the future of India’s live events economy, and what role do you see your cultural platforms playing in elevating global-quality standards?

Definitely. While the COVID phase brought many challenges, one of the unexpected positives was that it made people realize life is much more than the routine of work and home. It reminded us that we need to step out, experience the world, and engage with culture. Events allow people to unwind, broaden their awareness, learn, and be entertained.

The event economy, as the Prime Minister rightly said, is only going to grow. We are starting from a relatively low base. If you look at more established cultural ecosystems in Europe or the US, they have institutions in art and culture that have existed for decades, along with a highly evolved event culture. India is now beginning to understand the financial, emotional, and social benefits of hosting high-quality events.

Events significantly boost tourism. Ever since we began the Kabira Festival in Banaras, the city’s tourism has increased. Similarly, with the Blues Festival in Mumbai every February, you can see local establishments benefit from the influx of visitors who travel specifically to attend the festival.

In every way, the event economy in India is on the verge of a major expansion. And if the government continues to invest in infrastructure,both from a tourism and venue standpoint and corporates continue to invest in building cultural platforms as we have, then the future is limitless.