For over two decades, the Mahindra Group has quietly but consistently shaped India’s cultural landscape through thoughtfully curated IPs that go far beyond brand visibility. From theatre and blues to Kabir, percussion, and youth-focused cultural platforms, Mahindra’s Season of Festivals has evolved into a multi-genre, multi-region cultural calendar that balances artistic integrity with long-term brand building.
In an exclusive conversation with EVENTFAQS Media, Jay Shah, Vice-President and Head of Cultural Outreach, Mahindra Group, takes us through the genesis of the Season of Festivals 2025–26, the philosophy behind building distinct cultural IPs instead of sponsorship-led properties, how impact is measured beyond footfalls and numbers, the evolution of the Mahindra Blues Festival as it heads into its 14th edition, and why corporates must play a larger role in sustaining India’s cultural ecosystem.
Q. Could you walk us through the genesis of the Season of Festivals 2025–26? What was your vision, and how do you balance scale and continuity while ensuring each festival retains its unique voice?
There are several layers to this question. If we go back to the genesis, when we started this journey 21 years ago, we were very clear that we wanted to use the creative arts as a strategic tool for brand building. Equally important was our desire to make a meaningful contribution to the arts ecosystem itself.
The entire strategy was about balancing these two aspects—being a benefactor to the arts while ensuring that the brand organically earned its place in that space. Theatre was the first art form we adopted, which led to the Mahindra Excellence in Theatre Awards in Delhi. We completed 20 years in 2025, and the upcoming edition will mark our 21st year.
Over time, META has emerged as the only national-level recognition platform for theatre in India, attracting groups from across the country. One of the biggest learnings for us was realising how alive theatre is beyond metros—in tier-two, tier-three cities and even villages. States like Assam, Kerala, and Maharashtra consistently produce extraordinary theatrical work, and every year we are pleasantly surprised by the depth and diversity of talent.
From the outset, we consciously chose not to follow a sponsorship model. Instead of merely funding existing festivals, we decided to create and nurture our own IPs. This allowed us complete control over how these platforms evolved, both artistically and from a brand perspective.
Over the past 21 years, we’ve built six to seven distinct platforms. What you see today as the Season of Festivals is essentially an ecosystem of independent properties. Each festival was created to address a specific gap—either within the cultural space or from a brand outreach standpoint, whether it was geography, audience segment, or art form.
After theatre, we introduced the Mahindra Blues Festival and the Mahindra Sanatkada Lucknow Festival. The Blues Festival was envisioned as the largest blues festival in Asia outside the US, a goal we achieved very early on. This year marks its 14th edition.
Sanatkada, on the other hand, is a completely different proposition—rooted in Indian craft, heritage, food, literature, and the cultural ethos of Lucknow. It celebrates the city’s tehzeeb in its truest sense.
A few years later, we felt the need to explore something more spiritual, which led us to Kabir. His philosophy—secular, honest, and deeply human—aligned beautifully with Mahindra’s core values, shaped by our founders JC and KC Mahindra. This led to the Mahindra Kabira Festival in Banaras, which completes nine years in 2025.
As we looked towards engaging younger audiences, we launched the Mahindra Percussion Festival, putting percussion—often relegated to the background—centre stage. It celebrates the sheer diversity of percussive instruments across folk, tribal, classical, and global traditions.
Most recently, we introduced Mahindra Roots at Mahindra University. The idea here is to package Indian culture for younger generations, helping them stay connected to their roots while experiencing its vibrancy in a contemporary format.
The Season of Festivals 2025–26, at its core, is about diversity—uplifting underrepresented art forms, preserving authenticity, and presenting culture in ways that resonate across generations. Internationally, we’ve also extended this philosophy through platforms like Mahindra Fusion Fest in South Africa, reinforcing our commitment to enriching communities wherever we operate.
Q. How do you measure success for these festivals—footfall, artist partnerships, social impact, or something else?
Measuring success in artistic and cultural endeavours is never straightforward. This is a question our finance teams often ask—because they are used to tangible metrics like sales and ROI.
Culture works differently. You’re not selling a product; you’re shaping perceptions, emotions, and long-term brand associations. These are inherently qualitative.
That said, audience enthusiasm is a strong indicator. When festivals sell out consistently, when participation grows year after year, and when audiences actively talk about their experiences, that tells us something is working. The Mahindra Blues Festival sells out almost a month in advance every year. The Kabira Festival’s delegate programme has grown multifold annually.
The testimonials we receive—from audiences, artists, and cultural communities—affirm the value of these platforms. Importantly, none of these festivals are profit-making ventures. They are pure brand-building initiatives, and the fact that Mahindra continues to invest in six distinct platforms is a testament to the belief that impact goes beyond Excel sheets.
Q. How do you choose artists and creative partners across genres? Is the curation centralised or rooted in local collaborations?
Our approach is deeply rooted in authenticity. While there is a central curatorial vision for each festival, local artists, practitioners, and cultural stakeholders play a crucial role—especially in festivals like Sanatkada, Kabira, and Roots.
We actively seek voices that represent the soul of a region or genre, whether they are established names or grassroots practitioners. The idea is never to impose a uniform aesthetic, but to let each festival speak in its own voice.
Q. This will be the 14th edition of the Mahindra Blues Festival. How has it evolved in terms of scale, audience, and artistic ambition?
The ambition was audacious from day one—to create the largest blues festival in Asia outside the US. We achieved that almost immediately through world-class curation.
What we’ve been careful about is staying true to the blues genre. While many festivals dilute their programming for broader appeal, we’ve resisted that temptation. Blues, like jazz, thrives on intimacy.
That’s why we’ve consciously stayed at Mehboob Studios despite the demand to scale up. With a capacity of around 3,000 attendees, it allows for a close, immersive experience. Growth for us has never been about numbers alone—it’s about preserving the soul of the genre.
Q. How does Mahindra ensure its cultural initiatives remain authentic and not purely promotional?
Beyond the festival title, you’ll notice very little branding at our events. There are no product showcases, no lead generation exercises, no sales pitches. When you attend a Mahindra festival, the art form is front and centre.
This restraint has helped us earn credibility within the artistic community. It’s not always easy—there’s constant pressure internally to leverage these platforms more aggressively. But my role is to protect the sanctity of the festival while balancing brand expectations.
That’s how you build something that lasts.
Q. What strategic thinking led to culture becoming such a visible pillar of the Mahindra brand?
Culture allows brands to build emotional equity. It reflects values, legacy, and intent in ways conventional advertising cannot. For Mahindra, culture isn’t an add-on—it’s a long-term investment in communities, creativity, and continuity.
Q. How important are cultural outreach programmes in the corporate ecosystem today? Are Indian corporates embracing this more?
There is definitely greater participation now, but we need much more. Historically, the arts were supported by kings, patrons, and institutions. In today’s India, corporates are best positioned to fill that gap.
While the government has its priorities, corporates must step in to ensure cultural vibrancy. We don’t see other brands as competition in this space—there’s room and need for everyone to do more.
Q. Looking ahead, what strategic expansions or shifts do you foresee in Mahindra’s cultural outreach?
Our focus right now is depth, not expansion. Over the last few years, we’ve added multiple new platforms, and our priority is to do justice to what we have built.
It took us 21 years to create seven properties. We’re not in a hurry. As long as we can nurture them with care, integrity, and long-term vision, we’re doing what we set out to do.
