I recently met my friend Feroz Abbas Khan to catch his ongoing theatre show. Celebrity costume designer Manish Malhotra was chatting along about his landmark work in it. Manish explains that he has designed a record 1,200 costumes for this show that range from Kathak, Bharatnatyam, Bhakti Movement, Khadi movement, etc. At the same time, Feroz was telling us about the speeches by Swami Vivekanand, Pt. Nehru, etc. that are receiving the loudest applause. I was aware of the theme of this show but could not imagine how so much history could be threaded together in a mere 90 minutes? After the royal spectacle of his hit show Mughal-e-Azam, the celebrated director and playwright’s latest offering can best be described as the zenith of his creative oeuvre, so far.
The show is called “Civilization to Nation,” which celebrates the inheritance of our syncretism. It’s a reminder of what needs to be revisited and protected in today’s heightened state of sectarianism and communal differences. It made its debut this month at The Grand Theatre, a plush 2,000-seater located inside the newly launched centre by Nita Ambani called the NMACC. Under the bespoke sparkling ceiling of 8,400 Swarovski crystals, the grand tribute to India’s heritage played out in a never-before-seen song and dance extravaganza.
It starts with what is believed to be the first and original spiritual faith of the land, Hinduism, by celebrating it with the LIVE singing and dancing performances of the bhajan “Jaidev Jai Mangal Murti,” followed by “Mahishasura Mardini.” The scene undergoes a dramatic split-second change between these two bhajans from a Ganpati temple bathed in white to suddenly transforming into a Durga temple dressed in red. With at least 45 dancers on stage at one given time, this slick change from one scene to another becomes part of the immersive experience. It fully exploits the translucent front screen projections and the massive video wall in the background to bring in quick changes in scenes without a hitch.
Once you are firmly awed by the visual spectacle, Amitabh Bachchan’s voice announces the Bhagwad Gita while the epic battlefield dialogue in Mahabharat between Krishna and Arjuna is played out by the actors on stage. This smooth transition of scenes interspersed with Bachchan’s narration sets the formula for the show. It moves on to Buddhism, Meera Bhakti, Sikhism, Sufism, and the Mughal Empire that brought in a confluence of whatever had existed in India so far. How could the poignant and unparalleled essence of love and beauty introduced by the Taj Mahal be forgotten in this story of India! Ironically, it was the same week when NCERT was under fire for the removal/modification of chapters of Mughal history in school books.
The Kathak dance at the Taj was followed by British Rule, our Independence Movement, and historic speeches given by our Freedom Fighters, including Gandhi, Pt. Nehru, and Sardar Patel. A perfect end to this epic was a LIVE rendition of ‘Saare Jahaan Se Achcha’ by a young child actor. Just after the audience roared up in loud applause and settled back into their seats, Nita Ambani walked on stage to personally thank us all for making the show a success. She was cheered with loud showers of “Thank You” messages screamed across the hall in Marathi, Gujarati, and English. She recalled how her classmate Feroz was the director of her first show that she had performed in her young days. Life came full circle for her with the first theatrical performance at the NMACC.
Beyond the red carpet hype and international glamour, the centre promises to be a touching commitment to the creative legacy of our magnificent country. And it aims to do so by making arts accessible to anyone who is interested. Acutely aware of the tendency to give an impression of this being a space only for the ultra-rich, the opening month has ticketed the visual arts show as well as the fashion history show on a nominal price of Rs.199/- for both included, and keeping it free for students and senior citizens. And these shows are by no means less significant than the theatre show.
A global compilation of dresses and suits since the 18th Century, sourced from across world museums, has found a temporary home in the show titled ‘India in Fashion’. The common thread for this collection is the mark of Indian craftsmanship, textiles, embroideries, block prints, and colours. Curated by Hamish Bowles, who is Vogue magazine’s Global Editor, the research for this collection meant months of forging partnerships with prestigious museums and international fashion houses for them to send across the iconic clothes. India’s influence in global fashion has been showcased in British Court Suits made in brocade and zardozi from 1830. American Couture designed in the 1960s flaunts Indian floral patterns and saree-drape gowns. One gets to personally see Michelle Obama’s gown designed by Naeem Khan for a Presidential banquet in 2009. Hand-embroidered and block-printed ‘chintz’ dresses have been popular in European summers, which you get to learn about in a hall full of mannequins sporting these breezy outfits. As I walk into the next hall, I am astounded to see a generous display of pieces by Couture giants Dior, YSL, and Chanel. The organza gowns and zardozi dresses with clean cuts and sharp pleats were a rage on the ramp in the 1970s. There is also Valentino’s first and only lehenga ever made, especially for Isha Ambani’s wedding celebrations. I was intrigued by the only mannequin wearing a crown, dressed in a white silk gown with gold thread embroidery in the 8th hall. Who could it be? Well, this part of the collection marks the advent of British Rule in India. And the Royal gown belonged to Lady Metcalfe in 1903. The show ends with a tribute to Indian star designers such as Bollywood’s darling Manish Malhotra, trousseau favourite Sabyasachi, Rahul Mishra’s latest collection from Paris called ‘Cosmos,’ and others. You can also catch Deepika Padukone’s show topper and Sonam Kapoor’s wedding dress. To add some more Bollywood thrills, there’s a set of three dresses from DDLJ, K3G, and Dostana! They made sure not to leave behind the masses’ flavour.
Since the centre is designed to offer you a holistic art experience for the entire day, you can rest your feet for a lunch break at the kiosks and then think about exploring the Art House. The debut show, which is currently on at this visual arts gallery, is called Sangam/Confluence. It’s along the same lines of India being the inspiration for visual arts in the international arena. But the word ‘sangam’ signifies the co-existence and fusion of languages, cultures, and ethnicity that India carries with elan.
Francesco Clemente’s dramatic set of four large canvases immediately caught my eye with the use of rich red pigments on black canvas . It’s the red that defines so many rituals in India. With a quick scan of the QR Code pasted next to the canvas, I get an audio guide which explains that the Italian artist delves deep into the Yogic tradition through this red imagery of the mind and body. Right opposite this was one of my favourite Indian-origin artist Raqib Shaw’s works. His intricate, tapestry-like detailing in enamel on canvas is a reminder of the Pichwai tradition but is also very Baroque. In this series, he celebrates the divine play of Radha and Krishna. The show has works of other prominent names like Bharti Kher, Anselm Keifer, Ranjani Shettar, etc., who have all painted from their diverse experiences of being in India.
For a voracious cultural consumer like me, a single day spent at the NMACC is akin to a week spent at an art fair or a cultural festival. The experience lasts for several weeks till you are ready to check what’s the next round of shows.
Sahar Zaman is an arts journalist, cultural curator, and political newscaster.