Mahindra SabCultures underpins how brands swap sales for cultural impact, loyalty

In a world where Gen Z craves snackable content, Mahindra Group is pushing the envelope into long-form storytelling with its SabCultures series. Streaming on Disney+ Hotstar, the six-part docu-series explores India’s rich cultural heritage by spotlighting festivals that reflect the country’s diverse subcultures.

But can Mahindra’s ambitious project resonate with a generation raised on Instagram Reels and TikTok? Campaign delves into how the multinational company, along with IPG's Mediabrands Content Studio, crafted SabCultures—and what it means for brands hoping to tap into the cultural zeitgeist.

A passion for culture, beyond the boardroom

For Asha Kharga, chief customer and brand officer of Mahindra Group, the company’s decision to produce a series that celebrates India’s cultural diversity was a natural extension of its two-decade-long tradition of championing lesser-known art forms. "We've consistently supported art forms that struggle to find mainstream attention," she told Campaign. “We don’t use these festivals to promote our products. It’s about preserving and celebrating culture.”

She emphasises this approach with a quote from the Robin Williams’ movie Dead Poets Society. In it, Williams’ character states, “We don’t read and write poetry because it’s cute; we read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.”

Asha Kharga, chief customer and brand officer of Mahindra Group.

This echoes the Mahindra Group belief as well. Hence, while most brands gravitate towards Bollywood or mainstream entertainment for its mass appeal, trendiness, and commercial viability, it chose to consistently champion lesser-known art forms that often struggle to find support.

This includes launching The Mahindra Excellence in Theatre Awards (META) in 2006 or following it by introducing Mahindra Blues Festival five years later. Kharga maintained that what makes these cultural festivals special is that they are Mahindra Group’s intellectual properties, and the company doesn’t use them as a vehicle to promote its products or services.

Intriguingly, the SabCultures series, rather than being backed by corporate social responsibility (CSR) funds, is part of Mahindra’s branding strategy. By partnering with Disney+ Hotstar, the conglomerate has leveraged the platform’s massive reach to ensure these festivals, often relegated to niche communities, find their way into living rooms across the nation.

To tell the story of India’s cultural undercurrents, Mahindra turned to Mediabrands Content Studio, which is part of IPG Mediabrands. It helps companies to enhance their brand growth by combining innovative storytelling with audience insights to create diverse content and entertainment solutions.

The Mediabrands Content Studio team invested months in researching each festival, immersing themselves in local traditions to capture the authentic spirit of each event.

Mediabrands Content Studio’s India head, Siddhant Mazumdar, described Mahindra’s approach towards SabCultures as visionary. “Mahindra tasked us with showcasing their cultural patronage in a way that truly resonates. It wasn’t just about promoting festivals; it was about giving life to cultures that are slowly fading,” he told Campaign.

Mazumdar and his team invested months in researching each festival, immersing themselves in local traditions to capture the authentic spirit of each event. “The goal was to give viewers a chance to step into these mesmerising worlds, not just document festivals, but make audiences feel the pulse of the culture,” he explained. This is why each episode feels distinct—whether it's the rebellious energy of Mumbai’s Independence Rock or the hypnotic calm of Varanasi’s Kabira episode.

Gen Z and long-form content: A culture clash?

One of the most pressing questions surrounding the series is whether a generation used to fast-paced, easily digestible content will engage with a six-part docu-series. While the younger generation’s average attention span might not seem conducive to long-form documentaries, the creators of SabCultures believe there’s more to the story.

“There’s a stereotype that Gen Z only consumes snackable content, but the truth is that they crave authenticity and purpose,” Kharga emphasised. “They want to feel connected to their heritage.” She cited data from Ormax, which reveals that 76% of Indian viewers, especially Gen Z, express a desire to watch content that reflects their cultural identity.

To ensure SabCultures avoids the trap of becoming just another festival film, the series’ director, Sameer Ghauri, took a dynamic approach. “Each episode has its own style and rhythm, reflecting the unique energy of each festival,” said Ghauri. This is especially evident in episodes like the Sanatkada Lucknow Festival, which is run entirely by city’s women or the Percussion Festival, dedicated to the Indian legends championing the classical form of percussions.

Ghauri, a veteran filmmaker deeply embedded in India’s rock music culture, found himself emotionally connected to the material. “One of my favourite episodes was Varanasi’s Kabira. It opened my eyes to a side of India I hadn’t experienced,” he says.

Mazumdar’s team also took care to avoid any “festival fatigue” by keeping each episode between 20 and 25 minutes—a sweet spot for modern audiences. “We captured ten times more footage than what made it to the final cut,” he revealed. “But we made sure each minute added value and kept the essence of the festivals intact.”

Why docu-series might still have a place

While the OTT space is dominated by binge-worthy thrillers and quick-hit comedies, there is still a growing appetite for more thoughtful, documentary-style content. Netflix, for instance, has enjoyed success with series like ‘Chef's Table’, which delves into the art and stories behind food cultures worldwide. The success of SabCultures could open the door for more brands to use docu-series as a way to connect with audiences on a deeper level.

Siddhant Mazumdar, India head, Mediabrands Content Studio.

Mediabrands Content Studio has already noticed a shift in how brands approach content creation. "Brands are moving towards creating cultural impact rather than just selling products," Mazumdar said. “We’re seeing more companies invest in long-form storytelling because they realise that cultural resonance creates brand loyalty.”

But the real question is whether such initiatives can endure in a world dominated by quick fixes and viral trends. While SabCultures offers an immersive experience, will it find favour with a generation more used to scrolling than sitting through 25-minute episodes?

Despite the challenges of engaging Gen Z, the series is already sparking intergenerational connections. Kharga pointed to the example of Independence Rock fans from the ’90s bringing their children to the festival. “It’s amazing to see Gen X and their kids’ bond over what was once considered ‘Devil’s music’,” she said.

A case in point is Mumbai-based collegian Shlok Sharma. He was bemused to listen to his mother talk sneaking off to watch Independence Rock in 1997, which set the tone for her musical taste for years to come. “Who knew that my mom could be a metal head?” he laughed.

The Kabira episode, too, seems to resonate with younger audiences searching for spiritual grounding in an increasingly chaotic world. And theatre enthusiasts from across India, many of them young performers, are flocking to Mahindra Excellence in Theatre Awards.

Will other brands follow suit?

So, will SabCultures be a catalyst for other brands to dive into the OTT docu-series space? Kharga is optimistic.

"The overwhelmingly positive response, especially from younger audiences in creative fields, shows that there’s a hunger for this type of content," she is emphatic. With platforms like Disney+ Hotstar eager for more content, we could see a surge in brand-driven storytelling, particularly as consumers increasingly value authenticity over gimmicks.

Director and photographer Sameer Ghauri.

The real triumph of SabCultures lies in its ability to spotlight India’s lesser-known subcultures, preserving traditions that might otherwise be lost. As Ghauri puts it, “This series isn’t just about festivals; it’s about the people and communities that form around these cultural celebrations.” It’s a reminder that in an era of rapid change, there is still immense value in looking back at the stories and traditions that have shaped us.

In a world increasingly dominated by disposable content, SabCultures does come like a much-needed breath of fresh air. Whether it’s reigniting a passion for the blues in Mumbai or sparking a spiritual awakening in Varanasi, this series shows that India’s cultural heritage is worth celebrating—and sharing with the world.

SabCultures attempts to rise above a documentary series and become a rallying cry for Indian brands to tap into their roots and bring stories to life that will resonate across generations. It proves that the old can be made new again, and that cultural heritage, when thoughtfully presented, still has the power to inspire, when supported by progressive brands.