The multi-disciplinary Nita Mukesh Ambani Cultural Centre in Mumbai has enlivened a business district

The recently launched cultural centre aims to be an international destination in India for the arts

When you walk into the Nita Mukesh Ambani Cultural Centre (NMACC)—a world-class venue for performing and visual arts, there is a coolness that envelopes you. The pristine white marble floors and the gold-hued walls are part of the surface ornamentation of a well-thought-out building that aims to support India’s vibrant cultural tapestry. Part of the Reliance Foundation, the charitable arm of Reliance Industries, the NMACC has four distinct spaces: The Grand Theatre, The Studio Theatre, The Cube, and Art House. 

The brainchild of Nita Ambani, educationist, philanthropist and Founder –Chairperson of Reliance Foundation, every corner of NMACC is a result of minute attention to detail. The stairs that lead to the upper levels of the cultural centre are suspended from the ceiling to lend more openness to the lower floors (the idea of using concrete columns were scrapped to make the space more welcoming). Similarly, the number of toilets on each floor has been mathematically planned, right down to the timing and locations to avoid any bottlenecks.

Inviting spaces that nurture talent

Spread across three floors, the 2,000-seater The Grand Theatre is the most technologically advanced in India. The Dolby Theatre is used as the blueprint but it’s only been improved upon. For starters, shows aren’t planned according to the space. Instead, The Grand Theatre allows the flexibility to showcase any performance—from a Broadway production to classical Indian dance where audiences can notice every movement of the body. Dolby Atmos Surround Sound System, Virtual Acoustic System, and ingenious seating arrangement help the focus remain solely on the stage. The lighting includes more than 8,400 Swarovski crystals adorned on the ceiling in the shape of a lotus, creating a unique yet multidimensional experience.

On opening night, playwright Feroze Abbas Khan will showcase a theatrical experience,  The Great Indian Musical: Civilisation to Nation. The 90-minute musical production, which charts a tale of India from its birth to its independence, will include a live orchestra, 350 performers, and more than 1,000 costumes designed by Manish Malhotra. Plans for The Sound of Music are already underway.

The Studio Theatre, with a seating capacity of 250, offers an intimate space for cutting-edge performances by both upcoming and established performers. The telescopic seating allows quick and easy transformations depending on the requirement of the event. On the other hand, The Cube is an incubator of new talent and ideas meant for experimental theatre, spoken word, stand-up comedy and music. The 125-seat theatre has a fully integrated video recording and production setup along with 5G connectivity.

But that’s just the skeleton of the space. What lies at the heart of NMACC is the artwork. In 2016, Ambani acknowledged to Artnews that her focus on visual and fine arts is a relatively recent development. Since then she has gone on to play a pivotal role as lead sponsor for the Art Institute of Chicago's highly acclaimed landmark exhibition, Gates of the Lord: The Tradition of Krishna Paintings from 2015-16—marking the first large-scale exploration of the aesthetics of Pushtimarg sect of Hinduism in the United States. 

In 2017, she and her husband, Mukesh Ambani also sponsored the solo show of abstract painter Nasreen Mohamedi (1937–1990), Waiting Is a Part of Intense Living as part of one of the inaugural exhibitions at Met Breuer, the Metropolitan Museum’s modern and contemporary outpost on Madison Avenue. 

A treasury of art 

Ambani’s expansive personal art collection includes a painting called Tu by S H Raza, which she had gifted her husband, Manjit Bawa’s Untitled Krishna, a neon sculpture by Tracy Emin titled When I Hold You, I Hold Your Heart—a gift to her daughter Isha Ambani Piramal, works by Anish Kapoor, and Raqib Shaw’s Radha Krishna depiction which now hangs in The Art House—a four-storeyed dedicated art space at NMACC. The inaugural exhibit—Sangam/Confluence—is  curated by cultural theorist Ranjit Hoskote and Jeffrey Deitch, former director of the Museum of Contemporary Art in Los Angeles.

The exhibit includes works by Bharti Kher, Cecily Brown (a first for India), Francesco Clemente, Bhupen Khakhar, Ranjani Shettar, Ratheesh T, Anselm Kiefer, Lynda Benglis, Raqib Shaw and Shantibai. The space, located on the north side of the building is filled with natural light which is key in the display and preservation of the artwork. The gallery space—open to all allows one to appreciate works from renowned Indian and international artists. It will all also lend itself to tech programs, workshops and educational events.

Art is meant for everyone, and NMACC has plenty of works on display spread across the building, like the 56-feet Kamal Kunj Pichwai painting—one of the largest-ever commissioned—to revive the 400-year-old art form. A sprawling 90-piece stainless steel structure of mirrors titled Clouds by Yayoi Kusama adds fun and charm to the space. 

As a trained Bharatanatyam dancer, Ambani has a profound understanding of the discipline, dedication, and creative expression that Indian art embodies. Her involvement in the cultural sphere is evident by creating opportunities for emerging talents. 

The centre has several programmes and initiatives that are designed to promote culture and education, including workshops and classes on various art forms, outreach programmes for underserved communities, and collaborations with local schools and colleges to promote arts education. 

A sartorial spectacle

The inaugural event will also feature a fashion exhibit, India in Fashion: The Impact of Indian Dress and Textiles on the Fashionable Imagination—opening on 1st April, curated by fashion journalist Hamish Bowles. Designed by Patrick Kinmonth and architect Rooshad Shroff, an expansive hall at the adjoining convention centre, connected internally to NMACC, will be transformed to chart the history of India’s influence on European labels—from workmanship that looks at India more than just suppliers of international luxury labels, to referencing London’s Great Exhibition of 1851. The exhibition is divided into various sections showcasing archival pieces by Chanel, Saint Laurent, Jean Paul Gaultier, Dior and many more. Also on display are the works of Indian designers—upon entering, you are greeted by a custom-made chintz dress by Rahul Mishra, followed by iconic Bollywood costumes by Manish Malhotra for Kareena Kapoor Khan and Kajol in their films. Pieces by Abu Jani and Sandeep Khosla, Sabyasachi, and Anuradha Vakil are on display, too, including an outfit by Vakil from Ambani’s wardrobe. Isha Ambani’s Valentino-embroidered wedding outfit can also be spotted. 

With cafes spread across floors and the upcoming launch of the restaurant Indian Accent, at the onset, the cultural centre may look less than a hub for the community, but it’s the programmes and workshops that will allow it to stand the testament of its intentions. 

For the Ambani duo, known for their business prowess and philanthropic efforts towards India’s culture and education, the multidisciplinary cultural centre is a crowning achievement bearing Nita Ambani’s name, and representing the fulfillment of her lifelong aspiration. 

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