Travel 2,000 years back at Mount Mary, set to unveil life-sized Biblical multimedia experience

For both Mumbaikars and visitors alike, Mount Mary’s Basilica in Bandra has long been more than a mere landmark or sanctuary but a gathering place for people of all faiths. Now, directly across this iconic site, nestled below the Mount Mary ‘Steps’ is a new cultural spot — ‘Pranam Maria’, an immersive experience that will take you through the story of Jesus Christ and His mother Mary, through 252 life-sized statues arranged in a theatrical multimedia environment that recreates the historical settings with incredible accuracy.


A project of the Archdiocese of Mumbai and funded by Mount Mary’s Basilica, ‘Pranam Maria’ was officially inaugurated in May with Archbishop of Bombay, Oswald Cardinal Gracias, celebrating its completion. “The foundation stone was laid in 2008 after the late Msgr. Nereus Rodrigues, Basilica’s then rector, was inspired by a similar exhibition he saw at a Varansasi cathedral, envisioned it for the thousands who visit the Basilica,” says Joaquim dos Reis, a member of Archdiocese of Bombay’s finance committee who has been involved with the project since its inception. “We’re waiting for the occupancy certificate and hope to throw it open to the public in September.”


Facing the Basilica, the facade of Pranam Maria’s experience centre features a stunning sculpture of The Holy Family—Joseph, Mary and Jesus—against a backdrop of seven boats and a towering Cross. The sculpture, crafted to resemble intricately carved wood, carries deep symbolism—of Jesus’s past as a carpenter and his future on the cross while the seven boats symbolise Mumbai’s seven islands and its rich fishing heritage, from Mazgaon and Mahim to the fishing villages along the city’s coastline.


To enter the experience, you ascend a gentle slope from the side of the Steps and approach a concave building—designed to evoke a mother’s womb—encrusted with tiny mosaic tiles featuring an abstract painting and figure of ‘The Woman and the Dragon’, a Biblical scene depicting a pregnant woman, clothed with the sun, the moon under her feet, and a crown of twelve stars, standing against a dragon poised to devour her child. Scripture verses run along the borders, while the main doors, painted with Alpha and Omega symbols, open outward in a welcoming gesture.


“The idea was to create a sense of an open invitation,” explains Joe Cordo, adman and multimedia designer who ideated and created the experience. “We often see busloads of people arriving at the Basilica and walking around these stretches, yet many don’t fully know the story of Christ and Mary,” says Cordo, adding that the experience is meant to appeal to novices and scholars alike.


A refreshing escape from the chaotic street outside, the fascinating 50-minute immersive multimedia winding trail is both timeless and of-the-moment. Each visitor will receive a headset with multiple language options and guided in groups of twelve by two hosts. “Currently, our master commentary is in English but the plan is to have all language options from Konkani to Marathi to Bengali,” says Cordo.


Covering 10,000 square feet across two levels, each scene sweeps you back 2000 years. Guests are instantly enveloped in a custom musical score and dramatic storytelling as you wander through lush landscapes and watch sunsets over the Sea of Galilee, you'll step into rugged, cave-like homes and witness miracles, betrayals, and key Biblical moments unfolding in vivid, three-dimensional detail.


An interplay of theatrical lights, music, and narration surround the lifelike statues and sculptures, guiding you gently through each powerful scene, wWhether you’re peering over Jesus’ shoulders, standing beside his apostles gathered around the supper table, walking side by side with the jeering crowd accompanying Jesus staggering under the weight of the cross he carries to Calvary or gazing up at Mary’s coronation.


Creating the 252 life-sized statues for Pranam Maria began in 2018 right at the experience centre, which doubled as a workshop, says Cordo. The process involved constructing steel skeletons, moulding the figures in clay, and reinforcing them with fibreglass and plaster. Traditional artisans from VV Patkar’s studio, known for their expertise in classical Greek and Roman sculptures handled the sculpting, while the faces were painted by Rishikesh Deshmane, an alumnus of JJ School of Arts.


“I pulled out books on Biblical art and history to get the anatomical details right, modelling each character with Middle Eastern features, their costumes and colours, architecture, landscapes, cosmic configurations, and various artefacts. The space and sky images, including nebulae and the sun, are high-resolution shots sourced from the James Webb and Hubble space telescopes,” adds Cordo.


Bandra based Edward Mendes, a former data-matics expert, the system architect behind Pranam Maria’s audiovisual experience, spent three months perfecting the proprietary software that keeps the lighting, music, and commentary in sync. “The goal was to design a system that wouldn’t disrupt the flow between visitor groups. Guests use a smartphone with the Pranam Maria app to choose their language and follow along,” he explains.


Dawn Cordo Gonsalves, music composer and director for the experience aimed to create something distinct. “Though the lyrics are from scriptures, all the music and melodies are new. For example, the Hebrew text from the Old Testament ‘Don’t call me Naomi. Call me Mara’ is performed by Dominique Cerejo, but the tune is entirely original,” says Gonsalves who chose Middle Eastern instruments like the daf, bamboo flute, oboe, clarinet, viola, and cello to enhance the mood and transitions between scenes.


The team behind the experience—all locals—assures there’s no forced moral messaging. “We conducted trial walkthroughs with people of different communities to design the storytelling of Christ in a way that appeals to all. The idea is simply to invite visitors to be drawn into the mysteries and reflect on their own takeaways,” they say.





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