MAM
Kyoorius unveils its jury and announces jury sessions for the 2016 Design Awards
MUMBAI: Kyoorius unveils its jury for the fourth edition of the Kyoorius Design Awards. The jury sessions will take place from September 02-04, 2016 at the école intuit.lab in Mumbai. Gabor Schreier, Executive Creative Director, Saffron Brand Consultants, will chair the jury at the Kyoorius Design Awards this year. He specialises in creative strategy, brand positioning and architecture, visual identity systems, branded environments, signing systems and sound branding. The Kyoorius Design Awards recognise, honour and award the most outstanding creative work in the Indian visual communications sphere.
This year, the Kyoorius Design Awards received a total of 468 entries across all categories, from design studios, advertising agencies, freelance designers, brand consultancies and corporate from across India. The Kyoorius Awards have a wide-ranging list of categories, planned to recognise individual components as well as entire campaigns and projects that exist on multiple platforms and channels. A specialist jury composed of the top creatives from across the world – will gather to review, discuss and elect the best of the best over three intensive days. All the voting is done in private and never by a show of hands.
Under the Kyoorius Design Awards, the jury also comprises of:
• Tnop Wangsillapakun, Founder & Design Director, TNOP Design
• Prasanna Sankhe, Co-Founder & Creative Head, Hyphen
• Sarita Sundar, Founder, Hanno
• Kurnal Rawat, Creative Director, Landor
• Katherina Tudball, Design Director, The Partners
• Ayaz Basrai, Co-Founder, The Busride Design Studio
Rajesh Kejriwal, Founder and CEO of Kyoorius said ‘With our latest edition of Kyoorius Design Awards, we are delighted with the quality and range of entries received. The jury – a mix of international and Indian experts – will have some tough choices to make over the next few days. Kyoorius has an Open jury policy and people from the media and industry are allowed to attend these sessions to interact with the jury and be inspired by the exceptional entries received this year”.
The Kyoorius Design Awards night will be the culmination of Kyoorius Designyatra and will be held on October 01, 2016 at the Fairmont Hotel, Jaipur, India. The Awards night will have a gathering of over 1100 people from the marketing and communication industry.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
