MAM
Asia Society India Centre board names Sangita Jindal new chair
Mumbai: The Asia Society India Centre Board has announced the election of Sangita Jindal as the new chair of the board. Her role will be effective from 1 April 2024. “I am so delighted to welcome Sangita Jindal as chair of the Asia Society India Centre Board. She has been an immense support to our mission in South Asia and her work to support contemporary art in India and South Asia has been a transformative force; I look forward to working with her to strengthen Asia Society’s footprint in South Asia,” said Asia Society India Centre CEO Inakshi Sobti.
Sangita Jindal is president, of Art India and chairperson of the JSW Foundation, which is responsible for the social development projects of the JSW Group of Companies. In the twenty years that she has been spearheading the JSW Foundation, it has enlarged its scope of activities in the areas of education, health, livelihood creation, local sports development and conservation of arts and cultural heritage. She established the Jindal Arts Centre in 1992 and founded Art India, India’s premier art magazine, in 1994. She was among the team that conceptualised the Kala Ghoda Arts Festival and was awarded the Eisenhower Fellowship in 2004. She has founded the Hampi Foundation that has undertaken conservation work at three temples in Hampi. She is a Global Trustee of Asia Society and a member of the Board of the National Culture Fund, Trustee of the World Monument Fund, advisor to TEDxGateway and a member of the IMC Ladies’ Wing Art, Culture and Film Committee.
Founded in 1956 by John D. Rockefeller 3rd, Asia Society is a nonpartisan, nonprofit institution with major centers and public buildings in New York, Houston and Hong Kong, and offices in Los Angeles, Manila, Melbourne, Mumbai, San Francisco, Seattle, Seoul, Sydney, Tokyo, Washington, D.C. and Zurich. The India Centre was founded in 2006; it is the only Asia Society Centre in South Asia and aims to encompass all of the subcontinent in its mission to bring together diverse perspectives on modern Asia and cultivate a nuanced understanding of Asia-Pacific affairs. To learn more about Asia Society India, head to asiasociety.org/india.
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.
