MAM
Tata Salt revives iconic jingle in ‘Desh Ka Namak’ campaign
Mumbai: Tata Salt, a pioneer and market leader in India’s branded iodised salt segment, has launched a unique campaign that breathes new life into its iconic jingle, ‘Namak ho Tata ka, Tata Namak’. The multi-asset campaign celebrates the brand’s ubiquity as ‘Desh Ka Namak’, resonating with the youth and also capturing the pulse of India. It offers a new outlook with a fresh spin to the jingle while retaining its timeless signature tune.
The 2.0 version of ‘Namak ho Tata ka, Tata Namak’ jingle promises its consumers an element of surprise and delight; it also introduces a refreshed perspective on its enduring presence in households across India. Conceptualized by Ogilvy, the campaign includes a series of 11 light hearted yet quick-witted films showcasing the jingle’s presence in various moments of a consumer’s daily life, therefore making it an omnipresent ‘Desh ka Namak’ brand.
Through these innovative immersive experiences, Tata Salt, one of the most loved brands in the country, aims to build a deeper connection with its consumers across generations and establish itself as a brand that resonates with the values and aspirations of today’s audience.
Commenting on the campaign, Tata Consumer Products president, packaged foods – India Deepika Bhan said, “Tata Salt is one of India’s most trusted and responsible brands. Its legacy as ‘Desh Ka Namak’ spans more than 40 years. The new campaign featuring its iconic jingle, which took birth in the 1980s, doffs a hat to the enduring appeal of the brand and its ability to evolve with the times. With this initiative, we also aim to deepen our connection with our audience and reinforce Tata Salt’s commitment to be part of their lives, promoting health and happiness.”
Ogilvy managing partner, creative (West) Anurag Agnihotri said, “For most of our country, salt means Tata Salt. And Tata Salt means trust. It is a bond built on love. The new ‘Desh ka Namak’ campaign gives back the same love and trust that people place on a legacy, iconic brand. We put one of the most loved Tata Salt tunes back in people’s life, in moments that are as everyday as the salt itself. A movie scene, a cat, an election rally and such things. We hope everyone likes the new ‘Desh ka Namak’ campaign and loves the brand the way they always have.”
As a pioneering brand, Tata Salt’s unwavering commitment to quality and customer satisfaction has made ‘Desh ka Namak’ one of the most loved brands. It not only sets the standard for purity of salt in the country, but also advocates for combating iodine deficiency across the nation.
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.
