MAM
IOAA, GroupM & JCDecaux to move the needle of sustainability in OOH
MUMBAI: OOH is finally joining the sustainability bandwagon. GroupM, WPP’s media investment group, in collaboration with the Indian Outdoor Advertising Association (IOAA), has announced the formation of a dedicated task-force committee to advance sustainable practices within the out-of-home (OOH) advertising industry.
The committee, comprising GroupM MD cinema, OOH and experiential marketing Ajay Mehta, IOAA chairman Pawan Bansal and JCDecaux Advertising India executive chairman Pramod Bhandula, is focused on guiding media owners in adopting sustainable practices. The committee’s ambitious target is to ensure that 50 per cent of all advertising sites in India utilise recyclable materials by 2027.
A three pronged thrust has been planned. First, in the area of digital OOH (DOOH) and power consumption, the second in the use use of fabric instead of flex materials and finally a recycling program for billboard waste.
To address the rise in power consumption from the transition to DOOH advertising, the task force will prioritise the adoption of renewable energy, particularly solar power. The committee will develop a roadmap for transitioning OOH assets to renewable energy and enhancing cost efficiency through bulk procurement.
Additionally, the committee will explore alternative, sustainable materials such as fabric and polyethylene to replace traditional flex, aiming for options that are lightweight, weather-resistant, recyclable, and durable. Due diligence will be conducted to vet suppliers, and bulk deals will be negotiated to ensure a cost-neutral transition.
A “Take Back Program” will also be introduced to recycle used billboard materials in partnership with non-profit organizations. This initiative aims to further minimize waste and encourage industry-wide accountability. The committee’s mission is to foster environmental responsibility among media owners and partners, ensuring the widespread adoption of sustainable practices. Insights from the World out of home organization (WOO) will also be leveraged to support global sustainability efforts within the OOH space.
GroupM’s OOH Solutions team has already piloted sustainability initiatives with brands such as ICICI, Zepto, and Blinkit, using polyethylene fabric, showcasing actionable solutions that align with sustainable principles.
Mehta explained: “As leaders in the media industry, it is our responsibility to move the needle, inspire transformation, and ensure that sustainable practices become the norm rather than the exception. I truly believe that we should all do good while doing well, and this committee will strive to balance innovative advertising with environmental responsibility.”
Bansal believes that “sustainability is the future of advertising and IOAA is committed to guiding media owners towards responsible, eco-friendly practices. This initiative will not only reshape the future of outdoor advertising but also set a benchmark for industries worldwide to follow in balancing growth with environmental stewardship.”
According to Bhandula, “sustainability is not just an option; it is a necessity for the future of our industry. At JCDecaux, we believe in driving positive change by embracing greener solutions that leave a lasting impact. This collaboration will propel the outdoor advertising sector towards a sustainable, innovative, and environmentally-conscious future.”
(Picture courtesy: IOAA website)
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.
