MAM
Ashish Duggal and Bitesh Singh launch POIESIS: AI-Driven Creativity unleashed
Mumbai: Ashish Duggal, an eminent figure in the digital advertising industry renowned for his expertise, has entered into a partnership with Bitesh Singh, the founder, and CEO of SocioClout and CreatorsClout. This synergistic collaboration marks a significant milestone in the professional journeys of both entrepreneurs, as they proudly unveil their latest venture, POIESIS.
Positioned at the intersection of creativity, data and AI technology, POIESIS represents a transformative force in the realm of digital innovation. Departing from conventional approaches, this startup aims to redefine contemporary marketing through a commitment to a data-driven and AI-centric creative process. As an integrated creative agency, POIESIS aspires to construct impactful narratives and experiences, seamlessly integrating real-world and virtual data.
This is a data-driven approach by both Ashish Duggal and Bitesh Singh, bringing a wealth of creative expertise to the forefront, distinguishing POIESIS as a unique entity in the industry. Going beyond conventional agency norms, POIESIS embodies a harmonious fusion of cutting-edge technology and creative acumen, promising clients an unmatched and transformative journey.
The agency’s vision extends beyond the ordinary, emphasising a revolution in marketing strategies and shaping the digital innovation landscape. POIESIS is strategically positioned to make a meaningful impact across diverse industries, envisioning a future where businesses not only survive but thrive through the convergence of technology and creativity.
POIESIS co-founder Ashish Duggal expressed his enthusiasm for this new chapter, “POIESIS is the realisation of a dream, a fusion where creativity, data and AI technology seamlessly intersect. Beyond the ordinary agency paradigm, we are architects of digital transformation, charting a course where innovation knows no bounds. My ethos centres on placing the customer at the forefront, championing a customer-centric strategy for maximum impact. Our team is a powerhouse, a collective of seasoned individuals with profound expertise in navigating digital landscapes and unlocking the optimal potential for brands. We have established two offices in Mumbai and Gurugram at present. Together, we eagerly anticipate crafting experiences that resonate with depth and purpose for our clients
Adding further to this POIESIS co-founder Bitesh Singh said ‘In our journey to redefine the landscape of creativity, we are not just storytellers; we are architects of narratives crafted by the seamless integration of data and AI. As co-founders, we believe in a future where insights illuminate imagination, and where the art of design is elevated by the science of algorithms. At POIESIS, we don’t just follow trends; we set them, driven by the power of data and guided by the intelligence of AI. Our objective is to expand beyond national borders and establish a presence on different continents. Together, let’s chart a course into uncharted creative territories, where every pixel and every line tells a story backed by the brilliance of analytics. This is not just a creative agency; this is a revolution in the making.
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.
