MAM
Sa Re Ga Ma Pa 2024 attracts 23 brand partners on Zee TV & Zee5
Mumbai: Celebrating nearly three decades, Zee TV’s music reality show Sa Re Ga Ma Pa has made a grand return with a new season, featuring mentors Sachin-Jigar, Sachet-Parampara, and Guru Randhawa alongside hosts Vipul Roy and Salman Ali. Contestants’ performances have captivated audiences and received praise from visiting celebrities, including Kartik Aaryan, Vidya Balan, Tripti Dimri, Shilpa Shetty, Annu Kapoor, and Kumar Sanu.
Sa Re Ga Ma Pa 2024 has attracted 23 sponsors across various industries, making it a key platform for advertisers. This season’s title sponsor is Birla Opus Paints, with Chocolate Horlicks and Cadbury Celebrations as co-presenting sponsors, and Smith & Jones Pasta Masala, Catch Masale, and Clinic Plus Shampoo as co-powered by sponsors. Additional sponsors include Vicks Double Power, Garnier Super UV Sunscreen, India Gate Basmati Rice, Dish TV, BKT Tires, Yamaha Racing, Mastercard, Voltas Beko, and Merino Laminates.
On Zee5, the show has partnered with Birla Opus Paints, Catch Masale, Dish TV, Manyavar Mohey, Lux Lyra, Luxor Writing, Airtel, and Saudi Arabia Tourism, featuring brand integrations during festive showcases. The show’s 360-degree media strategy ensures high visibility across television, digital, and social media:
● Television: Sponsors are featured in live performances, judging segments, and contestant stories.
● ZEE5: Interactive ads and branded content connect with younger, digital audiences.
● Social Media: Campaigns on Instagram, Facebook, Twitter, and YouTube drive engagement with viewers, enabling sponsors like HUL, Capital Foods, Yamaha, and BKT Tyres to reach targeted demographics effectively.
Zee Entertainment Enterprise chief growth officer – digital & broadcast revenue Ashish Sehgal said, ‘We are proud to have driven the return of Sa Re Ga Ma Pa with an impressive lineup of 23 esteemed sponsors this season. Our innovative approach to integrating brand partnerships across television, digital, and social media platforms enables us to create meaningful connections between brands and audiences. By strategically aligning our sponsors with the emotional journeys of the contestants, we not only amplify viewer engagement but also provide our partners with standout opportunities in a competitive marketplace. Securing such a diverse range of sponsors underscores our team’s commitment and ability to deliver impactful solutions. We are glad that the new season of Sa Re Ga Ma Pa is reigniting musical passion among millions of viewers while delivering significant value to our partners.”
Zee TV chief channel officer Mangesh Kulkarni added, “The 2024 season of Sa Re Ga Ma Pa has truly struck a chord with audiences, thanks to the fresh panel of mentors who bring their unique musical styles, and the exceptional caliber of talent that graces our stage week after week. The format has evolved with thoughtful content innovations, ensuring that each performance resonates deeply with viewers. This captivating blend of music, emotion, and storytelling has not only delighted our viewers but also attracted a strong lineup of advertisers who recognize the power of our platform. I’d like to thank both our viewers as well as sponsors for their continued faith and support towards Sa Re Ga Ma Pa. Going forward, it will remain our constant endeavour to create significant value for our partners through creative brand integration strategies.”
With a powerful combination of musical brilliance, content innovation, and a robust 360-degree media strategy, Sa Re Ga Ma Pa continues to set the bar higher for music reality shows in 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.
