Digital
UPES and Silvercord Films release ‘India Leads the World’ music video
Mumbai: Marking World Music Day, UPES released a soulful music video to celebrate the spirit of the nation. The video is an artistic and musical expression of ‘India Leads the World and pays homage to the remarkable transformations unfolding in every aspect of India’s growth. This musical extravaganza, produced in collaboration with Silvercord Films, cherishes the work of great Indian musical maestros whose original rendition ‘Mile Sur Mera Tumhara’ struck a chord with every Indian.
The video has been completely performed by the students and faculty of UPES. Even senior leaders such as the chairman, the vice chancellor and the deans can be seen joining them in the video. They were also joined by staff members including security guards, gardeners, office boys, housekeeping ladies and more.
This collective representation reflects a truly refreshing approach to education embodying inclusivity, respect, and passion, all of which are the core values of UPES.
Opening with a powerful address by Hydrocarbons Education Research Society (HERS) chairman Sharad Mehra, the video puts a spotlight on various art forms, from the graceful art of Bharatnatyam, and dynamic contemporary dance performances, to the powerful lyrics that perfectly stitch together this modern yet rooted rendition.
“Today, India is a force to be reckoned with. We are known as much for technology as for ancient philosophy and life-changing education that values humanity and knowledge, equally. With pride and patriotic enthusiasm, our students and staff have come together to salute the incredible new India through this soulful performance. We’re thrilled to share this celebration of national pride, with our fellow Indians,” added UPES vice chancellor Dr. Ram K Sharma.
Available on YouTube, Twitter, Facebook and Instagram the music in this video is composed by Nishant Ramteke, a young talented music maestro from Maharashtra. “When UPES approached me for this interesting collaboration, the intention, and the attempt of a homegrown piece of art inspired me to take this up. With a beautiful mix of old and new streams, we have been able to push boundaries and create something which is democratic and diverse in its nature and form”, shared Silvercord Films film director and screenwriter Yashasvi Juyal.
The music video pays a proud tribute to a new India which is leading the change that the world is witnessing. It celebrates India not just as the youngest country in the world, the largest democracy on this planet, the next economic, political, and social superpower but above all, as the largest human-centered nation that has become a global inspiration.
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.
