MAM
Dabur consol. revenue up 6 per cent to Rs 2,986.5 cr for Q2 FY’ 23
Mumbai: Science-based Ayurveda company Dabur India, has reported a 6 per cent increase in consolidated revenue for Q2 FY’ 23. On a constant currency basis, revenue increased by 8.5 per cent in Q2 FY’ 23.
Dabur India Ltd’s (DIL) board of directors met to review the company’s unaudited financial results for the quarter ended 30 September 2022.
The board of directors of Dabur India Ltd declared an interim dividend of 250 per cent for 2022-23.
Dabur India chairman Mohit Burman said, “Continuing with our payout policy, the board has declared an interim dividend of Rs 2.50 per share, aggregating to a total payout of Rs 442.94 crore.”
Dabur demonstrated agility and resilience in delivering consistent organic growth in a challenging environment marked by unprecedented inflation and its impact on consumption. Despite the significant headwinds, Dabur reported consolidated revenue of Rs 2,986.5 crore in Q2 FY’ 23, up from Rs 2,817.6 crore in the same quarter the previous year.
Dabur was able to mitigate the impact of unprecedented inflationary pressures through disciplined cost control, operational efficiencies, and prudent price increases across key product categories. Dabur reported a net profit of Rs 490.1 crore at the end of the second quarter.
Dabur India CEO Mohit Malhotra said, “While the challenging economic environment continued to be a concern and impacted the purchasing power, we are seeing green shoots of recovery with the onset of the festive season. The impact of inflationary pressures was more pronounced in the rural markets with demand growth in hinterland lagging urban markets for the first time in five quarters. However, we are hopeful of rural demand reporting a smart recovery in the coming quarters and we are investing ahead of the curve to ride this demand recovery by expanding our rural footprint by adding nearly 9,000 villages in Q2 FY’ 23 to take our total coverage to over 100,000 villages,”
Dabur is focused on creating shared value and is increasing capital expenditure, digitalization, and sustainability investments. Dabur has made rapid progress on the ESG front and has set ambitious goals for the future. In 2021-22, Dabur became the first Indian consumer goods company to become 100 per cent plastic waste neutral.
“Not one to rest on our past laurels, this year we have targeted to become Plastic Waste Positive, by collecting, processing and recycling 35,000 MT of post-consumer plastic waste pan-India. We are committed to creating circularity in the value chain to achieve a positive balance by 2030, besides becoming water positive by 2030 and carbon neutral by 2040,” Malhotra said.
Dabur’s brands have continued to outperform the market, gaining market share across 95 per cent of product portfolio. Dabur increased its market share in the juices & nectars category by 410 basis points, while share in the digestives category increased by 270 basis points.
Chyawanprash market share increased by 120 basis points, and shampoo category share increased by 40 basis points. Dabur’s market share in hair oils increased by 20 basis points. Dabur’s strategy remains centred on innovation, with new product launches accounting for approximately 4 per cent of total sales.
Dabur’s foods & beverages business reported a strong 30 per cent growth. The beverages business ended the quarter with a jump of over 30 per cent while the foods business reported a 21 per cent growth.
The home care business was up nearly 21 per cent, while the toothpaste category, riding on strong performance of our flagship Dabur red paste, ended the quarter with an over 11 per cent growth.
The shampoo & post-wash business ended the quarter up 9 per cent. Dabur’s Ayurvedic OTC business also reported a growth of over 9 per cent during the quarter.
Dabur’s international business reported a 12.3 per cent jump in constant currency terms, led by strong constant currency growths in Turkey (86 per cent), Nepal (25 per cent ) and Egypt (23 per cent ).
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.
