MAM
Havas Worldwide India names Dentsu’s Anupama Ramaswamy as chief creative officer
Mumbai: Havas Worldwide India on Wednesday announced the appointment of Anupama Ramaswamy as its chief creative officer. She comes on board to further catapult the creative transformation of the agency, which has seen unparalleled business growth over the last three years. Anupama’s last stint was with Dentsu Impact, where she was working as the managing partner and national creative director.
Ravinder Siwach, who has been leading the creative mandate of Havas Worldwide India as executive director and national creative director, is moving on to pursue new opportunities. He will be with the agency till October 2022.
Ramaswamy will be reporting to Havas Group India chairman and chief creative officer Bobby Pawar, and will begin her new role at the agency effective October 2022. She will also work closely with Havas Worldwide India managing director Manas Lahiri.
Ramaswamy will be based out of the agency’s Gurgaon office, overlooking the complete client roster of both Gurgaon and Mumbai offices that have witnessed tremendous business growth over the last three years. This includes some of the biggest global and Indian brands, including Reckitt, Dabur, Tata Group, P&G, Stellantis, Vivo, Aegon Life, Fortis, Suzuki, UTI Mutual Fund, Celio, William Grant, amongst others. In 2021 alone, Havas Worldwide India garnered over 30 per cent growth across its Mumbai and Gurgaon offices on the back of significant business wins, resulting in it being consistently ranked in the top three in the R3 New Business League Creative Agency list.
Through her career, Ramaswamy has worked with some of the leading agencies in India and several marquee global and indigenous brands across sectors, including Maruti Suzuki, Ikea, Vivo, Paytm, Subway, Tata Tea Digital, Samsung Mobiles, Airtel, Dabur, Lacoste, Whirlpool and many more. Her recent campaigns, which include the Paytm Divide and Chotu, made her win the One Show, a couple of Spikes, New York Festivals and also featured as one of the Impact Creative Stars ’21.
During her stint at JWT Delhi as senior creative director, Ramaswamy led the Delhi office to its first Cannes Lions and Clio Gold. She has also been a recipient of some of the most coveted awards, including Cannes Lions, Clio, Adfest, New York Festivals, Abbys, Effies, Spikes, Global Healthcare Awards, IAA Awards, and The One Show, and her work for FujiFilm has been featured in the prestigious Gunn Report as one of the top 20 most awarded print campaigns in the world. She has been on the jury of several prestigious awards, like The One Show, and the grand jury at AME Awards and New York Festivals.
“We have steadily been building Havas Worldwide into a company that embodies Yannick Bollore’s ‘Together’ philosophy. Where skill sets from the old world and new work seamlessly and harmoniously. This and the rising standard of our work have made us the fastest growing agency. Now is the time for our work to take a giant leap. And I can’t think of a better person to lead this than Anupama. She is a hugely talented creative with a heap of awards and great work to prove it. But the one talent of hers that I value the most is her ability to nurture a culture that makes people and their ideas better. She is a team player and fits right into our philosophy. And I believe she will be a leader who will usher not just Havas but also our industry into the future,” said Bobby Pawar.
Talking about her new role, Ramaswamy said, “The complete resurgence of Havas Group India has made it one of the most sought-after networks. The group has been working in an integrated manner long before other agencies had even thought about it. So, the opportunity to work with Bobby again, who is an institution in his own right, along with Rana’s overall vision for the network, drew me in to be part of this unprecedented growth story. But what excites me the most is the task bestowed upon me by Bobby and Rana-to induce a new and fresh creative culture.”
Speaking about Ravinder’s exit, Bobby said, “Ravinder has played a key role in the resurgence of Havas Worldwide. However, he has been chomping at the bit to do other things, many beyond advertising, for a while. Which means his journey with us is over while another one begins. We all wish him the best in his new adventures.”
Ravinder Siwach said, “The reputation that Havas Worldwide India has built over the last three years is truly inspirational. Being part of this growth journey was an enriching experience. I thank Rana, Bobby and the entire team at Havas Worldwide India for their tremendous support and wish them luck for the journey ahead.”
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.
