MAM
The right mat: Boosting performance and safety in wrestling and kabaddi
In contact sports such as wrestling and kabaddi, the playing surface plays a critical role in determining athlete safety, comfort, and performance. The mat not only cushions falls but also influences how athletes move, grip, and balance during high-intensity encounters. While both sports are contact-driven and demand immense physicality, they have distinct characteristics that shape how the mat interacts with the athletes.
Injury prevention and safety
The prevention of injuries is a paramount concern in both wrestling and kabaddi, given the physical intensity and frequent body contact involved in both sports. The right mat can significantly reduce the risk of injury by providing adequate cushioning to absorb the force of falls, tackles, and other impacts.
In wrestling mat must be soft enough for cushion falls yet firm enough to allow for proper improvement and grip. Wrestlers engage in intense grappling, throws and takedowns all of which put pressure on the body. Mats that are too firm may fail to absorb the impact effectively, leading to increased risk of concussions, joint injuries, and bruising. Conversely, mats that are too soft may cause instability, making it harder for athletes to maintain their balance, potentially increasing the risk of sprains and twists. Additionally, modern wrestling mats are often coated with antimicrobial substances to prevent infections, which are which are common in close-contact sports
Athlete comfort
Athlete comfort is another critical factor influenced by the mat choice in both wrestling and kabaddi. Comfort not only affects an athlete’s immediate experience but also their long-term performance by reducing fatigue and injury.
In wrestling, the mat’s ability to provide a stable yet cushioned surface is crucial for minimizing joint stress. Wrestlers spend significant time grappling on the ground, and a comfortable mat can reduce the wear and tear on their bodies. The material and thickness of the mat play a significant role in determining the level of comfort. High-density foam mats are often preferred for wrestling, as they provide both comfort and support, allowing athletes to perform at their best without experiencing undue fatigue from harsh landings or prolonged groundwork.
Similarly, in kabaddi, where athletes must make rapid sprints and execute tackles in a small playing area, the mat’s comfort is critical. A surface that is too hard can lead to discomfort, reducing the players’ ability to make explosive movements, while a surface that is too soft can make it difficult to change direction quickly, affecting agility. The transition from traditional mud surfaces to synthetic mats has led to a need for materials that minimize discomfort and reduce the impact on joints during fast-paced action. Properly designed mats can help reduce fatigue, enabling players to maintain high performance over longer durations.
Impact on performance
The type of mat used in wrestling and kabaddi can directly impact athletic performance. In athletic mats, the right amount of grip allows athletes to execute takedowns, throws, and holds with precision. If the mat is too slippery, it can result in failed techniques or unnecessary slips, hindering performance. Grip is especially important in wrestling where leverage and positioning are key to gaining an advantage over the opponent. The surface texture of the mat should allow wrestlers to move fluidly while providing the necessary traction to maintain stability during aggressive movement.
In kabaddi, mat design is equally important for performance. As the game involves rapid sprints, sudden directional changes, and quick tackles, the mat must provide adequate grip for the feet. This prevents slipping during crucial movements, allowing players to maintain balance and control. A good quality mat can enhance player agility, giving them the confidence to perform complex maneuvers without the fear of losing their footing. Furthermore, the elasticity of the mat can affect how a player rebound from tackles and how quickly they can regain their footing which is crucial in a game where speed is paramount.
The choice of mats in kabaddi and wrestling is more than just a matter of comfort it is integral to injury prevention, athlete well-being, and peak performance. In wrestling, mats that balance the softness and firmness reduce the risk of injury while promoting optimal movement and grip. Similarly in Kabaddi, modern mats have evolved to provide comfort, safety, and agility allowing athletes to perform at their best. As both sports continue to develop, innovations in mat technology will play an increasingly important role in enhancing athlete safety, comfort, and performance on the mat.
The article has been authored by Gravolite director Paras Maheshwari.
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.
