MAM
Royal Enfield Art of Motorcycling returns with Season 4
Mumbai: Building on the success of its last three seasons, Royal Enfield’s #ArtofMotorcycling is back with Season 4. Designed to give artists, designers, and creative enthusiasts a platform to showcase their passion and celebrate the motorcycling way of life, this year’s #ArtofMotorcycling is expanding its reach globally, spreading the spark of creativity through Thailand, Indonesia, Australia, New Zealand, South Korea, Japan, Malaysia, Brazil, Argentina, Colombia and Mexico.
Dubbed the ‘Y3K edition’, season 4 is themed around the year 3000 A.D., and reimagines the relationship between mankind, technology and the unyielding pursuit of freedom on two wheels. Artists are encouraged to envision a world where motorcycling transcends the ride, exploring new galactic landscapes, uncharted terrains and unheard adventures.
A big part of the #ArtofMotorcycling proposition is to create an inclusive space for artists across levels of expertise, to share their ideas with the community and showcase their work to celebrated creative minds. Adding to the exciting developments under the Season 4 banner, participants can now create and submit designs under four categories: Gen AI, Digital Art, Handcrafted, and Comic Art-a special category that celebrates the dynamic intersection of art and motorcycling through illustrative and sequential storytelling.
This year, entries will be reviewed by a league of global judges, alongside dedicated regional juries that will bring their varied expertise to the table. Featuring some of the most incredible creative minds, the global panel includes Aaquib Wani, an experiential designer known for his immersive approach to design. Some of his most notable collaborations include Lollapalooza, India Cricket team, Spotify Rap91 and JSW Olympics ‘24; Debjyoti Saha, a celebrated animation filmmaker and visual storyteller, founder of Goppo Animation: Haruka Satonaka, a Japanese Manga artist and Varun Gupta, a popular artist and filmmaker whose storytelling merges the worlds of Gen AI and visual artistry. With representation from across the eleven regions, notable names on the regional panels include; Mao Gronewold, an art and creative director from Mexico and Takrit Krutphum, a well-known artist from Thailand.
All artworks on the country and regional level will be evaluated by social polls, giving the global creative community a voice in the decision-making process. The top eight designs (across regions) will receive an all-expenses-paid trip to Royal Enfield’s annual community event, Motoverse, where their artworks will be displayed on exclusive #ArtofMotorcycling apparel. Winners will also have the opportunity to be featured on The Royal Enfield – Ride Pure Podcast, giving them a forum to share their stories and passions with the world. In addition to this, one winner from the Comic Art category will receive the opportunity to work with Royal Enfield on special projects.
Interested candidates can head over to the #ArtOfMotorcyling section on Royal Enfield’s website post 6:00 p.m. today to register in their preferred category and download the design toolkit. They can then create their unique design and share it on Instagram, tagging @royalenfield using the hashtags #ArtOfMotorcycling #ArtOfMotorcyclingY3K. The last date to participate is October 20, and the winners will be announced between November 1 and November 10.
Along with newer categories and exciting rewards, season 4 will also feature virtual masterclasses with leading design colleges and graffiti activations. Royal Enfield will also be collaborating with creative homegrown powerhouses Daily Objects– a lifestyle brand for well-designed everyday essentials–and FARAK–a premium streetwear brand that is redefining Indian artisanal luxury–to create #ArtOfMotorcycling-inspired limited edition collections.
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.
