MAM
Qoruz and autumnGrey’s guide to planning the perfect Holi campaign
MUMBAI: Qoruz and autumnGrey have launched an interesting ‘Key Insights to Influence Audience this Holi’ report based on their last year’s observations of the festival, created by analysing engagement on various platforms, trending topics, wishes that dominated all platforms, form of content that worked best, brands that could create an impact, etc. Some key takeaways mentioned in the report can help brands in planning their campaign for Holi this year and choose an engagement platform that could garner desired outcomes.
As per the report, Instagram created the highest average engagements last Holi, followed by Facebook and YouTube. Twitter led the number of posts made around the festival. The frequency of posting was dominated by fashion/beauty segment, the maximum engagement of more than 80 per cent was received by the travel sector. Interestingly, tier 2 and 3 cities witnessed 65 per cent of the social media activity more than 35 per cent of tier 1 cities. The most popular conversation topic was love, followed by friends and family, kindness and pets and movies and music.
Facebook took the lion’s share in terms of brand posting as well as engagement (likes, comments, and shares), making it an obvious platform to target audience, closely followed by Instagram.
Other key highlights revealed that 40,000+ content pieces were created by Indian influencers covering topics around Holi and 78.4 million engagements were recorded on online posts, received as comments. shares, and reactions. 9,978 influencers posted social content like images, videos, and GIFs across top platforms. 21,222 #HappyHoli wishes were shared by influencers with followers on social media.
Speaking on the insights, Qoruz CEO Praanesh Bhuvaneswar said, “Numbers are an intrinsic part of every brand campaign and nobody understands that better than an analytics-powered company like Qoruz. With this report, we bring our raw historical numbers to life and pave the way for real impact!”
The report suggests marketers be a front-runner while creating campaigns and not worry about the formats. “Design a thoughtful campaign that makes it personal for the audience and creates an emotional response. Humanity is what people crave for. Kindness to animals, plants, and humans, and the voice of love is what impacts,” suggests the report.
The report also mentions some brand campaigns that worked last year, insights on some sectors, categories like Travel, Fashion/ Beauty, Food, Gifting, etc that saw success and hashtags that gained the highest engagement in each sector. Here is a link to download the report.
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.
