MAM
Kofluence launches ‘Rare Travel’ for Influencer-led travel collaborations
Mumbai: Kofluence, an Ad-tech influencer marketing platform, proudly announces the launch of its newest business division, Rare Travel. This innovative platform will create exclusive collaborations between top brands and the most influential travel creators across cities. Dedicated to curating unparalleled experiences and showcasing coveted destinations, Rare Travel seamlessly integrates brands into compelling influencer travel narratives. This ensures brands receive enhanced engagement and capture significant eyeballs in place of travel, catering to audiences looking for aspirational content. Already onboarded to the Rare Travel experience are brands such as Ajio, Lenskart, XYXX Apparels, Mokobara, and Zouk, among others.
As a full-stack marketing platform and connective marketplace, Kofluence delivers performance metrics across the entire customer journey and was recently recognized among Forbes’ Select 200 Companies With Global Business Potential. In January 2024, Kofluence secured a strategic investment from the board of Nazara Technologies Ltd (BSE: 543280, NSE: NAZARA) through the acquisition of a 10.77 per cent stake in Kofluence. This investment was part of a share swap transaction between the two companies, geared towards the launch of an influencer-driven game discovery platform and community.
Rare Travel’s inaugural initiatives feature two prominent influencer journeys:
Baku Exploration (June 26th – July 1st): Tanya Sharma (IG: 3.5M followers), Ashish Bhatia (IG: 1.1M followers), Shivani Singh (IG: 840k followers), and other top creators will uncover the allure of Baku, sharing exclusive experiences with their vast audiences.
South Korea Expedition: Simultaneously, influencers Niharika Tiwari (IG: 1.3M followers), Prabhat Chaudhary (IG: 1.2M followers), Ashna Zaveri (IG: 811k followers), and others will embark on a captivating journey through South Korea, spotlighting its rich cultural heritage and luxurious offerings.
Commenting on this launch, Kofluence CEO & o-founder Sreeram Reddy Vanga stated, “We are thrilled to kickstart Rare Travel, where our goal is to discover key opinion creators (KOCs) and top influencers across cities, empowering them to form impactful partnerships with restaurants and travel partners. I envision Rare Travel as a long-term intellectual property that will expand into other realms such as fine dining, lifestyle, and luxury under our Rare Club initiative.”
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.
