MAM
Innovation is the pillar of the new events industry
Over the last few years, the events industry in India has experienced exponential growth and transformation, as a result of advancements in technology, new opportunities, platforms, and so on. While earlier, the sector dealt primarily with small scale events, today, massive, elaborate events are a common sight, with people flocking to them from all over the country. However, large scale events like these require a great deal of ideating, innovating, and brainstorming, and often, are not executed as well as they could have been, owing to the challenges involved.
The phrase “If you do something, do it well, or don’t do it at all” is one that almost all of us are familiar with, and resonates with me greatly. As such, I believe that in order to make an event a massive success, the backend work and preparation that go into it, are of tremendous importance. It isn’t just about the efforts, but rather, the innovative ideas, concepts, and execution that make an event exceptional. A few of the factors and key innovations which make up the backbone of the event industry are enumerated below:
Out-of-the-box concepts
Given the explosive growth that the events industry has seen over the last few years, a large number of key, established players have poured into the market, while many more new groups are making their way in, every now and then. This is why it is extremely important for an event to be able to set itself apart from the rest, to leave a lasting impression. Out-of-the-box thinking and innovative concepts help create a unique experience for the guests, which not only ensure that they have a great time but also makes them eagerly look forward to the next event in the calendar.
Importance of unique venue design
The venue selected also has much to do with the success of the event, as it provides the framework for the experience that the guests will be a part of. Gone are the days when a stage and sound equipment were all that you need to make an event successful. From open-air concert grounds and underground basements to nature trails and more, event venues have only evolved more and more, with time, and hence, need to continue pushing boundaries, to create the perfect ambience and environment that complement the kind of event being organised.
Variation in lighting
In any kind of event, lighting plays a major role in creating the kind of aura and ambience that will make it a success. Not only that, the kind of lighting used and the way it is used have a lot to do with the prevailing mood of the audience as well, controlling the ebb and flow of the crowd, and its energy. From colourful psychedelic lights to more sombre, grim ones, lighting is one of the most important parts of the fundamentals of an event, and as such, need to be organised and set up appropriately and accordingly.
Technology used
The options offered by technology have made today’s event industry dynamic, revolutionary, and highly interactive. From drones and VR to live streaming and more, event organisers nowadays have a host of options to help augment their events and make them larger than life. Additionally, technology has also helped streamline and organise the industry as a whole, providing various platforms, features, and innovative solutions for it to grow and evolve.
Crowd-sourcing
The concept of crowdsourcing, though an old one, was almost unheard of, even a decade back. However, today, the event industry has realised the true potential of crowdsourcing, and more and more talented but unknown artists are gaining exposure, as a result. Additionally, crowd-sourced events are affordable and cost-effective, while providing the audience with a chance to directly contribute towards making their desired events a reality.
Marketing/digital marketing
To promote any event, it is extremely important to plan a great marketing strategy keeping in mind the target audience for the event. An event relevant blog post can also help in reaching out to the audience considering a blog is a good strategy to showcase everything around the event. Blogs can be directly targeted to the audience through interviews with the speaker or performer. Email marketing can also be considered as the second strong channel in all industries. Also, social media has been the most preferred platform for planning, promoting and executing the event; it is used to create a buzz around the event with various content and allows the followers to share and discuss it.
Owing to these factors, the evolving dynamics of event technology have helped improve the attendee experiences and the level of engagement, as a result of which, the event industry has today become highly competitive and sought after. Every event organiser attempts to ensure that they create an event which is out of the box and caters specifically to the audience, in order to guarantee success. The power of social media is also a huge boon, which helps in spreading awareness and engaging the target audience, even before the event, so as to build the hype and ensure maximum attendance. These elements teamed with effective marketing strategies, and attention to every detail, play the most important role in helping organise a successful event. Not only does that ensure the maximum number of attendees, but it also helps create a unique experience that is attuned to the guests and their specific preferences, because of which, they keep coming back for more.
(The author is MD, Dome Entertainment. The views expressed here are his own and Indiantelevision.com may not subscribe to them)
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.
