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Sports sponsorship in 2017 up by 14%: SportzPower-GroupM report
MUMBAI: SportzPower, in association with GroupM’s sports arm ESP Properties, has released its 2018 report on sports sponsorship in India.
Ground advertising was up from Rs 6400 crore in 2016 to Rs 7300 crore in 2017. Another GroupM report said that Indian advertising expenditure in 2017 was Rs 61,263 crore out of which 12 per cent was contributed by sports. The year also saw sports other than cricket gain traction. India’s second biggest sport by participation and attendance, football, grew by a considerable 64 per cent. India hosted its first ever FIFA U-17 world cup that became the most attended in the history of the event. Attendance for this football world cup was a record 1,347,133, surpassing China’s 1985 audience of 1,230,976.
ESP Properties business head Vinit Karnik said, “2017 was truly the ‘big’ year for the business of sports. With PKL emerging as the second-most popular league in India after the Indian Premier League (IPL), and the Indian edition of U-17 football world cup creating history in terms of audience attendance, has given sports sponsorship enjoyed a bull run. As popularity of sports grows in India, sports stars also expand their brand endorsement portfolios. Virat Kohli led brand endorsements with 19 brands and 150+ crore in value, while PV Sindhu leads the non-cricket endorsement space with 11 brands and 30+ crore in value.”
Despite demonetisation and GST hiccoughs, the sports sector has been able to ride the storm with a steady and positive trajectory. All major sporting leagues managed to bring on board sponsors at a 100 per cent or more incremental value for the title sponsorship. Specifically, the IPL has emerged as one of the top five most valuable global sports properties in the world.
Since last year, Indian Super League (ISL) is a 10 team, 18+ week showcase, up from eight teams and 10 weeks in the last season. ISL sponsorship has grown by 22 per cent from the previous year. The report states that the gap between Pro Kabaddi League and IPL TV ratings is narrowing – PKL delivered 1.5 TVR with 312 million reach and IPL delivered 2.7 TVR with 411 million.
2017 also saw the birth of five new franchise based leagues – UTT, SBL, SFL, Cue Slam & P1 Power Boating. Brands are interested in emerging sports and 25 per cent increase in franchise fees came from them. Thirty-six new franchises were added across all new and existing leagues.
SportzPower co-founder Thomas Abraham said, “With the 2017 momentum and the economy also looking up and set to grow at 7.3 per cent in 2018-19, sports is looking at an even bigger year. As the industry anticipates clarity on the structure of club football in India, among the new leagues on the horizon, volleyball seems the most promising. In the media firmament, while new revenue benchmarks are expected from television, it will be traction in the digital arena that provides real pointers to where the industry is going over the next few years.”
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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.
