Digital
Unleashing a hyperlocal approach to enhance customer engagement and experience in the hinterlands of India
Mumbai: India is considered the seventh largest economy in the world. That being said, much of India’s economic growth is contributed by the hinterland cities. With more than six crore villages roofing 800 million individuals, it has been a crucial driver of economic growth. As rural India continues its growth impetus, the need to render services that are hyperlocal in nature has increased. This segment possesses dynamics that are unique in nature which calls for a deep understanding of customer preferences and local context to establish indelible customer relationships.
Cultural nuances and local language play a vital role in reinforcing strong connections with these unintegrated and small target audiences in hinterland cities. As this segment of the population is community driven yet resistant to change and there exist deep-rooted biases. Using local languages for communication can help build rapport and deepen customer relationships. This would demonstrate a brand’s commitment in understanding and appreciating the local culture, resulting in offering customised solutions and building long-term loyalty. By incorporating these elements into the customer experience, businesses can foster trust, establish a sense of familiarity, create a welcoming environment and drive brand recall.
Banks have a major role to play in understanding rural customers to create a differentiated approach to offer appropriate financial solutions. With many rural areas lacking access to traditional banking services, it’s important for banks to develop innovative and tailored solutions that are accessible and convenient for these customers. Adopting a hyperlocal approach that involves customizing products and services to align with the preferences and aspirations of customers can enhance customer satisfaction, strengthen market position and drive awareness about formal credit in the underserved segments. This approach ensures that customers feel understood, valued, and that their needs are being effectively addressed. As a result, they are more likely to remain loyal to the brand and become advocates, thereby driving the growth of not only rural areas but also the bank as a whole. In the current times, digital banking services have been rapidly contributing to this hyperlocal approach for easy access and understanding of banking services for rural consumers.
Digitalisation pushed by the pandemic has increased the adoption of digital banking among customers in rural India. Banking apps offer the convenience of easier payments, personalised assistance, and shorter turnaround times which enticed customers to use them even more. Today banks are striving to enhance digital platforms and make them more accessible to customers across the length and breadth of the country. The mantra to achieve this is keeping simplicity at the heart of all products and services while designing them and combining them with advanced technology, thereby making it a reality for rural consumers. Enhanced security is vital for gaining consumer trust by protecting sensitive data, preventing breaches, and ensuring secure transactions. Furthermore, the removal of language barriers, a feeling of empowerment and respecting customer privacy are at the core of such hyperlocal services.
Although financial inclusion will be powered by strong digital support, banking is fundamentally built on relationships. It emphasizes the importance of connecting with people in the way it matters the most. While digital tools have helped banks across India tap specific customer groups such as farmers, landowners, and entrepreneurs. It is essential to recognize the role of the postman that holds the highest trust and connection within villages. The postman, a symbol of the masses, enjoys community goodwill and engages with the locals directly. Collaborating with the local association or community members through social connect activities, community development initiatives, brand associations with specific segments, government and capitalizing on local festivals, provides a platform to foster the habit of utilizing banking services for a better future. This will also help banks better understand customer needs and provide relevant solutions.
The true essence of hyper-local branding lies in integrating the brand seamlessly into every meaningful interaction. Hyperlocalisation is a tool to break barriers, ensure a change of approach, and agility, make inroads, build engagements, minimize risks and enable flexible experimentation in underserved segments. When the community and the brand become intertwined, the real impact is felt on the ground. The future of banking lies in embracing rural India and unleashing the power of a hyperlocal approach to transform lives and build a prosperous nation.
This author of the article is Ujjivan Small Finance Bank CMO Lakshman Velayutham
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.
