DTH
‘Kansai’ wins 2006 ABU CASBAA Unicef child rights award
MUMBAI: Kansai telecasting corporation of Japan has been named as the winner of the ABU CASBAA Unicef child rights award 2006 for its documentary entitled Conquering the Darkness – The fight against memories of abuse.
The child rights award , is given each year in recognition of the best television programming on a child rights issue produced in the Asia-Pacific region.
The documentary follows Aya, a 33-year-old mother, who suffered abuse as a child and subsequently abused her own children. It is the tale of a parent’s personal struggle to end the cycle of child abuse in the family.
“We are often quick to point the finger at parents who abuse their children, but patterns of abuse so often begin in childhood, creating a chain that can continue over generations, ” said documentray producer Shinichi Sugimoto.
This year, the child rights award received a total of 40 entries from countries such as Bangladesh, Bhutan, Hong Kong, India, Indonesia, Lao PDR, Japan, Mongolia, Philippines, Republic of Korea and Singapore.
Broadcasting union secretary-general Asia-Pacific David Astley said, “The child rights award is a significant platform that allows broadcasters in the Asia- Pacific to demonstrate their ability to produce quality programming on children’s issues. The ABU wants to encourage broadcasters to continue to invest in such programmes in the future.”
CASBAA CEO Simon Twiston Davies said, “The continued participation of regional broadcasters in the child rights award is welcome and clearly underlines their resolve towards producing educational and entertaining programmes for and about children.”
The panel of jurors included, Amar Keshar Simha, an independent producer from Pakistan; producer China central television (CCTV) Wang Yan; Mongolian radio and television director of Children’s Programme Ariunjargal Luvsantseren; Infocus Asia executive producer Francis Smith; Australia Network chief executive Ian Carroll and Discovery Networks Asia vice president programming James Gibbons.
The top ten finalists in 2006 are:
Winner
– Conquering the Darkness – The Fight Against Memories of Abuse (Japan)
Finalists
– Dark Street Kids (Malaysia)- This documentary chronicles the hardship, as well as the stigma and discrimination of children who are born and live in dark alleys or brothels of Malaysia.
– Korean Children – I am All Alone (Korea)- This documentary is about Minho is an 11-year-old boy neglected by his parents. His only friend is a TV set. A stark portrayal of how a child is deeply affected by the problems and negligence of his parents.
– Tuesday Report: Pocket Money (Hong Kong) – This programme documents the life of three children who live in cramped flats and have to sell scrap paper and scrap metal for their pocket money.
– Young People on Wheels (Bhutan) – The documentary follows a group of unemployed youths who are creating awareness of a campaign on HIV and AIDS in Bhutan.
– The Orphans, Childless and Predators (Singapore) – The documentary looks at on how orphaned children coped with the devastating experienceof Tsunami. It also features a child trafficker who agreed to tell his side of story and tries to justify his actions.
– Get Real Child Sex Tourism – Sold for Sex (Singapore) – The programme investigates the plight of child sex workers on the Indonesian Island of Batam.
– Emergency – Junior Boxer (Philippines) – Residents of general santos city are very fond of boxing even children undergo intensive training to become professional boxers during which many sustain grave injuries that sometimes even result in death.
– We Shall Overcome (Bangladesh) – This documentary chronicles the life of an eight-year-old girl who is deaf and mute and believes she can succeed in her dream to become a fine arts teacher.
– School of the Highlands (Philippines) – The importance placed on education by indigenous communities in the Philippines is recounted in this documentary which looks at the challenges families face in schooling their children and promoting their rights.
DTH
Prasar Bharati’s WAVES earns Rs 2.9 crore in first year
Platform scales content, users but monetisation gaps limit revenue growth.
MUMBAI: Big waves, small ripples at least for now. When Prasar Bharati launched its OTT platform WAVES at the 55th International Film Festival of India in November 2024, it pitched a bold vision: a homegrown rival to global and domestic streaming giants, blending video, audio, gaming and commerce into a single digital ecosystem. Five months into FY2024–25, however, the platform’s revenue stands at just Rs 2.90 crore, a figure that underscores the gap between ambition and monetisation.
On paper, WAVES looks anything but modest. The platform has ingested 13,608 titles, totalling 9,495 hours of content, with over 13,000 titles already live. It has streamed more than 575 live events from the Mahakumbh Amrit Snan and the 76th Republic Day parade to the Hockey India League, Kabaddi World Cup and Mann Ki Baat while offering 74 live TV channels and 12 radio channels. With over 10 lakh registered users and more than 200 content partners onboarded, the scale resembles that of a fully operational streaming service rather than a pilot project.
The architecture supporting this scale is equally robust. Built under Prasar Bharati’s Central Archives vertical, WAVES runs on a cloud-based infrastructure with DRM, encryption and an integrated analytics dashboard. It includes dedicated units for content ingestion, quality control, publishing, graphics, marketing and billing, and is distributed across platforms such as OTTplay, Tata Play and BSNL. The offering extends beyond video to include audio-on-demand, e-games and even e-commerce via ONDC integration.
Yet, the numbers reveal a core disconnect. Despite its scale, WAVES generated just Rs 2.90 crore in a market where India’s OTT industry crossed Rs 23,000 crore in 2024. A key bottleneck lies in monetisation infrastructure: subscriptions cannot currently be purchased within the app and must be completed via an external website. In a mobile-first country where over 95 per cent of OTT consumption happens on smartphones, this extra step creates friction that most users are unlikely to overcome.
Ironically, content is not the problem, it is the platform’s biggest strength. Prasar Bharati holds one of the world’s richest broadcast archives, including 45,154 hours of digitised Akashvani programming and 35,723 hours from Doordarshan. For WAVES alone, over 3,800 hours of archival content have been made OTT-ready, including classics such as Ramayan and Shaktimaan, alongside rare cultural recordings and historical broadcasts.
There are early signs that this library holds commercial potential. Revenue from archival content licensing rose sharply to Rs 3.38 crore in FY24, up from Rs 67 lakh the previous year. Meanwhile, free digital platforms continue to drive massive reach, the PB Archives Youtube channel clocked 119.78 million views and added 4,02,000 subscribers in FY2024–25, crossing 1.7 million in total, while DD News has over 5.84 million subscribers.
That, however, presents a strategic dilemma. While free distribution builds scale, it also conditions audiences to expect content at zero cost making it harder to transition to paid models. WAVES, designed as a hybrid AVOD-SVOD platform with advertising and subscription layers, is yet to fully crack this balance.
The broader challenge is not technological but strategic. In an ecosystem dominated by platforms offering seamless payments, aggressive pricing and high-budget originals, WAVES is still bridging the gap between being a content repository and a commercially viable product.
For now, the platform reflects both promise and paradox. It has the scale, the content and the infrastructure but until monetisation catches up, WAVES remains less a revenue engine and more a digital showcase of what India’s public broadcaster could become.
