I&B Ministry
MIB launches pan-India multimedia exhibit highlighting Modi Govt’s one year
NEW DELHI: A multi-media exhibition titled “Saal Ek Shuruaat Anek” set up by the Directorate of Advertising and Visual Publicity (DAVP) opened here today to showcase the achievements and policy initiatives across different sectors of the Narendra Modi helmed government.
Inaugurating the exhibition, Information and Broadcasting Minister Arun Jaitley said that the multimedia mode had been adopted to sensitize the people on different initiatives taken across critical sectors. The exhibition would be taken to State Capitals and rural areas.
MoS Rajyavardhan Rathore and secretary Bimal Julka apart from DAVP DG and senior officers of the Ministry were present on the occasion.
Jaitley said that under the current initiative, exhibitions of the similar kind would be organized in all State Capitals along with one more city in each state except Bengaluru (Bengaluru), which will be covered in the second phase as model code of conduct is in place for local body elections in the state.
The exhibition in the state capitals would commence on 26 May, 2015 and end on 1 June, 2015. Under Phase-II of the exhibition outreach programme, 30 sites had been selected with varying dates of commencement. The campaign on such sites would commence around 7 June and end on 20 June. In all 60 static multimedia exhibitions will be organized.
As part of the rural outreach programme to sensitize the rural masses, DAVP was deploying 345 mobile exhibitions to reach out to 643 districts in the country for a period of one month.
Jaitley also flagged off the Multi Media Mobile Van from the exhibition site along with Rathore.
The Minister also highlighted the key features of the proposed Kisan Channel to be launched on 26 May by Prime Minister Narendra Modi. Jaitley specifically mentioned the key benefits that would accrue to the farming community in terms of knowledge, understanding of issues, matters related to meteorology and the new technologies being adopted in the agriculture sector.
The Multi Media Exhibition focuses on critical sectors highlighting the achievements in the last one year. These are: Annadata Sukhi Bhava (Farmers’ Welfare), Sarve Bhavantu Sukhinah (Mainstreaming the Deprived), Shrameva Jayate (Ensuring Dignity of Labour), Nari Shakti, Desh ki Tarakki (Our Daughters Our Pride), Jan Dhan se Jan Suraksha (Financial Inclusion and Security), Bharosa (Government that Trusts the People), Sushasan (Transparent and Corruption-free Government), Saksham Bharat (Education and Skilling), Sarve Santu Niramayah (Health Assurance to All), Swachh Bharat (Cleanliness is next to Godliness), Dharti ki Dharohar (Leaving behind a better planet), Vasudhaiva Kutumbakam (Friendship on equal Footing), Ashtalakshmi (Development of the North East), Nagar – Shehar, Vikas ki Lehar (Urban Transformation), Tamaso Ma Jyotirgamaya (Power for All), Parivahan se Parivartan (Transportation for Transformation), Swarajya se Surajya (Delivering Good Governance), Vibrant Economy (Tej Gati, Aarthik Pragati) and Har Haath ko Kaam (Jobs for All).
I&B Ministry
Prasar Bharati opens AIR to private content under new policy
NIPP introduces revenue share, sponsored and gratis models
MUMBAI: Radio may be the oldest voice in the room, but it’s learning some very modern tricks. In a bid to stay tuned to changing listener habits, Prasar Bharati has opened the doors of All India Radio to private players under a newly rolled-out content framework. The initiative, titled Notice Inviting Programme Proposals (NIPP), marks a significant shift in how the public broadcaster approaches programming moving from a largely in-house model to a more collaborative, market-aligned ecosystem. Issued by Akashvani’s Directorate General in April 2026, the policy invites private producers, content owners and aggregators to pitch programmes across formats, from radio dramas and documentaries to quiz shows, storytelling and music-led content.
At the heart of the framework lies a three-pronged participation model designed to balance creative freedom with commercial viability. The most prominent route is revenue sharing, where advertising and sponsorship income generated by a programme is split between the producer and the broadcaster. The structure tilts in favour of creators offering a 70:30 split when producers bring in advertising, and 65:35 when monetisation is handled by Prasar Bharati.
Alongside this sits the sponsored model, where producers fully fund and monetise their content, subject to compliance with advertising norms and the AIR Broadcast Code. For those less commercially inclined, a gratis route allows content to be submitted free of cost, with Prasar Bharati retaining all monetisation rights effectively turning the platform into a national distribution channel for diverse voices.
The move comes as legacy media grapples with intensifying competition from private FM networks, streaming platforms and digital audio ecosystems. By repositioning AIR as both a public service broadcaster and a content marketplace, Prasar Bharati appears to be recalibrating its role in a rapidly evolving media landscape.
Importantly, the framework does not dilute editorial control. All submissions must adhere to the AIR Broadcast Code, and proposals are evaluated through a layered process that weighs storytelling quality, production capability, audience appeal and revenue potential. Only proposals crossing a defined threshold move forward, signalling that while access has widened, the bar remains firmly in place.
Operational discipline is another cornerstone of the policy. Producers are required to maintain broadcast-ready content, deliver episode banks in advance and navigate a structured approval process. Crucially, all production costs are borne by the content provider, reinforcing Prasar Bharati’s positioning as a distribution and oversight platform rather than a commissioning entity.
What elevates the initiative further is its scale. The framework spans multiple clusters and stations across India, covering both metro and regional markets, with specific language mandates and submission channels. This not only expands the content pipeline but also deepens linguistic and cultural representation, an area where AIR has historically held an advantage.
In effect, NIPP signals a quiet but meaningful transformation. AIR is no longer just broadcasting to the nation, it is inviting the nation to broadcast with it, blending legacy reach with contemporary content economics in a bid to stay relevant in an increasingly fragmented audio universe.
