I&B Ministry
Right time for India-centric global news channel: Smriti Irani
MUMBAI: Information and broadcasting (I&B) minister Smriti Irani is ready to take India abroad. The minister has said it is the right time for the state-owned broadcaster to launch a news channel focused on India for the international market, although she added that no decision has been taken yet.
In an interview with the Hindustan Times, Irani added that Doordarshan’s (DD) quality of content had to improve significantly for it to compete with private news and general entertainment channels but added that Prasar Bharati (DD’s parent body) had the kind of infrastructure and reach that could not be matched by private broadcasters.
According to Irani, the big priorities for the I&B ministry are to minimise the interference of the government, but because I&B is a sensitive area, there are many regulations that need to be reviewed. “I need to increase the efficiency of how we work, because this is the first time in the history of the I&B ministry that we have eight zones specially set up (as communication hubs for the government). Zone-wise, state-wise, our communication has to be strengthened. My third big focus is on communication in local and regional languages,” she said hoping that the CEO of Prasar Bharati can make some big-bang changes.
“The data needs to be democratised—that data cannot have only have a few masters. It is this data that helps fund channels and programmes. It is this data that drives what the viewer consumes. Advertising decisions are based on this data. The kind of programmes produced is based on this data. If the data is opaque, it leaves many questions unanswered,” she said during the interview.
But Irani is not in the habit of casting aspersions at random. “The facts at hand are simply that we do not have details on many aspects related to ratings agency BARC (Broadcast Audience Research Council), and when BARC gives us that information I can make a more informed decision. As things stand, there’s very little understanding of BARC in the public domain,” she said.
She said that there have to be more voices from regional media and language-based media houses — editors, creators. “On budget day, when DD was the only channel with the finance minister and ministry officials, we saw a 582 per cent growth in viewership,” she added.
On the talks of expanding the reach of DD News to over 100 countries, she said, “If we do something like this, we will also have to involve the Ministry of External Affairs, but there is no decision on this. Yes, the timing is right to do something like this, and the market also seems to be ready.”
She brushed away claims that the department controls advertising. “That’s a misconception. Government departments and ministries decide how much they want to spend and where they want to spend it. We just become the channel for implementing it. To say I&B decides who spends what and where is an anomaly,” she pointed out.
Also read:
MIB mulls broadcast of DD News to 100 countries
Doordarshan’s R-Day broadcast notches up record TV viewership
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.
