Many Indians have been scratching their heads at Naatu Naatu winning the country its first Oscar for Best Original Song. That’s because they can immediately reel off a long list of songs that are just as good, some with quite similar sound and dance hooks. Without at all taking away from MM Keeravaani and Chandrabose’s accomplishment, this does underline that the vast Indian entertainment industry has only touched the tip of its global potential. Their success, as that of Kartiki Gonsalves and Guneet Monga, makers of The Elephant Whisperers, should not be misread as a sign of India’s ‘arrival’. It’s more a question of whether content creators can maximise the opportunities – India has always had many stories to tell, but now it has global platforms.

Yes, Raj Kapoor was adored in Russia, Nigerian women danced to Dholi Taro Dhol Baaje, Aamir Khan’s Dangal minted a thousand crore in China … and the diaspora remained a faithful audience everywhere. But the OTT revolution means that this game has now moved far beyond big stars and big films. Every Netflix film and series from India released in 2022 on average trended in eight countries. The great richness and diversity of our storytelling means that we should aim for 80 instead.

One thing that needs burying is the either/or trap. Either popular entertainment or documentary, either Pathaan or Minnal Murali, either sari or gown on the red carpet. The truth is clearly both and much more. It’s the freedoms to choose that nourish creativity. Also, what is true of Indian cinema is true too of Indian spirituality, cuisine, therapies…. The stories and ways of thinking and being that enrich us should travel in the world – with that Naatu Naatu energy.

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This piece appeared as an editorial opinion in the print edition of The Times of India.

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