What's Advertising's Score...Let's Count!!

ADITIA BHALLA
JANUARY 2008


CONTENTS
Executive Summary 06
Globalization & Glocalisation 08
Creativity Scale 10
Cultural Marketing 12
Brand Laloo 14
Do it the desi way 17
The Local Way of Communication 19
Rural Elements 25
Piece of Advice 27
Fevicol 29
Coca Cola 33
Zee Cinema 36
The Way India Communicates 39
EXECUTIVE SUMMARY
The Changing Face of Advertising
"To understand the culture of a country and create advertising that reaches out to its people is extremely important. If the customer doesn't like what we create, it is redundant. If the customer doesn't find any truth in what we say, however well we say, it is ineffective". - Jeff Orr, Regional Creative Director, Grey Global Group Asia Pacific
India is moving along a tide of change. Attitudes are changing and so are the behaviors. Villagers who used to crack open peanuts, eat the nut and throw away the shell are now demanding chocolate candies that will melt in their mouths, not in their hands. Charcoal-cleaned teeth are a rare sight; so is the case with twigs of niim (neem) and babul (babool) tree. Today, the ultra bright shine of Colgate or some other international brand of toothpaste holds more appeal than the traditional methods of cleaning teeth. Even the native expressions of cleaning teeth, such as daatun karnaa and musaag lagaanaa, are endangered to being replaced by new expressions such as paste karnaa, 'to brush teeth with paste'. Even a simple query such as: Where are you from? is not free from the overtones of marketization and globalization in rural discourse. Consumerism and globalization is invading parts of India where, as some would venture to say, time seems to have ceased for centuries.
These villages and small towns, which were once inconsequential dots on maps, are now getting the attention of global marketing giants and media planners. Thanks to globalization, economic liberalization, IT revolution, Indian Diaspora, female power, and improving infrastructure, middle class rural India today has more disposable income than urban India. Rural marketing is gaining new heights in addition to rural advertising.
The year 1991 is a significant year. It is the year which saw the liberalization of the Indian economy. The markets after then started getting flooded with goods from across the globe. It is important to note that it also meant a change in the approach towards advertising. During this time the advertising industry witnessed an exponential growth. From a mere 1,150 crore business in 1992 to where it now stands at 15,000 crore, the growth can only be termed as phenomenal. The kind of advertising that we witness today is not the old-fashioned Cannes style, but a play it into the Indian consumer, more in the tune of Channel V and MTV mass advertising type. “We have moved away and grown over from that stereo-typical demonstration kind of advertising where we invariably saw pretty ladies talking about the qualities and uses of a particular product and trying to sell it” said Sidharth Tiwari, journalist, Daily Pioneer.
This is the age of entertainment. Ads are not just about informing, they are now more to do with entertaining. The people in the advertising industry are now realizing that a mere act of putting the advertisement in the media will not lead to enhanced sales. The role of advertising has changed over time. 'Advertising should be able to create a recall value of the product; it should be able to leave a mark on the mind of consumers and help them feel a connection to the advertisement and hence with the product. Be it the punch-line, some funny character or the mere set-up, there has to be an instant connect with the consumers. Can you remember Sunil Babu from the Asian Paints ad, or 'Thanda Matlab Coca Cola', or the whole set-up in most of the Fevicol advertisements. Yes, you can. These are a few of many examples which have been well thought off and have managed to do well in impressing the consumer mind.
Globalisation & Glocalisation
In the current scenario, the national economy and the market place are undergoing rapid changes and a wrenching transformation. Several reasons can be attributed to this. One of the definite reasons is Globalisation, the explosive growth of the market, global trade and international competition. The other reason can be the technological advancements, which is an important factor, as technological competitiveness is making the global market place cut-throat. The success goes to those companies who are best equipped with the market environment imperatives. The market leaders not only deliver according to consumer expectations but also generate an additional demand by delighting the costumers of the product benefits. The market is governed by the Darwin's theory--'survival of the fittest'.
The Indian market is also changing at a brisk pace and to capture this vast market the companies are trying out the various strategies. India has transformed into a consumer-driven economy, and is no longer a market governed under by the producer. The product yielding the best value for the money spent is the winner. Being one of the biggest markets in the world, many MNCs are eyeing a place in the Indian market. They tried to flaunt their zest and style in order to capture the attention of the Indian consumers. They believed that even if they had a small share in the market in the initial years, it would still be good. However this thought or their grand entry didn't help. As a result, instead of realizing a good amount from their market share, they started incurring huge loses and lost in the long run. Moreover, the global monoliths seemed no different from any other company. Contrary to this, soon their outlook changed and they started surveying the market to understand its dynamics. They gave up their traditional assumptions about the working of an Indian market place paving way to a diversified Indian market economy. “Today Global brands are trying to tap local markets and a parrot would only be ready to buy a carrot till u chirp in its lingo. Today big brands like Nike is advertising on the lines of Gully-cricket in order to sell the brand to the Sachins of Indian gullies aren't they?” questions Rashi Paul a graduate from Delhi University.
Furthermore, they realized that if they had to succeed in India, it can only be possible with the help of local representatives, who are completely aware of the political, social and economical conditions prevalent here. Another way to go about it was adopting the 'MADE FOR INDIA' marketing strategies. This in turn resulted into a hypothesis, 'Think globally, but plan and act locally'.
GLOCAL MNC MEANS...
Glocal MNC accounts for the companies who have a global presence, but their planning, decision making and implementing capabilities have come out of Indian trends. These trans-national companies have learnt an important lesson that to sustain in India they have to devise and implement strategies which specifically cater to the Indian consumer. These companies have products which are globally available but their marketing and communication strategies are according to the Indian environment. In other words these companies have realized that localization is the mantra for success in India.
Today, there is a plethora of such companies who are taking the local way to connect to the Indian consumer. The Nike Cricket commercial, the Happy dent 'Muskura le' commercial, the Cadbury Dairymilk commercials, they might not have anything in common, but yet if you analyze minutely they all reflect some peculiar Indian ethos. The world is shrinking into a smaller place as glocality upsurge into the scene. The companies cannot manage by having their operations in the respective countries so glocalization acts as a pre-requisite to proliferate demand for international products in India.
Creativity Scale
Brands are being rejuvenated and re-imagined across product categories to increase their appeal to the Indian consumer. Coca Cola got a second life, a magical revival in India, thanks to 'thanda matlab Coca Cola'. Recent developments have proven conclusively that advertising is not only about 'Gyan' but also style and connection. “Coca-Cola's rural strategy of placing Amir Khan in various role-plays in order to promote the drink was an instant connect for all. The Bihari Tax collector's evergreen line, 'jab gaal pe contact hoga to carbon kitna chapega?' was a fad statement for a very long time” recalls Abhinav Raina, an MBA student, Symbiosis.
The question that often comes up is that in a society which is in a constant state of flux, what will be the lexicon and the grammar that will touch people deeply and therefore persuade them? One who understands these would surely be the leader in the market.
It has been known for a long time that there are vast cultural and linguistic differences between the opposite sides of the Vindhyas--separating the boisterous, expressive, extrovert showmanship of the Bhangra from the more deliberate, restrained strings of the Veena. Or, to take another point, that since the 1980s (when Asiad marked the birth of Colour Television in India) and the explosion of cable and satellite TV, Hindi and other regional languages have replace English as the essential medium of dealing with the mass market.
Today there are several successful instances of advertising specifically created to reflect the local culture and milieu. A few examples from the top of my head are Asian Paints, Coca Cola, Sony Ericsson, Airtel etc.
The question of addressing the culture is a fundamental one. To think in terms of language without flinching is akin to internalizing the deep rooted values, thoughts and traditions. This evolution of Hindi and regional sensibilities has become very strong recently.
Regional Language advertising is an integral part of the communication strategy of any brand, especially those who wish to penetrate the local markets. By communicating through the local language the brand not only develops an instant connect with the target audience but also understands his/her cultural sensibilities. With regional insights as the base the use of local language ensures that the brand's message will be delivered to the optimum. “I love the current ad of Canara bank which informs about its change in identity. Being a south Indian myself, it makes me proud and closer to the brand” Says Geevergheese Thomas, an advertising student from Coimbatore.
According to Shripad Nadkarni, Vice President, Marketing, Coca Cola India, for a campaign to succeed in India it is important that it is thought out in the regional language in the context of positioning (Hindu Business line).
Local idioms and imagery become essential as the language represents the whole culture and not just the words in isolation. It is of utmost importance that the visual also reflects the local flavour. As urban markets are getting crowded and saturated the brands and marketers are moving to the mini metros and the other towns and villages to sell their products, thus, communicating in the local/regional language is very important.

Cultural Marketing
Broadly speaking, there three fundamentals of consumer behavior--psychological, societal and cultural--out of the three the last one is the hardest to set and decode. It is often vast and changes slowly, yet wields considerable power. For culture it is believed that it is either working for you, or against you. The complexities of understanding the cultural foundations in consumer behavior increases significantly in markets where age-old customs are ruptured by sudden and sharp events that cause political, economic, ideological and even technological discontinuity. Though, cultures are embedded to varying degrees, yet events may be forceful (the liberalization of India), inevitably resulting in some sort of redrawing of the cultural map of the market.
(We are like that only: Rama Bijapurkar)
The contours of India's cultural future are still unclear because everyday evidence of the surprising ways in which India is changing comes to light and the old theories of inevitable westernization sound simplistic. We can easily see from the evidence at hand the emergence of an Indian culture which is an amalgam of the old and the new and on which the traditional labels of western or oriental do not sit comfortably. To attempt a forecast in matters as complicated as this can be hazardous--as they say, if you want to gaze into the crystal ball, then you have to be prepared to eat ground glass!
“Coke and Pepsi have been the leaders in initiating the era of regional communication through advertising on such a large scale in India. The idea is to make the brand 'WORLD FAMOUS IN INDIA' by using celebrities to convey the messages to the masses” says Shashwat Varma, a student of KMC, DU. It is important to understand that people try and connect to their favorite celebrities, and if drinking the same cola can be a connection, so be it. The two cola giants have actually managed to cash in on this aspect.
Combining mass media with local initiatives, the major brands are trying to strike a balance between the urban and rural portrayal in the mass media.
Also, culture and communication have a symbiotic relationship. The very process of brand building must incorporate a broad understanding of the culture, if the communication has to be one which resonates in the consumers' mind. We can't study, diagnose, and analyze the brand in isolation. In short, you can't take the consumer out of the brand. As a corollary, therefore, it is understood that the brand cannot be separated from the culture that it operates in. You cannot take the culture out of the brand.
As Piyush Pandey (Ogilvy) has rightfully mentioned that, “There has been a definite change in strategies as far as the advertising agencies are concerned. The experts attribute this change to the clients, the clients have become experimental. A lot of them are willing to try different things and that, to my mind, is the most positive thing. But it is also a double-edged sword. If youngsters misuse it, then clients might just clamp up and then, for 10 years this industry is not going to go anywhere. So, you have to take this opportunity with full accountability. I don't see (any new) trends on execution and crafting. These will keep getting better.
The other trend, and this is not back-slapping or chest-thumping for us, is that the Indianness in the advertisements has been embraced by people both at home and overseas and that is very healthy and assuring. Today, we see a lot of excitement and curiosity among the global crowd to see the work coming out of India. Not many countries can claim to have reached this level; we have a little bit of it. Indian creativity is finally being recognized and appreciated globally and it is a great sign for the advertising professionals in India”.
According to Prasoon Joshi (McCann Erickson), amidst all this celebration of the Indianness in the advertising, there is a word of caution: we should not get happy about the tribal acceptance of India that gets expressed like, “Oh, it's very colorful! It's nice!” We should be appreciated for our ideas, thoughts and the soft power of our culture. Indian creativity at the bigger level, as in our films, has still not arrived. It still exists on that tribal platform. It's colourful, loud and amusing. But we are not animals at the zoo. We are thought leaders who will make you stand up and say, “Why didn't I think of it?”
(Interview excerpts from exchange4media.com)
Brand Laloo
A Tastemaker for Rural Advertising


Rural Marketing was never only about low price points and PR building. Marketers in India have found a new way of selling goods in the market. Especially the sellers in belts of Bihar and other neighboring states have used the popularity of Laloo Yadav to raise their sales figures. As a matter of fact Laloo Yadav enjoys immense popularity across the country. Products ranging from Toys to TV Serials, from toffees to dating sites, from movies to a website are being introduced in the market from time to time under the aegis of the “Laloo” Icon.
Consistent product introductions and innovations in the market tagged with the Bihari Persona have ensured that people remember him. His distinct style of communication and behavior has given him a unique place in the Indian community. So much so that the word “Bihar” and “Laloo” have become synonymous. Following are a few pertinent branding stories floated in the market
Laloo Yadav had gained considerable popularity on account of his involvement in the fodder scams in Bihar. Even though it was for all the wrong reasons, the name stuck nonetheless. Leveraging this recall value of the local community in Bihar, Prakash Agro recently launched fodder under the Laloo Brand in Bihar.

Times of India reported that the company launched three qualities of animal feed under the brand name 'Laloo Pashu Aahar' and has already managed more than 200 tonnes of daily sales in the market. This has encouraged the company to move beyond Bihar introducing laloo-based brands in other states as well.
The Strength of Brand Laloo
A story on June 20 in one of the Bihar dailies discussed the feedback of the farmers, who insisted that cattle chewing on Laloo fodder give milk that's much sweeter than before. Thus, thanks to Laloo fodder, their quality of milk has improved! Now that's impressive for a first timer…but whether it's the fodder or whether it is the 'laloo' component in the brand remains to be seen. For now, the company has got a magic formula to use for its brands! “Laloo today is a cult figure like Lalitaji (Surf) or Suneel Babu (Asian Paints) since he manages to catch eye balls and grab ears with his mere presence” says Deepak Jha, a content writer.


If Laloo's popularity amongst the marketers was anything to go by, how could the software specialists lag too far behind? Some time back a Mumbai based software company launched a website called LalooRabri.com for young people wishing to culture relationship through the internet.
According to an NDTV report, the dating website has been inspired by the bond Laloo Prasad Yadav and his wife Rabri Devi share, even after 33 years of married life and nine children! Thus, according to the website owners- "They are the image of an Indian couple. When Laloo needs help Rabri is there for him and vice-versa”.
Sound Logic, but I am just keeping my fingers crossed as far as the “image of an Indian couple” goes. It's a scary thought imagining every Indian family with 9 children, especially in this day and age.
There are other brands running in the market on Laloo's name. As mentioned in Times of India, there is Laloo 'lemon choos', Laloo Toy, Laloo Chocolates and cheap cosmetics labeled 'Laloo chale sasural', which are currently hitting rural markets in Bihar and selling like hot cakes.
Agreed, Laloo instantly connects with the public and entails high recall. But the point here is what clicks with the consumers in one category might not click in another. One cannot launch motorcycles under the Laloo brand, neither can someone launch Watches. There has to be a connect somewhere, which the consumer can psychologically map and associate with the ex-chief minister of Bihar.
It is important to note that these marketers have realized that Laloo is popular among the people. The common man knows and relates to the railway minister. The packaging and promotion of these products is done keeping in mind this relation. In fact it has often been seen in the advertisements that an effort is made by the advertisers to speak to the consumer in his language. The set-up, the language, the characters, the jingles and other elements are put together according to the nature of the target audience of the product.
Do it the desi way…
INDIA is a very peculiar market and Indians make for peculiar customers. It's really an uphill task to actually come up with a uniform strategy which fits all markets within India.
For once the global strategies may aid the companies to introduce themselves in this vast market, but it will not carry them much forward. Experts stress on the technique of 'horses for courses'. It is believed that because of the diversity in the culture, food habits, language etc. the people living in different parts of India have different connection points. In short, the communication experts from varied advertising agencies need to devise an appropriate way in order to communicate messages to the common masses in their regional language.
Does it sound like high-flying marketing jargon? Consider this. Most B-schools even today cite case studies of marketing milestones of multinationals such as Nike, McDonald's and Pizza Hut etc who have made a point to adapt to the conditions in the market, but home-grown success stories like Nirma, Rasna, Ghadi, Videocon or Dabur are given little or no importance.
Marketing professionals must reflect on the case studies of Indian companies in order to differentiate between Indian and global markets. Lessons must be learnt from the goof-ups which have happened in Mera Bharat and of Indian brands who struck a perfect chord with the Indian value system. Asian Paints, Bajaj Scooters and others are some of the examples which can be easily cited under this umbrella.
Evaluating the Global Approach
Marketing is all about being sensitive to the idiom of the culture companies operating in. This is why the replication of global advertising and even marketing tools more often than not fails to make a connection with the Indian consumer market.
“Advertising is really no high-flying jargon but mere common sense and this common sense is used at times by different market leaders to introduce several marketing/advertising firsts to meet the requirements of this market”, says Palavi Goorha, Senior Correspondent, Exchange4media.com.
For example, value for money is a primary factor in buying decision. It happens in India only that consumers want such value for money where they lap up a 200 ml soft drink for Rs 5 but when the same drink is sold in 300 ml pack size for Rs 10, the bottle is more often or not shared by two! This is a product suited to Indian needs and gels perfectly with Indian concept of value-for-money. Interestingly Pepsi does not sell this product size in any other market in the world. Thus, it goes to show that consumer behavior of an Indian towards product quality and quantity is different from the global consumer across the globe.
Expert Voices
Marketing is mostly about common sense and people should be approached in simplest possible way. A successful marketing strategy is about understanding the insight of a layman who knows nothing about the product to be launched, coupled with know-how of genuine consumer need and a unique product in the making.
However, there have been campaigns that cut across rural and urban markets alike. What matters is the insight, if you get that right then there is nothing in the world that can stop you, there will then be a confluence of the two markets, leading to a universal market and hence transcending the boundaries and bridging gaps between rural or urban market. The most memorable example can be the successful coke campaign of Thanda matlab Coca-Cola, which touched base not only with urban Indian consumers but also with the rural folk.
And while advocating the `Indian' approach to marketing products in this country, marketing professionals have not forgotten to stress that the Indian consumer increasingly wants product differentiation -- no single product suits all needs. The right way to put it is - varied products catering to varied demands.
THE LOCAL WAY OF COMMUNICATION
Westernization has an overwhelming influence on the urban market place. With westernization coming into effect, the positioning strategies which were traditionally devised have now evolved with changing dimensions, various brands have taken the ethnic route to communicate and impinge the Indian consumer. The ethnic route comes with many merits, taking into consideration that the appropriate audience is selected wisely.
'Westernized situations' if dramatized using aspirational fantasy is quite effective in advertising campaigns. Although when the customer's cultural settings are evolved into specific situation, they affirmatively help in advertising products as they relatively identify with consumer belongings and as a result, the consumer is able to connect with the situation on personal grounds.
Ethnic appeals are normally drawn from the culture of the specific market which is a mostly a reflection of the practices, rituals, taboos and behavioral orientation of values which have been passed on from one generation to another. These may also prove to be useful so as to enable consumers feel a 'connection' with situations with which they are already familiar.
This could be best illustrated with the comparison between Titan's advertisement and Godrej's Storwel advertisements. The former has an element of dramatization woven around the `warmth' expression very subtly conveyed through the `gifting' behavior. The inspirational fantasy element of gifting brought the brand into the consideration set of consumers who shopped for gifts (not just watches). The watch as a good gift and the picturization of the TV spots clearly reflect a very Western orientation. The changing lifestyles, especially in urban markets, were conducive to such a positioning strategy. I've always liked the Godrej's way of presenting their products in the market by wrapping them in the cover of affection and care, said Sushant Bhatnagar, a C.A from Delhi.
In the case of Storwel (cupboard), the `emotional' connect (though portrayed as a gift) is achieved by bringing in the backdrop of `marriage' in which the bride receives the brand as a gift. This campaign was launched after consumers were familiar with the brand and the emotional appeal enhanced the brand's equity.
The Ethnic Route
There are various ways in which a brand could be positioned using the ethnic approach:
By identifying specific behavior or practice which would be connected with the brand/product category
By identifying specific values in a cultural context which would be made as inputs to marketing communication
By identifying certain popular beliefs which need to be taken into consideration before an advertising campaign is formulated
By showing the dynamic nature of the existing culture, i.e. combining elements of a specific culture with changing cultural trends (Westernization)
By capturing the sense of nostalgia associated with a specific culture
By using `stereotypes' which have been connected with a specific culture
By identifying specific cultural traits, which could be used for product categories or brands
A combination of several kinds of cultural dimensions makes it worthwhile for marketers to consider positioning strategies oriented towards culture.
Understanding Culture
There are various kinds of behavior which could be associated with a specific culture. Many of these may have their origin in certain kinds of beliefs. These could be associated with certain product categories like; an example could be cited of the bindi worn by women in most parts of the country.
A fitting example which effectively makes use of cultural behavior is the Pepsodent commercial. Consuming snacks on the way to school (and back) is a `cultural habit' passed on from one generation to another for the last several decades. It is a very typical behavior which the masses can associate with. The commercial for the toothpaste captures this (along with the traditional behavior of the mother scolding the child). This gets the attention of viewers before the brand benefit of `protection' is conveyed effectively.
Going against the set notions and habits can spell doom's day for a brand. One example that comes to mind straight away is Kellogg's. It was positioned as a breakfast cereal in a country where food preferences are very regional in nature. Hence Kellogg's which was a very successful brand abroad couldn't establish itself in the Indian market. Food is a strong cultural dimension and any brand in the category would do well to take into consideration the cultural dimensions associated with food. Bread has been in the market for several years but it is still not a part of the staple food. It may also be recalled that even Chinese food like noodles (Maggi brand) was positioned as a `2-minute' convenience snack for children and hence making use of the cultural practice of providing home-made food for children which is common and is prevalent across different social classes.
Also, the focus on `whiteness' in clothes led to the creation of the `whitener' category for clothes. Initially Robin Blue, and Ujala during the '90s used the concept and it is a practice that's been followed for several years. In India, the habit of applying soaps for washing clothes is so strong that a brand like Ariel, which pioneered the category of compact detergents at the higher end, had to come out with a soap variant for the lower end of the market. It is also very interesting to note that the brand had initially tried to advertise that soap is not required if the compact detergent is used for washing clothes.
Another case that may be cited is of the Samsung. Samsung has introduced a washing machine exclusively for ethnic wear such as saree so as to ensure that they did not get entangled and get damaged. Samsung understood that to sustain in the Indian market it has to relate to the consumers, in the way they want.
The Cultural Values
Cultural values matter to a number of product categories and positioning strategies. Charms, the cigarette for the youth launched in the '80s, became the rage among young smokers because the positioning was in consonance with the changing values - `The spirit of freedom. Charms is the way you are' symbolising adventure, independence and a non-conformist attitude. The jeans-like packaging added to this appeal.
Values are important because they reflect culturally acceptable behavior. A decade ago, Valentine's Day cards may have been a taboo but today in urban markets they are a big hit. Bacardi, the brand of liquor which was positioned on the `spirit of enjoyment' platform, achieved success among its target audience because of changing values. The launch of Close-Up toothpaste during the '80s was perhaps ahead of the values which prevailed during those times. The `Close-Up smile' was advertised through cinema halls and was positioned towards teenagers. Later on, the permissiveness was diluted with the group that was brought into Close-Up commercials.
There may also be certain beliefs which could have an impact on marketing communication. Vicco Turmeric Ayurvedic Cream positioned itself as a cream which is useful for a "would-be bride" to enhance her complexion. Applying turmeric for skin care is a part of the Indian tradition.
The `family togetherness' is a cultural aspect which could be used by marketers. Vicks Vaporub captured the emotional bond between the mother and son to convey the brand's benefit. Clinic Special also captures the traditional care a mother takes of the daughter. Lifebuoy has relaunched itself as New Lifebuoy towards the family. While family soaps like Protex and All Care do not seem to have met with great success, the `togetherness' platform for the 107-year old Lifebuoy may be very appropriate given the rural presence of the brand.
Caring for the family is another appeal woven around the present day housewife's role. Trupti atta used this and currently Bharat Gas is using it as `cooking food and serving love'.
Asian Paints presents a good example of a company's attempts to associate its brands with several festivities around the country. For example, several households, believe in repainting the house during Pongal, Diwali, Id etc. Asian Paints created specific brands which were associated with such festivities.
The Changing Trends
A type of effective cultural appeal consists of mixing certain cultural beliefs with trendy products or advertising. Promise, the toothpaste which had a successful run, highlighted the traditional clove oil used to control tooth pain. Cricket has been a part of the culture in most parts of India; in fact it won't be wrong in saying that Cricket unites India like a religion. Pepsi made it contemporary with its "for the younger generation" proposition reflecting fun and frolic and a strong association with cricket. Raaga collection from Titan is another example of contemporary positioning with ethnic overtones.
What Drives Us the Most?
`Indianness' is a trait which a few brands have used to make an impact on the target segment. `Believe in the best', highlighting the superiority of Indian-made BPL products featuring Amitabh Bachchan, is an example of a specific cultural trait being used to strengthen the brand which had already built up an image over the years. The Hamara Bajaj campaign (the original and the new one) has a blend of modern lifestyle and ethnic beliefs and reflects the positioning that most externally `Western-oriented' youngsters are still `Indian' at heart. Ruf and Tuf produced an excellent commercial in which a modern youth reflects the cultural trait of respect for elders through `We know English. We also know how to respect elders' bringing in an appropriate theme to reflect the cultural value.
Other Kinds of Cultural Appeals
A sense of nostalgia concerning a specific culture could be a good approach, especially for a brand which has been in the market for a number of years. Margo soap adopted this approach, showing a young woman being nostalgic for her childhood days. There was a strong cultural flavor to the nostalgia experienced. Grandmas are associated with traditional medicine and remedies (Dadi Ma ke Nuskhe). Ayurvedic Concepts (now the Himalaya brand) made use of such a stereotype to promote its offerings made from the traditional Ayurvedic preparations. Such stereotypes offer credibility to the brand. Bru also initially used a cultural stereotype of associating itself with the taste of filter coffee which is a part of South Indian culture.
Cultural dimensions could matter to a range of products and such inputs could be valuable to marketers - for both Indian and multinational brands.

Rural Elements
LANGUAGE
The society that we are living in is an ever-changing one; the change is the only constant here. This change has also led to an alteration in the field of advertising. The language, the set-ups, the characters have all varied in accordance with time. The language in particular gives a new touch to the kind of advertising, earlier there were ads in either in Hindi or English, however today hinglish seems to be the order of the day. Moreover, the rural touch has enhanced the flavor. 'Muniya Ko Mania Hui Gaya' the Maggi commercial nicely sums up the modification in the industry.
If we see that there is no particular reason which led to such a change in the industry, but it seems to be the trend these days, the in thing. Most of the ads bank on this attribute of the so called desi language. For the consumers the TV commercials and the print ads both have become easy to comprehend and relate to. If used intelligently this desi flavor can do a lot for the brand. Also, gone are the days when English was considered to be a status symbol, when a prim, smart lady was the motive to use any product. Today people are not shy to come out strongly for their own cultures. The feeling of patriotism rides high. In such a scenario, it is apt that ads also reflect the mood of the society.
Characters
Advertising is about products and people. It is very important for an advertisement that it is able to connect with the audience at large. It is an essential function of the advertiser to include something in the ad that remains installed in the public's memory for long. Remember Lalitaji or Suneel Babu? These two names come into the mind whenever one thinks about the contribution of a character to the product and its promotion. It is an established truth that if you pick a character with which the target audience connects the product generally does well. The different characters played by Aamir Khan in the thanda matlab Coca cola campaign managed to establish an instant connection with the consumers.
Backdrop
Backdrops and settings constitute another important element as far as advertisements go. These setups enable the campaigns to register in the consumer's mind. The fevicol ads use the rural backdrop very intelligently. The idea is here to connect at the lowest end. The purpose is solved by presenting the product in a rural milieu.
Usage Patterns
At times, it is not the creative team alone that decides on the theme or the flavor of the advertisement, but other factors like usage patterns and appeals that govern the nature of the advertisements. A good example is one of the advertisements about tractors. As a product tractors are used only in rural India and hence the communication pertaining tractors has to be rural in flavor.
It is important to note that though these factors can work in your favour individually, but by no means is it a guarantee to successful campaigns.
Piece of Advice
Advertising is crucial for new launches and this statement holds particularly true for all product categories. The logic of an `Indian' approach cuts through the market. Many foreign entrants to the country pursue an approach of “talk Indian and look Indian” to be accepted. The challenge is immense for newer brands and products and the biggest truth in the world's fastest growing market is that the Indian consumer is smart -- he is not averse to global brands, nor is he going to be swayed by too desi, dogmatic and rustic images, and change his mind."
In the case of Ford, the launch ad, which used the visual of a Kathakali dancer, introduced Ford as a global brand rather than an American brand now in India. All ads so far to have been shot in India have retained a very international look. In branding too, the Indian aspect has come gradually, as in the case of Ford Ikon, the `Josh' machine. You cannot move consumers by saying you are made abroad -- that is no longer a USP. A piece of advice for these brands is to find ways to adapt themselves according to the environment in the Indian market.
A big international brand like General Motors' Chevrolet has chosen not to go the technology route; instead, its launch campaign is all about people, local emotions and the Indian images. “The reason behind this approach is that even though Chevrolet is 'a somewhat known name', it is not just what the company wants to be identified for”, explains Sundeep Kumar, Director, Enterprise Nexus, which handles the account. (Hindu Business Line) Chevrolet has typically been associated with big gas-guzzlers like the Impala, but the company is bringing in products that are relevant to this market, so the communication also needs to be relevant, he adds. "Chevrolet has always been a mainstream mass brand - and hence the thought, `I am everything for everybody' -- and in any segment, we want to be close to the people, and evoke empathy and emotion in our consumer," he says. "So we will retain the imagery of Indians, rather than of India. And it is not a foreigner's view of India, but an Indian's view of India."
But how effective is the Indian route for an international brand? Advocates argue that it is essential not to appear alien or foreign. Those against it say, why fake it? "The first impression is the best impression," says Samsika Kapoor. "So you cannot afford to confuse the consumer; if you go the desi route, the consumer may not perceive you as an international brand. And if he is confused, he will simply refuse the offer, because ultimately, the Indian consumer will buy you for the international label, so why not flaunt it?" (Hindu Businessline)
Another insight that foreign brands sometimes fail to get is that the average Indian consumer - especially the one car makers are targeting - is extremely comfortable with global images and products, says Nitin Bhagwat, Executive Director, Interface Communications, which developed the Scorpio campaign. "They think they have to take the `I am so Indian' route," he says. "But it's not just a matter of saying, `I too can wear a sari, I too can eat with my fingers." (agencyfaqs.com)
“Still, an international brand that takes an international route is common and is not noticed, whereas a foreign brand taking the Indian route or an Indian brand taking the international route gets noticed”, Bhagwat admits. In the case of Scorpio, the company and the agency encountered a roadblock: the Mahindra heritage has always stood for rugged, rough and tough vehicles that are Spartan, very well suited for Indian conditions. And, as the Indian consumer generally believes that anything foreign is superior, there is an inherent skepticism about an Indian company's ability to deliver a world-class product”, he adds.
Though during the process of research, it was noticed that many people do not quite agree with the concept.
Avinash Verma, a call centre employee rubbished the whole concept of using rural elements in advertising. He questions the whole concept and the typecasting of the Indian rural. “Ridiculing is what is being done in these ads, we ridicule our majority of population, multinationals do it more often, and we Indians feel gratified. This shows the poor level of understanding we people have of the media”, he elucidated.
Devadeep Chaudhary, a student of Sociology in JNU questions the whole purpose of using humor. “We may have come of age in term of how advertising is done, but now it seems like we are all stagnated on the theme of using humor to sell products. We must understand that humor is just a part of advertising and not the whole advertisement itself. This is the mistake we are committing in India, and perhaps overdoing it”, he concludes.
But what needs to be noticed is that most people enjoy watching these ads, it soothes them to a certain extent. Also the whole process of using rural nuances does stay with the consumer and helps increase the recall value of the brand, which is the primary objective of any advertisement campaign.
FEVICOL

Consider this for starters during the marriage the pundit recites the mantra.... ~ YEH FEVICOL KA MAZBOOTH JOD HAI TOOTEGA NAHI or for that matter Cricket hi to hai desh ka Fevicol. Such is the place the brand Fevicol has. The name Fevicol has become synonymous with adhesives and other bonding agents. . Both these humor logs are pointers to the image that fevicol has been able to build over the years due to sustained brand building campaign. If it sticks it has to fevicol, in bollywood style toote dilo ke alawa sab kuch jode fevicol. Fevicol as a portfolio has been handled by O&M for a number of years now; in fact there is nothing to do with fevicol without the O&M seal on it. The bonding has been a wonderfully rewarding one for both O&M and fevicol. Seems this is also a 'Fevicol ka mazbooth jod' So much so that O&M won the Campaign of the Century Silver at the 2000 Abby Awards for their fevicol adverts. Fevicol also won them a Lion at the Cannes, which is as good as the Oscars for the moviemakers. The Idea of all the fevicol adverts is very simple and straightforward, fevicol aise jod lagaye acche se accha na tod paaye which is fevicol binds so good that no one can break it. Do you remember seeing a wonderful print advertisement of fevicol, the god of death Yama is trying to pull out life from a person whose ordained time has come, but is unable to do so, the reason, the body is lying next to a tin of fevicol. And the best thing is the tagline which says fevicol aise jod lagaye yamraj bhi tod na paaye. The theme and the idea have been brilliantly blended in all the fevicol ads and they have been woven in a simple yet very effective way of storytelling.
It is not uncommon to come across a sight where people travel in the bus crushed between people and their trunks, and at times even their poultry. The insight was this strange human bonding. The ad clicked and the rest is history,''. The ads have showcased the wonderful human bonding in different forms, be it the rickety bus ad, or the shadow ad or the pakde rehna chodna nahi series ads. Fevicol ads have underlined time and again the axiom in advertising, which says that the core theme and idea should remain intact as the adverts, grows with time. The execution of the idea and the theme has resulted in a series of wonderful adverts, some of which have become case studies in themselves of how to make an idea click in the form of an advert that sells.
You call it or innovation or what, O&M have always come up with catchy ways to sell fevicol. The train advert for instance showing the sultry Katrina Kaif and a man who has just got married, as he falls off to dream, he tries to run after Kaif, but to his utter disgust he just can't seem to move despite of all his efforts. He wakes up only to find that his head was resting on fevicol carton The overcrowded rickety bus on a bumpy road with people precariously perched from every nook and corner of the bus, has no dialogues or anything just fevicol advertised on the back of the bus saying fevicol ka jodh hai, tutega, chootega nahi or it's the bond of fevicol won't break and it won't separate.
This hits the nail on the head with pleasant surprise and without any barriers of language or of any other sort. No wonder this ad went on to win the Lion at Cannes. The ad series of fevicol have always had something innovative and comical about them, this gives them a high repeat value and even when they are shown again and again they don't seem to suffer from the so called Fatigue Factor in the world of advertising. Be it the pakde rehna ads which has carpenters working in their shop while a movie is playing on the TV showing a couple hanging perilously from a rope, with a can of fevicol kept on top of the TV, an amused carpenter looks at the can and then at the couple, while the heroine keeps shouting pakde rehna chodna nahi, as the carpenter picks up the can, the couple falls down. . Its different is what comes to mind when I think of the adverts for fevicol for they have always treaded on grounds which others can only emulate. The schematization, the execution and the unique way of showcasing the product are indeed a lesson to any aspiring ad maker.
Even in the age of Eminem and MTV Bakra, the fevicol ads have managed to keep it simple and easy to comprehend, more over it serves the required purpose. For instance what would any prospective buyer look for in any adhesive, something which gels so good that no one can dare think of breaking or separating it and that is precisely which all the ads talk about.
There is always an aura of freshness about all the fevicol advertisements. Despite of carrying on with the same theme, it is to O&M's credit that the ads don't seem rusted and repeated something which is very tough to keep maintaining over a long period of time. Re-inventing the wheel is the name of the game and fevicol has always been one step ahead when it comes to doing something new and different. This was showcased brilliantly in the Jashn Manao Haisha , or a festival of all the fevicol ads on Zee TV sometime back. The names and content of their programs were most ingenious; check it out Hum Dil Jod Chuke Sanam and Sticky Situations, Haisha Scenes. Zor lagake haisha the good old punch line of fevicol still rankles in our minds the moment we think about fevicol or the logo of two elephants trying to pull apart a piece of wood stuck by fevicol will always remain eponymous to an adhesive which binds for life.
Coca Cola
Yes, Coke in India, in advertising terms at least, was finding its way, constrained by its global position and the inability to `Indianise'. The brand's advertising was meandering and nowhere in the Pepsi class. The earlier campaigns had not yielded the desired results. Even the celebrity endorsements could not carry the brand too far.
The Aamir Influence

At the risk of sounding melodramatic, I must say that Aamir's commercials for Coke quickly raised the ante. They were Indian, brilliantly scripted, in a variety of situations that reflected India's various cultures and languages. And Aamir's turned the brand's hitherto predictable advertising on its head. Suddenly, it was Pepsi that was on the back-foot.
It was advertising at its best - strategy-wise and execution-wise. For years, brands have tried to own `one word' in the consumer's mind.
Volvo has owned the word `safety', Volkswagen the word `reliability' and Coke was eminently poised to own the word `Thanda'. This word was already in use - a loose descriptor for the category of cool drinks, and Coke just took it over.
There was another brilliant tactical `paanch' commercial which flagged the Rs 5/- price point brilliantly. While the commercials were pretty good, they became brilliant embellished by Aamir Khan's histrionic ability that pushed the commercials to a different orbit. Consumers loved the commercials. For once they could relate to the people, the situations and the dialogue delivery. This was Indian. This was theirs.


If one sits down to analyze the different ads in the Thanda… campaign, it comes out that the agency McCann Erickson had devised an idea where the brand was trying to talk to each Indian in his language. They understood the fact that there is great distinction between any two parts of India, so the idea of one strategy fits all won't work. Hence, there was Aamir Khan proving his versatility as an actor when he played a Punjabi Jatt in one ad, followed by a Bengali Babu in another one and subsequently he played a Hyderabadi Shopkeper, a Mumbaikar Tapori, a Nepalese tourist guide, a Bihari tax collection officer etc. interesting but common punchlines like Thanda matlab Coca Cola, Yaraan Da Tashan, Thande Ka Tadka etc played more than a mere supporting role to the idea and it won't be an exaggeration to say that the rest is history.












The Shift In Advertising
Cola is a category that needs a lot of excitement. The advertising executions change frequently. One is not clear whether it is the company or the consumers who get tired of the advertising.
Probably the former. Be that as it may, Coke launched its `Sir Uhutake' campaign with a lot of fanfare. The ad represented India's newfound strength and the confidence of its youth.
And yet a few questions remained. Was Coke getting carried away by its global position of dominance and translating it in India? Did it give up its thanda position too soon?
Couldn't it have conceptualized a newer rendition of the `thanda matlab' campaign? Is the new turn of phrase, however clever, more inward looking than its earlier campaign? Didn't `thanda' have a greater consumer focus and connect?
What Sergio says
Sergio Zyman's book The End of Advertising as We Know It is not exactly a favourite of advertising agencies. But it makes sense as Zyman spent a lot of time at Coke and this is what he said, "Traditional advertising that only entertains doesn't work, and companies that don't get wise to this are going to fail. I tell people that awareness, which is what most ads are designed to increase, doesn't get you sales."
It means that it is important for a brand to understand the market it is operating in. Also, it is to be kept in mind that entertainment is not the objective of a campaign, sales is. So if a campaign how so ever entertaining it may be, backfires, it is time to act and act smart.







ZEE CINEMA




Let me explain this advertisement, it promotes only Zee Cinema and consequently it is aired only on Zee bouquet of channels. But what the heck - it is popular, has won two prestigious awards, and its popularity curve seems to be going up. Isn't it nice?
The advertisement, created by FCB Ulka, manages to recreate the Sholay and Mera Gaon Mera Desh effect of dacoits, ravines, desolate villages and hapless villagers until Zee Cinema happens!!
The story line is kept very simple and told through a narrator or a 'sutradhar' played by Vijay Raaz. With his peculiar style of narration he has done exceedingly well in connecting to the audiences. Raaz plays the role of a village teacher and one day while he is taking class the dacoits attack the village.
A girl student of the school is abducted by the leader of the dacoits but a surprising change of heart ensures that he (the leader) becomes very affectionate towards the girl. The leader's effeminate ways does not go down well with the other dacoits and he is promptly killed.
The poor girl now becomes the moll and soon enough a la Phoolan Devi (actress Sunita resembles her) takes over the reins of the entire gang. Returning to her village she confronts her teacher, an old looking Raaz, and demands an explanation for her lot and he in turn gifts her television set. The television set ensures that the moll turned dacoit starts watching Zee Cinema and very soon gives up her plunderous ways, starts a dance school (Champa Devi Nritya Shala) and also terrorizes all her male band members into learning dance.

India's first two-minute thriller ends with the line 'Pichle naun saal se gaon ka bacha bacha jaanta hain, ki Zee Cinema matlab Movies, Masti, Magic'
The message that the advertisement intended to convey was very simple. Zee Cinema = Hindi Cinema and the set-up, the language, the characters were something that people found pretty known to them. They say speak to the consumers in their language and this phrase comes to reality in this advertisement.
The teacher beating up the kids in the school, isn't it something each one of us has witnessed in the childhood? The dacoits in the movie seemed to have jumped out of a classic Hindi Film set.
The Saga Continues
If the first ad proved to be a winner for Zee cinema, consider the second one, a two minute, forty five seconder called Pyar Ki Shuruaat, this one is again set in a rural backdrop where the children of two friends turned enemies fall in love with each other at the very filmi Khandani Mahavidyalaya.. Vijay Raaz has once again played the narrator. He has done a good job as far as carrying on in the tone of the previous Zee Cinema advertisement is concerned.
Kabir and Salma fall in love only to realize later that their families are not on good terms with each other. After leaving the school, they don't get to see each other, thanks to their fathers.
Time passes by and the enmity between their fathers only grows stronger. Meanwhile Kabir and Salma's life comes to a still. Then, Zee Cinema happens and every problem is solved. The ad says, Jinke TV mein drama nahi hota, unki life drama ban jati hai, the ad finishes with the same old slogan but with a touch of difference from the last time. Pichle nau saal se desh ka har jawaan dil jaanta hai ki Zee Cinema matlab Movies Masti Magic
The last line and the accent on 'Pichle naun saal' also ensures that people know that for the last nine years Zee has been the leader in the Hindi cinema category.
An interesting aspect of the Zee Cinema advertising is that it catches the nerve of the movie watching population in india. The advertising seems no less dramatic than a feature film itself. Be it Dakoo Phoolan Devi or Kabir and Salma, the whole narration seems like a grand voice over in a multi-starrer Yash Raj flick. At a time, when people are looking for some drama and innovation, these ads serve the purpose. Never before were there two and a half minute advertisements, and even though these ads are played only on the Zee bouquet, one doesn't know if these ads just turn out to be the trend setters.

THE WAY INDIA COMMUNICATES
It is one section which I wasn't sure that I would end up writing, but a trip to one of the busiest markets in Delhi made it a rather easy exercise. Sounds of One double zero mein ban jao hero and ab sab pehanenge, abhishek pehanega aur banda nek pehanega echoed in my ears even I was back from the market. I was wandering whether what I heard was advertising of sought? May be or maybe not. But if advertising is understood as a means of promoting your product in order to enhance sales, it definitely was advertising.
We have all grown up listening to phrases like the ones mentioned above in the markets nearby, but never has anyone thought of them as a specialized way of advertising. Experts in the industry believe that advertising is about people. So of this is the way the people at the lowest end communicate, then why not? 'Jo dikhta hai, woh bikta hai' a fabulous line which can be used as a great punch-line, that I first heard from a carpenter smoking a bidi at a hardware store, says Nandu Narasimhan, Saatchi & Saatchi. Hang on, before talking about the potential punch lines, spare a thought for winners like Thanda matlab Coca Cola,, Zor laga ke Haisha, Jor ka jhatka dheere se lage. These are not just the taglines used in advertising, but something out of the daily life.
The marketing experts have concluded to a fact that Indian consumers think in their own unique way and to reach out to them, you have to say whateverthey like to hear. Or else, where else would you find an anti AIDS campaign called 'Main Balbir Pasha Nahi Banna Chahta Hoon'
.Rural and ethnic nuances have always worked in India, and they always will. It may not be a sure shot way to Indian consumers' heart, but it certainly strikes a chord with Indians. The advertisers have used it, are using it, and in future will continue to use it to reach to Indian consumers and sell their products and winners will be those who understand this reality of market and psyche of Indian audiences. The writing is thus on the wall only the one who understand India and Indians.