CULTURAL DEVELOPMENT THROUGH EFFECTIVE … · school of the arts and design bds 413 cultural...
Transcript of CULTURAL DEVELOPMENT THROUGH EFFECTIVE … · school of the arts and design bds 413 cultural...
SCHOOL OF THE ARTS AND DESIGN
BDS 413
CULTURAL DEVELOPMENT THROUGH EFFECTIVE ADVERTISEMENT OF MILO IN THE DIETARY PROCESS OF
THE MAASAI
BRIAN KAMAU KINGARA
B05/37527/2010
A project submitted in partial fulfillment of the requirements for the award of the degree of Bachelor of Arts in Design (BA Design)
SUBMITTED ON 14TH JANUARY 2015
DECLARATION I declare that this project entitled “CULTURAL DEVELOPMENT THROUGH EFFECTIVE ADVERTISEMENT OF MILO IN THE DIETARY PROCESS OF THE MAASAI” is my own work and to the best of my knowledge has not been presented to any other university for a degree or any other certificate.
Signed: ………………………………..
Date: ………………………………….
Brian Kamau King’ara
A Research Project submitted in partial fulfilment of the requirements for the award of the
degree of Bachelor of Arts (Design) at the University of Nairobi.
Supervisor,
MRS. F ODUNDO
Signature: ………………………………
Date: ……………………………………
Director, School of the Arts and Design (StAD),
MR. MUREITHI KINYUA
Signature: ………………………………
Date: ……………………………………
DEDICATION
To my parents and my siblings, for their encouragement and undying support throughout.
God Bless
ACKNOWLEDGEMENTS
I would like to thank the authority of The University of Nairobi (UON) for providing me with a
good environment and facilities to complete this project. Also, I would like to take this
opportunity tothank to the School of the Arts and Design (StAD) of University of Nairobi for
offering this subject, Illustration (Design).
I would like to thank to my supervisor, Mrs Odundo for her precious and wonderfully unending
time, valuable guidance and advice. Her ideas and motivation contributed tremendously to this
project.Your positive and encouraging criticism and constant encouragement helped me push
myself and attain what I longed for.
To my friend and colleagues for the fun times and the moral support in the past four academic
years. The journey was full of ups and downs but it was worthwhile because of your friendship.
You are special.
Finally, an honourable mention goes to my families and friends for their understandings and
supports on me in completing this project. Without helps of the particular that mentioned above,
I would face manydifficulties while doing this project.
TABLE OF CONTENTS 1.1 Overview.................................................................................................................................. 8
1.2 Background to the problem ...................................................................................................... 8
1.3 Statement of the Problem ........................................................................................................ 9
1.4 Objectives ................................................................................................................................ 9
1.4.1 Main Objective ............................................................................................................... 9
1.4.2 Specific Objectives .......................................................................................................... 9
1.5 Research Questions ................................................................................................................ 10
1.5.1 Main Question .............................................................................................................. 10
1.5.2 Other Questions ............................................................................................................ 10
1.6 Significance of the study......................................................................................................... 10
1.7 Definition of Terms ................................................................................................................ 10
2 Overview ...................................................................................................................................... 12
2.1 INTRODUCTION ................................................................................................................. 12
2.2 DESIGN AND CULTURE – A RETURN TO FUNDAMENTALISM ................................... 13
2.3 ENGAGING WITH ETHNIC MINORITIES THROUGH ADVERTISING ........................... 16
2.4 DESIGNING FOR CULTURAL DIVERSITY ....................................................................... 18
2.5 SEMIOTICS: A PRIMER FOR DESIGN ............................................................................... 19
2.6 Visual Advertising ................................................................................................................. 21
2.7 Types of advertising ............................................................................................................... 22
2.8 Traditional Modes of Advertising ........................................................................................... 23
2.9 Modern Types of Advertising.................................................................................................. 25
2.10 The Future of Advertising ...................................................................................................... 27
2.11 THE IMPORTANT ELEMENTS OF VISUAL COMMUNICATION .................................... 29
2.12 CULTURALLY-RELEVANT ADS (COCA COLA) ............................................................. 30
3.0 Overview ............................................................................................................................... 32
3.1 Research Design..................................................................................................................... 32
3.2 Population and Sample ........................................................................................................... 32
3.3 Data Collection ...................................................................................................................... 33
3.4 Focus Groups ......................................................................................................................... 33
3.5 Key Informants ...................................................................................................................... 34
3.6 Questionnaires ....................................................................................................................... 34
3.7 Data Analysis ......................................................................................................................... 34
3.8 Data Presentation ................................................................................................................... 35
3.9 Limitations ............................................................................................................................. 35
3.10 Data Presentation ................................................................................................................... 35
3.11 Reports .................................................................................................................................. 35
3.12 Exhibition .............................................................................................................................. 36
4.1 Observation ........................................................................................................................... 37
5.1 INTRODUCTION ...................................................................................................................... 38
5.2 SUMMARY OF FINDINGS ........................................................................................................ 38
5.3 CONCLUSION ......................................................................................................................... 39
5.4 APPENDICES ....................................................................................................................... 42
5.5 Questionnaire ......................................................................................................................... 42
ABSTRACT This research is aimed at studying how effective advertising can be used to promote cultural
development. The researcher will look into the ability of design to solve aesthetic and
communication problems through advertising and at the same time meeting demand for
functional products and services in the Kenyan market.
The researcher will aim at investigating how the different designers have venture into different
designs through different themes with major emphasis being on marketing and promoting
brands. The researcher will therefore review literal publication and productions from renowned
designers and authors to develop a scope on what has already been done and what has not. A
field study will be conducted by the researcher to determine materials and methods currently
preferred in producing designs to solve visual communication problem, reasons to these
preferences and the impacts resulting from their use. This will be aimed at establishing the need.
Based on the facts obtained from the field, the researcher will then analysis the data draw
conclusions and finally draft recommendations towards developing visual communication
through culturally focused advertising. In this case, it will look at how Milo can be effectively
promoted among the Maasai community.
The research will be segmented into five main chapters: chapter one will contain the introduction
and background, problem statement, objectives, research questions, significance and scope of
study. Chapter two will be a critical analysis of theoretical literature culture-focused design and
visual communication. The researcher will also carry an analytical review aimed at identifying
gaps to be filled to the existing knowledge. Chapter three will outline Research Design the
Methodology used by the researcher. Chapter four will carry the presentation and interpretation
of findings while chapter five will be summary of the findings, and recommendations.
SECTION 1- INTRODUCTION TO THE STUDY
1.1 Overview This section provides an overview of the Maasai community and their dietary contents. It also
includes a brief introduction to the product the researcher wishes to incorporate. The researcher
also states the purpose of the research, significance and justification of study.
1.2 Background to the problem The Maasai are a pastoralist community who live in Kenya, and Northern Tanzania.They are a
Nilotic ethnic group of semi-nomadic people inhabiting southern Kenya and northern Tanzania
and are among the best known local populations due to their residence near the many game parks
of the African Great Lakes, and their distinctive customs and dress.
Traditionally, the Maasai are a nomadic people whose diet heavily relies on meat, milk and
blood from cattle (usually of the Zebu breed) for their dietary needs. Blood is very rich in protein
and is good for the immune system. For this reason, the Maasai are well known as a disease-
resistant community, who rarely fall ill to common illnesses such as malaria and the Common
Flu.
However, the use of blood in the traditional diet is waning due to the reduction of livestock
numbers. More recently, the Maasai have grown dependent on food crops such as maize (maize
meal in particular referred to as ugali), rice, potatoes, cabbage (which they refer to as “Goat
Leaves”) etc. The Maasai who live near crop farmers have engaged in cultivation as their
primary mode of subsistence. In these areas, plot sizes are generally not large enough to
accommodate herds of animals; thus the Maasai are forced to farm, which is frowned upon by
traditionalist members of the Maasai community. They believe that utilizing the land for crop
farming is a crime against nature. Once you cultivate the land, it is no longer suitable for grazing.
More often than not, their diet becomes insufficient in nutrients and children suffer from
malnutrition.
MILO is a nutritional beverage long known as an energy beverage strongly associated with
sports and good health. It was developed by Thomas Mayne, a Nestlé Engineer in the 1930s
during the Great Depression in Sydney, Australia as a direct response to the fact that children
were not receiving enough nutrients from their daily diet.He named the drink MILO after the
Greek athlete Milo (also known as Milo of Crotona), who was known for his legendary strength.
MILO was launched in 1934 at the Sydney Royal Easter show in an area used to showcase new
products to the public. This coincided with the opening of a local production plant for MILO
located in Smithtown, in rural New South Wales, where it is still produced today.
Known for its iconic green tins (fig.1), which often depicts various sports activities such as
basketball and football (soccer), MILO has been widely revered for its nutritional content (fig.2)
and as such it is usually part of a breakfast diet or as aenergy beverage during physical activities.
The product was introduced into the Kenyan market in 1967 and is among the top 5 brands in
Kenya. Although its mostly known in its powdered form, it has recently been developed into a
breakfast cereal as well as an energy drink.
1.3 Statement of the Problem The current dietary provisions available to the young Maasai child are not adequate for proper
growth and development. The current diet may be supplemented by commercially produced
fortified foods which have not been adequately promoted among the community hence they are
unaware of the benefits that such products provide. Therefore there is inefficient advertisement
of the product to encourage the consumption among the community.
1.4 Objectives
1.4.1 Main Objective To investigate the extent to which the community is aware ofthe product(MILO) as a dietary
supplement to improve the physical growth and development process in a young child
1.4.2 Specific Objectives • To investigate the measure of success or failure previous attempts have endured in their
implementation.
• To identify challenges that previous attempts encountered and device possible solutions
to these challenges.
1.5 Research Questions
1.5.1 Main Question How has Milo been advertised among the Maasai Community?
1.5.2 Other Questions • How efficiently have current methods impacted the target community?
• What could be the best method to coerce the Maasai community to embrace Milo as
part of their dietary needs?
1.6 Significance of the study This research project will contribute at large to the scarce and limited academic resources. The
research project may be used by advertising agencies looking to improve and create better
advertising for brands.
This study hopes to attain the following significances:
• To understand how communities with similar diets could be influenced to use
fortified foods for health benefits
• To add to the body of knowledge that already exists.
1.7 Definition of Terms Culture- Culture relates to the ideas and activities of groups of people and civilizations,
basically about the way that people behave and relate to one another. It is also about the way
that people live, work and spend their leisure time their beliefs and aspirations.
Niche Audience - A niche audience is a focused, targetable portion of a market or a narrowly
defined group of potential customers.
Schema - This refers to a mental structure of preconceived ideas, a framework representing
some aspect of the world, or a system of organizing and perceiving new information.
Semiotics - Also called semiology, is the study of signs, symbols, and signification. It is the
study of how meaning is created, not what it is.
SECTION 2 – LITERATURE REVIEW
2 Overview In this chapter, the researcher discusses the theory that can enhance communication and brand
awareness through advertising and an exemplar that uses the theory in their work to create and
enhance effective communication.
Advertising is persistent, invasive and insidious by the argument of some persons (Harker 2000).
The main purpose this study is to create the effective advertising to influence the targeted
audience; for instance, the formation of the advertising to be more effective is much difficult
because the viewers of the campaigns comprises of different interests, attitudes and psychology.
The various media involved to influence the audiences are TV, magazines, newspapers, internet,
radio, billboards and web sites that are majorly used by the advertising agencies; they directly
convey the message to the end consumer about the product and services and provide the
necessary information on the campaigns (Churchill, 1995; Schmitz and Deborah, 2001; and
Miles et al., 2001).
2.1 INTRODUCTION At the heart of any civilization or community is the ideology of society. A society is a grouping
of like-minded individuals who are united by a network of social relations, traditions and may
have distinctive cultures and institutions. A society is often governed by a set of norms and
values.
In the design process, a designer must consider the culture and societal values of his target
market and it is through this realization that the concept of Social Design was conceived.
Social Design is design that is mindful of the designer’s role and responsibility in society, and
the use of the design process to bring about social change. It could also be described as a design
process that contributes to improving human well-being and livelihood. In essence, it aims to
improve the quality of human life through the joining of new products and processes that are
profitable to both the designer (or firm) and the society on which he/she/it depends.
The concept of social sustainability should be thought of as a cultural and societal ideal which
can be moved or altered through design. It is best characterized by its ability to foster and sustain
social interactions, as well as, create equitable opportunities for all within the society.
According to Sage Media (an international corporate design firm based in Ottawa,
Ontario), throughout the ages, people have left evidence of their culture in their writing,
their artwork, in their technological achievements and in the way that they shaped their
interactions. Cultures may change with time, particularly with the influences of new ideas,
new technologies and the availability, or scarcity of resources. With this convergence of designs
has also developed a desire to preserve cultural identity, traditions and language. Marketing
strategies by companies such as Coca Cola has ensured that there are outlets for their
products all over the world and satellite television has given people access to television
programs from all over the world. The big brand names in fashion, fast foods, drinks,
supermarkets, DIY (D It Yourself) stores, cars and motorbikes, can be seen in many parts of the
world and with their desire to tap into new markets; their influence is likely to create cultural
change in even more parts of the world.
2.2 DESIGN AND CULTURE – A RETURN TO FUNDAMENTALISM David Carlson and Brent Richards (21-Mar-2011)
Design and Culture have always been closely interrelated, but in many instances design is
flaunted as the true measure of culture, rather than belonging to part of cultural context of the
society. Design has become the embodiment of a larger process of creative ‘culture mongering’
that has become a means to capture ideation, innovation and enterprise and made to stand for
cultural identity.
Design has become synonymous with the labelling of culture; ’designed culture’, now represents
not only the emblem of cultural prosperity, but is considered as a means to legitimatize whole
areas of urban regeneration, and for gaining international recognition as well as mediating for
social change. For example, the sitting of the London Olympics in the east of London and the
recent award to Qatar, to host 2022 World Cup Finals and to build national identity defined by
football (an amazing feat for a tiny peninsula in Persian Gulf that was no more than barren desert
twenty-two years ago).
Design has become the symbolic totem for showcasing culture, and the official cultural tag at
international events such as the Olympics, European Capitals of Culture, Trade Expositions,
Design Fairs and Biennale, Creative Industries, around the world. In this sense, whilst the
application of design is multiplying exponentially, it is also losing its validity as an authentic
cultural icon. It has become synonymous with cloning the face of global culture itself, more
often representing the uniformity of mass globalization, rather than reflecting the facets of
cultural difference and diversity. The cultural attributes of difference and diversity have been
fundamentally weakened, and like face that has undergone cosmetic surgery, the result is a
facsimile vaguely familiar but disturbingly without a true sense of identity. It is everyone’s and
no one’s, and belongs in no single place more than another.
Traditionally, Culture is referred to as a pattern that signifies human activity manifested by the
arts, music, sculpture, theatre, dance, film, fashion, design, food and architecture. In
contemporary popular culture, it also includes the Internet, entertainment, and the cult of
celebrity, as part of these cultural signifiers. But in a wider ethnographic sense, Culture embraces
complex ways of living, value systems, traditions, beliefs and habits; including knowledge,
morals, law and customs, acquired by those within that Society. These provide for a set of
‘cultural objects’, which symbolize a shared schematic experience, and which we recognize as
having cultural value.
Culture in the classical sense, was considered distinctive and distinguishable, and by definition
represented the ‘ethos of a civilization’. It could be celebrated by the degree of sophistication,
beliefs, and level of enlightenment. The Arts were what informed customs and practices, and
identified a particular place, class, time or a set of specific attitudes of a group.
Like a biological culture, it was nutrient rich and diverse in its concentration of medium.
In the context of human development the measure of a civilization lies in its strength of culture,
as is personified in its signification of its cultural identity and its richness of cultural objects.
Typically, from the Inca’s, the Egyptian’s, the Greek’s, the Roman’s, to the Renaissance etc. all
were characterized by distinctive cultural signatures, and by the associated wealth of meaningful
artefacts.
Historically, culture has been identified with creation of the ‘civilized state’ and social
cultivation, (the progressive refinement of social behaviour) frequently associated with persons
who were educated, stratifying culture into high, low, popular and primitive. The identity of a
given culture within a society is that which sustainable and is widely recognized, but where the
primary culture is challenged, sub-cultures emerge and are recognized as tangents to the
mainstream.
Cultural references were also influenced by trade, colonisation, migration, religion and media,
mechanisms that challenge and reinforce one culture over another. Whereas the multi-culturalism
of today, accepts that there are sub-cultural symbols that can co-exist in parallel to the
mainstream, as individual sub-cultures.
However, in the 21st Century the task of capturing Culture has become more and more difficult
in terms of expressing culture through the medium of design. Design increasingly struggles for a
clear sense of definition, and one is left asking, what can Culture really mean today, if it is no
longer tied to consumer lifestyle? We remain in a post-contemporary state where we require a
redefinition of meaning, value and identity.
In our loss identity we reveal our lack of wellbeing that we are even needier of an informed
cultural identity to counteract the confused nature of urban context, which is in a state of flux and
rapid change. There appears no time to allow for new forms of culture to grow, to be cultivated,
and to restore our environs.
However, there are signs that despite this confusion and fusion of cultural identities, new cultural
strands are being revived and are re-appearing. Some are intended and strategically driven, and
some indirect reactions to the desire to reclaim a more long lasting cultural integrity. There has
been a return to a type of ’Cultural Fundamentalism’ which has been prompted by a
reconsideration of the roots of national design.
Whilst it has been argued that Design has been manifesting and consolidating an outmoded
position in relation to Culture as a monoculture, Design can now adopt a central role as the
creative nutrient for a form of ‘cultural permaculture.’* (*Note: This term is an adaptation of the
term permaculture that is typically related to an approach to designing human settlements and
agricultural systems that are modelled on a relationship to natural ecology.)
There is a opportunity to borrow from this concept, to employ an approach to combine the
knowledge of indigenous peoples and ethical ecological design, to permit an exemplary form of
sustainable ‘cultural permaculture’ to be evolved. Central to this new concept would be to
develop an approach to Culture that maintains an authenticity and meaningful use of identity,
through a broad based and holistic approach.
This progression involves a paradigm shift in the nature of cultural dependence – from relying
primarily on universal globally imported cultural criteria, to more specific, locally based, and the
referencing of native traditions, rituals and symbolism. It is necessary to look further and include
values such as authenticity, aesthetics, affectivity and compatibility, and to see the real value of
culture as designing through the lens of humanity, to create memorable experiences, and
emotionally rewarding objects.
2.3 ENGAGING WITH ETHNIC MINORITIES THROUGH ADVERTISING
Maurice Lévy, the boss of Publicis Groupe, the French advertising giant that owns 49% of
Burrell, says that ethnic advertising makes sense for advertisers that are very big (and so can
afford multiple ad campaigns), or very specialized. She argues that ethnic origin is the key to
people's identity, much more than education, income, religion, sex and sexual orientation.
During her presentation, Lenoir (ESOMAR Young Researcher of the Year award 2013)
argued that generational status-whether someone relocated to the host country, or was born in the
country their parents had relocated to-affects the effectiveness of advertisers' strategies in
targeting minorities. In particular, activating ethnic identity has a more positive impact on
responses to visual advertisements among second-generation ethnic minority consumers,
whereas showing ethnic models or spokespersons has a more positive impact among the first
generation.
In recent decades, as our societies have grown more diverse and multicultural, reaching
minority consumers has emerged as a priority for marketing, and specific targeting strategies
have appeared. For example, advertisers often attempt to approach minority consumers when
their ethnic identity is most salient. Targeted visual advertisements typically feature
spokespeople or models with the same ethnic background as the target, as well as other
cultural cues. These strategies presuppose that ethnic groups are homogeneous. Yet, even
within a single minority, not all consumers identify with their host and heritage cultures to the
same degree. Generational status-whether a person was born in another country and relocated to
the host country, or was born in the country their parents had relocated to-is one factor likely to
affect the effectiveness of these targeting approaches.
Getting the right ethnic perspective is tricky. Lenoir finds that the activation of ethnic identity
has a more positive impact on responses to ethnic visual advertisements among second
generation than first-generation minority consumers, whereas featuring ethnic persons has a
more positive impact on first-generation consumers than second-generation ethnic minority
consumers. Second-generation ethnic consumers are more likely to identify as ‘bi-cultural’,
meaning their ethnic identity can change depending on the context in which they find
themselves. Because of this, the effect of attempts to activate ethnic identity is stronger in
these consumers than in first-generation minority consumers, whose ethnic identity is
chronically accessible. In addition, because of the relative weakness of ethnic identity in
second-generation consumers, people with the same heritage have less of a positive impact on
them than on first-generation consumers.
2.4 DESIGNING FOR CULTURAL DIVERSITY Naureen Mumtaz, University of Alberta
Immigration and multiculturalism are realities of the globalized world that has given riseto
subcultures, which possess specialized knowledge and language that is not shared bythe main
culture. This increasing interaction among people from diverse cultures hasproduced a complex
ethno-cultural mosaic that presents formidable challenges for visualcommunication designers’ as
well to other designers. Complexity has always been partof human environments that comprises
of mutually dependent social relations. Culturaldiversity of designers and audience of messages
in a design scenario brings complexityin the design research process.
The United Nations World Commission on Culture and Development Report titled ‘OurCreative
Diversity’ defines “culture” as the whole complex of distinctive spiritual,material, intellectual
and emotional features that characterize a society or a group. Itincludes creative expressions,
community practices and material or built forms.
As in today’s globalized world there is a highlighted trend in design toward specialized
audiences. McCoy(1995) pointed that focused messages and eccentric design languagestailored
to each audiences’ unique characteristics and culture, need to develop.Buchanan (2001) adds that
the quality of communications, artifacts and interactions andenvironments within which all of
these occur is the vivid expression of the culturalvalues.
While addressing cultural plurality and related issues by the development of visualvocabulary for
a diverse cultural audience for communication of a social message hasdiminished the focus on
homogenized audiences that used to be the focus of thedesigners in the recent past. Elizabeth
Sanders (2001) very rightly predicted about theevolution and emergence of new design ideas in
response to user’s needs foreveryday creativity, which requires the designer to understand the
experience domainsof people. Sanders predicted that in future as designers involve the everyday
user in thedesign process, tools, rules and methods for research and design would begin to
blur.This will result in research becoming more creative; and design becoming more rigorousand
complex.
Complexity has always been partof human environments that comprises of mutually dependent
social relations. Culturaldiversity of designers and audience of messages in a design scenario
brings complexityin the design research process.
The United Nations World Commission on Culture and Development Report titled ‘OurCreative
Diversity’ defines “culture” as the whole complex of distinctive spiritual,material, intellectual
and emotional features that characterize a society or a group. Itincludes creative expressions,
community practices and material or built forms.
As in today’s globalized world there is a highlighted trend in design toward specialized
audiences. McCoy(1995) pointed that focused messages and eccentric design languagestailored
to each audiences’ unique characteristics and culture, need to develop.Buchanan (2001) adds that
the quality of communications, artifacts and interactions andenvironments within which all of
these occur is the vivid expression of the culturalvalues.
While addressing cultural plurality and related issues by the development of visualvocabulary for
a diverse cultural audience for communication of a social message hasdiminished the focus on
homogenized audiences that used to be the focus of thedesigners in the recent past. Elizabeth
Sanders (2001) very rightly predicted about theevolution and emergence of new design ideas in
response to user’s needs foreveryday creativity, which requires the designer to understand the
experience domainsof people. Sanders predicted that in future as designers involve the everyday
user in thedesign process, tools, rules and methods for research and design would begin to
blur.This will result in research becoming more creative; and design becoming more rigorousand
complex.
2.5 SEMIOTICS: A PRIMER FOR DESIGN
Semiotics, or semiology, is the study of signs, symbols, and signification. It is the study of how
meaning is created, not what it is. In its simplest form, Semiotics can be described as the study
of signs. Not signs as we normally think of signs, but signs in a much broader context that
includes anything capable of standing for or representing a separate meaning.
According to Paddy Whannel (2003) “Semiotics tells us things we already know in a language
we will never understand.” The language used by semioticians can often be overkill, and indeed
semiotics involves things we already know, at least on an intuitive level. Still, semiotics is
important as it allows designers to understand the relationships between signs, what they stand
for, and the people who must interpret them-the people we design for.
The science of Semiology (from the Greek semeîon, ‘sign’) seeks to investigate and understand
the nature of signs and the laws governing them. Semiotics represents a range of studies in art,
literature, anthropology, and the mass media rather than an independent academic discipline. The
disciplines involved in semiotics include linguistics, philosophy, psychology, sociology,
anthropology, literature, culture, aesthetic and media theory, psychoanalysis and education.
Swiss linguist Ferdinand de Saussure is considered to be the founder of linguistics and
semiotics. Saussure postulated the existence of this general science of signs, or Semiology, of
which linguistics forms only one part. Semiology therefore aims to take in any system of signs,
whatever their substance and limits; images, gestures, musical sounds, objects, and the complex
associations of all these, which form the content of ritual, convention or public entertainment.
Structuralism is an analytical method used by many semioticians. Structuralists seek to
describe the overall organization of sign systems. They search for the deep and complex
structures underlying the surface features of phenomena.
Social Semiotics has taken the structuralist concern with the internal relations of parts
within a self-contained system to the next level, seeking to explore the use of signs in
specific social situations.
Semiotics and the branch of linguistics known as Semantics have a common concern with the
meaning of signs. Semantics focuses on what words mean while semiotics is concerned with
how signs mean. Semiotics embraces semantics, along with the other traditional branches of
linguistics as follows:
In Semiotics: The Basics, by Daniel Chandler (2003) sums up precisely why we as designers
must be well versed in semiotics.
“The study of signs is the study of the construction and maintenance of reality. To decline such a
study is to leave to others the control of the world of meanings.”
Semiotics teaches us as designers that our work has no meaning outside the complex set of
factors that define it. These factors are not static, but rather constantly changing because we are
changing and creating them. The deeper our understanding and awareness of these factors, the
better our control over the success of the work products we create.
Semiotics also helps us not to take reality for granted as something that simply exists. It helps us
to understand that reality depends not only on the intentions we put into our work but also the
interpretation of the people who experience our work. Meaning is not contained in the world or
in books, computers or audio-visual media. It is not simply transmitted-it is actively created,
according to a complex interplay of systems and rules of which we are normally unaware.
Becoming aware of these systems and rules and learning to master them is the true power of
visual communication and design.
2.6 Visual Advertising
Visual Advertising may be one of the most important marketing tools available to corporate
sector today but it is certainly not the most ethical one. The reason advertising has
come under attack from various sections of the society is because of the images it projects and
the way they ultimately affect all of us. If we carefully analyse advertising campaigns
and techniques, we would notice that advertising is intricately connected with the
principle of consumption. Consumers would buy anything that advertisements say is good
for them including culture and values. In much the same way as a consumer would be forced to
buy a product, media today is being used to effectively transform cultural values and sell images
that are often misleading.
Advertising can affect cultural values. Some advertising messages, for example, encourage
aggressive individualism, which may clash with the traditional cultural values of a country where
the collective or group is emphasized over the individual or humility or modesty is
preferred to aggressiveness. With the globalization of the world economy, multinational
corporations often use the same advertising to sell to consumers around the world. Some
critics argue that advertising messages are thus helping to break down distinct cultural
differences and traditional values, causing the world to become increasingly homogeneous.
Advertising also impacts values. While it reflects society to a certain degree, it also has the effect
of ‘normalizing’ values or behaviours. With the average American exposed to between 500 and
1,000 commercial messages a day, it wields considerable power over what we consider
normal.
2.7 Types of advertising
Virtually any medium can be used for advertising. Commercial advertising media can include
wall paintings, billboards, street furniture components, printed flyers and rack cards, radio,
cinema and television adverts, web banners, mobile telephone screens, shopping carts, web
popups, bus stop benches, magazines, newspapers, town criers, sides of buses, in-flight
advertisements on seatback tray tables or overhead storage bins, taxicab doors, roof mounts and
passenger screens, musical stage shows, subway platforms and trains, elastic bands on disposable
diapers, doors of bathroom stalls, stickers on apples in supermarkets, shopping cart handles , the
opening section of streaming audio and video, posters, and the backs of event tickets and
supermarket receipts. Any place an "identified" sponsor pays to deliver their message through a
medium is advertising.
Advertising has become an essential element of the corporate world, and hence, companies allot
a considerable amount of resources towards their advertising budget. There are several reasons
for advertising, some of which are:
• Increasing the sales of the product/service.
• Creating and maintaining a brand identity or brand image.
• Communicating a change in the existing product line.
• Introduction of a new product or service.
• Increasing the buzz-value of the brand or the company
2.8 Traditional Modes of Advertising Print Advertising - Newspapers, Magazines, Brochures, Fliers
Print media has always been a popular advertising option. Advertising products via newspapers
or magazines is a common practice. In addition to this, the print media also offers options like
promotional brochures and fliers for advertising purposes. Often, newspapers and magazines sell
the advertising space according to the area occupied by the ad, its position in the publication
(front page/middle page, above/below the fold), as well as the readership of the publication.
For instance, an advertisement in a relatively new and less popular newspaper will cost far less
than an advertisement in an established newspaper that has a high readership. The price of print
ads may also depend upon quality of the paper and the supplement in which they appear. For
example, an advertisement in the glossy (and popular) supplement of a newspaper will cost more
than one in a supplement which uses mediocre quality paper.
Billboards, Kiosks, Trade-shows and Events
Advertising makes use of several tools and techniques to attract the customers outdoors. The
most common examples of outdoor advertising are billboards, kiosks, and also events and trade-
shows organized by a company. Billboard advertising is very popular. However, it has to be
really terse and catchy, in order to grab the attention of passers-by. Kiosks not only provide an
easy outlet for the company's products, but also make for an effective advertising tool to promote
the company's products.
Organizing or sponsoring special events makes for an excellent advertising opportunity and
strategy. A company can organize trade fairs, or even exhibitions for advertising their products.
If not this, the company can organize several events that are closely associated with their field.
For instance, a company that manufactures sports utilities can sponsor some tournament to
advertise its products. Mobile billboards are a newer form of this old advertising technique,
where a large display screen or billboard is attached to the back of a van or a flatbed truck, and
taken to different locations within a city or neighborhood.
Radio Advertising
Radio advertising is one of the oldest forms of advertising. In the early 20th century, as radio
began to take center stage in a lot of American homes, businesses realized that they could use
this medium to reach a huge audience for their products, and not merely rely on print media such
as newspapers and pamphlets.
Advertisers can buy airtime from a radio station to air their ads, and prices depend upon the
duration, time of the day, and the programs during which the ads are aired. According to market
research firm Arbitron, over 240 million people in the United States tune in to the radio at least
once a week. Radio has been given a much-needed boost as a medium of communication, and
therefore of advertising, with the advent of online radio broadcasts.
Television Advertising
The holy grail of advertising for more than 50 years, television advertising remains the most
sought-after mode of advertising even in the 21st century. It reaches the maximum number of
target customers, and has a variety of programming schedules which can be effectively used for
the insertion of ad content.
This is an expensive type of advertising, as reflected by the high price for ad spots during
sporting events such as the Super Bowl. There is also a trend of placing banners in the
background while a program is playing, to increase the visibility of ads. Computer-based
graphics are also used to generate ads, which run in the backdrop of high-profile events such as
sporting events and movie premiers. Television jingles for popular products such as ‘Faiba’
(Jamii Telekom (JTL)) and the ‘Utahama lini?’ are legendary.
2.9 Modern Types of Advertising Online Advertising
Broadcast advertising is a very popular advertising medium that constitutes several branches like
television, radio, or the Internet. Television advertisements have been very popular ever since
they were introduced. The cost of television advertising often depends upon the duration of the
ad, the time of broadcast (prime time/lull time), sometimes the show on which it will be
broadcast, and of course, the popularity of the television channel itself. The radio might have lost
its charm owing to new-age media; however, it remains the choice of small-scale advertisers.
Radio jingles has been very a popular advertising medium, and has a large impact on the
audience, which is evident in the fact that many people still remember and enjoy old popular
radio jingles.
Covert Advertising - Advertising in Movies
Covert advertising is a unique kind of advertising, in which a product or a particular brand is
incorporated in some entertainment and media channels like movies, television shows, or even
sports. There is no commercial advertising as such in the entertainment, but the brand or the
product is subtly (or sometimes evidently) showcased in the entertainment show. Some of the
famous examples for this sort of advertising have to be the appearance of brand Nokia which is
displayed on Tom Cruise's phone in the movie Minority Report, or the use of Cadillac cars in the
movie Matrix Reloaded.
Surrogate Advertising - Advertising Indirectly
Surrogate advertising is prominently seen in cases where advertising a particular product is
banned by law. Advertisements for products like cigarettes or alcohol, which are injurious to
health, are prohibited by law in several countries. Hence, these companies come up with several
other products that have the same brand name, and indirectly remind people of the cigarettes or
alcohol of the same brand, by advertising the other products. Common examples include Fosters
and Kingfisher beer brands, which are often seen to promote their brand with the help of
surrogate advertising.
Public Service Advertising - Advertising for Social Causes
Public service advertising is a technique that makes use of advertising as an effective
communication medium, to convey socially relevant messages about important matters and
social causes like AIDS, energy conservation, political integrity, deforestation, illiteracy,
poverty, and so on.
David Ogilvy, who is considered to be one of the pioneers of advertising and marketing
concepts, had reportedly encouraged the use of the advertising field for a social cause. Ogilvy
once said, "Advertising justifies its existence when used in the public interest - it is much too
powerful a tool to use solely for commercial purposes." Today, public service advertising has
been increasingly used in a non-commercial fashion in several countries across the world in
order to promote various social causes. In the United States, radio and television stations are
granted to bidders on the basis of a fixed amount of public service advertisements aired by the
channel.
Celebrity Advertising
Although the audience is getting smarter and smarter, and the modern-day consumer is getting
immune to the exaggerated claims made in a majority of ads, there exists a section of advertisers
that still bank upon celebrities and their popularity for advertising their products. Using
celebrities for advertising involves signing up celebrities for campaigns, which consist of all
sorts of advertising including television or even print ads. How effective these ads are, is
something that each consumer himself can determine.
In-store Advertising
This is also a popular advertising method for large malls and departmental stores, popularized by
stores such as Wal-Mart. Also known as 'point of purchase advertising', the products are usually
displayed prominently at checkout counters and packaged attractively. They aim to influence the
customer to make an impulse purchase, rather than actively create a need for the product. Other
forms of in-store advertising can be placing the product where the customer can easily see them,
and banners inside the store announcing price cuts or new launches.
Coffee Cup Advertising
A relatively new form of mass advertising is the placement of small ads or promotional material
on paper cups for coffees or onto the table tops of the diner or cafe. Its origins can be traced to
Australian companies, and is now gaining popularity in Asia and the Americas.
Digital Out of Home Advertising
This is a new type of advertising, which is gaining in popularity and effectiveness as a quick way
to get the customers' attention. Digital out of home advertising can take many forms, but is
essentially a systematic arrangement of media at different venues across a geographic location,
where there is a lot of foot traffic such as cafes, bars, gyms, gas stations, and many others.
The advent of digital video recorders such as TiVo has enabled viewers to skip through ads
shown on television causing advertisers and sponsors significant loss in revenue. This is being
tackled by using digital broadcast systems in outdoor public places. Kiosks equipped with LCD
screens and customized software can be found in public locations like parks, subways, and gas
stations, along with digital televisions. This has also been integrated with Point of Purchase
advertising, with many stores having LCD equipped stand-alone systems, where the customer
can gain product information and even make a purchase using his credit card.
2.10 The Future of Advertising Digital Signage
Already a very widely used form of information dissemination in both public and private areas,
digital signage is growing ever more prevalent, as it is a cheap alternative to the costly excesses
of television commercials. It is primarily done through the installation of LED or plasma
screensin public places, such as railway and subway stations, cafes, airports, retail stores, hotels,
and many other similar locations.
Smartphone Advertising
The world of smartphones is an ever-growing and changing one. The mobile connectivity it
offers to consumers makes it fertile ground for advertising. Applications from both network
carriers and phone manufactures carry branding and product information for services they offer.
Also, games downloaded to mobile platforms display ads when connected to the internet.
Advertisers are striving to make ads which are more adaptable to smaller screens, and make them
available across a range of operating systems such as Android, iOS and Windows.
Niche Advertising
Niche markets are specific areas of consumer demand which a company tries to fulfil with
customized or innovative products. Niche advertising deals with targeting this select group of
customers with tailored ads. Companies are taking advantage of online blogs and websites which
cater to exclusive content such as exotic travel or wines or regional cuisine, and using these as
platforms to advertise their products. The use of Internet marketing for these niche offerings
ensure that potential customers are exposed to the ads whenever they search for related terms or
log on to a particular site.
User-generated Advertising
This is a radically new form of advertising that is interactive to the point of letting customers
create their own ads for the brand, one of which is chosen as the brands official ad for a
particular time period. This was successfully done by PepsiCo for its Doritos brand of snacks
during the Super Bowl 2007, and again in 2009 and 2010. User-generated ads are not cost
prohibitive, and allow the company to generate a lot of publicity via word-of-mouth.
Each of the advertisement types mentioned has its own sub-types and rates of effectiveness. It is
the job of the advertising department to figure out which type or which medium is the best and
the most feasible for its company.
2.11 THE IMPORTANT ELEMENTS OF VISUAL COMMUNICATION
Space When we discuss space we usually make the separation and describe it either as negative or
positive space. Positive is the space filled with elements, whereas negative is the empty
space. Sometimes which is what can be confusing especially in optical illusions. But both of
them are crucial of effective visual communication.
Line Line is the most essential tool in filling up the negative space. They come in many variations,
like straight, angular or curvy. And also many flavors like thick, thin, dashed, dotted, etc.
Negative space can also form lines like the lines of the margins in a page, or even our
computer screens edge. Lines are used to construct boxes and borders, and also even more
sophisticated things like typography. Additionally they can be used to align, or arrange items in a
layout. And control the viewer’s eye’s movement through our composition.
Shape Shapes (or form) can either be organic or inorganic. Inorganic shapes and forms are precisely
geometric, such as perfect squares, or circles, polygons etc. They are so called because they
rarely appear in nature. Organic shapes and forms on the other hand are more easily found in
nature. Both can trigger instant recognition, and evoke emotions.
Size Size of elements can be used to emphasize or de-emphasize items in a layout. Size can either be
relatively measured or be of exact size.
Patterns Like shapes patterns can either be organic or inorganic. But unlike shapes patterns are all
about repetition. Inorganic patterns are repeated without variation. Organic patterns are looking
more “random” and natural but still the same elements are getting repeated over and over, only
this time might be having different sizes or appear in varying distances. Patterns create order and
familiarity in layouts, and depending their usage can communicate a tactile quality.
Texture
Textures are also very often misused and overused in the design world. For example while
adding a bevel or emboss might seem a good idea for an on-screen mock up, considering it for a
print solution is not the best way to go. There are special techniques to achieve this effect in
post-production.
Value Value refers to the tones of light and dark. Unlike most people opinions there isn’t just black and
white, in between there is a spectacular range of varying shades of grey. In black and white
photography, pictures with very little grey value, lack in variation and seem flat. The same is true
in colourcompositions as well, where tonal values there range from light to dark colours. Value
can create the sense of depth, and also create variation and visual interest. It can be used to
emphasize, highlight things and de-emphasize others.
2.12 CULTURALLY-RELEVANT ADS (COCA COLA)
For the 2010 Super Bowl, Coca-Cola produced a 60-second ad called “Sleepwalker” that
featured a somnambulist with a thirst. He got up and went on a sleepwalking safari walk across
the African veldt in the darkness. With his closed eyes, he fearlessly encountered dangerous wild
animals-elephant, panther, and hippopotamus. Finally, he reached his destination, opened an
outdoor refrigerator and got a Coke he wanted in his dream. This commercial displayed a high
level of individualism and the individualistic cultural spirit of self-fulfillment and self-
realization.
For the Beijing Olympic Games in 2008, Coca-Cola launched a series of video commercials, one
of which was known as “Red Carpet Road for China.” The creativity of the ad was tied to the red
color of Coke’s cans and bottles. The idea of a red carpet road symbolized that 1.3 billion
Chinese people would enthusiastically welcome every athlete and visitor and would entertain all
of them as distinguished guests. The ad displayed millions of Chinese people in a cooperative
effort. They pushed and moved the huge rolled red carpet from the center of Beijing, passing
through Taklimakan Desert located in Xinjiang Uyghur Region, to the final destination of Mount
Everest in Tibet. Then, dramatically, at the top of the world, they firmly pushed down the rolled
carpet, which was rushing, unfolding, and laying along the side of the mountain. The video also
showed other famous places, such as the Great Wall, the Oriental Pearl Television Tower in
Shanghai, the City Wall in Xi’an, the Terra-Cotta Warriors and Horses, and pandas. In the end,
professional basketball player Yao Ming runs with the Olympic Torch on the red carpet,
followed by 10s of thousands of Chinese people holding one bottle of Coke. Collectivistic
appeals were reflected dramatically in this ad, which expressed a collaborative spirit that “Union
is strength” and nothing is impossible through the combined effort of teamwork. The content
emphasized interdependent relationships, cooperation, and harmony within social groups.
SECTION 3- RESEARCH AND METHODOLOGY
3.0 Overview
The study will be in the form of applied research, for the purpose of better understanding of a
phenomenon (Kumar, 2005), in this case the application of the African aesthetic in visual
promotional content/materials. The investigation will be qualitative in nature, emphasizing words
rather than quantification in the collection and analysis of data (Bryman, 2004). Children will
participate in one-on-one in-depth interviews (IDIs) and observations. Parents/teachers (in this
study teachers) participated in small focus group interviews (FGIs). It will also descriptive, its
purpose being to ―portray an accurate profile of persons, events or situations (Robson, 2002, as
quoted in Saunders, Lewis & Thornhill, 2009), specifically a description of the application of the
contemporary Kenyan aesthetic in illustration design for the development of visual educational
materials for children.
3.1 Research Design
Based on the number of contacts, the study will be a cross-sectional study, best suited to studies
aimed at finding out the prevalence of a phenomenon, situation, problem, attitude or issue, by
taking a cross section of the population (Kumar, 2005). Cross-sectional studies are useful in
obtaining an overall picture as it stands at the time of the study, cross-sectional with regard to
both the study population and time of investigation. As cross-sectional studies involve only one
contact with the study population, they are comparatively cheap to undertake and easy to analyze
(Kumar, 2005).
3.2 Population and Sample
In qualitative research the issue of sampling has little significance, as the main aim of most
qualitative inquiries is either to explore or describe the diversity in a situation, phenomenon or
issue (Kumar, 2005). The author is of the opinion that ―a study based on information obtained
from one individual, or undertaken to describe one event or situation is perfectly valid‖.
Qualitative researchers usually neither work with populations large enough to make random
sampling meaningful, nor is their purpose that of producing generalizations (Glesne, 2006).
Purposive sampling is thus employed. For this paper, this will be in form of convenience
sampling, where cases are selected on the basis of convenience (Glesne, 2006).
To inform this study, a sample of 12 children from two schools (five students from one public
school and five students from one private school) around Ngong area as well as 2 teachers each
in the respective schools. It was also necessary to obtain information from key education
stakeholders within in Ngong, as convenient method to the researcher. This is a non-probability
sampling method, which may not be representative of the whole population (Trochim, 2006), but
provides an inexpensive approximation of the truth. A disadvantage of purposive sampling as
well is that samples are not easily defensible as being representative of populations due to
potential subjectivity of researcher (Black, 1999).
3.3 Data Collection
Data collection procedures will include interviewing, written documents and audiovisual
material. Unstructured interviews will be conducted to obtain information from the respondents.
In an unstructured interview the researcher uses a brief set of prompts to deal with a certain
topic. The interviewee is allowed to respond freely, while the interviewer responds to points that
seem worthy of being followed up (Bryman, 2004). Secondary sources in the form of documents
will also be used to obtain information. These will include documents in visual form (such as
photographs), official documents deriving from private sources (such as documents provided by
organizations), mass media reports and virtual outputs such as Internet resources (Bryman,
2004), as well as earlier research (Kumar, 2005).. Audiovisual material such as interviews with
people directly involved in the illustration industry will also be used to obtain in-depth
information about the topic at hand.
3.4 Focus Groups
The researcher engaged mainly young children in informal discussions – particularly those that
spend some amount of time playing games. They were a good source for information about what
aspects of interaction they enjoy and what could improve and hence influence better interactive
design.
3.5 Key Informants
The researcher also added information from relevant informants such as curriculum specialists,
professional illustrators, professional dieticians, teachers as well as e-learning technical advisors.
Their valuable and necessary opinion will be imperative in gaining a better understanding of the
processes involved in game development and thus assist in producing the most ideal products for
the classroom setting. These informants may provide insight into why dietary supplements have
greatly been discouraged among traditional settings. Data collection methods will include the
following;
3.6 Questionnaires
The questionnaires administered to the correspondents by the researcher were analysed by
comparing the responses and considering alternative explanations by looking for differences in
responses in the questionnaires.
3.7 Data Analysis
In the case of a descriptive study, data collected using methods mentioned above will undergo
content analysis on the basis of field notes (Kumar, 2005). The grounded theory framework will
also be employed to analyze data: this is where data collection and analysis proceed in tandem,
repeatedly referring back to each other. The tools of grounded theory will include theoretical
sampling, whereby the analyst collects, codes and analyzes data while deciding what data to
collect next; in order to develop his theory as it emerges (Bryman, 2004). Coding, as another tool
of the grounded theory will also be used. Here transcripts or field notes are reviewed and
component parts seeming to be of potential theoretical significance given labels (Bryman, 2004).
Charmaz (as cited in Bryman, 2009) affirms, ―Codes serve as shorthand devices to label,
separate, compile and organize data‖.
3.8 Data Presentation
Qualitative procedures end with some comments about the narrative that emerge from the data
analysis (Creswell, 1994). Qualitative research narratives employed by the researcher will
present information in text or image forms such as representative charts. The narratives will take
the form of a realist tale, which is a direct matter-of-fact portrait without information about how
the field worker produced the portrait. The presentation of the qualitative data will also include
vivid descriptions of the information collected from the key informants.
3.9 Limitations
Cross-sectional studies involve only one contact with the study population, therefore, they cannot
measure change. To measure change it is necessary to have at least two cross-sectional studies, at
two points in time, on the same population (Kumar, 2005). Since qualitative research is
unstructured and often reliant upon the qualitative researcher‘s ingenuity, it is almost impossible
to conduct a true replication, due to the lack of standard procedures to be followed (Bryman,
2004).
The researcher was not granted permission to record the much needed audio visual materials in
the many interviews he conducted. The written documents might not have recorded all the
valuable information presents by the key informants as well as the interviewees.
3.10 Data Presentation
The information collected from the sample population was presented in form of a written
research report by the researcher, complete with sketches of the visuals. The video recordings
and voice recordings were analyzed by transcribing.
3.11 Reports
Data will be presented through written paper complete with the key issues that the
researcher handled in his findings and a set of recommendations. The researcher will write a
soft copy of the paper on a Compact Disc.
3.12 Exhibition
The researcher will also present data in the form of photographs, sketches, drawings paintings in
order to give a clear depiction of the research.
CHAPTER 4 –FINDINGS
4.1 Observation MILO’s target markets here in Kenya are toddlers (from around 2 years of age) to young
teenagers who are usually at their prime of athleticism. Recently, they have started targeting
athletes and health conscious individuals who do not fall within the previous niche audience.
Several other competing global brands. Such as Horlicks and Ovaltine.
Milo segments its products country wise and region wise.The most important aspects are taste
and nutrition.It varies according to the taste and income level of the people in that country.
Locally, Milo has enjoyed some advertising milestones such as a collaboration with local TV
comedian, Daniel Ndambuki (also known as “Churchill”) to in the annual Kid’s Festival event.
This event focusses on bring children from all over the country to a laughter and fun-filled
occasion as well as presenting an opportunity for budding comedians to be discovered.
Questionnaires
QUESTIONS AGREE DISAGREE
Have you seen a Milo advertisement? 80%
Do you think it was effective? (Did it persuade you to buy the product?)
60%
Do you think advertisements would be more persuasive if they were culturally-relative?
100%
CHAPTER 5- RECOMMENDATIONS
5.1 INTRODUCTION Visual advertising that appeals to ethnic identities and specific cultures has become an important
aspect in advertising. If this is not executed correctly, it can turn multicultural consumers against
a company. Research shows that minorities are more brand loyal than the general market, so
understanding how to appeal to these segments is key. To successfully appeal to these markets
that encompass Kenya, understanding the attitudes, values and characteristics of the multicultural
consumer is important to make that connection and change their purchasing behaviour.
5.2 SUMMARY OF FINDINGS The size of the Kenyan market is growing and advertisers of Coke need to take notice in order to
appeal to the diversity that encompasses this country. Although poverty among Kenyans is
decreasing, it is still relevant among the different communities. The demographics of the Kenyan
culture plays a key factor in successfully marketing to the various ethnicities.
To successfully target this profitable market, it is crucial to understand the issues that Kenyans
face because of their history with colonization, cultural traditions, and modernization. Kenyans
have a deep culture with specific lifestyle and language qualities that should be tapped into when
visually advertising to their ethnicity.
Psychographics are extremely important to appeal to Kenyans. Seventy percent of Kenyans feel
they need to keep ethnic traditions in their lives and pass their traditions down within their
families. Fifty-nine percent say that they make an effort to become more connected to their
heritage. These statistics, along with the history of Kenyans has led to find that they are overly
sensitive about feeling stereotyped, not feeling valued, respected or included. To avoid
stereotyping, it’s best to understand their culture, needs and wants from their perspectives.
Because of this, most Kenyans are very brand loyal to businesses that understand and reflect the
awareness of their ethnicity.
Another key factor in Kenyans’ lives is the value of family. The 2006 Monitor Multicultural
Marketing Study found that Kenyans often seek advice, guidance and support in important
circumstances from their family. This “family” also includes the community and neighbourhoods
from which they live. Although family is significant to African families, they have the lowest
marriage rate of any other ethnic group.
Markers can tap into the importance of community involvement among the Kenyan market, by
starting support cause-related programs that help Kenyans, especially the youth. Kenyans like to
see that companies care about what they care about: education, health issues, art and more.
5.3 CONCLUSION Milo’s visual advertisement strategies have not considered cultural aspects of their target market.
They should research what appeals to local consumers and tailor their products accordingly. I
suggest creating marketing programs with a large dose of Kenyan media to appeal the local
consumer more. In order to succeed in reaching niche targets, marketers must realize that
ethnicity truly does matter. In fact, it guides how Kenyans choose their products. By tailoring
visual advertisements to specific ethnicities, those ethnic consumers will respond.
As is often the case, a great deal has been learnt in the research, but far more needs to be studied
in future research.
References
Bryman, A. (2004). Social Research Methods. New York: Oxford University Press.Creswell, J. W. (1994). Research Design: Qualitative and Quantitative Approaches.Thousand Oaks: SAGE Publications.
Emerging role of media as the language art in children‘s literature in Kenya: Jerry Agalo, 2012 Department of Linguistics, Moi University, P.O. BOX 3900, Eldoret-30100, Kenya
Glesne, C. (2006). Becoming Qualitative Researchers: An Introduction. Boston: Pearson Education, Inc.
Global Children‘s Education Initiatives | Interactive Media http://www.sesameworkshop.org/what-we-do/our-initiatives/interactivemedia/Retrieved on 1/11/2013
Information, Knowledge and Learning Alistair MacFarlane, Heriot-Watt University, Macfarlane, 2002Kumar, R. (2005). Research Methodology. London: SAGE Publications Ltd
Piaget, J. (1970). Science of education and psychology of the child. New York: Oxford University Press.
Saunders, M., Lewis, P., & Thornhill, A. (2009). Research Methods for Business Students. Essex: Pearson Education Limited.
Sylva, K. and Lunt, I., ‗Child development: A First Course‘, Blackwell, 1992
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Wikipedia.org - http://en.wikipedia.org/wiki/Experience_design
Egrejeen.wordpress.com - http://egrejeen.wordpress.com/2011/10/30/the-cultural-impact-ofadvertising/
Makewealthhistory.org - http://makewealthhistory.org/2011/10/26/the-trouble-withadvertising-2/Huffingtonpost.com - http://www.huffingtonpost.com/soren-petersen/what-can-africandesign-t_b_3820623.html
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5.4 APPENDICES
Figure 1. The Iconic green MILO tin Figure 2. Nutritional value
5.5 Questionnaire Thank you for taking time to fill in this questionnaire. It is for a research being carried out by a design student at the University of Nairobi. The information given will be used by the researcher for academic purposes only.
QUESTIONS AGREE DISAGREE
Have you seen a Milo advertisement? 80%
Do you think it was effective? (Did it persuade you to buy the product?)
60%
Do you think advertisements would be more persuasive if they were culturally-relative?
100%
1. In your opinion, what would you suggest MILO advertisements should have?
………………………………………………………………………………………………
……………………………………………………………………………………………….
………………………………………………………………………………………………
2. Who would be the best celebrity to be used in a Milo advertisement?
……………………………………………………………………………………………….
3. Why should this person be used?
…………………………………………………………………………………………………..
……………………………………………………………………………………………………
……………………………………………………………………………………………………