| It's been 60-odd-years since advertising as we know it today established its roots. While many believe that advertising is an import, our culture has been replete with instances of innovative merchandising ways. |
| In fact, going as far back as the times of poet Nasir Akbarabadi, who perhaps found it interesting as well as helpful to write couplets for the pheri-wallahs so that they could call or sing them aloud to sell their wares. |
| Having said that, modern Indian advertising was largely influenced by its western avatars right until the 1980s. It was in the mid- and late-1990s that we saw the resurgence of Indian advertising. |
| The kind that drew on our cultural codes and idiosyncrasies and was doused with Indian sentiment. The buoyant mood and increasing self-confidence in "we are like this only" added fuel to the reassertion of "Indian identity" in Indian advertising. |
| Indeed, we have come along and much is changing "" and some is not. But instead of looking back and seeing how far we have come, it is more in keeping with the sentiment that we look ahead. |
| The question often posed is, "Has Indian advertising arrived?" Now, I really don't understand the sweeping context in which this is asked but if we were to look at some significant developments over the last few years perhaps there are some things of note. |
| Today, the communication world is looking at India, be it our campaigns being adapted worldwide or Indian talent being recognised in international forums or work being acknowledged and rewarded on the international stage or even India being considered and designated a hub for many an international brand's creative development. |
| And while how the world perceives us will always be of interest, what is significant for me is how do we internally understand the changing nature of advertising in our country. Because, apart from the business perspective, for me, advertising is also a modern art form. |
| Its patrons are the consumers and it is from them and the life around them that this art form derives inspiration and direction. And it is the societal milieu of the consumers and the changes therein that find a reflection in the path advertising navigates. The nuances of change, maybe subtle at first, then go on to become defining points. Let me touch upon a couple of them. |
| Authenticity in advertising There seems to be a varied sensibility that is creeping in the so-called dream merchant's area of operation. The reality quotient is on the rise. The advertising context and portrayal is becoming increasingly more close to life "" it is less about a make-believe wonder world. |
| Fact is, in India, we have always wanted to shun reality. With more people than jobs and more people than space, there was always scarcity, of things and of opportunities. We wanted to "escape" that. Now, more than ever before, the distance between fantasy and reality seems to be collapsing. |
| Reality is finding acceptability because consumers see the possibility of change for the better "" that too, in their own lifetime. The permanence of depravation is negated. As an advertiser, earlier, I sold a dream; now I sell hope. |
| Dominant consumer opinion The consumer is no longer king "" he is the emperor. He is playing a deciding role more than ever before: in TV programmes, scripts are being changed on the basis of public sentiment. SMS polls are the norm, and an important revenue model. |
| Consumer feedback is more instantaneous and no longer limited to focus groups and dipstick studies. Word of mouth is more important than ever. Sure, word of mouth existed earlier, too. But it was gradual, and not quantifiable. |
| Now, consumer-to-consumer advertising is more instantaneous. A product brand or an ad is discussed and dissected from a personal point of view on a public platform "" the blog. It is not that the consumer did not have a point of view earlier. But now he has a platform for voicing it. |
| Individualism As we move towards a more hedonistic consumerist society, products and their advertising are going to witness a more individualistic stance. The growth of the "me" factor "" and not so much "me and my family" "" means a distinct niche will be created. The products and services sectors will increasingly design and devise their wares and strategies for this segment. |
| India as a potential creative hub The service sector apart, the spotlight on India is now moving from outsourcing to originating. Instances related to creative work are on the rise. Overt cost effectiveness, an English-speaking workforce and exposure to Western culture is India's edge. |
| But it is not as simple as that "" there are other forces at play. The most important of which is a civilisation based on introspection and creativity "" be it in arts, science, fundamentals of mathematics, spirituality or software, India has given the world new ideas. |
| Originality and creativity are deeply intrinsic to India. The Indian mind is distinct. Then, diversity is in India's DNA. Every few 100 kms, dialects, food and ethnic nuances change. Multiplicity is not merely tolerated "" it is embraced. |
| And despite this, advertising is successfully done for pan-India. It cuts across all barriers. We inherently know what it takes to express ourselves in more than one language. We know what it means to live and communicate in more than one culture. |
| This bi-cultural outlook gives Indians a unique insight into global trends and makes the contribution precious. If we hone our inherent skills better and expand our vision further, India will lead the way. |
| Even as we keep these developments and future trends in mind, we also need to realise that as a society, we are on the cusp. While our burgeoning economic power and buoyant mood may be new, deep down our value systems have stayed more or less the same. The marketing and advertising industry has to tread that fine balance. |
| Prasoon Joshi is executive chairman and regional creative director, Asia Pacific, McCann Erickson |
Top Section
Explore Business Standard