Creativity in question

Nepal’s advertising industry is growing at a rapid pace. But many obstacles plague the field. Perhaps the biggest issue is the inability of advertising agencies to adapt, are creative agencies the answer to these older institutions to cope with modern times?

Good advertising is about unraveling. Collecting researched information on bite-sized packets of intuitive marketing aimed at a particular segment of the populace. Essentially, it’s about dissemination of relevant information to relevant people. Of course, there are proponents who advocate it to be art, but it is just as much of a science. Creativity makes it entry in the packaging process—how exactly is the data presented. Nevertheless, without proper study of the product and its market, the ‘sell’ is a hard one to pitch.

In Kathmandu, the busiest streets carry the biggest billboards. Marketing is a consequence of exposure and not much else. Look at Putalisadak, Baneshwor or Thapathali, where buildings disappear behind chaotic collections of typography, prints, and Photoshopped images. It is a bewildering world for eyes, constantly under a volley of information overload. Creating an identity or even trying to impress seems to be of no concern for the 4 billion rupees industry that is not regulated like the science of marketing.

Nepal’s advertising industry came about with the establishment of the Gorkhapatra Sansathan (c.1901 AD) that regularly printed commercials. With the introduction of radio and television, the industry saw inevitable growth. Today, the multi-billion rupee industry relies on various other channels of communication; however a major bulk of that market share is still concentrated on print media. In 2011, television raked in 20% of the industry and radio sat closely behind at 17% but prints controlled majority with a market share of 47%, more than the two other media combined. Interesting developments in these recent statistics is the entry of a new medium—Digital Theatres and the dearth of online media. This is where the problems of modern Nepali advertising appear. Compared to Nepal’s neighbors, local government hasn’t taken any initiative to protect local advertiser or to motivate competition. India has enacted laws allowing employers to pay advertising agencies commissions proportional to revenue generated. Bangladesh on the other hand, taxes promos of companies that do not have a domestic stake. Such attitudes are unavailable in Nepal. Promoters have not even been able to capitalize on television ads because like most channels, the advertising is also coming in from India.

Another big issue that the current industry fails to do, is understand its target audience. Close to half of Nepal’s population is under the age of 35. As Nepali youths gravitate towards alternative and new media, advertising agencies have lacked the interest and/or infrastructure to follow their main demographic to the new front. Case in point is the presence of mobile phones, a medium that remains virtually untapped. These two problems, lack of governmental protection and conservativeness are essentially issues of adaptability. One that faces harsher repercussion as it approaches the global market.

A true comparison is offered through multinational companies that are present in Nepal. Coca-Cola is a champion of color psychology and consistency in their marketing. Their brand identity is so strong: the white typography against the bold red is unmistakable. The American company puts in a lot of effort in developing local identities in respective countries. Their transliterated logo, although unique to the font, is universally recognizable as a trademark of the company. Comparatively, only a few domestic companies are on striving for the same force of branding. Ncell has been taking healthy steps towards raising the bar for cultivating brand identity. Although, Ncell settled in its current incarnation only two year ago, its ubiquitous lavender color scheme, “I am Ncell” motto and presence in advertising, actually bears a competitive advantage for the telecommunications company.

Besides the companies, ad agencies have played a pivotal role in the development of the industry, but among the older institutions, standards for creativity fall short of their goal of maximizing profit. In contrast, it is becoming more apparent globally that technology can bridge gaps across different platforms. This idea is slowly making its way into Nepal. Kazi Studios, a creative agency located in Ekantakuna, was there to welcome its advent. Appropriating advantages from different technologies, the firm provides innovative solutions to product placement and marketing.

The ‘young static’ duo Kreeti Shakya and Manish Shrestha founded Kazi Studio that went into business two years ago when they returned from the United States. The pair spent years working for advertising agencies in the US, using their experiences abroad they launched an agency focused on the interactive field. “At the time Nepal was growing in that sector of interactive technologies, we thought it would be nice to get involved”, says Shrestha, a software designer who had previously worked on various apps and technologies during the course of his vocation in the States. These days, Pujan Shrestha, another software designer helps them run the show at their firm.

Shakya recalls the early days, “the design quality in Nepal was not good, so right away we got many design jobs, but we have always maintained that we were focused on interactivity”. Shakya believes designers have straightened up but the quality is yet to be consistent or controlled across the length and platform of the campaign. Here, Shrestha alludes to the gap that existed in Nepal business that were involved in advertising, none focused on coalescence but rather restricted specialization, “there were smaller business taking on designing jobs, but none of them had the capacity to carry out a real campaign.” Two years later, Kazi Studios has a list of companies and business that have employed their services. Being a company that has helped many others establish their own brand identity, the firm went with quality to represent their own business.

“We work with different contractors, and make our choices depending on the client’s needs. Our designs are strong and so is our dedication to understanding our clients. People tend to think of branding as a color scheme, many clients themselves are unaware of their own needs,” explains Shakya.

On the very line of action to creativity, and more to technological facet of designing, Bikas Bhattarai and his team in Coconut Creations, located at Kupondole, bring angles yet not ventured. Coconut Creations, essentially doesn’t list itself as an ‘agency’. Bhattarai says, “we are massively overwhelmed by formulaic approach to advertising. When you want to tell the story, just tell it. Don’t lose yourself in laying out characters, giving twisted plotlines. When you present a concept, be true to the concept only. Elements and additives make things look chaotic”.

The man whose hands worked wonders during the recent promotional for PhotoKipa, the photography exhibition, adds, “we are attempting to detach ourselves away from the strategic platform of advertising, but touching those points that are deemed necessary. The world has moved w ay… way forward than Notice! Notice! Notice! But we need to recapitulate that it was one of the most effective form of broadcasting information, then. We require educating ourselves, knowing and cultivating on the form the works NOW. Coconut Creations brings technology and ideas together. We think internet and a few social networking sites limit our brower’s tabs. We think outdoor promotional and hoarding boards limit our eye sight”.

Like Bhattarai says, advertising has moved from strategy and now is the time to work on concepts. It’s time to give the information correctly and creatively rather than confusing people with array of bombarding bullet points. It’s time to be creative!