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

Culturalsurvival.org - http://www.culturalsurvival.org/publications/cultural-survivalquarterly/c-te-divoire/advertising-and-global-culture

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

Sagemedia.ca - http://sagemedia.ca/articles/culture-conversion-designing-for-niche-markets/Cmdconf.net - http://www.cmdconf.net/2012/makale/82.pdf

Sites.google.com - https://sites.google.com/site/wasifile/global-communication-techniquesproject/south-africa-advertising/cultural-impact-on-advertising

Millwardbrown.com -http://www.millwardbrown.com/Insights/PublishedBooks/Marketing_To_The_New_Majority/Site/Excerpts/Intelligent_Targeting.aspx

Adage.com - http://adage.com/article/the-big-tent/culture-multicultural-relevant/228938/

Boxesandarrows.com - http://boxesandarrows.com/semiotics-a-primer-for-designers/

Uvm.edu - http://www.uvm.edu/~tstreete/semiotics_and_ads/terminology.html

Berger, W. (2001), advertising today. Retrieved from Phaidon Press Limited, London on 17th November 2013

Muhammad Usman. Creating effective advertising in the persuasion of target audience. (VOL.2. No 1, 2013) Retrieved from International Journal of Economics, Finance and Management. Retrieved on 20th October 2013

Different Types of Advertising (n.d) http://www.buzzle.com/articles/different-types-of-advertising.html retrieved on 11th December 2013

Stratified Purposeful Sampling. (n.d) http://www.qualres.org/HomeStra-3813.html. Retrieved on 2nd November 2013

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?

…………………………………………………………………………………………………..

……………………………………………………………………………………………………

……………………………………………………………………………………………………