Finding the connection between Poetry & Branding

Finding the Connection Between Poetry and Branding 1

Running head: CONNECTING POETRY AND BRANDING

Finding the Connection Between Poetry and Branding Anant Sanchetee Annenberg School for Communication and Journalism University of Southern California [email protected]

Paper submitted as partial fulfillment of requirements for CMGT 597: Communication Research Practicum Spring 2010


Abstract This study examines possible connections between poetry and branding. The hypothesis focuses on the parallels that exist between poetry po etry and branding in terms of their historical evolution as art forms and in language, and their influence on individuals and on society. Both poetry and branding experts were interviewed for questions that ranged from general thoughts about poetry and branding to how each of the participants viewed the connection between the two. While poetry experts had difficulty relating the two topics because of the commercial nature of branding, branding experts viewed poetry po etry as a strong influence because of its artistic and linguistic value. Poetry and branding are possibly connected because of their strong artistic disposition. Although their influence on individuals and the society varies, one cannot disregard the fact that poetry and branding are a reflection of what surrounds us.


Finding the Connection Between Poetry and Branding Some argue that poetry traces back to approximately 675 BC when it was used to aid learning and teaching concepts conce pts in law, history and philosophy that were difficult to understand (Ahl, 1996). Some also think that poetry might h ave existed even before writing became beca me a practice (Goody, 1987). Branding, as a concept, dates back to around 1300 BC (Daye, 2007) when “potter’s marks were used on pottery and porcelain in China, Greece, Rome and India” (Daye, para. 1). Branding was also used on cattle around 2000 BC to develop a mark for identification purposes (Daye). In their own ways, both branding and poetry have seen drastic changes in the way they have been communicated over time (Ahl). Poetry has come a long way from when Aristotle made his readers understand poetry with multiple genres like harmony, language and rhythm in 335 BC (Heath, 1997). It is more recently, viewed more as something that “does not begin with understanding, but with attraction-like love or hunger for food” (Pinsky, 1995, para. 19). The way we read, write and feel poetry has changed (Pinsky). Similarly, branding has also evolved from being just a representation of a “potter’s mark” or religious symbol that helped individuals build their identities and develop a sense of purpose and belonging (Olins, 1990). Therefore, branding has shifted from being associated just with a specific tradition or ritual to becoming a force that influences behavior and attitudes of those who interact with it. Poetry and branding are also similar in a way that they are very intangible in nature and seek to transcend boundaries because both seek to simplify and help in understanding concepts that would have otherwise been extremely difficult (Olins; Alomari, 2008). Works of ancient scholars like Aristotle, Ved Vyas, and Shu-Sin have been translated into many different languages (Cheng, 2009) signifying the all-encompassing nature of poetry. In more recent times,


works like Gitanjali by the Indian poet Rabindra Nath Tagore, Crepusculario by the Chilean poet Pablo Neruda, and Sky Burial by Burial by the Chinese poet Gao Xingjian have received international acclaim (Espmark, 1999) because of their global influence. According to the Best Global Brands Report by BusinessWeek (2009), brands like Pepsi are establishing a new found connection with their audiences by boosting their reach on a global level. Most of this connection is built by catering the products to the locals in a culturally sensitive manner that helps build a relationship with the brand. This local appeal appea l and connection is the primary reason why brands like CocaCola, McDonalds, Toyota and others have been able to establish themselves across the world (BusinessWeek, 2009). Many contend that both poetry poe try and branding are similar because they are both forms of art (Health, 1997; Olins, 1990) and because both appeal to emotions. There are some who contend that the results that poetry and branding produce are extremely valuable, for example a Coke-branded product can be priced higher than other colas (Attridge, 1981; Olins, 1990). Yet, poetry and branding are intangible in nature because it is very hard to measure or quantify their results (Attridge, 1981; Olins, 1990). On the other hand, poetry is considered to be a subset of literature where language is used in a creative way to express a specific thought (Thomas, 1954), while branding is defined by the Entreprenuer magazine as “the marketing practice of creating a name, symbol or design that identifies and differentiates a product from other product” (Entrepreneur Magazine, 2009, para. 2). There are rational and emotional e motional factors that play a strong role in what both poetry and brands mean for individuals, communities, and the society (Mark & Pearson, 2001). However, the lack of a well established connection between the two makes their impact together hard to quantify or measure.


The connections between poetry and branding can be understood when we review their evolution historically (Ahl, 1996; Attridge, 1981; Daye, para.2). It has also been noted that both are used similarly in art, language, society, and for individuals (Olins, 1990; Pinsky, 1995). Literature Review The study of how poetry and branding are connected has multiple angles that need to be explored. In addition to the above, it is also important to find out if there are any ways in which poetry and branding use their association. To better understand their relationship, it is important to evaluate literature on key factors that have influenced poetry and branding independently. Conversely, it is also important to study the influence of poetry and branding on art, language, culture and society in order to find any an y common implications they might have had c ollectively. One such factor is history (Tatarkiewicz, 1975; Lord, 19 74; Ahl, 1996; Heath, 1997; Goody, 1987; Olins, 1990). A historical evolution o f poetry and brand helps establish how poetry po etry and branding have comparable patterns in how they have gained greater definition and structure over time. Research on understanding poetry and branding as independent forms of art help in determining how they work similarly in order to create an emotional connection with their audiences (Zinkhan, 1994). This also goes hand-in-hand with how events in history have influenced art and that has, as a result, impacted poetry and branding in their form and connection (Zinkhan,; Olins,; Lakoff & Johnson, 1980; Hayakawa, 1949). Language is identified as another key influencer on how poetry and branding are similar (Friedman, 1985). Different languages from different parts of the world have shaped the way we perceive the world today (Friedman, 1985; Olins, 1990; Tatarkiewicz, 1975; Ahl, 1996). Poetry and branding are no different in this respect.


In addition to understanding what has impacted poetry and branding, study of how poetry and branding have impacted society and individuals gives a deeper insight into how they similarly influence the world around us (Zaltman & Coulter, 1995). Historical Overview of Poetry & Branding Understanding the history of poetry through the eyes of Aristotle requires us to look at Poetics, Aristotle the foundation of concepts like comedy and tragedy (Lord, 1974). In his book Poetics, discusses the key elements that make poetry evocative in nature. “In the beginning, Aristotle says, those who were by nature particularly skilled at imitation, harmony and rhythm after a gradual development generated poetry out of improvisation” (Lord, pg. 197). Poetry, in essence, was derived as a result of improvisation to make subjects like law, history, and philosphy easy to understand (Ahl, 1996). As poetry evolved on a global level, it played an instrumental role in providing a relevant context about abo ut its own place of origin (Tatarkiewicz, 1975). Verses written by Shakespeare that set the stage for audiences au diences in The Merchant of Venice were very important in establishing the scene for the entire play. In a similar way, in his poem Lochinvar poem Lochinvar , Sir Walter Scott builds the story of a young soilder and suitors for him as his bride. By poetically drawing a picture that paints the fields of Scotland, Scott finishes his poem by talking about the bravery expressed by: “There was mounting 'mong Graemes of the Netherby clan; Forsters, Fenwicks, and Musgraves, they rode and they ran: There was racing and chasing on Cannobie Lee, But the lost bride of Netherby ne'er did d id they see. So daring in love, and so dauntless in war, Have ye e'er heard of gallant like young Lochinvar?” (Scott, 1808)


Poems like Lochinvar like Lochinvar provide provide a strong context in terms of importance when it comes to understanding the poem and the place of its origin. It led to our current understanding of how different parts of the world had historically established themselves from a literary standpoint. Branding has played an important role in history for various identification purposes. In early civilizations, potters used to brand their works in order to build customer loyalty for their products (Daye, 2007). Another example is how “livestock were branded by the early Egyptians as ea rly as 2000 BC. The practice of branding horses and cattle was brought brough t to North America in the 16th century by the Spanish conqueror Hernán Cortés. Used at first primarily as proof of ownership, branding is done to keep records reco rds on quality” (History.com, 2009). In his book, Corporate Identity, Wally Olins suggests, “throughout history rituals, symbols, visual imagery of different kinds have been invented by nations, sometimes unofficially but quite often as a matter of policy, in order to create new loyalties, obliterate old ones, mark our territories, reinforce ideas and initiate new ways of doing things” (Olins, 1990, pg. 10). Hence, branding evolved from just being a form of identification to becoming a driver for change in history. Apart from being used to represent a specific nation’s army, branding has also been used in the military to symbolize “a fiendishly complicated hierarchy of ranks into the previously random structure” (Olins, pg. 15). Again, it is important to note how historical changes in this context can be better understood through the lens of branding. Poetry and Branding as forms of art Like art, poetry and branding are a re very sensory in nature (Twitchell, 2004; Lindstrom, 2005; Schmitt & Simonson, 1997). This can be best explored by looking at different forms of art like music, painting, theater, drawing and sculpture that focus on using a creative talent to deliver


an experience. Both poetry poe try and branding are similar in that they provide an artistic “experience consciously created through an expression of skill or imagination” (Encyclopedia Britannica, 2009). In an interview facilitated by Ben Downing and Daniel Kunitz, noted poet Robert Pinsky talks about how “Poetry is the most bodily of the arts” (Downing & Kunitz, 1997). He justifies this statement by explaining how the movement of the diaphragm along with sounds sound s created by a person’s upper body, throat and mouth work together in harmony to recite a poem. The process of writing a poem is also similar because it requires an individual to collect thoughts and express them in ways that can create an image in a reader’s mind. This Th is form of art, according to Pinsky, is one that is not about performance. Instead, it is about an experience expe rience that might involve a “physical tingle, that powerful, audible experience of p oetry” (Downing & Kunitz, 1997). In the last two centuries, the definition of a rt has become abstract in many ways (Wollheim, 1980). According to Wollheim, the three characteristics of art can be segmented as Realist – where the given form of art is understood independent of viewer’s opinion, Objectivist – where the understanding of the given form of art is dependent on the viewer’s opinion, and finally the Relativist – where the form of art is understood differently based on the different experiences of the viewer. Poetry fits this characterization very well because it can be appreciated “according to the criteria that that are defined by each of the culture according to its own choice of genres, specific contents, ways of production, functions, occasions of performance, and aesthetic and social values” (Duranti, 2004, pg. 316). Brands are built to provide customers with an experience that is unique (Lindstrom). This experience varies in the form of products produ cts and services that are merchandized by corporations and organizations. The experience also creates brand loyalty that is intangible yet very profitable (Lindstrom).


Hawley defines brand as “Part Art, part science, ‘brand’ is the difference between a bottle of Coke, the intangible yet visceral impact of a person’s subjective experience with the product – the personal memories and cultural associations that orbit around it” (Hawley, 2000). This definition of brand also coincides with Duranti’s understanding of p oetry as an individual’s own conviction and experiences. A big reason that adds to the coincidence is the fact that a lot of experiences that go into the making of a successful brand are also delivered by how the brand functions, connects and builds relevance based on cultural influences and attachments (Lindstrom, 2005). A similar parallel can also be drawn to the Relativist theory introduced by Wollheim about how art is understood differently based on the different experiences of the viewer. In the Relativist theory, Wollheim explains how art is understood differently by different people in unique ways because of an individual’s personal experiences in life. An example that best illustrates the point made by both Wollheim and Duranti on how h ow art is understood is the painting of Mona Lisa by Leonardo Da Vinci. There are very few other paintings in the world that command a similar frenzy (Sassoon, 2001). “There is something, they argue, inside the painting that speaks to us all, a ll, that unleashes feelings, emotions and recognition” (Sassoon, 2001, pg. 33). By the early twentieth century, the image of Mona Lisa was being used as an advertising tool to promote products produc ts and goods. “The use of art in advertising was a way of linking a unique, high-quality object to the less than unique commodity being promoted” p romoted” (Sassoon, 2001). Apart from its commercial applications, the painting of Mona Lisa is synonmous with quality, genius, and pristine taste (Sassoon). Poetry and Branding in language Brands are built around one single thought or focus that drives communication strategies (Trout & Ries, 2001). The single thought or idea is often concieved by a collection of

Finding the Connection Between Between Poetry Poetry and Branding 10

perceptions and thoughts that help us understand how to best communicate a complex concept and evoke accurate responses (Zaltman & Coulter, 1995). Academically, this concept is reffered to as holophrasm, defined as “a word functioning as a phrase or sentence” (Dictionary.com). Successful brands use their own distinct ways to tell their stories thereby creating a strong sense of differentiation from their competitors (Twitchell, 2004). Twitchell adds, “great art tends to be holophrastic. This is also true about some of the greatest commercial brands. The brand gathers ga thers its power because it concentrates what is called c alled in adspeak ‘ownership’” (Twitchell, pg. 215). Some common examples of brands that successfully holophrased their core value proposition are Nike, Apple, General Electric among others. o thers. Nike’s famous “Just do it” tagline has been the concept behind the core idea about individuals who wear Nike shoes and try to emulate a lifestyle that is about living for the moment. Likewise, General Electric (GE) as a company has the current tagline “imagination at work,” implying that everything they d o is innovative and creativity driven. Many poems are also written with a single thoug ht or idea that is expressed through various forms of poetry like sonnets, ballads, ode, villanelle, or cinquain (Baetens & Kushner, 2005). It is essential to add that a lot of poems are interpreted in many different d ifferent ways, the poets often write with a singular idea or thought in their mind. For example, a famous set of verses by It is about how “the speech William Shakespeare, All Shakespeare, All the World’s a Stage in the play As play As You Like It is compares the world to a stage and life to a play, and catalogues the seven stages of a person’s life, sometimes referred to as the seven ages of man: infant, schoolboy, lover, soldier, justice, pantaloon (old age) and second childhood” (Britt, 2009, para. 1). However, Britt goes on to explain that while these verses might represent progessive stages of life, there are events in one’s


life than can change this order (Britt, 2009). Britt interprets this passage from As from As You Like It as It as Shakespeare’s way of expressing how he assumed his life wo uld take shape in the future. This is also very similar to how successful brands manifest themselves. Corporations that do a good job at branding their products and services communicate that they stand for one single idea (Trout & Ries, 2001). For example, Maytag stands for dependability for dependability,, Nordstrom stands for customer service, service, Toyota represents reliability, reliability, Apple Computers stand for innovation for innovation and Nike stands for athletic for athletic excellence (Trout & Ries, 2001). Customers, on the other hand, might interpret these brands differently based on their experiences with the brand while the corporation might stand for one singular idea that is held he ld by the corporation. The discussion about All about All the world’s a stage leads into the topic of how poetry and brands use metaphors to bring meaning to non-human or lifeless things. Metaphors are used in language to explain something by using other other similar objects or ideas or tools (Smith, 2002, para. 2). A theatrical stage as platform for explaining the progressive nature of life is an example of how Shakespeare uses metaphor to bring his idea to life (Smith, 2002). Another poet, Jorge Luis Borges uses water, diamonds, rivers, crystals and fire as examples to illustrate that human beings are very fluid in nature: “…We are the water, not the hard diamond, the one that is lost, not the one that stands still. We are the river and we are that greek that looks himself into the river. His reflection changes into the waters of the changing mirror, into the crystal that changes like the fire” (Borges, n.d.).


In its own way, branding is also about abou t giving emotions and life to non-human and non-living objects (Twitchell, 2004). There are certain products that have been branded in a specific way in order to form a passage of communication communica tion between the product and its target consumers. Metaphors are used by corporations to actively shape and evolve the thought process that might be behind how a consumer thinks about a certain product (Zaltman & Coulter, 1995). For example, viewing a successful athlete like Michae l Jordan associate himself with Nike products makes the consumer feel a specific way wa y about Nike products (Trout & Ries, 2001). Arrowhead, a company that sells bottled water uses visuals of flawless scenic mountains and pristine rivers that gently stream down the valleys to reflect the natural an d pure quality of their packaged water (Zaltman & Coulter, 1995). Twitchell sees this use of me taphor as a common link between be tween the narrative nature of both poetry and branding. Twitchell (2004) points out how branded products - like poetry - change the way we look at inanimate objects because both focus on doing three things. One, it changes the context in which consumers or readers think about the non-living objects (Twitchell). Two, the object is “humanized” by giving it a personality pe rsonality or human characteristics so that a clear connection can be established between the product or the poem and its consumer or reader (Twitchell, 2004; Lindstrom, 2005). Finally, it creates a “willingness to move back an d forth between one’s self and a work of artistic or commercial creation, suspending judgement, in hopes of building some kind of relationship” (Twitchell, 2004). A good example of a brand that has recently exhibited this connection is Chevron. Traditionally known as an oil company, Chevron has repositioned itself in the climate crisis conversation from being a stoggy oil compa ny to declaring itself as a company that is playing its role to solve the climate crisis. The company’s tagline, “Human energy” is a clear indication of how ho w the company has “humanized” itself through its messaging,


advertising, and other communication materials. In turn, this has helped improve the image of the company and has pressured their customers c ustomers to “suspend judgement” and build a different kind of relationship with the Chevron brand. Poetry and branding as it relates to the society and individuals In recent times, poetry has played the role as an indicator of change in our society (Whyte, 1994). Through her poetic works and her memoir, Maya Angelou brought African American women and their lives in to the public eye (Als, 2002). To signify change, Elizabeth Day, at the U.S. Presidential inauguration of Alexander read her poem, Praise poem, Praise Song for the Day, Barack Obama (2009). Both Angelou and Alexander have highlighted different historical instances when poets have used their words to reflect shifts within society. Percy Bysshe Shelley examines the historical influence of poetry when she stresses that the fabric of society in ancient Greece was established because of works by Homer and his contemporaries (Shelly, para. 12, n.d.). Shelley added that their works also set the foundation for succeeding societies which were shaped by the likes of Achilles, Hector and Ulysses who thoroughly studied Homer’s work (Shelly, para. 12, n.d.). The influence of poetry on modern societies has also been profound. In examining religious texts, it is evident that poetry used in verses of the Torah, Gita, and the Holy Koran is researched, taught and preached all over the world (Strand & Boland, 2000). The most circulated book in the world also happens to be The Bible which is a collection of verses ve rses that have instructions for its followers (Braden, 1952). Religion, according to Lindstorm is very important in building the community and society (Lindstrom, 2005). However, religion is widely shaped by a “holistic brand [that] has its own identity, one that is expressed in its eve ry message, shape, symbol, ritual, and tradition” (Lindstrom, 2005). In essence, it is the set of c ommon ideals that makes every religion a


powerful brand because it is governed by a set of guidelines that have been consistently implemented over time. The influence of globalization and sophisticated supply-chain systems has vastly magnified the impact of brands across the world (Holt, Toward a Sociology of Branding, 2006). The businesses have tranformed themselves to cater to multiple audiences in multiple ways in order to foster stronger connections, build emotional relationships, and p rovide an unique experience that has “an enormous impact on their bottom line” (Holt, 2006, pg. 299). By doing so, companies have successfully created cults or con gregations, much like they do in religion, to rally together for a common set of values, ideals, behavioral patterns that are endorsed by a company (Lindstrom, 2005). One example of this phenomenon is a North American brand called Harley Davidson that catered to men who “were facing an emasulcation crisis of sorts as production jobs started to dissappear and the United States entered a painful era of deindustrialization” (Holt, How Brands become Icons, 2004, pg. 168). It created a new cult of individuals, both women and men who came together under a similar ethos and being rebels of sorts. (Mark & Pearson, 2001). Apart from influencing the society, brands have a unique way of influencing individuals as they make purchasing decisions (Kawasaki, 2006). Brands also influence people to alter their the ir behavior so that they can “identify strongly with the brand’s myth” (Holt, How Brands become Icons, 2004). According to Holt, individuals often find a solution to their crisis by associating themselves with the larger than life myth created by succe ssful brands. In finding the solution to the life’s crisis, individuals become loyalist and build a relationship with the brand that often becomes indelible (Olins, 1990; Schmitt & Simonson, 1997; Holt, How Brands become Icons, 2004). For example, Victoria’s Secret, a lingerie brand, is n ot in the business of selling women’s


underwear. They are an intimate apparel app arel company that specializes in making women feel “sexy” about what they are wearing (Sauer, 2004). This description is personified through all of Victoria’s Secret’s messaging, marketing, and point-of-purchase selling tactics. The influence of poetry at an individual level is best answered when you have asked a satisfied poet about the completion of a work (Goens, 2006). According to Stewart, poetry provides the human mind with an opportunity to expand its imagination beyond it experiences (Hass, et al, 1999). She supports her thoughts by explaining that both the poet poe t and reader go through a process of “reciprocity” that creates identification and co nnection (Hass, et al, 1999; Shelly, para. 13, n.d.). This connection is what makes it easy to grasp some of the most complex issues (Goens, 2006). Poetry and its social and individual connection can be best concluded in her words: “Ethical science arranges the elements which poetry has created, and propounds schemes and proposes examples of civil and domestic life: nor is it for want of admirable doctrines that men hate, and despise, and censure, and deceive, and subjugate one another. But poetry acts in another and a diviner manner. It awakens and enlarges the mind itself by rendering it the receptacle of a thousand unapprehended combinations of thought. Poetry lifts the veil from the hidden beauty of the world; and makes familiar objects be as if they were not familiar” (Shelly, para. 13, n.d.). This summary highlights some of the points made earlier about how poetry plays an important role in the imaginative expansion of the human mind and adds a variety of experiential flavors. The passage also discusses how science has used various elements of poetry to instill the idea for a common social structure that may or may not be acceptable by all that belong to that specific structure.


Hypothesis and other considerations The review of poetry and branding b randing as separate entities that are connected by history, art, language and their influence on individuals and the society suggests that there may be a connection between the two that is currently under-leveraged. The literature also alludes to the fact that connection between the two has multiple parallels that focus on demystifying complex issues but none of those parallels have been connected for problem solving. The central hypothesis of this paper examines the connections between poetry and branding that exist beyond history, art, language a nd their influence on individuals and the society. Hypothesis: While reviewing poetry and branding through the lens of history, art, language and society, there is a connection that exists between poetry and branding. Upon reviewing the literature that contrasts poetry and branding, it appears there are definite parallels that exist in how poetry and branding have evolved over time. And while the concept of poetry or branding did not come to fruition together, the use of branding has been evident through the works of cavemen, sculptors, artists, and agrarians and the use of poetry through the works of Aristotle, Homer, Ved Vyas, and Shu-Sin among others (Braden, 1952; Duranti, 2004; Heath, 1997; Zinkhan, 1994; 199 4; Schmitt & Simonson, 1997). Further review of the literature suggests that while both poetry and branding are viewed as forms of art, they have seldom been used together for each others’ benefit. In language, poetry and branding do use metaphors and a the concept of holophrasm of holophrasm but but there is no direct connection between the two that is leveraged for added linguistic or commercial benefit (Baetens & Kushner, 2005; Cheng, 2009; Downing & Kunitz, 1997; Hass, Komunyakaa, Merwin, Oates, Stern, & Stewart, 1999; Smith, 2002).


At an individual or societal level, there are connections between the two that have been used together to evoke emotional responses from the consumer or the reader (Holt, Toward a Sociology of Branding, 2006; Mark & Pearson, 2001). This connection has been observed in situations where companies have been branded and poetry has been used to create a “humanized” bond, thus making the sale of the product more uncomplicated and effortless (Twitchell, 2004). An example of a company co mpany that did this successfully was Mastercard with their “I’ve got the whole world in my hands” and “Priceless” campaign, where they used metaphors and p oetic nuances to develop a connection between the consumer and the product. Methods Participants Interviews were conducted with 4 participants with branding expertise and 3 participants with strong poetry backgrounds. Of the four branding experts, two were based in New York, USA, one in London, UK, and one in San Francisco, USA. All four branding experts were male with more than twenty years of experience in branding and brand development. Of the three participants with poetry backgrounds, two were male and one was female. All three were professors teaching in renowned universities across the United States. All seven participants were interviewed over the phone and promised anonymity for the purposes of this paper. Each interview lasted for about thirty minutes. Materials and Procedure The interview questions (see Appendix A) were asked in order and some responses led to other questions. The questions varied for both branding and poetry experts. Since some questions were follow-up questions to earlier comments by participants, not all questions were asked of every participant. The first set of questions consisted of four general q uestions about the


participant’s initial view regarding how they perceived branding or poetry. These questions were followed by questions that explored the type of emotions generated by branding or poetry poe try as individual topics. A set of six questions followed the initial section that looked deeper into aspects of poetry and branding in terms of its history, form, art, its influences from language, and on society and individuals. An example of such a question was, “Can you help shed some light on the history of branding/poetry?” Following that question was “Has branding/poetry chang ed over the years? If yes, how?” This question was followed by, “Do you think of branding as a form of art? If yes, how?” and “What kind of a role do you think language plays when we think of branding?” These questions were closed by a set of questions that focused on o n finding the influence of branding or poetry on society and/or individuals. For example, “Has branding influenced the society? If yes, how?” and “In your opinion how has branding influenced individuals?” In the final ten minutes of the interview, seven to eight questions were asked in regards to the participant’s awareness and point of view a bout the connection that may exist e xist between poetry and branding. An example was, “Do you feel that branding and poetry are connected in any specific way? If yes, then how?” A follow up question to that was “Does one have a greater percentage of influence than the other?” A few follow up questions about the benefit of the connection (if one was perceived as existing) between the two were asked to close the interview. Background Poetry and branding have evolved over time and their evolution can be reviewed through multiple lenses. In order to examine the connection between poetry and branding, b randing, it is important to understand how both have hav e evolved in history and transformed as forms of art an d in language, as well as to study each of their influences on the society and individuals. A study of how both


poetry and branding have some similarities might help discover how they might be connected to each other. From a historical standpoint, a literature review has shown that both poetry and branding have existed since the dawn of human civilization. Branding and poetry have also shown specific characteristics that are based on their place and time of origin. Both branding and a nd poetry are more or less viewed as some form of art a rt that is experiential in nature and have hav e intangible elements that exist in the “eye of the beholder”. b eholder”. The literature review also highlights the fact that both poetry and branding use multiple facets of language in a similar way to simplify a complicated thought or idea. An example of this similarity through language is the use of metaphors and the concept of holophrasm, i.e. the concept of explaining a broader idea in a single word or phrase. Finally, the literature review also shows how both poetry and branding have played a role in influencing individuals and society. At the crux, the literature review sheds light o n several aspects of poetry and branding that draw a parallel between the two. However, there are no solid examples that show a concrete connection between poetry and branding. To ensure that poetry and branding are both being understood accurately, interview participants were asked to describe what comes to mind first when they think of poetry or branding. Findings Some initial thoughts on Poetry and Branding While getting initial feedback from interview participants on poetry and branding, the responses were mixed and evoked emotional reactions. Experts on poetry commented about poetry being “fundamental to life,” “reason for being,” and poetry as “sounds that come from a sentence that give a story about where words come from”. A participant talked about poetry as a


“flood of ideas and perceptions. You are not writing a poem until you can shape and mold it the way you would like to”. Branding, on the other hand, wa s described by almost all participants as a “business thing” or a “business application” that drives pe ople to connect with objects and an d ultimately buy or own them. A participant drew an initial connection between branding and poetry poe try by saying, “We know what good and bad brands do. Good brands are evocative. It is the ultimate short hand. Poetry, in few words, can distill huge emotions. It is the same thing with good brands. You go through a variety of emotions while experiencing the brand”. Another participant said that the first thing that came to mind when thinking of branding or poetry was about giving meaning to ideas and objects that surround us. “A skillful poet can use words with great economy a nd give it some profound meaning,” he added. An expert on branding said that two most important things that came to his mind when thinking about poetry were, “rhyme and rhythm”. It was important for this participant that poetry was consistent in how it flowed from one thought to another in order to provide the reader with “visual effects and a reason to get involved with the words”. One participant described poetry as a “special kind of reading” and differentiated between poetry and branding by saying that “while brands are about building a relationship and trust, poetry is more about affection and romance”. He explained himself further by stating that brands need to be trusted in order for them to be sold. For ex ample, in order for customers to buy a pair of Nike shoes, they need nee d to trust and rely on the Nike brand. He added, “While branding is used for commercial purposes to get attention, p oetry traditionally involves bringing out emotions from individuals or a group of people”. However, according to the participant, poetry


does not necessarily need a buyer. Its purpose is not commercial and hence, affection and romance might play a greater role. When asked about what kind of emotions play a role in writing poetry, poe try, words such as “inspiriting,” “memorable,” “healing,” “smooth,” “freeing,” “contrasting,” and “a thing” were used by the experts on poetry. poe try. Some other words that were used were “orgasmic,” “love,” “breathtaking” and “revealing”. When talking ab out poetry being influenced by contrasting emotions, the participant mentioned that “at times there is ha ppiness, melancholy, pain, joy, and mysticism all built into a few words that are written. That’s the contrasting part. It c an be two completely opposite thoughts”. While the participant did not go into detail about whether contrasting thoughts are good or bad, the participant felt that the contrasting emotions added to the beauty of how poetry is understood differently by each individual because of its contrasting nature. When asked about the role of emotions in when shaping a brand, words like “faithful,” “trustworthy,” “consistent,” “affection,” “believable” and “memorable” were mentioned by participants. Other less common words that were mentioned included, “familiar,” “connected,” “motherly,” “recognizable” and “alive”. Unlike poetry, many participants felt that it was good that brands do not have contrasting characteristics because having multiple characteristics would negatively impact the brand experience. History of Poetry and Branding When interviewing experts on poetry about the history of poetry, almost everyone traced it back to times when poetry was “inscribed on the cave walls” and “times that probably haven’t been documented”. A similar response was gathered when branding experts were asked about the history of branding. One participant said, “The word c omes from when people branded cows to


distinguish one cow from the other. It was also done to create some sort of recognition. Early on branding was just logo you put on your product”. Hence drawing a direct correlation between how poetry and branding were conceptualized ages ago for the purposes of documentation or recognition. One of the poetry experts pointed out that the historical significance was very important because poetry is “where it is today because (of) the multiple forms that modified it along the way”. The participant was convinced that although it was originally created as a “technological tool…it did indeed seek to make things more memorable. Lot of its involvement had to do with pneumonic devices to aid learning”. In a similar context a branding expert talked about how poetry brought form to language and made it simple for common people to understand the intricacies of religion, sciences, and philosophy. One participant said that branding has existed since the existence of commerce. The participant said: The act of taking ownership owne rship of one’s own products and then selling it on the basis of that ownership is also a form of branding. Human beings have done that from the days when they exchanged goods or bartered on the basis of the quality of the product they were bartering. The participant also said that it would be b e absurd to put a timeline against ag ainst when branding was established because “brands build connection and connections are established when kids are in their mother’s womb”. Thereby implying that we form connections from the moment we are born and it is very difficult to establish a timeline that details how connections influenced by brands were originally put into practice.


When asked about what participants thought came into existence first, poetry or branding, the answers from branding experts were about branding coming first, and the answers from poetry experts were about poetry coming before the concept of branding. One participant said, “The question is stupid. Poetry is where everything began. It is not just about language or literature; it is about how everything was meant to e xist in harmony. And being harmonious is poetry”. The opinions from both the sets of participants were different because each believed that their subject of expertise was conceived before the other. Exploring Poetry and Branding as a form of art When trying to establish a connection between branding and poetry, a common aspect that is often agreed upon is looking at poetry and branding as a s forms of art. Participants were asked whether poetry and branding can be classified as forms of art and whether they are a separate category on their own. While most of the participants agreed that both poetry and branding are forms of art, there are other o ther elements that influence the two in giving g iving them their unique identity. One of the participants said that good brands are “a mix of art and in today’s world, a lot of science”. He added that good brands “make themselves consistent, much like Van Gogh’s painting that is appealing and recognizable because of its distinct style and repetitiveness”. Another participant summed up his thoughts as: Branding can be artful and it can also be artistic. There are no boundaries in terms of what art is and what’s not. Although branding is more commercial in nature, a good brand can participate in art if done properly. The Revlon/Coke/Beetle and other successful brands have taken iconic significance for our culture and they are ve ry powerful because they’re frames of reference. They are the content of art and they have artistic content of their own. As a branding consultant, I never sat with a client and said,


let’s create an ad that will show up in the museum of modern art. But that’s not the goal. The goal of a successful brand is really basic and that’s just to separate your offering from someone else’s offerings, to eliminate confusion and build preference. When talking about branding as being both art and science, participants talked about how building a brand takes creativity and business knowledge. However, once the brand is developed, it is a lot like art. It depends on how an individual might want wa nt to view it. One participant stated that “When people tattoo brands to their body, then it’s more than just the product. Brands have images, products that play a role in the creation of their identities”. Another participant talked about differences between branding and art when she said, “I think brands and art involve commerce but you can create art and choose not to sell it. Brands are created with the intention to sell the product. It is a fuzzy line between the two”. This was another an other clear point of disagreement between the two sets of participants who were interviewed. All participants agreed that poetry is a form of art. A participant mentioned the commonality between poetry and art being recognized by the fact that in both, “the result of the end product is left upon the art or the poem itself”. Another participant added that “in poetry, as in art, the imperatives of the piece of work are much more internal to the poet or the artist”. The existence of poetry and art as “independent “independ ent forms of expression”, according to a participant, is what “makes one the part of other”. When the poetry experts were asked about branding as a form of art, there was general consensus that branding, unlike art, “is for commercial purposes”. The participant added how “as art becomes more and more ambiguous a mbiguous in nature, a lot of new n ew associations will attempt to become a part of its umbrella. When people say things like sales, marketing, and bu siness are forms of art, they forget that art cannot be sold or bought”. Hence, implying that art as a word


has become very unclear because bec ause it encompasses a lot of different variations within it.A branding expert responded to the previous comment by stating: Even an artist who creates his or her own work often makes it to sell it to the folks that appreciate their work. Some paintings, sculptures and art forms are sold for millions. It is ridiculous to claim that art cannot profit or sell be cause of its internal nature. The fact that art can be understood by different people in different ways is what makes it exquisite. Poetry and Branding in Language When asked about the role of language in poetry, a participant claimed “language really is the first thing I think about and how poetry for me involves using familiar words that create unfamiliar meaning and put things in a new light”. Almost all participants agreed that language plays a very important role in both poetry and branding. The key concepts concep ts around metaphors and holophrasm that were discussed in the literature review were widely accepted by the interviewees as the crux of what poetry and branding are all about. Talking about how branding is influenced by language, one participant said: Language plays a very important role when you think about branding. (A) French name evokes different brand associations than a Brazilian name. Haagen name. Haagen Dazs as an ice cream name evokes different kind of associations a ssociations in comparison to another name like Dippin like Dippin Dots. Dots. Language also plays an important role in taglines; they could strengthen or weaken the brand. Often it acts like additional a dditional support for the brand. In poetry, the participants felt that language p layed a crucial role in defining how words can make thoughts flow from one word to another. A participant also mentioned men tioned that the “use of metaphors to express complicated ideas in a different context is something that’s native to poetry”. When expressing another thought about language, one participant said that “I like the


resonant aspect of language in both, poetry and branding. A line, a phrase can be best understood when it’s resonant”. When asked what the participant meant by language being resonant, the response was centered around rhyme and flow of how words are expressed in a poem. Participants also agreed with the concept of holophrasm, which some believed in the “crux of what makes poetry good”. All participants agreed that poetry was about condensing thoughts thoug hts into single simple idea that can often “act as a solution for the poet, the reader, or just poem itself”. The solution here is being referred to any given problem or concern that the reader might be subjected to while reading the poem. Another participant talked about branding using language in a way that is connotative. Talking about how connotative use of language can allow the consumer to create multiple meanings from a simple message was described by some participants as a beautiful way in which language is used in the branding industry. He summed up his thoughts on language and branding when he said: When you use language that is rich in connotation like Just like Just Do It , you could use the words Just words Just Do It for It for multiple things. Great brand ideas and great brands attract a lot of meaning. A great lesson with growth of recent media is that the control of brands has shifted. There used to be a time when someone owned the brand and created the meaning for it. The meaning then was unilateral, but now communication goes in many ways and brands are about shared assets. It’s not just what the company says; it also is about what the users say. Influence of Poetry and Branding on individuals and on the society While talking about the influence of poetry and branding on individuals, many participants were very passionate with their responses about how both those elements have


shaped key things in their life. In explaining exp laining the influence of poetry on her life, one participant said, “Poetry is about efficiency, economy of expression, evocativeness, nostalgia, way o f living, and something that’s essential for me. It’s essential because I go to poetry when I’m sad, down or negative and it somehow replenishes me”. Another expert on poetry mentioned how people and lives can be “changed because of poetry as poetry grows in many ways as you grow older in life”. When talking about the influence of poetry in the society, one individual related the rhythmic aspect of poetry in explaining how po etry is actually a form of communication that is used by almost everyone. He said: We talk and people tell each other stories and rhythms of the speech impact what they say and vice versa. It’s seen in how politicians, preachers and people speak. A lot of the prime means of communication is extra-linguistic and so I think commercial media uses same formal devices of rhythm and movement. Experts on poetry also talked about how poetry can provide “perspective” on things and give insight on things and how they can c an be interpreted differently. For example, while the ve rses in the holy Islamic book Koran provide an a n insight into various things about human life, these insights can often be interpreted differently by the person reading them. According to some participants, branding influences individuals and the society by “creating sub-cultures that foster a sense of community and bring people together”. Most participants also agreed with the thought that brands provide a framework for society to understand their consumption of goods. A participant said, “People use brands to communicate their personality. Think about the Patriots the Patriots football team’s tattoo on a bald head. People care about brands, the brand extensions e xtensions and all additional associations”. When asked if the influence of branding differed from that of poetry on individuals and on society, participants had very


different answers. While poetry experts thought that influence of branding is very “superficial or external” and “short-term”, branding experts thought that po etry was “too abstract” or “highlevel” for people to understand. One participant said: It’s expected that poets get more possessive p ossessive about their art. A poet like Collins would think that there is no commercial influence when writing poetry. Poets are more sensitive in terms of the cultural stimuli. They are more impacted by the brands than others. They (Poets) think that brands don’t influence them at all. The brand people on the other hand don’t like to think of their ads as words of art. Poets leave brands on the floor and branding folks leave ads on the floor because it was too artistic. a rtistic. Connection between Poetry and Branding The poetry experts widely disagreed with branding ex perts when asked about the connection between poetry and branding. While the poets thought of the idea of connecting the two as “absurd”, “germy”, and “diseased”, one of brand experts thought that “the creative impetus behind the two is the same”. Another brand expert thought that “If you use the word ‘poetic’ in a broad sense, branding is strongly connected to poetry. Poetry that is beautifully composed is inspirational, and brands that are well developed can drive preference”. The brand expert also added later that poetry poe try and branding can both be b e inspirational if it’s a story that is well communicated to readers or respective audiences. Another participant felt that “both branding and poetry are connected because they both follow a form and structure that allows for consistency and c onnection between any two things”. Most participants agreed that while there might be no specific visible connection, both poetry poe try and branding do influence each other in the same way brands influence any form of art. One participant said, “If an artist submits his work, he has to think about his audience, even if it’s not


consciously. The idea is that art is for yourself is very difficult to believe. Artists may argue differently, but brands definitely commercialize art so that the artists can eat”. Following up on the comment above about equating the influence of branding on poetry and art similarly, another participant summed up his thoughts as: A Marxist would argue that poetry is advertising in disguise. It c omes out of the same system which gets a cultural passport, and is created by defenders of our system. That’s what makes advertising the poetry of our marketplace. The distinctions are very interesting and implications are very rich. There is also a political side to both. To say that we look at advertising adve rtising as something that is beneath art is a view that comes from the academics, and from the disciples of Aristotle or other traditional poets. Anything that creates enjoyment is art or poetry. When asked which of the two, branding or poetry influenced the other more, almost all participants agreed that poetry influences branding more. A branding expert said, “Poetry is the purest form of art and there is no denying that”. He quickly added to the sentence by saying that we cannot deny that a poet walking through the department dep artment stores or driving past a busy street does not get influenced by the brands that constantly surround him or her. Discussion Hypothesis Examination The hypothesis set out to explore the connection between poetry and branding, analyzing and reviewing different resources in history, art, language, and society. The hypothesis was focused on finding these connections and validating them among industry experts. On a general level, there was no consensus in terms of identifying a concrete connection that existed between poetry and branding.


However, many participants agreed that there a re a lot of similarities between the two topics that can be used to benefit each other. Some participants who seemed to think that poetry existed before the commercial system was put into place did not support the hypothesis. The same participants also felt that the commercial nature of brands was what created the biggest disconnect between poetry and branding. On the other hand, another set of participants felt that branding has existed since the beginning of commerce because commerce enabled branding, and that commerce has existed since the beginning of humankind. The participants also thought that while the academic poets might think that poetry is untainted by anything commercial, almost every poem that is written follows a pattern that is similar to processes that a re used when brands are built. The experts also felt that both poetry and branding follow the same rules when it comes to connecting with others or when telling a story. Hence, the hypothesis was supported by some and dismissed by some. Practical Implications Per some initial observations based on this study, both poetry and branding would benefit from using each other to better connect co nnect with their individual audiences. Based on the results of this study and the literature review, the parallels that conne ct poetry and branding would benefit be nefit literary academics and marketing professionals alike. If branding experts want to build a transparent brand they would benefit by using the storytelling truths from poetry. And if poets have a desire to revive poetry as a more common form of art a rt (especially in the United States), they can benefit by learning how to brand poetry in a way that is more appeasing for some of their past and newer audiences. The findings from this study can be broadly categorized in the following points:


a) Poetry can influence branding by humanizing it and making it more transparent. According to many participants of the study, branding is an art of storytelling to sell and build preference for a product or o r a service. The study also suggests that many branding professionals feel that a compelling story behind a brand results in long-term brand loyalty. Using common tools of poetry, branding professionals can incorporate concepts of holophrasm to tell commercial stories in a more viable fashion. However, one has to be careful about leveraging both the emotional and functional benefits of the brand. Focusing solely on the emotional benefits might make the brand look superficial and, as a result, permanently damage the brand reputation. b) As identified during the interviews, poets and ed ucators of poetry can use branding methodologies to better commercialize poetry among people. Branding helps in identifying a key value proposition for a product or a service. With a thorough brand study, researchers can identify who would be idea l candidates to propagate poetry, how to best reach them, and how to accurately communicate with them in order to ensure that poetry is revitalized among its core audiences. Co nducting an exercise like this might be tedious and time-consuming, but it definitely would help in “re-branding” poetry. c) Both poetry and branding can be used collaboratively in instances that need examples to explain complicated situations. For example, connotative phrases like, “takes a licking and keeps on ticking” from Timex that has been used as a tagline can be used to simplify a business’ value proposition. Poetry has also been u sed to influence tagline development among branding professionals. On the other hand, big brands like Coke, Nike and Apple are examples of brands that stand for a specific archetype in the modern world. Poetry can use these brands to make the user connect with a given situation within a poem.


d) Although there are some connections between branding and poetry, participants interviewed during this study were polarized by the fact that while branding is mostly used for commercial benefit, true poetry as an art form cannot be written for selling purposes. If poetry is written with the intention of being co mmercialized, it loses its value as an art form. The concern regarding commercial viability of poetry remained debatable throughout the course of this study. Although a lot of poet laureates write poetry with their audience in mind, the question of whether art should be catered to individuals or groups remains unanswered. e) While most branding experts discussed the connotative nature of branding, very few participants discussed the connotative nature of poetry. For example, a specific brand could be many different things to different people. Apple, as a technology brand can be both innovative and rebellious at the same time. Similarly, different people can also interpret the same poem in different ways. It was, howev er, clear that while contrasts add flavor to how poetry can be understood, brands suffer long-term equity if there are multiple ways in which people understand the same brand. Limitations While there maybe some connections between branding and poetry, this study had several limitations in terms of how these connections are manifested among individuals or groups. To start with, this study has only been conducted with two separate sets of individuals. The participants interviewed were either poets or branding professionals. Both these sets of people had strong opinions about abou t their area of expertise and it was very difficult to find a common ground. In an ideal situation, it would be very beneficial to discuss the connections between poetry and branding among individuals who are well versed in both the subjects. It


would also be beneficial to get some insights from individuals who do not know much about either branding or poetry. The study would then be less polarized. This study is also limited to certain geographical regions across the world. Most participants were either from the United States or United Kingdom. T his limits the study from a cultural perspective. Branding as a function of marketing in business principle is a fairly new subject in the modern world. The perspective of individuals from developing nations would certainly add unique insights to this study. Finally, the nature of this study was very qualitative and that made it difficult to conclude with a clear distinction or connection between both branding and poetry. The participants of the study were asked to share their opinions on a set of questions during an interview, instead of using a combination of both qualitative and quantitative methodologies. An online survey coupled with interviews would have helped he lped in narrowing the conclusion a little further. Suggestions for Future Research Future studies related to finding a connection between branding and poetry could include interviews with individuals who are experts in both brand ing and poetry. For example, a question about the cultural significance of poetry and branding might reveal interesting insights about how positively or negatively they may have influenced the society. There may be a connection between poetry and branding if their positive or negative influence is similar in any way. Additional interviews with individuals who are not branding professionals or poets will also be helpful in determining if someone who is distant from either of the topics values a connection that may exist between poetry and branding. This study is also very focused on participants from the United States and United Kingdom. Future studies on the connection between branding and poetry should review multiple


cultures and geographical regions to account for a distinct global perspective. The inclusion of data gathered from developing countries co untries in Asia and the Middle East will make this study more rigorous and conclusive. For example, opinions about branding and poetry might differ from country to country, but there may be a common link about the influence of poetry or branding on art or language. Future research could also include additional research methodologies that review branding and poetry against multiple perceptions that surround them. For example, a quantitative survey could compare some common perceptions gathered during the interviews about both poetry and branding. The perceptions surrounding branding could then be tested with those of poetry and vice-versa to check if there are any common themes that connect the two. Conclusion Poetry and branding have a lot in common through history, in language, in art, and in how they have influenced culture as they have evolved. During their evolution, both poetry and branding have also become more sophisticated in how they are communicated among their audiences. This trend of sophistication is increasing and this study looks into how poetry and branding might be connected and how they can be used in collaboration for mutual benefit. Historically, the commonalities between poetry and branding are ev ident in how each of them was conceptualized to make things simpler. For example, while poetry made it easier to understand difficult concepts of philosophy, branding helped in establishing the initial steps of identity and ownership. In language, both poetry and branding strive to condense and simplify broad ideas into a single thought with the concept of holophrasm. And finally, literature reviewed for this study has shown how both branding and poetry have influenced art and culture throughout history.


However, it is still very unclear if there is a clear common thread that connects both poetry and branding. The underlying un derlying commonalities suggest that there may be a connec tion between the two, but the context in how the connection co nnection is expressed is very important. While some view branding as a combination of art and science, poetry is believed to be a pure art form that loses its charm when commercialized. Hence, drawing direct connections between the two would be incorrect. The subtle commonalities between poetry and branding are agreed by both poets and branding professionals. However, most poets who were interviewed do not like to associate their work of art with commerce. In fact, the study shows that poets think that connecting poe try to branding was tainting a form of art that is extremely pristine. Branding professionals disagree with the poets and enjoy associating their profession with poe try. This disagreement results in a discussion about whether branding is part art – part science, or whether it is a commercially driven creative solution to foster greater sales for a product or service. This disagreement also sheds light on a discussion around whether whe ther poetry is written for a specific audience or if its meaning is left open for interpretation. Hence, despite the common threads of history, language, art and social influence, a conclusion on the connection between poetry and branding falls short because of a debate about how art is understood in so many different ways.


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Appendix A Sample Questions for Interview as follows: Introduction What comes to your mind when you think of the word poetry? What comes to your mind when you think of the word branding? What kind of a role do emotions play when think of poetry? Emotions like guilt, pleasure, etc. What kind of a role do emotions play when think of branding? Poets: Can you help shed some light on the history of poetry? How has poetry changed over ov er the years? If yes, how? Do you think of poetry as a form of art? If yes, how? What kind of a role do you think language plays when we think of poetry? Has poetry influenced the society? If yes, how? In your opinion how has poetry po etry influenced individuals? Branding Pro’s Can you help shed some light on the history of branding? How has branding changed over the years? If yes, how? Do you think of branding as a s a form of art? If yes, how? What kind of a role do you think language plays when we think of branding? Has branding influenced the society? If yes, how? In your opinion how has branding influenced individuals? Questions to both: Do you feel that branding and poetry are connected in any specific way? If yes, how? Does one have a greater percentage of influence than the other? Are there any specific forms of poetry that are more connected than others? Is this connection used to either of their benefit? How do you think they might be connected in the realm of art, language or their influence on society and individuals? Can they be used in a better way together?

Finding the connection between Poetry & Branding

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