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Excerpt from Navarasas in Advertisements

“ Indian natya shastra talks about the importance of emotions to connect with the audience. It identifies nine emotions that can actually move audiences and has always been integral to storytelling in our culture. It’s these emotions that come together interestingly in satires like the local ‘hasya kavi sammelans’ (comical poetic shows) and political cartoons — which bring non-linearity, emotions and intelligence all together very dexterously. This reflects the Indian’s ability to make lateral connections and enjoy an ‘intellectual’ challenge. .....If Indians as people exhibit emotions in so many other things, why should it be different for advertising and brands? After all, brands are ultimately about emotions....”

Writes Mr. Madhukar Sabnavis, Country Head—Planning and Discovery, Ogilvy and Mather, India

Advertising can be said to be a form of communication intended to persuade an audience (viewers, readers or listeners) to purchase or take some action upon products, ideals, or services. It includes the name of a product or service and how that product or service could benefit the consumer, to persuade a target market to purchase or to consume that particular brand. According to Aristotle's ‘On Rhetoric’ there are three modes of persuasion. That which is ‘achieved by the speaker's personal character when the speech is so spoken as to make us think him credible’ or ethos. Secondly, ‘persuasion is effected through the speech itself when we have proved a truth or an apparent truth by means of the persuasive arguments suitable to the case in question’ or logos. Thirdly, ‘persuasion may come through the hearers, when the speech stirs their emotions’or pathos. Pathos represents an appeal to the audience's emotions. Pathos is a communication technique used most often in rhetoric and in literature, film and other narrative art.

The world of advertisements also can be broken up into two broad segments , rational advertising and emotional advertisement. If we see the fast moving consumer durable market we see a definite trend in the advertising strategy used. Most of the advertisements of products such as toilet soaps, detergents, shampoos, skin care, toothpastes etc. have a very simple story line. Mostly the advertisements focus on the product constituents. They try to give a very rational explanation as to why a person should by the product over its competitors and fill the advertisement with scientific jargons.

But we also see a large number of advertisements which completely depends on the heart of the consumer rather that the mind. They are non-linear and work towards evoking emotions rather than simply conviction. Ads such as the vodaphone pug campaign, the surf excel daag acche hain campaign; the fevicol campaigns etc. create an incredible impact on the consumer’s mind.

The Nātyashāstra delineates a detailed theory of drama comparable to the

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principles of Aristotle. Around 400 B.C. Natyashastra was written by Bharatmuni, a sage, apparently under the guidance of mythical dancers and the Hindu deity Lord Shiva (Vatsyayan 1974)1. Bharata in detail has described the Nine Rasas or Navarasas that are the basis of all human emotion. Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour.

Śṛngāram Love, Attractiveness. Presiding deity: Vishnu. Colour: light green. Hāsyam Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white. Raudram Fury. Presiding deity: Rudra. Colour: red. Kāruṇyam Compassion, Mercy. Presiding deity: Yama. Colour: grey. Bībhatsam Disgust, Aversion. Presiding deity: Shiva. Colour: blue Bhayānakam Horror, Terror. Presiding deity: Kala. Colour: black Vīram Heroic mood. Presiding deity: Indra. Colour: yellowish Adbhutam Wonder, Amazement. Presiding deity: Brahma. Colour: yellow Śāntam Peace or tranquility. deity: Vishnu. Colour: blue

In addition to the nine Rasas, two more appeared later

Vātsalya Parental Love Bhakti Spiritual Devotion

This research aims at analyzing as to how far the Indian advertising agencies have been utilizing the nava bhavas to generate nava rasas in the audience in order to effectively pursuade them to purchase or consume the particular brand.

As the second part of the research we go to the audience and analyse as to how far the nava rasas have effect on them. We also find out which brands do the masses associate with the nine rasas.

We have conducted a case study on a series of advertisements of Beverage industry( comprising of bottled water, soft drinks , tea and coffee) and analyse as to which product is related to which Rasa. Depending on whether the association was a failure or a success we have tried to analyse a general framework for finding a model to determine the best rasa to relate to beverages. In this process have also come to know which rasa is utilised the most and has the greatest influence on the audience.

1 In Hindu mythology, apsaras and gandharvas were blessed with the knowledge of performative arts. According to mythical stories, they learned the arts from Lord Shiva and performed them to appease and entertain the Gods. Sages learned from them through hard disciplined practice. These Sages brought the heavenly practice to earth.

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ADBHUTA RASA

It is about the sentiment of wonderment surprise. The Sthayi bhava of the rasa is Vismaya or astonishment. The outcome of Adbhuta rasa is through the Vibhavas such as Divyadarsana (seeing a heavenly being), psitamanorathavapti (Attainment of the cherished desire), Uttamavanadevakulabhiga- mana (proceeding towards excellent park, temple etc), seeing magical tricks and creations of things that can never be imagined about etc. The presentation of Adbhuta rasa on the stage is through the Anubhavas such as Nayanavistara (gaping of the eyes), Animesapreksana (staring with wink less eyes), Romanca (horrification), Asru (tears), Sveda (Perspiration}, Harsa (delight), Sadhuvada (uttering words of congratulation), Pradana (making gifts), Bandhahahakara (senses of shouts of ha, ha), karacaranangulibhramana (movements of hands, feet) and the like. The Vyabhicari bhavas of Adbhuta rasa are shedding tears, paralysis, perspiration choking of the voice, horrification, thrill, excitement, sluggishness, sinking down etc. According to the Natyashastra, the Rasa called Adbhuta should be recognised through these special features such as marvellous statement, conduct, actuary, form etc. Its presentation on the stage is through the perception of touch, earnest display of laughter, shouting of ha ha, congratulatory remarks, tremor, choking words, perspiration etc.

Adbhuta rasa in advertising

In advertisements portraying adbhuta rasa we usually see the audience being transferred to and unreal world in which the advertisements tries to marvel the audience and tap the imaginative skills of the audience. While it can relate to some it does not relate to many. Also the lack of rationale behind adbhuta rasa used in advertising and its highly abstract nature makes it unacceptable to a category of audience.

Adbhuta as a rasa is not considered very effective in advertising as reflected by the dismal recall value of advertisements depicting the very same rasa. Some of the advertisement that tried to show adbhuta rasa were Bisleri natural mineral water, Sunfeast dream cream etc.

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Shantam , Vatsalya and bhakti rasa Originally a not a part of the eight main rasas stated by bhrata it in regarded as the rasa associated with peace and quiet and tranquillity. They are often regarded as a part of sringaram itself.

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Though it is impossible to have an advertisement having only one rasa, by looking at the dominant rasa in the advertisement we can easily make out the nature of the product the advertisers want to project. Undeniably the rasas in the advertisement create a emotional appeal on the customers which in turn refect in sales. Hence if we can understand which rasas relate to the audience the most in that particular product segment it becomes easier for us to place the product.