FRONT PAGE / POSTS
by Marina Simakova| Moscow, Russia
Thursday, 11 July 2013
tags: clients & brands, consumer culture, culture, emergence, europe
Last year, on February 21 three Russian girls under the name of ‘Pussy Riot’ gave an avant-garde performance, staging a piece of radical action art. They appeared in the main cathedral of Moscow, wearing colorful tights and masks, and tried to sing their ‘punk-prayer’ or better to say punkish pray-in to the Virgin Mary. The action was based on using some codes of traditional prayer, combining it with typical words from left-wing manifestos – to the accompaniment of raw garage guitar riffs.
The intention of the performance was to decode the Cathedral of Christ the Saviour that has recently become a symbol of corrupted clergy, who together with the state officials converted religious happenings into the kind of high-class leisure activity, half entertainment half political congress. These girls – a philosopher, a poet and a visual artist – objected against this wicked transformation. So they decided to speak, and the message was clear enough to many – from honest priests to the common people. Unfortunately the voice of postmodernity, which sometimes sounds loud enough to be heard, in this particular case was too noisy for the system. This is especially tricky since any system in essence deaf implies a serious need for amplification as well as up-to-date hearing devices.
Quite soon the girls were apprehended, brought in by the police and accused of extremism – inciting the flames of religious hostility and hatred. The Russian Orthodox Church also found that the performance art was a blasphemy. The criminal case against the three young girls was publicized all over the world, and in the West they were treated like victims of a kind of political barbarism, inherent to Russia and its rulers. Yet here, in Russia, it’s vice versa: ‘Pussy Riot’ and their action symbolize freedom. Freedom of expression. Freedom of belief. Freedom of art. Freedom of personal choice and responsibility, which is much stronger and vital than democracy. This is probably one of the universal points where democracy starts, and this is definitely the point of no return.
When people lack something – from bread to democracy, they start to search for a substitute. And if they do not find it somewhere around, they create it. It’s not that bad – at least the idea remains living. So, the Pussy Riot case inspired and fostered a fresh semiotic space, including innovative words and Internet-memes, fashion, ads and virus ads. Although an anti-capitalist and anti-hierarchical band, opposed to branding as an ideology, ‘Pussy Riot’ as a symbol got easily transformed into a myth – fashionable, popular, emotionally engaging and reflecting the needs of specific target audience. It hasn’t reached the status of the brand, officially registered as intellectual property but Pussy Riot become a cultural phenomenon, an intangible asset available for free use.
The market, actively soaking up and using available myths, had to respond, despite the fact that a lot of international corporations state that they are neutral to politics and religious issues – this is the matter of business and an element of their politics. Yet, it turns out that in some situations consumers might take this into their own hands and started to influence various markets, some even unconsciously. This might lead to a very positive finding.
The market is obviously a system itself, having its laws and rules and existing due to the law of supply and demand, a match between opportunism and hedonism. It’s common to consider that all decisions are subject to producers. They can conduct a market research study and get closer to their consumers if they are willing to. Anyway, they are the end decision-makers – they decide what to produce, where to sell and how to promote it. However, consumers may have a great impact on the semiotic landscape. If consumers are active enough and the symbols are strong and recognizable, they can even interfere in the world of brands and products quite freely and straightforwardly.
For example, IKEA organized a contest ‘Become an IKEA magazine face’, based on a poll on-line. No need to say that the picture below gained the majority of votes. IKEA decided to excluded these participants from the contest together with the picture submitted. Certainly, most consumers were disappointed: the winner they personally chose was rejected.
Meanwhile activists have used advertising sites to display political art work possibly half disguised as intriguingly unbranded ‘teaser’ ads (see the icon image) and smaller more courageous companies decided to let it go – to satisfy consumers’ needs and play on the territory, in some sense selling the signs of democracy. The following pictures show such an attempt from SKN – a company that provides air conditioning services and installment of air conditioners. These are the images used for an on-line promotion. The slogan is ‘When things are getting hot’ (or, giving a more accurate, almost verbatim translation ‘For hot situations’). An easily readable parallel for the Air Con installers.
There is also a night club ad, on billboards, which uses the image of a girl wearing a pink mask. Kitschy enough but the interesting part is that there’s neither the name of the club, nor the contacts given – just the address. This seems as intriguing as a members only club, where Victorian gentlemen talk freely about politics and women!
Such collections are usually called collaborative and are treated as co-branding initiatives. However, they usually appear as a result of long negotiating process. These below covers for iPhones. Of course, they are available in different colors.
Lots of stores offer a variety of symbols and interpretations on Pussy Riot t-shirts. These are becoming almost trendier than Vivienne Westwood – and definitely more unique than Zara.
Quite recently a German lingerie brand uploaded a quite provocative viral video on a similar theme. This actually contradicts Pussy Riot’s radical left and anti-sexist ideas by showing a barely covered young woman strolling along Moscow’s streets in winter. Nevertheless, liked or disliked, approved or disapproved, it was immediately spread via thousands of Facebook pages and blogs.
Who’s next in this Pussy Riot marketing quest?
The concept might ideally fit the Converse brand, to give one example – both in terms of ideology and category relevance. Let’s say, if Hunter S. Thompson, the father of gonzo and famous Converse-lover, were alive, he would definitely agree to star in a Pussy Riot-style ad. Whatever emerges betting shops could probably earn a lot by accepting bets for the names of new players. The task seems definitely risky but worth trying. And it’s not 100% brand opportunism: it does keeps front of mind how democracy looks in the era of information and in one particular country.
© Marina Simakova 2013