Nation branding and national identity 107

2010 ◽  
pp. 116-139
Keyword(s):  
National Identity ◽  
Nation Branding

Nation Branding:

MedienJournal ◽  
2017 ◽  
Vol 37 (3) ◽  
pp. 7
Author(s):  
Gisela K. Cánepa
Keyword(s):  
Economic Growth ◽  
National Identity ◽  
Cultural Identity ◽  
Social Contract ◽  
The State ◽  
Nation Branding ◽  
Great Opportunity ◽  
National Community ◽  
Neoliberal Governmentality ◽  
Entrepreneurial Spirit

Nation branding plays a central role within neoliberal governmentality, operating as a technology of power in the configuration of emerging cultural and political formations such as national identity, citizenship and the state. The discussion of the advertising spot Perú, Nebraska  released as part of the Nation Branding campaign Marca Perú  in May of 2011, constitutes a great opportunity to: (i) argue about the way in which audiovisual advertisement products, designed as performative devises, operate as technologies of power; and (ii) problematize the terms in which it founds a new social contract for the Peruvian multicultural national community. This analysis will allow me to approach neoliberalism as a cultural regime in order to discuss the ideological nature of the uncontested celebratory discourse that has emerged in Perú and which explains the economic growth of the last decades as the outcome of a national entrepreneurial spirit that would be distinctive of Peruvian cultural identity.

scholarly journals International Media and Tourism Industry as the Facilitators of Socialist Legacy Heritagization in the CEE Region

Urban Science ◽  
2018 ◽  
Vol 2 (4) ◽  
pp. 110
Author(s):  
Nebojša Čamprag
Keyword(s):  
National Identity ◽  
Central And Eastern Europe ◽  
Heritage Tourism ◽  
Tourism Industry ◽  
Nation Branding ◽  
International Media ◽  
International Trends ◽  
The One ◽  
National Governments

After the fall of state socialism in Central and Eastern Europe (CEE), the socialist legacy became a matter of contested discourses, coming from the new national governments. However, with the recently awakening nostalgia for socialism and growing international interest for the socialist pasts, the approaches to its legacies began gradually to change. In this paper, the focus is on some recent international trends with regards to the socialist heritage for evaluating the share of their influences in the process of de-contestation occurring at the local/national levels. There are two processes standing in juxtaposition to be observed; on the one hand, official nation branding distances the state from socialist pasts to emphasize, often contrasting, post-socialist national identity. On the other hand, the development of communist heritage tourism attempts to reconsider and appropriate socialist legacies in the national frameworks for identity construction. Using the examples from Hungary, Romania, and the former Yugoslavia, the author demonstrates the role of international media and the tourism industry for meeting the objectives of economic development while maintaining post-socialist national identity senses, but also their potentials in reconsiderations of the contested history chapters.

scholarly journals Branding Grenlandii formą ekspresji tożsamości narodowej?

2016 ◽  
pp. 207-213
Author(s):  
Dominika Bartnik-Światek
Keyword(s):  
Social Media ◽  
National Identity ◽  
Nation Branding ◽  
The Internet ◽  
Long Period ◽  
The World ◽  
The Times ◽  
Form Of Expression

Branding Greenland as a form of expression of national identity?In the times of globalisation there is a tendency for countries to differentiate from others. More and more governments decide to launch professional nation branding campaigns in order to communicate to a broad public what a particular country has to offer as well as what values and images it wants to be associated with. Greenland is an example of a country that after a long period of colonisation and establishing self-government, in 2009 began to redefine its identity and reveal it to the world. A branding campaign has been implemented to communicate a newly defined image of Greenland. This campaign has been carried out using mainly social media and the tools that the Internet has to offer. The aim of this paper is to explore the concept of nation branding and to define the relation between nation branding and national identity. The purpose is also to analyse what images of Greenland as a brand are presented by “Pioneering nation” campaign. Branding Grenlandii formą ekspresji tożsamości narodowej?W czasach globalizacji poszczególne państwa starają się wyróżnić na tle innych państw. Coraz więcej rządów decyduje się na przeprowadzenie profesjonalnych kampanii brandingowych, po to by podkreślić swoją wyjątkowość oraz to, że mają dużo do zaoferowania. Grenlandia to przykład państwa, które po długim okresie skolonizowania i po uzyskaniu autonomii w 2009 roku, zaczęło na nowo definiować swoją tożsamość i komunikować ją światu. W tym celu wdrożona została kampania, która wykorzystywała głównie media społecznościowe oraz inne narzędzia, które zapewnia internet. Celem niniejszego artykułu jest zbadanie zależności między brandingiem narodowym a tożsamością narodową, jak też analiza obrazu Grenlandii jako marki konstruowanej w kampanii „Pioneering nation”.

scholarly journals Nation Branding in Two Major Serbian Music Festivals, Exit and Guča

2021 ◽  
Vol 33 (1) ◽  
pp. 94-120
Author(s):  
Jelena Gligorijević
Keyword(s):  
National Identity ◽  
Public Discourse ◽  
Nation Branding ◽  
Departure Point ◽  
Music Festivals ◽  
National Brands ◽  
Brass Band ◽  
Local Perception ◽  
Normative Value ◽  
Value Dissonance

This article looks into the nation branding phenomenon surrounding two major Serbian music festivals, Exit and Guča, in the post-Milošević era. The departure point of analysis is the once-dominant national identity narrative of Two Serbias, by which Exit (as a purveyor of Western-style popular music) and Guča (as the self-proclaimed guardian of the Serbian brass-band tradition) were pitted against one another as representatives of Two Serbias, one looking towards the West, and the other towards the East. Moving away from this obsolete model of interpretation, this article examines the effects that the inception of nation branding in Serbian public discourse has produced on the local perception of each festival as well as on Serbian national identity within the broader contexts of post-socialist transition, the EU integration, and globalization. It also analyzes the ways in which the principles of market economy and branding practice are being “bastardized” in both festivals, resulting in what Mladen Lazić (2003) calls normative-value dissonance. Nation branding has forged a more unified view of Exit and Guča as national brands that ostensibly improve the international image of the country but which in reality deplete both festivals of their initial cultural and political potency. Ultimately, however, the proof of normative-value dissonance in Exit and Guča supports the argument that nation branding in these two festivals feeds back into earlier Balkanist discourse on Serbia’s indeterminate position between West and East; and it does so in a way that provides little hope for alternative visions of the nation’s future.

Revisiting Jomo Kenyatta’s Nation Branding through the Construction of National Identity in Kenya.

2021 ◽  
Vol 3 (1) ◽  
pp. 260-275
Author(s):  
Fred Ernest Nasubo
Keyword(s):  
National Identity ◽  
Colonial Period ◽  
Nation Branding ◽  
Cultural Elements ◽  
British Identity ◽  
Visual Elements ◽  
New Meanings ◽  
New Form ◽  
New Nation

This study analysed nation branding through the mobilisation of elements of Kenya’s national identity under Jomo Kenyatta’s regime. Nation branding and national identity perspectives are used to deepen the understanding of how Kenya constructed and branded its identity. It advances the notion that, as Kenya transitioned from colonialism to independence, a new nation was reimagined and redefined by mobilising elements of national identity and according them new meanings. The study is founded on the notion that the concept of nation branding is not new, nor is the practice since nations have historically reinvented themselves due to the changing circumstances. For Kenya, nation branding can be traced to the period following independence through the construction of the country’s national identity. This process was marked with the mobilisation of Kenya’s cultural elements aimed at replacing customs and traditions of the British constructed during the colonial period. Kenya’s nationalist leaders were motivated by the idea that colonialism had led to the emergence of a new breed of Africans shaped by and practising British cultures; a new form of culture that was neither African nor British or a new hybrid; and a group of Africans who were firmly attached to their African traditions. The need by Jomo Kenyatta, therefore, to change the colonial image to one that resonated with independent Kenya, as well as to assert his rule called for the replacement of the sonic and visual elements of British identity with those resonating with the new nation.

“He Iwi tahi tatou”: Aotearoa and the legacy of state-sponsored national narrative

2020 ◽  
Vol 25 (4) ◽  
pp. 717-731
Author(s):  
Susan Lilico Kinnear
Keyword(s):  
National Identity ◽  
New Zealand ◽  
Public Relations ◽  
Economic Status ◽  
Public Information ◽  
Nation Branding ◽  
National Narrative ◽  
Cultural Narratives ◽  
Content Type ◽  
Historical Texts

PurposeThe purpose of this paper is to discuss the internal historical forces that shaped national identity in New Zealand and how state-sponsored ideographs and cultural narratives, played out in nation branding, government–public relations activity, film and the literature, contributed to the rise of present days’ racism and hostility towards non-Pakeha constructions of New Zealand’s self-imagining.Design/methodology/approachThe paper takes a cultural materialist approach, coupled with postcolonial perspectives, to build an empirical framework to analyse specific historical texts and artefacts that were supported and promoted by the New Zealand Government at the point of decolonisation. Traditional constructions of cultural nationalism, communicated through state-sponsored advertising, public information films and national literature, are challenged and re-evaluated in the context of race, gender and socio-economic status.FindingsA total of three major groupings or themes were identified: crew, core and counterdiscourse cultures that each projected a different construction of New Zealand’s national identity. These interwoven themes produced a wider interpretation of identity than traditional cultural nationalist constructions allowed, still contributing to exclusionary formations of identity that alienated non-Pakeha New Zealanders and encouraged racism and intolerance.Research limitations/implicationsThe research study is empirical in nature and belongs to a larger project looking at a range of Pakeha constructions of identity. The article itself does not therefore fully consider Maori constructions of New Zealand’s identity.Originality/valueThe focus on combining cultural materialism, postcolonial approaches to analysis and counterdiscourse in order to analyse historical national narrative provides a unique perspective on the forces that contribute to racism and intolerance in New Zealand’s society. The framework developed can be used to evaluate the historical government communications activity and to better understand how nation branding leads to the exclusion of minority communities.

Nation branding and the social imaginary of participation: An exploratory study of the Swedish Number campaign

2018 ◽  
Vol 21 (5) ◽  
pp. 561-574 ◽  
Author(s):  
James Pamment ◽  
Cecilia Cassinger
Keyword(s):  
National Identity ◽  
Citizen Participation ◽  
Identity Politics ◽  
Participatory Culture ◽  
Nation Branding ◽  
Social Imaginary ◽  
Media Technologies ◽  
The Social ◽  
Nation Brands

The Swedish Number is a 2016 marketing campaign by an independent tourist association that relies heavily on a developing heritage of Swedish nation branding initiatives. It uses media technologies to encourage citizen participation in promoting Swedish values, partly for the purpose of showing the country’s authentic side and partly for generating publicity. This article conducts a case study of the campaign in order to explore the ways in which media technologies were used to circulate tropes originating in the official nation brand in the service of a commercial interest. We argue that Brand Sweden has established a set of national identity resources that may be leveraged through public participation, vast publicity drives via media technologies and through mimicry of the national interest. Such a study supports a closer analysis of the ways in which nation brands influence identity politics via media technologies. This article will be of much interest to scholars of nation brands, cultural studies, participatory culture, national identity and transmedia engagement. This article forms part of the ‘Theorizing Media in Nation Branding’ Special Issue.

scholarly journals From Modernism to Populism – art as a discursive mirror of the nation brand

2018 ◽  
Vol 52 (3/4) ◽  
pp. 882-906 ◽  
Author(s):  
Victoria Rodner ◽  
Finola Kerrigan
Keyword(s):  
National Identity ◽  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Visual Arts ◽  
Nation Branding ◽  
Transitional Period ◽  
Future Research ◽  
National Discourse ◽  
Content Type ◽  
Nation Brand

Purpose The purpose of this paper is to examine the role played by the visual arts in expressing and shaping the nation brand. In doing so, it establishes the centrality of visual discourse in nation branding; illustrating that discursive strategies can directly alter the nation brand’s perception. Design/methodology/approach This single case study drawing on in-depth interviews, field observation and secondary/historical material, applies mediated discourse analysis and critical discourse analysis to capture a transitional period in the cultural policies and nation branding rhetoric across a time frame of 60 years. Findings This study establishes the visual arts as a significant carrier of meaning, thus reflecting changes in the national discourse. This analysis illustrates that publicly supported visual arts can articulate policy aspirations and provide insight into the power of competing national discourse which co-exists, thereby shaping the internal and external nation brand. Research limitations/implications The study focuses on the visual arts and the context of Venezuela. Future research could expand this to look at the visual arts in other national or regional contexts. Practical implications The paper establishes visual art as central to expressing national identity and policy, and a tool for examination of national identity and policy. More broadly, the paper establishes public support for the (visual) arts as central to nation-branding projects providing insight for those engaged in such campaigns to prioritize arts funding. Originality/value The authors’ study indicates the marketing relevance of visualization of the nation through the arts and establishes the visual arts as a central tenant of the nation brand.

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