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. Its 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
Indians 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 HeadPlanning 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 emotionsor 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
consumers mind.
The Ntyashstra 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 Ntyasstra, has a presiding deity and a
specific colour.

ngram Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.

Hsyam Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.
Raudram Fury. Presiding deity: Rudra. Colour: red.
Kruyam Compassion, Mercy. Presiding deity: Yama. Colour: grey.
Bbhatsam Disgust, Aversion. Presiding deity: Shiva. Colour: blue
Bhaynakam Horror, Terror. Presiding deity: Kala. Colour: black
Vram Heroic mood. Presiding deity: Indra. Colour: yellowish
Adbhutam Wonder, Amazement. Presiding deity: Brahma. Colour: yellow
ntam Peace or tranquility. deity: Vishnu. Colour: blue

In addition to the nine Rasas, two more appeared later

Vtsalya 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.

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.

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