From Swadeshi Movement to Metrorail cabins: Our advertising through the ages
Ads are everywhere, you can’t take a step without seeing ads for one thing or the other. But how did we get here?
It was the beginning of the 20th century. Though he was still a decade away from winning the Nobel Prize, there was no other star like Rabindranath Tagore in Bengal; he had already found a place in every household. A zamindar's son, a poet, an actor, a prose writer, a music composer, a playwright—he had so many facets to his personality that Bangalis were mesmerised.
In the midst of all this, the English broke up Bengal. A tide of anti-partition mass movement rose, which culminated in the Swadeshi Movement. The boycott of British goods and the production of indigenous goods were the driving force of this movement.
Local factories for the production of soap, salt, sugar, handloom cloth, and leather goods started to be established. As a result, Indians got brands like Jabakusum oil, Asian Paints, Tata Steel, Lakme, etc.
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Rabindranath himself was one of the main proponents of this movement. He had become the superstar of the time by allowing his picture and voice to be used to promote indigenous products.
Tagore in advertisements
The poet's foray into advertisements began in 1889 and continued even after his death in 1941. One of the reasons he participated in advertisements was to raise funds for Visva-Bharati. Rabindranath Tagore appeared in around 100 advertisements for a wide range of products, including Godrej soap, Horlicks, Kuntoalin hair oil, Radiance cream, Bata shoes, Dwarkin harmoniums, cooperative insurance, cotton mills, photo studios, ghee, yoghurt, kajal-kaali, domestic and foreign airlines and Indian Railways.
Most of these advertisements were published in Bangla newspapers such as Ananda Bazar, Amrit Bazar, Probasi, and Tattobodhini, as well as in foreign newspapers such as The Guardian and The Globe.
In one advertisement for Sulekha ink, Tagore wrote, "Sulekha ink is blacker than even the stain of disgrace." Gradually, Sulekha ink became so popular that it ousted foreign ink from the market. At one point, one million bottles of Sulekha ink were being sold per month.
The advertisement for Dr Ushapati Ray's medicine for insanity was also published with Rabindranath Tagore's endorsement, in which the poet wrote: "I have known its benefits for a long time." He endorsed the drink Horlicks saying, "I have benefited from consuming Horlicks."
Our national poet Kazi Nazrul Islam, also wrote advertisements in verse for the harmoniums of Dwarkin & Son Company. In an advertisement for Bahadur Company, Nazrul wrote: "If you want sweet melodious tunes, buy Bahadur."
Advertisements in Hickey's Gazette
The Bengal Gazette, first published in 1780, was India's first newspaper. Editor Augustus Hickey managed to keep the newspaper going for two years. His newspaper was full of advertisements, with news squeezed into the gaps. What kind of advertisements did they publish back then?
There is a vast difference between then and now. After getting the Diwani in 1765, the British began to establish their rule in the state. Fortune-seeking English cobblers, washermen, barbers, and hawkers also set up shop in Calcutta. Their advertisements were published in the Bengal Gazette. Advertisements were placed back then to seek domestic servants, sell old furniture, or find employment.
Even after Hickey's Gazette was closed down, advertisements continued. They were also published in the India Gazette, a paper supported by Hastings. There was also the Calcutta Gazette. One advertisement from 1784 read: Messrs William and Endly will sell a horse for 300 sicca rupees.
In 1801, a man named Abraham from Serampore placed an advertisement saying that his wife had run away from home without telling anyone. If she incurred any debts anywhere, Abraham would not be responsible for them.
Since the moment the world of advertising opened up on the Indian subcontinent, its development has been a continuous process. In the mid-19th century, product images began to be included in advertisements, such as those for watches, wall clocks, gold and silver jewellery, home furnishings, Western musical instruments, perfumes, hair creams and oils, hunting equipment, bicycles, gramophones, and more. Medicines, hair growth oils, Flex boot polish, kerosene-powered fans, and other items became common subjects of advertising during this period.
In the last decade of the century, the rise of nationalist consciousness and mass awakening left their mark on advertising. Calls for opposition to the British and a boycott of foreign goods were also seen in these advertisements.
The form and format of advertisements
The form and format of advertisements began to change significantly at the beginning of the 20th century. During this time, it became possible to distinguish between two types of advertisements: classified and display.
Classified advertisements are typically published using only text, without any embellishments, gloss, or images. They are arranged sequentially in a single column. They are concise in size, conveying the essential information in a few words.
On the other hand, display advertisements are published across a large portion of a newspaper. Sometimes, even full-page advertisements are printed. Their text is varied, and their design is eye-catching. They may include images of models, company logos, and other elements.
India's first advertising agency, B Dattaram & Co, was established in Bombay (now Mumbai) in 1905. This was followed by the founding of Modern Publicity Company in Madras, The Calcutta Publicity in Kolkata, and Oriental Advertising Agency in Tiruchirappalli. There were also some foreign-owned advertising agencies operating in India, such as Alliance Advertising, D.J. Keymer, Lintas India Ltd., J. Walter Thompson, and others.
The Swadeshi movement played a significant role in the advancement of the domestic advertising industry. In 1907, the installation of a linotype machine at The Statesman newspaper also marked a turning point for the industry. This technological advancement significantly reduced the cost of printing, making it more affordable for newspapers and other publications to produce high-quality content. As a result, the demand for advertising increased, leading to the establishment of numerous advertising agencies in Bengal.
The majority of these advertising agencies were based in Kolkata, the capital of British India. This concentration of agencies provided a vibrant hub for creative talent, attracting numerous art school graduates eager to showcase their skills. Among these notable individuals were Satyajit Ray, Chitta Bhattacharya, Annada Munshi, Ranen Dutt, I.B. Dasgupta, and Shibdas Das.
Several noteworthy advertising campaigns emerged from this era, including Annada Munshi's eye-catching advertisements for Lord Gauranga Travels, a railway transportation company, and the Indian Tea Board's campaign featuring artwork by Chitta Bhattacharya and conceived by Satyajit Ray. Ranen Dutt's advertisements for Jabakusum and Shalimar Oil are considered landmarks in the history of Indian advertising.
The rise of celebrity advertising
Photographs emerged as a crucial element in 20th-century advertising. The first colour advertisement was published in 1910. In the 1930s, local low-cost products and brands relied more on text than illustrations in their advertisements. On the other hand, advertisements for well-known brands featured colourful and detailed illustrations.
In the 1930s, new techniques were introduced to make advertisements more appealing. Actors began appearing as models, starting in 1929. Film actress Leela Chitnis was featured as a model in a Lux soap advertisement. Since then, this strategy has gained such popularity that new examples emerge every year.
After the release of Bimal Roy's Devdas in 1955, advertisers openly used Suchitra Sen's image, stating, "Suchitra Sen chooses Lux toilet soap for fairness and purity." In a 1956 advertisement for Tibet Snow, film star Santosh Kumar said, "Using Tibet Snow after shaving is comfortable." In a 1965 advertisement for Kosko Cold Cream Soap, Rani, the Empress of Beauty, signed and said, "'Kosko Cold Cream' soap is the only suitable soap for fair and smooth skin that I have never used before."
In 1983, Asiatic made the first Lux advertisement in Bangladesh, featuring actress Nootan. Champa became the model for this soap in the 1990s. This trend continues to this day and will likely continue for many years to come.
Advertisement in the Pakistan period
The development of industries and manufacturing plants in East Pakistan was relatively slow, leading to a limited need for advertising. Occasionally, a few product advertisements would appear in newspapers to inform the public. At that time, all advertising campaigns were controlled by West Pakistan.
Some foreign advertising agencies, such as J. Walter Thompson and Lintas Advertising, had opened branches in West Pakistan. In East Pakistan, a few advertising agencies, such as Greenway Publicity, Star Advertising, and Nabankur Publicity, had emerged. However, these agencies primarily focused on press releases, designing packaging for cosmetic products, and promoting films. As a result, creativity was stifled in the advertising industry.
In 1966, the first modern advertising agency in Dhaka, East Asiatic, was established. Thespian Ali Zafar was working at a British agency in Karachi at the time. He was brought to Dhaka to be the managing director of East Asiatic. Alongside him, several graduates from the Art College, such as Mejbauddin, Abdul Hai, Tele Samad, and Mostafa, were trained in Karachi and hired by the agency. East Asiatic marked the official beginning of the advertising industry in Bangladesh. Subsequently, in 1968, Reza Ali founded Bitopi Advertising Ltd. and Enayet Karim founded Interspan.
Artists who were involved in the advertising industry at that time included Kamrul Hasan, Bijan Chowdhury, and Kaiyum Chowdhury. It is said that Zainul Abedin also worked on some advertising illustrations.
During that period, copies of newspapers and books from various countries were available at the Dhaka Press Club. Designers would draw inspiration from the foreign advertisements in these publications.
Slogans were commonly used in most advertisements. The slogans were one or two lines about the product's quality. In many cases, they were like instructions, with the product's features listed separately below. All advertisements included images of models.
However, after 1966, advertising became much more aesthetic and sophisticated. There was a balance in the use of models, slogans, colours, and lines. Advertisements for cosmetics, electronics, vehicles, foreign medicines, biscuits, baby food, and bread were more common.
Despite the rise of nationalist movements at various times during the Pakistani era, their influence was not evident in advertising. This was because the advertising industry was primarily controlled by West Pakistan.
The Post-Independence era
After the liberation of Bangladesh in 1971, new advertising agencies emerged as the country began to rebuild. These included Adcom, Neptune, Unitrend, Madonna, Eastland, and Karukriti. In the 1970s, the scope of advertising was limited due to the small number of industries, most of which were nationalised. The only notable competition was between Unilever and Kohinoor Chemicals. Popular brands included Lalbagh Chemical's Gandharaj hair oil and other Hansa-branded cosmetics. However, banks and insurance companies did use advertising to encourage people to participate in the reconstruction of the new nation.
The 1980s saw new business opportunities and state patronage for industries. This led to the need for advertising to create markets, and new agencies such as Rupa Communication and Afzal Hossain's Matra were established. Towards the end of the decade, the introduction of computers opened up new possibilities in advertising.
The 1990s saw Bangladesh lean more towards privatisation and deregulation of the market. The country transitioned from an agrarian economy to a service-based economy (banking, insurance, etc.). The advertising industry also made significant technological advancements. New agencies such as Grey Communication, Step Media, Protishod, Mediacom, and Windmill were established.
Towards the end of this decade, some international advertising agencies formed alliances with Bangladeshi agencies. This propelled the advertising industry forward, and its impact was evident in both print and television advertisements. A memorable example is the Philips light bulb advertisement, with its slogan "Machher Raja Ilish, Battir Raja Philips" (The king of fish is Ilish, the king of light bulbs is Philips), which remains popular even today.
The Philips light bulb advertisement was created and broadcast in the late 1980s and early 1990s, when filament bulbs were just starting to replace kerosene lamps in rural areas. The advertisement was designed to increase the acceptance of bulbs among rural people.
The advertising agency Unitrend Ltd. was responsible for its creation. To find a suitable slogan, they turned to Bengali folk sayings. They came across the saying "Machher Raja Rui, Shaker Moja Pui" (The king of fish is Rui, the joy of vegetables is Pui) and adapted it to create the timeless slogan.
While beautiful models and catchy music can make an advertisement instantly popular, it is the dialogue that truly resonates with audiences for generations to come.
Lingering in our collective memory
Dr Bhadrashree Rita, the chairperson of the Graphic Design Department of the Faculty of Fine Arts at Dhaka University, holds a PhD in advertising. Much of the information for this article was extracted from her research: "The newspaper-based advertising industry of Bangladesh and its aesthetics (1972-2000)".
According to Bhadrashree, "The goal of any commercial or awareness-raising advertisement is to motivate consumers. This motivation takes two forms: direct and subtle. In the first, the target audience is asked to buy the product without any concealment. In subtle provocation, there is no direct call, but there are hidden gestures that are often more effective.
For example, in the Lux soap advertisement, the audience is not directly asked to buy the soap, but it is suggested that beauty is connected to Lux and you have to use it, if you want it. In a Star cigarette advertisement, the word 'satisfaction' is highlighted and it is said: 'I smoke Star, I get number one satisfaction.' It means that there is no alternative to smoking Star if you want satisfaction."
According to her research paper, well-structured advertising text includes a headline, slogan, body text, and company introduction. The headline states the type of product or service, the slogan highlights the product's special qualities, and the body text describes the product's quality in detail in the form of a story; sometimes in the form of advice or suggestion. Similes and metaphors are often used. Images include photographs, hand-drawn illustrations, or ornaments. It often becomes the main element of advertising due to its deep appeal to consumers.
There are many ads from yesteryears that survive in our collective memory because of their memorable messaging.
Even today, the tagline from the ad is "Gharer kotha pore janlo kemne" (How did others know about what goes on in my home?) instantly brings to mind the late actor Ashish Kumar Loh. While both he and his wife's admonitions about buying a saree can no longer be heard, the tagline lives on.
In the ad, Ashish Kumar Loh plays a forgetful husband who repeatedly forgets to buy a saree for his wife, despite her constant reminders. In a clever move, the wife writes a note on her husband's coat, reminding him to buy the saree. As a result, wherever he goes, whether on the street or at the office, everyone reminds him to buy the saree, leaving him baffled and wondering, "How did you know about the house?"
"Sei 1953 sal theke" (since 1953): This tagline from the Roxy Paint ad became so ingrained in viewers' minds that it became a common way to refer to old times. Another memorable tagline was "Chilla kaitta lobon lagaiye dimu" (I'll slice you up and put salt on your wound) from the Molla Salt ad. The ad's creators were clever in using conflict to grab the viewer's attention, and they succeeded. The ad shows two train passengers arguing about whether the window should remain open or closed. Then comes the tagline, "Chilla kaitta lobon lagaiye dimu." Both passengers are startled and look out the window, only to find a man selling cucumbers with Molla salt rubbed on them.
Public awareness ads also had some popular taglines. Many of these were created by Humayun Ahmed. The tagline "Tin anguler ek chimti lon, ghuta ghuta" (a pinch of salt with three fingers, and then you whisk and whisk) from the Khaiyar Saline ad, featuring some of the actors from "Ei Sob Din Ratri," also became widely known.
The tagline "Jhanke jhanke jatka, karont jale atka" (Countless fish, trapped in the current net) from the ad against the use of illegal fishing nets also gained popularity. The tagline is contradictory to the message the ad wanted to convey. However, the ad does convey its message strongly in the end.
The 1980s saw a surge in audio advertising, which continued into the 1990s. The Sports Development Board was a pioneer in this field. Their lottery advertisements were played in almost every crowded area of the city, including Gulshan, Nilkhet, and Farmgate. The phrase "Jodi Laiga Jay" by Gazi Mazharul Anwar echoed through both urban and rural areas. Lines would form in front of lottery vans.
Today, advertising has transformed its allure into a mesmerising force, expanding its reach to encompass a wider range of locations. Advertisements are now even displayed in metro rail cabins and shopping mall elevators. Sometimes it feels like they have taken over our lives.
