Transcreation: Difference between revisions

{{short description|Process of creatively adapting a message from one language to another}}

'''Transcreation''' is a term coined from the words "translation" and "creation", and a concept used in the field of [[translation studies]] to describe the process of adapting a message from one language to another, while maintaining its intent, style, tone, and context. A successfully transcreated message evokes the same [[emotion]]s and carries the same implications in the target language as it does in the source language. It is related to the concept of [[Language localisation|localization]], which similarly involves comprehensively adapting a translated text for the target audience.{{sfn|Pedersen|2019|p=44}} Transcreation highlights the translator's creative role.{{sfn|O'Hagan|Mangiron|2013|p=196}} Unlike many other forms of translation, transcreation also often involves adapting not only words, but video and images to the target audience.{{sfn|Chaume|2016}}

The concept of transcreation was first developed by translators in [[India]] and [[Brazil]] in the mid-20th century.{{sfn|O'Hagan|Mangiron|2013|p=196}} In 1964, the Indian scholar [[Purushottama Lal]] wrote, regarding contemporary translations of the Sanskrit classics, that "the translator must edit, reconcile, and transmute; his job in many ways becomes largely a matter of ''transcreation''".{{sfn|Pedersen|2019|p=44}} In the Brazilian context, the term is associated with the work of [[Haroldo de Campos]], who compared transcreation to the giving of a [[blood transfusion]].{{sfn|O'Hagan|2013Mangiron2013|p=107, 199}}

OneIn popular culture, one example of the use of a strongly transcreational approach is in the United States adaptation of the Japanese anime ''[[Doraemon]]'', in which characters and settings were dramatically modified to suit United States sensibilities.{{sfn|Chaume|2016}} For example, depictions of [[Japanese yen]] notes were replaced by United States currency, and a stand selling [[roasted sweet potato]] was replaced by a [[food truck]] selling popcorn.{{sfn|Chaume|2016}}

Similarly, the United States story of ''[[Spider-Man]]'' was transcreated for Indian audiences in ''[[Spider-Man: India]]'', which is set in Mumbai.{{sfn|Bernal-Merino|2014|p=90}} This transcreated ''Spider-Man'' features an Indian-born Spider-Man whose “real”"real" name is Pavitr Prabhakar. Thus, rather than battling the Green Goblin in the canyons of New York City, Prabhakar, clad in a [[dhoti]], fights the demon [[Rakshasa|Rahshasa]] against backdrops such as the [[Taj Mahal]]. "Unlike traditional translations of American comics, Spider-Man India will become the first-ever 'transcreation', where we reinvent the origin of a Western property," said Sharad Devarajan, the chief executive of the [[Gotham Entertainment Group]]. The goal in this case closely matched that of cross-cultural marketers: to make Spider-Man more relevant to the Indian audience, establish a deeper emotional connection with readers, and thus sell more comic books.<ref>{{cite news |last=Van Gelder |first=Lawrence |url=https://www.nytimes.com/2004/07/05/arts/arts-briefing.html?scp=2&sq=transcreation&st=cse |newspaper= The New York Times |date= 5 July 2004 |accessdateaccess-date= 6 December 2011 |title=Arts Briefing}}</ref>

The tasks of a transcreator include establishing an emotional connection between the audience and the message, and maximizing cultural relevance.<ref name="Kates&Goh">{{cite journal |last1=Kates |first1=Steven M. |last2=Goh |first2=Charlene |title=Brand Morphing: Implications for Advertising Theory and Practice |journal= Journal of Advertising |volume=32 |issue=1 |year=2003 |pages=59–68 |issn=0091-3367 |jstor=4622150 |doi=10.1080/00913367.2003.10639049|s2cid=144167731 }}</ref> Many factors may differ across cultural and linguistic boundaries and must be considered, as these differences can significantly limit the effectiveness and impact of a cross-market campaign.<ref>{{cite journal |last1=Griffith |first1=David A. |last2=Chandra |first2=Aruna |last3=Ryans Jr. |first3=John K. |journal=Journal of International Marketing |volume=11 |issue=3 |pages=30–47 |url=http://www.journals.marketingpower.com/doi/abs/10.1509/jimk.11.3.30.20160 |year=2003 |title=Examining the Intricacies of Promotion Standardization: Factors Influencing Advertising Message and Packaging |accessdateaccess-date=16 September 2011 |doi=10.1509/jimk.11.3.30.20160|s2cid=155058684 }}</ref> These factors include cultural heritage, shared values, practices, and prevalent social cueing and reception thereof, including expression of emotions, gestures, body language, and facial expressions. These factors in turn influence consumers’ behavior and their reactions to advertising elements such as text, tone of voice, humor, settings, casting, and tonality.

Classically, in a schema dating from the 17th century, translation has been divided into three approaches: metaphrase (word-for-word translation), paraphrase (i.e. “say"say in other words”words"), and imitation.<ref name="dryden">{{Cite web

}}</ref> Due to idiom and the wide variety of local usages, word-for-word translation has long been considered inadequate and the best translations take into account the vocabulary, grammar, syntax, idiom and local usage of the target audience while remaining faithful to the text, and context, of the original document. Transcreation is thus a variation on the "imitation" or "adaptation" approach to translation.{{sfn|St-Pierre|2016|p=83}} Similarly, viewed in terms of the continuum between [[free translation]] and [[literal translation]], transcreation is considered to be "closest to ‘free’'free' on the literal – free cline."{{sfn|Gaballo|2012|p=96 n.1}}

In the 21st century, some translation agencies began to specifically market themselves as transcreation agencies.{{sfn|O'Hagan|Mangiron|2013|p=196}}{{sfn|Pedersen|2019|p=45}} Transcreation allows local marketers to take the essence of a global advertising message and tailor it to their market. Thus, a global advertising campaign subjected to transcreation becomes more supple, while still adhering to an overall global strategy.

Accordingly, the rise of transcreation has paralleled the growth in international marketing campaigns. In 1960, international billings accounted for 6% of the gross revenues of the top ten U.S. advertising agencies. By 1991, that share had climbed to 60%, and it has been rising ever since,<ref>Ducoffe, Robert, and Andreas Grein. 1998. “Strategic Responses to market globalization among advertising agencies”. International Journal of Advertising 17 (3). 301–319.</ref> in line with the “think global; act local” principle.<ref>{{cite journal |last=Harris |first=Greg |journal=Journal of International Marketing |volume=2 |issue=4 |pages=13–30 |title=International Advertising Standardization: What Do the Multinationals Actually Standardize? |year= 1994 |doi=10.1177/1069031X9400200402 |issn=1069-031X |jstor=25048564|s2cid=158254531 }}</ref><ref>{{cite journal |last1=Vrontis |first1=Dmetris |last2=Thrassou |first2=Alkis |journal=Journal of Innovative Marketing |volume=3 |issue=4 |year=2007 |pages=7–21 |url=https://unic.academia.edu/DemetrisVrontis/Papers/359731/Adaptation_Vs._Standardization_In_International_Marketing-The_Country-of-Origin_Effect |title= Adaptation vs. Standardisation in International Marketing- The Country-of-origin Effect |issn=1814-2427 |accessdateaccess-date= 16 September 2011}}</ref>

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