Transcreation is 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 emotions and carries the same implications in the target language as it does in the source language. It is related to the concept of localization, which similarly involves comprehensively adapting a translated text for the target audience.[1] Transcreation highlights the translator's creative role.[2]
Transcreation theory was first developed in the field of literary translation, and began to be adapted for use global marketing and advertising in the early 21st century.[1] The transcreation approach is also heavily used today in the translation of video games[3] and mobile apps.[4]
Background
Transcreation was first developed by translators in India and Brazil in the mid-20th century.[2] 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".[1] 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.[5]
The term is also recognized in China. In 2010, the Chinese design and advertising publication, Modern Advertising Magazine, discussed the term in an article for the first time.[6]
An example of how the concept has permeated other spheres is the collaboration between Marvel Comics and Gotham Entertainment Group in 2004, to produce a comic book for the Indian market featuring an Indian-born Spider-Man whose “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 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.[7]
Purpose
As markets continue to broaden, advertisers face special challenges. To be effective, advertising must reach hearts as well as minds. Thus, the ability to transcend language and cultural boundaries is paramount to achieving an effective global marketing strategy. Not only must copy be translated correctly, but other factors must also be considered, such as culture, mores, dialects, idiom, humor, and context. Any perceived lack of respect for heritage, local values, beliefs and cultures may have a negative impact on consumers.[8] To meet these challenges, companies that market internationally are increasingly using transcreation, whether via their advertising company or with a company specializing in transcreation.
Transcreation and translation
Translation and transcreation are related processes, but they are not identical. Translation in the Western world has a centuries-long history and has been marked in practice by two “ideal” approaches – metaphrase (word-for-word translation) – and paraphrase (i.e. “say in other words”). 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 expands upon translation by focusing not so much on the literal text, but on discerning the emotional response by viewers in the source language and working to elicit the same response from viewers in the target market.
Absolute fidelity to the text is secondary to eliciting the desired emotional response by the target audience. Because differences between cultures are so numerous, eliciting the same emotional reaction may also necessitate changes in the context of the message.
Maximizing cultural relevance
The tasks of a transcreator include establishing an emotional connection between the audience and the message, and maximizing cultural relevance.[9] 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.[10] 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.
Commercial use
In the 21st century, some translation agencies began to specifically market themselves as transcreation agencies.[2][11] 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,[12] in line with the “think global; act local” principle.[13][14]
See also
Works cited
- O'Hagan, Minako; Mangiron, Carmen (2013). Game Localization: Translating for the global digital entertainment industry. John Benjamins. ISBN 9789027271860.
{{cite book}}: Invalid|ref=harv(help) - Pedersen, Daniel (2019). "Managing Transcreation Projects: An Ethnographic Study". Translation Practice in the Field: Current research on socio-cognitive processes. John Benjamins. ISBN 9789027262196.
{{cite book}}: Invalid|ref=harv(help) - Roturier, Johann (2015). Localizing Apps: A practical guide for translators and translation students. ISBN 9781317621676.
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References
- ^ a b c Pedersen 2019, p. 44.
- ^ a b c O'Hagan 2013, p. 196.
- ^ O'Hagan 2013, p. 191.
- ^ Roturier 2015, p. 174.
- ^ O'Hagan 2013, p. 107, 199.
- ^ "Textappeal: The Advantage of Talents". Modern Advertising: 20–21. August 2010. Translated article
- ^ Van Gelder, Lawrence (5 July 2004). "Arts Briefing". The New York Times. Retrieved 6 December 2011.
- ^ Polak, Elliot; Cuttita, Frank (March 2006). "Global Marketing Disasters and Recoveries". Admap (470): 36–38.
- ^ Kates, Steven M.; Goh, Charlene (2003). "Brand Morphing: Implications for Advertising Theory and Practice". Journal of Advertising. 32 (1): 59–68. doi:10.1080/00913367.2003.10639049. ISSN 0091-3367. JSTOR 4622150.
- ^ Griffith, David A.; Chandra, Aruna; Ryans Jr., John K. (2003). "Examining the Intricacies of Promotion Standardization: Factors Influencing Advertising Message and Packaging". Journal of International Marketing. 11 (3): 30–47. doi:10.1509/jimk.11.3.30.20160. Retrieved 16 September 2011.
- ^ Pedersen 2019, p. 45.
- ^ Ducoffe, Robert, and Andreas Grein. 1998. “Strategic Responses to market globalization among advertising agencies”. International Journal of Advertising 17 (3). 301–319.
- ^ Harris, Greg (1994). "International Advertising Standardization: What Do the Multinationals Actually Standardize?". Journal of International Marketing. 2 (4): 13–30. ISSN 1069-031X. JSTOR 25048564.
- ^ Vrontis, Dmetris; Thrassou, Alkis (2007). "Adaptation vs. Standardisation in International Marketing- The Country-of-origin Effect". Journal of Innovative Marketing. 3 (4): 7–21. ISSN 1814-2427. Retrieved 16 September 2011.