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<front>
<journal-meta>
<journal-id journal-id-type="publisher-id">AJCE</journal-id>
<journal-title-group>
<journal-title>African Journal of Creative Economy</journal-title>
</journal-title-group>
<issn pub-type="epub">3005-9429</issn>
<publisher>
<publisher-name>AOSIS</publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id pub-id-type="publisher-id">AJCE-2-25</article-id>
<article-id pub-id-type="doi">10.4102/ajce.v2i1.25</article-id>
<article-categories>
<subj-group subj-group-type="heading">
<subject>Original Research</subject>
</subj-group>
</article-categories>
<title-group>
<article-title>The role of language in building brand identity in African markets</article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author" corresp="yes">
<contrib-id contrib-id-type="orcid">https://orcid.org/0000-0001-6991-3965</contrib-id>
<name>
<surname>Ajala</surname>
<given-names>Adeola T.</given-names>
</name>
<xref ref-type="aff" rid="AF0001">1</xref>
</contrib>
<contrib contrib-type="author">
<contrib-id contrib-id-type="orcid">https://orcid.org/0009-0008-3330-500X</contrib-id>
<name>
<surname>Oluwasanmi</surname>
<given-names>Olaolu P.</given-names>
</name>
<xref ref-type="aff" rid="AF0002">2</xref>
</contrib>
<aff id="AF0001"><label>1</label>Department of Languages and Linguistics, Faculty of Humanities and Social Sciences, Kings University, Odeomu, Nigeria</aff>
<aff id="AF0002"><label>2</label>Department of Public Management, Law and Economics, Faculty of Management Sciences, Durban University of Technology, Pietermaritzburg, South Africa</aff>
</contrib-group>
<author-notes>
<corresp id="cor1"><bold>Corresponding author:</bold> Adeola Ajala, <email xlink:href="ao.ajala@kingsuniversity.edu.ng">ao.ajala@kingsuniversity.edu.ng</email></corresp>
</author-notes>
<pub-date pub-type="epub"><day>22</day><month>12</month><year>2025</year></pub-date>
<pub-date pub-type="collection"><year>2025</year></pub-date>
<volume>2</volume>
<issue>1</issue>
<elocation-id>25</elocation-id>
<history>
<date date-type="received"><day>08</day><month>05</month><year>2025</year></date>
<date date-type="accepted"><day>10</day><month>10</month><year>2025</year></date>
</history>
<permissions>
<copyright-statement>&#x00A9; 2025. The Authors</copyright-statement>
<copyright-year>2025</copyright-year>
<license license-type="open-access" xlink:href="https://creativecommons.org/licenses/by/4.0/">
<license-p>Licensee: AOSIS. This work is licensed under the Creative Commons Attribution 4.0 International (CC BY 4.0) license.</license-p>
</license>
</permissions>
<abstract>
<sec id="st1">
<title>Background</title>
<p>This research examines the key function of language in shaping brand identity within culturally varied and multilingual markets in Africa.</p>
</sec>
<sec id="st2">
<title>Objectives</title>
<p>While branding is increasingly acknowledged as a catalyst for consumer loyalty, insufficient focus has been directed towards the strategic use of language by creative intermediaries to engage audiences.</p>
</sec>
<sec id="st3">
<title>Method</title>
<p>The study adopts digital ethnography and a qualitative case study approach, analysing advertising campaigns from Mobile Telecommunications Network (MTN), Safaricom, Coca-Cola, Nigerian Breweries and Ethiopian Airlines across Southern, Western and Eastern Africa. Data were drawn from online adverts and marketing content, with focus on linguistic strategies such as code-switching, idioms, humour, proverbs and culturally rooted narratives. Affective stylistics and reader-response theory guided the analysis to show how stylistic choices evoke emotional engagement and shape consumer attachment.</p>
</sec>
<sec id="st4">
<title>Results</title>
<p>The results show that creative intermediaries are very important for getting brand messages across by making them culturally relevant and more persuasive and visible.</p>
</sec>
<sec id="st5">
<title>Conclusion</title>
<p>Brands effectively use humour, celebrity endorsements, indigenous languages and cultural references, supported by music, colours, gestures and symbols, to enhance trust and loyalty, although balancing global brand consistency with local linguistic diversity remains challenging.</p>
</sec>
<sec id="st6">
<title>Contribution</title>
<p>The research shows the value of culturally sensitive communication and the role of creative middlemen in bridging language gaps, enriching scholarship and practice in multicultural marketing.</p>
</sec>
</abstract>
<kwd-group>
<kwd>brand identity</kwd>
<kwd>language</kwd>
<kwd>marketing</kwd>
<kwd>advertising</kwd>
<kwd>affective stylistics</kwd>
<kwd>African consumers</kwd>
</kwd-group>
<funding-group>
<funding-statement><bold>Funding information</bold> This research received no specific grant from any funding agency in the public, commercial or not-for-profit sectors.</funding-statement>
</funding-group>
</article-meta>
</front>
<body>
<sec id="s0001">
<title>Introduction</title>
<p>Language has been fundamental to human communication and the transmission of information from one individual or community to another. It has played a crucial role in the development of societies, cultures and civilisations throughout history. From oral traditions to written texts, and now digital communication, the evolution of language has continuously shaped human interaction and knowledge dissemination (Crystal &#x0026; Robins <xref ref-type="bibr" rid="CIT0012">2024</xref>; Rabiah <xref ref-type="bibr" rid="CIT0035">2012</xref>). The use of language permeates every aspect of society, including the marketplace.</p>
<p>Communication has been the cornerstone of a successful marketplace (Selvarajan <xref ref-type="bibr" rid="CIT0041">2023</xref>; Tanwa <xref ref-type="bibr" rid="CIT0044">2024</xref>). It provides the link between service providers and the end users. Communication facilitates the exchange of information, ideas and values between businesses and consumers. Clear and efficient communication channels are vital for building strong relationships, fostering collaboration and driving productivity (Selvarajan <xref ref-type="bibr" rid="CIT0041">2023</xref>). This enables transactions and fostering relationships. Effective communication is essential for understanding consumer needs, promoting products and services, building brand identity and ensuring customer satisfaction. A lack of effective communication can lead to misunderstandings, delays and errors in the marketplace. In a rapidly evolving global market, the ability to communicate effectively is more critical than ever.</p>
<p>Basically, the African market is rapidly evolving in the digital age, and language plays a crucial role in product branding within this emerging market. It is the primary medium through which brands convey their identity, values and promises to consumers (Akothphanice <xref ref-type="bibr" rid="CIT0004">2023</xref>). The effective use of language in branding can differentiate a product in a crowded marketplace, build emotional connections with consumers and create lasting brand loyalty (Pogacar, Lowrey &#x0026; Shrum <xref ref-type="bibr" rid="CIT0033">2017</xref>). From the brand name to advertising slogans, language shapes consumer perceptions and influences purchasing decisions. Hence, in building brand identity and differentiating products, language has played significant roles.</p>
<p>In the context of Africa&#x2019;s rapidly evolving markets, brands face the challenge of establishing distinctive identities that resonate with diverse audiences (Cayla &#x0026; Arnould <xref ref-type="bibr" rid="CIT0009">2008</xref>). A key element in this process is the strategic use of language, which not only serves as a means of communication but also as a tool to evoke cultural, emotional and personal connections. Despite the centrality of language in marketing and advertising, particularly in multicultural and multilingual environments such as Africa, limited research has been conducted on how creative intermediaries utilise language to build brand identity.</p>
<p>Aside exploring the role of language in constructing brand identity in African markets, it also focuses on the linguistic strategies employed by creative intermediaries to engage consumers. Creative intermediaries are specialised professionals and organisations, such as advertising agencies, marketers, content creators and graphic designers. They mediate between brands and consumers by designing and transmitting culturally resonant messages. In African markets, they are particularly crucial because they translate branding strategies into linguistically adaptive and culturally authentic forms that resonate with diverse audiences. As Yuniarti, Aziz and Gani (<xref ref-type="bibr" rid="CIT0049">2024</xref>) argue, intermediaries merge creativity with market insights to craft campaigns that enhance visibility, engagement and loyalty.</p>
<p>Their role spans multiple functions. They act as enablers, providing creative infrastructure and content development; as tastemakers, shaping what linguistic and stylistic registers are deemed culturally desirable; and as bridgers, connecting global branding strategies with local communicative norms (Balogun &#x0026; Aruoture <xref ref-type="bibr" rid="CIT0007">2024</xref>; Salawu &#x0026; Oyesomi <xref ref-type="bibr" rid="CIT0039">2024</xref>). In multilingual African markets, intermediaries strategically deploy code-switching, idioms, humour and indigenous expressions to appeal to different consumer segments, thereby fostering both persuasion and cultural authenticity (Okonkwo et al. <xref ref-type="bibr" rid="CIT0029">2023</xref>).</p>
<p>Hence, the study examines how African cultural elements, dialects and local languages like Pidgin English are used in advertisements to evoke emotional responses and enhance brand authenticity. For a better understanding of the impact of language on brand identity, Stanley Fish&#x2019;s (<xref ref-type="bibr" rid="CIT0015">1980</xref>) affective stylistic approach and reader-response theory, adapted as decoder-response theory for the purpose of this study, will be adopted to analyse how language influences brand, considering the multilingual nature of the African continent and its socio-cultural dynamics.</p>
<p>According to Alisoy (<xref ref-type="bibr" rid="CIT0005">2023</xref>), affective stylistics examines how the stylistic features of language such as choice of words, rhythm and cultural references are crafted to elicit emotional resonance from audiences (decoders). He also stresses the key objective of stylistics, which is to analyse the expressive tools of a language. These include elements like metaphors, similes, alliteration and parallelism, which enrich communication by adding depth and subtlety. Far from being merely ornamental, these devices convey meaning, stir emotions and paint vivid images, ultimately improving the impact and clarity of our messages (Alisoy <xref ref-type="bibr" rid="CIT0005">2023</xref>:14). Decoder-response theory focuses on how consumers decode and derive meaning from marketing language. This framework assesses how language not only reflects but also actively shapes consumer perceptions and loyalty. The study highlights the critical role of affective stylistics, a linguistic approach designed to create emotional resonance with audiences and its potential to build strong brand identities in African markets.</p>
<sec id="s20002">
<title>Objectives</title>
<p>The objectives of this study were:</p>
<list list-type="bullet">
<list-item><p>To explore the role of selected creative intermediaries in bridging language gaps to forge resonant brand identities that appeal to local consumers in Africa.</p></list-item>
<list-item><p>To examine the linguistic strategies employed to connect with the targeted ethnic and linguistic groups.</p></list-item>
<list-item><p>To investigate the challenges and opportunities faced by brands in navigating multilingual environments in Africa.</p></list-item>
</list>
</sec>
</sec>
<sec id="s0003">
<title>Research methods and design</title>
<sec id="s20004">
<title>Materials</title>
<p>The study examined the role of language in building brand identity in African markets. It adopted the use of digital ethnography and case studies of the selected brands in Africa. It applied content analysis of advertisements and marketing materials, by examining the affective stylistics features used in advertising to create emotional connection with the targeted audience. The data for analysis were obtained from online adverts, and the study focused on five famous and well-known brands operating in selected African regions where there is a pronounced use of language to differentiate products and build brand identities. These brands were chosen based on their popularity and the diversity of their consumer base. The selected brands were purposively chosen for their popularity, resonance with the local consumers and the use of indigenous contents for their adverts. They are MTN in South Africa, Coca-Cola and Nigerian Breweries in Nigeria, as well as Safaricom in Kenya and Ethiopia Airline in Ethiopia, which basically represent southern, western and eastern Africa, respectively. These selected adverts are famous for using local dialects, local languages, cultural references and humour. Also, the brands represent a wider coverage of the African continent.</p>
</sec>
<sec id="s20005">
<title>Theoretical perspectives on language and branding</title>
<p>Scholars analysing the intersection of language and brand identity in African markets draw on overlapping theoretical traditions that explain both the cognitive and affective dimensions of communication. The elaboration likelihood model (ELM) (Petty &#x0026; Cacioppo <xref ref-type="bibr" rid="CIT0031">1986</xref>) provides an important cognitive lens, explaining how language choice functions as a persuasive cue among multilingual audiences. In this model, language directs whether consumers process messages centrally, through careful evaluation of arguments, or peripherally, guided by surface-level cues. Applied to African advertising contexts, research has shown that local language choice can heighten consumer engagement and influence persuasion routes (Yeboah-Banin <xref ref-type="bibr" rid="CIT0047">2023</xref>).</p>
<p>In contrast, social identity theory (SIT) (Tajfel &#x0026; Turner <xref ref-type="bibr" rid="CIT0043">1986</xref>) highlights the symbolic power of language as a marker of group belonging. Within this perspective, language is not only a vehicle for transmitting information but also a symbolic resource through which consumers align their self-concepts with brand identities. Studies demonstrate that when brands employ indigenous languages, dialects or culturally resonant expressions, they reinforce authenticity and enhance cultural identification (Potgieter <xref ref-type="bibr" rid="CIT0034">2024</xref>). This symbolic alignment strengthens brand loyalty by embedding cultural pride and recognition into the consumption process.</p>
<p>Closely linked to this is communication accommodation theory (CAT) (Giles &#x0026; Ogay <xref ref-type="bibr" rid="CIT0016">2013</xref>), which explains how speakers, and by extension, brands, modify their linguistic repertoire to converge or diverge with audiences. In African markets, advertisers frequently employ code-switching and code-mixing as accommodation strategies, thereby bridging linguistic gaps and fostering relational closeness. Odubanjo (<xref ref-type="bibr" rid="CIT0028">2025</xref>) argues that these adaptive linguistic practices allow brands to communicate inclusively across heterogeneous audiences, ensuring both reach and resonance.</p>
<p>Together, these perspectives suggest that language operates along two primary pathways, namely: a cognitive pathway, where language choice influences comprehension and persuasion, and an affective or identity-based pathway, where language cultivates belonging, authenticity and symbolic alignment. The salience of these pathways depends on contextual moderators, including audience demographics, brand origin and communication platforms.</p>
<p>Building on these traditions, this study adopts affective stylistics, rooted in reader-response (decoder-response) theory (Fish <xref ref-type="bibr" rid="CIT0015">1980</xref>), as its primary analytical framework. Unlike cognitive models that emphasise information processing, affective stylistics emphasises the interpretive and emotional dynamics of language use in advertising. The theory posits that meaning emerges through the interaction between text (advertisement) and audience, shaped by readers&#x2019; cultural backgrounds, experiences and expectations. In African markets, where linguistic plurality and cultural symbolism are deeply embedded, this approach provides a robust tool for analysing how stylistic features evoke emotional resonance and brand attachment.</p>
<p>Advertisers strategically deploy metaphors, idiomatic expressions, tonal variation, rhythm and repetition to trigger affective responses such as nostalgia, pride, trust and aspiration (Balogun &#x0026; Aruoture <xref ref-type="bibr" rid="CIT0007">2024</xref>; Wen, Qin &#x0026; Liu <xref ref-type="bibr" rid="CIT0046">2019</xref>). For example, the use of indigenous proverbs or colloquial phrases connects audiences to shared cultural heritage, reinforcing both belonging and loyalty. The flexibility of affective stylistics also allows for recognition of interpretive variability: individuals decode and respond to the same stylistic cues differently, depending on their cultural contexts (Boase-Beier <xref ref-type="bibr" rid="CIT0008">2012</xref>; Kamalu <xref ref-type="bibr" rid="CIT0021">2018</xref>; Tariq <xref ref-type="bibr" rid="CIT0045">2018</xref>). This recognition is crucial in African markets, where meanings shift across diverse regions and linguistic groups.</p>
</sec>
<sec id="s20006">
<title>Data presentation: The linguistic strategies employed to connect with different ethnic and linguistic groups</title>
<sec id="s30007">
<title>Linguistic appearance</title>
<p>The use of code switching and code mixing (see <xref ref-type="boxed-text" rid="B0001">Box 1</xref>).</p>
<boxed-text id="B0001">
<label>BOX 1</label>
<caption><p>Code switching.</p></caption>
<p><bold><italic>SAKA MTN &#x2018;&#x00CF; don Port&#x2019;</italic></bold></p>
<p><italic>My number don dey portable</italic></p>
<p><italic>E mean say</italic></p>
<p><italic>I fit carry am come to MTN, easy</italic></p>
<p><italic>Come and enjoy the coverage wey no get part two</italic></p>
<p><italic>Ah-ahaa</italic>,</p>
<p><italic>The number wey you dey use now and before</italic></p>
<p><italic>Carry dey go there</italic></p>
<p><italic>I don PORT ooo</italic></p>
<p><italic>I don PORT go</italic></p>
<p><italic>MTN eh</italic></p>
<p><italic>Kirikata kirikata kirikata kirikata</italic></p>
<p><italic>Carry the same number go</italic></p>
<p><italic>I don upgrade to MTN</italic></p>
<p><italic>Source:</italic> MTN Nigeria, <xref ref-type="bibr" rid="CIT0026">2013</xref>, <italic>MTN &#x201C;I Don Port&#x201D; commercial feat. SAKA</italic>, viewed n.d., from <ext-link ext-link-type="uri" xlink:href="https://www.youtube.com/watch?v=QUVdnzC19oU">https://www.youtube.com/watch?v=QUVdnzC19oU</ext-link>.</p>
</boxed-text>
</sec>
<sec id="s30008">
<title>Pictorial or visual communication</title>
<p>For illustration, see <xref ref-type="boxed-text" rid="B0002">Box 2</xref>.</p>
<boxed-text id="B0002">
<label>BOX 2</label>
<caption><p>Safaricom Advert - Tuinuane.</p></caption>
<p><italic>Tuinuane</italic> [Let&#x2019;s lift each other]</p>
<p>[Verse]</p>
<p><italic>Japo tuna tofauti</italic></p>
<p><italic>Kila mmoja wetu, ana sauti (Stop the bus)</italic></p>
<p>[Chorus]</p>
<p><italic>Tuinuane, ushirikiano wetu</italic></p>
<p><italic>Tuinuane, na ukaribu wetu</italic></p>
<p><italic>Tuinuane, eh, eh</italic></p>
<p><italic>Tuinuane, eh</italic></p>
<p><italic>Tuko pamoja maishani, tuinuane</italic></p>
<p><italic>Ushirikiano wetu, eh, eh</italic></p>
<p><italic>Pamoja tushereheke</italic>&#x2026;</p>
<p>[Chorus]</p>
<p>Let&#x2019;s lift each other, our partnership</p>
<p>Let&#x2019;s touch each other, and our closeness</p>
<p>Let&#x2019;s lift each other, eh, eh</p>
<p>Let&#x2019;s lift each other up, eh</p>
<p>We are together in life, let&#x2019;s lift each other up</p>
<p>Our cooperation, eh, eh</p>
<p>Let&#x2019;s celebrate together</p>
<p>We&#x2019;re all winners, eh</p>
<p>We are together in life, eh, let&#x2019;s lift each other up, eh</p>
<p>We are together in life, let&#x2019;s lift each other up</p>
<p>[Verse]</p>
<p>Although we have differences</p>
<p>Each of us has a voice (Stop the bus)</p>
<p>[Chorus]</p>
<p>Let&#x2019;s lift each other, our partnership</p>
<p>Let&#x2019;s touch each other, and our closeness</p>
<p>Let&#x2019;s lift each other, eh, eh</p>
<p>Let&#x2019;s lift each other up, eh</p>
<p>We are together in life, let&#x2019;s lift each other up</p>
<p>Our cooperation, eh, eh</p>
<p>Let&#x2019;s celebrate together</p>
</boxed-text>
<p>The use of code switching and code mixing; Pidgin English, repetition and metaphorical phrase for emphasis (see <xref ref-type="boxed-text" rid="B0003">Box 3</xref>).</p>
<boxed-text id="B0003">
<label>BOX 3</label>
<caption><p>Coca-Cola Advert &#x2013; 2 Face &#x2018;Mama Di Mama&#x2019;.</p></caption>
<p>I no go lie</p>
<p>Nobody go fit to do the thing wey you dey do</p>
<p>That&#x2019;s why I call you mamaI go call you super woman too</p>
<p>Every night and day</p>
<p>I dey happy say you come my way</p>
<p>Mama nobody better</p>
<p>Now I have something to say</p>
<p>I say you are the sunshine inna my life</p>
<p>Oh mama</p>
<p>I tell you everything</p>
<p>Everything go dey fine</p>
<p><italic>Mama the mama oh oh</italic></p>
<p><italic>Mama di mama</italic></p>
<p><italic>Mama di mama</italic></p>
<p><italic>Mama di mama oh eh</italic>.</p>
<p>Mama without you</p>
<p>We for <italic>don</italic> lose</p>
<p><italic>Na</italic> you be our guardian angel</p>
<p>See as you make me dey blush</p>
<p>Oh mama the mama ai</p>
<p>I no go lie for you</p>
<p>Nobody fit come chance you eh</p>
<p>Na only you I dey see</p>
<p>You fulfil my loving completely eh</p>
<p>Sometimes in the world</p>
<p>Life will come and come test me</p>
<p>Sometimes I will become tasty</p>
<p>But mama will come and comfort me eh</p>
<p><italic>Mama di mama</italic></p>
<p><italic>Mama di mama</italic></p>
<p><italic>Mama di mama oh eh</italic>&#x2019; (repeated seven times)</p>
<p>I say you are the sunshine inna my life</p>
<p>Oh mama</p>
<p>I tell you everything</p>
<p>Everything go dey fine</p>
<p>But Sometimes in the world</p>
<p>Life will come and</p>
<p>Come test me</p>
<p>Sometimes I will become tasty</p>
<p>But mama will come and comfort me eh</p>
<p><italic>Mama di mama</italic></p>
<p><italic>Mama di mama</italic></p>
<p><italic>Mama di mama oh eh</italic> (repeated seven times)</p>
<p><italic>Source:</italic> African Fixer, <xref ref-type="bibr" rid="CIT0003">2021</xref>, <italic>Coca Cola Nigeria</italic>, viewed n.d., from <ext-link ext-link-type="uri" xlink:href="https://www.youtube.com/watch?v=pPQhpv7FjoI">https://www.youtube.com/watch?v=pPQhpv7FjoI</ext-link></p>
</boxed-text>
<boxed-text id="B0004">
<label>BOX 4</label>
<caption><p>Goldberg Advert - Omoluabi.</p></caption>
<p>hmmmm hmmmm hmmmmmm hmmmmm hmmmm ahhhh oorrr eyahhh ahh</p>
<p>Shout out to the ones wey dey run things</p>
<p>Behind the scenes them no dey dey see you</p>
<p>You dey work you dey try you dey make sure everything go dey okay.</p>
<p><italic>Twale</italic>! We dey hail you we say <italic>Oluwa</italic> no go shame you</p>
<p><italic>moserere la fin pon e le oo</italic></p>
<p><italic>Omoluabi se rere o tun gbara da you&#x2019;re doing well my brother</italic></p>
<p><italic>Moserere la fin pon e le oo</italic></p>
<p><italic>Omoluabi se rere o tun gbara da you&#x2019;re doing well my sister</italic></p>
<p><italic>Moserere la fin pon e le oo ooo</italic></p>
<p><italic>Eku ise ooooh</italic></p>
<p><italic>Ose dada omoluabi se dada</italic></p>
<p><italic>Mo lon se dada</italic></p>
<p><italic>Eku use oooh</italic></p>
<p><italic>Ose dada omoluabi se dada</italic></p>
<p><italic>Mo lon se dada</italic></p>
<p><italic>Alon se dada</italic></p>
<p><italic>Ohn se dada</italic></p>
<p><italic>Ohnn se dada ooo</italic></p>
<p>You&#x2019;re doing well!</p>
<p><italic>Source:</italic> Goldberg Nigeria, <xref ref-type="bibr" rid="CIT0017">2021</xref>, <italic>Omoluabi &#x2013; Goldberg lager beer TVC</italic>, viewed n.d., from <ext-link ext-link-type="uri" xlink:href="https://www.youtube.com/watch?v=wzlt3-pwiUQ">https://www.youtube.com/watch?v=wzlt3-pwiUQ</ext-link></p>
</boxed-text>
<p>The use of slang, personality, mannerisms, symbols and signs to signal group identity, solidarity or social status in Omoluabi &#x2013; Goldberg Lager Beer (see <xref ref-type="fig" rid="F0007">Figure 7</xref>).</p>
<p>The use of personality (beautiful ladies to capture the attention of the audience)</p>
</sec>
</sec>
</sec>
<sec id="s0009">
<title>Interpretation of data</title>
<p>The data collected from online skits revealed that creative intermediaries often employ linguistic techniques to engage their audiences. For example, some of the skits featured extensive use of Pidgin English, a popular <italic>lingua franca</italic> across several African regions, which made the content more relatable to a broad audience. In addition, idioms and proverbs were frequently used to emphasise cultural values and traditional wisdom. This, however, projects brands&#x2019; visibility and make them more authentic and reliable.</p>
<p>Some of the advertisements also incorporated humour by using local jokes such as &#x2018;&#x00FF;ou&#x2019;re doing well&#x2019; Debo Adebayo, nonsensical lexemes, that is, <italic>kirirkaka, kirirkaka</italic> &#x2026; This approach was particularly effective in engaging younger audiences who are familiar with online humour trends and appreciate localised content. The integration of these elements created a sense of shared experience between the brand and the audience, thereby enhancing loyalty and emotional attachment.</p>
<p>In the packaging of social media content, brands often used simple phrases in both local dialects and English. This, however, enhances their appeal across linguistic groups. Previous studies indicated that brands which embraced multilingualism in their marketing strategies were able to appeal to a more diverse consumer base (Okonkwo et al. <xref ref-type="bibr" rid="CIT0029">2023</xref>; Samiuddin-Sahem <xref ref-type="bibr" rid="CIT0040">2023</xref>). Companies like MTN and Safaricom have successfully localised their services by using local languages in their advertisement and customer interactions. Also, Coca-Cola, Safaricom and Nigerian Breweries have utilised local languages (such as Pidgin, Yoruba and Swahili) and cultural references (the use of beads, native attires and drums) in their marketing campaigns (cf. <xref ref-type="table" rid="T0001">Table 1</xref>). This has, however, over time, increased brand loyalty and market penetration. Creative intermediaries helped these companies develop relatable and effective communication strategies.</p>
<table-wrap id="T0001">
<label>TABLE 1</label>
<caption><p>Analysis of data.</p></caption>
<table frame="hsides" rules="groups">
<thead>
<tr>
<th valign="top" align="left">Brands</th>
<th valign="top" align="left">Localisation of advertising content</th>
<th valign="top" align="left">Personalities</th>
<th valign="top" align="left">Promotional Activities</th>
<th valign="top" align="left">Para-linguistic aspect</th>
</tr>
</thead>
<tbody>
<tr>
<td align="left">MTN</td>
<td align="left">The use of Pidgin English</td>
<td align="left">Afeez Oyetoro a.k.a Zaka</td>
<td align="left">Porting (migrating) from another network to MTN. Using nonsensical lexemes, that is, [<italic>kirirkaka, kirirkaka</italic>] to create humour and to capture the attention of the audience.</td>
<td align="left">The actor used gesticulation to get the attention of the audience (click the link for the advertisement).<break/>Yellow being the identity of the MTN brand</td>
</tr>
<tr>
<td align="left">Safaricom</td>
<td align="left">Contextualising Swahili &#x2018;Tuinuane&#x2019; (Let&#x2019;s lift each other)</td>
<td align="left">Children and old woman (symbolic of vulnerability)</td>
<td align="left">Appealing to local context of helping others</td>
<td align="left">Picture of two kids lifting each other</td>
</tr>
<tr>
<td align="left">Coca-Cola</td>
<td align="left">Using the name &#x2018;Mama&#x2019; and local dishes</td>
<td align="left">2 face Idibia and family</td>
<td align="left">Introducing big bottled Coca-Cola using 2 face voice to advertise Coca-Cola</td>
<td align="left">Show of care and love.</td>
</tr>
<tr>
<td align="left">Nigerian Breweries Plc</td>
<td align="left">Using local attire, drum, traditional marriage setting, local costumes</td>
<td align="left">Debo Adeboyo aka Freaky Daddy, Odunlade Adekola.</td>
<td align="left">The use of &#x2018;&#x00FF;ou&#x2019;re doing well&#x2019; as affective stylistics of Debo Adebayo brand.</td>
<td align="left">Showcasing the richness of Nigerian Yoruba culture</td>
</tr>
<tr>
<td align="left">Ethiopia Airline</td>
<td align="left">Using tradition, local topography and geographical landscape of Ethiopia.</td>
<td align="left">Flight crew (beautiful faces).</td>
<td align="left">Ethiopia is referred to as &#x2018;the Land of water&#x2019;</td>
<td align="left">Images of art and crafts of Ethiopia</td>
</tr>
</tbody>
</table>
<table-wrap-foot>
<fn><p>MTN, Mobile Telecommunications Network.</p></fn>
</table-wrap-foot>
</table-wrap>
<p>The strategic use of celebrities as a para-linguistic aspect in advertising is one of the powerful tools for brands in building brand identity and fostering consumer connections (Gupta <xref ref-type="bibr" rid="CIT0018">2007</xref>). In the African market, popular brands like MTN, Coca-Cola, Nigerian Breweries, Safaricom and Ethiopia Airline have successfully leveraged celebrity endorsements to enhance their brand image and resonate with their target audiences (Jun <xref ref-type="bibr" rid="CIT0020">2024</xref>; Rastogi, Thakuriya &#x0026; Munjal <xref ref-type="bibr" rid="CIT0036">2024</xref>). For instance, MTN often taps into entertainment personalities and content creators to connect with their diverse customer base across Africa. Collaborations with international celebrities like David Adeleke [<italic>Davido</italic>] and Tiwa Savage elevate the brand&#x2019;s global appeal and attract a younger demographic. These high-profile personalities amplify brand visibility through their large fan bases.</p>
<p>The economic impact of featuring celebrities in advertisements is very significant. It leads to increased sales and a higher return on investment (Kambey, Massie &#x0026; Saerang <xref ref-type="bibr" rid="CIT0022">2024</xref>). Researchers indicate that celebrity endorsements generate immediate spikes in consumer interest and purchasing behaviour, especially during product launches or promotional events (Chung, Derdenger &#x0026; Srinivasan <xref ref-type="bibr" rid="CIT0011">2013</xref>; M&#x00E4;kel&#x00E4; <xref ref-type="bibr" rid="CIT0024">2024</xref>). Furthermore, celebrities engage audiences on social media, acting as influencers who drive conversation and further enhance brand reach.</p>
<p>According to Ouyang (<xref ref-type="bibr" rid="CIT0030">2020</xref>), non-verbal paralanguage contributes remarkably to the meaning-making and reception process in oral interpretation. From the video clips of the five selected data, the para-linguistic features are aspect of multimodal communication for creating and enhancing impactful brand communications to audience engagement. For instance, the use of gesticulation and body language in the MTN&#x2019;s <italic>I Don Port</italic>, the actor Afeez Oyetoro uses exaggerated gesticulations and expressive body movements to add humour and capture the audience&#x2019;s attention. Non-verbal cues play a vital role in complementing the verbal message, reinforcing the theme of switching networks with enthusiasm and ease. Equally significant is the strategic use of colours and visual identity. According to Chaudhary and Shrivastav (<xref ref-type="bibr" rid="CIT0010">2023</xref>), graphic designers employ colours and visual elements to effectively communicate a brand&#x2019;s message, evoke emotions and leave a lasting impression. MTN&#x2019;s distinctive yellow identity, for instance, carries psychological significance, symbolising (see <xref ref-type="fig" rid="F0001">Figure 1</xref>) energy and optimism. This creates a visual connection with the audience even before the verbal message is fully processed. In addition, MTN leverages humour and playfulness through the use of nonsensical lexemes like &#x2018;<italic>Kirikata kirikata</italic>&#x2019;, which breaks formal communication norms, engages the audience and makes the advertisement both memorable and enjoyable. This approach underscores the collaborative efforts of advertising agencies, graphic designers, marketers and content creators in crafting impactful advertisements.</p>
<fig id="F0001">
<label>FIGURE 1</label>
<caption><p>Datum 1: MTN.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g001.tif"/>
</fig>
<p>Looking at datum five, the images of local topography, traditional art and crafts visually communicate the brand&#x2019;s Ethiopian roots. This further emphasises cultural pride and authenticity. The facial expressions and emotional resonance are another notable paralinguistic feature. The facial expressions of beautiful flight crew members and actors in local costumes convey warmth, trust and relatability, making the audience feel connected and welcomed (see <xref ref-type="fig" rid="F0009">Figure 9</xref>).</p>
<p>Symbolism and semiotics in <italic>datum 4</italic>, Nigerian Breweries (Goldberg Lager Beer), are instances of paralinguistic features. The traditional attire, drums and marriage settings evoke a sense of cultural belonging and nostalgia. This, however, signals respect for heritage and social identity. Tone, intonation and musicality in the Coca-Cola&#x2019;s <italic>Mama Di Mama</italic> are also paralinguistic features identified. The repetitive rhythm and affectionate tone of the song enhance emotional appeal. This aligns with themes of care and family, which resonate deeply with African cultural values.</p>
<p>In Safaricom&#x2019;s advertisement, there is the visual and contextual symbolism. The depiction of children and an elderly woman lifting each other is symbolic of community, cooperation and intergenerational support, central to African cultural ideals. Also are the cultural representations such as cues, colours and cultural symbols. These are indispensable in marketing to African audiences. All these strategies build emotional connections, make advertisements more relatable and subsequently enhance brand loyalty.</p>
<p>According to Yuniarti, Aziz and Gani (<xref ref-type="bibr" rid="CIT0049">2024</xref>), creative and marketing professionals are individuals or teams specialised in developing and executing innovative strategies, designs and content to promote brands, products or services. They blend creativity with market insights to create compelling campaigns, visuals and messages, aiming to engage target audiences, enhance brand visibility and drive business growth across various media platforms. These advertising agencies, marketers, graphic designers and content creators collaborate to build strong brand identities for companies like MTN, Safaricom, Coca-Cola, Nigerian Breweries and Ethiopia Airline (<xref ref-type="fig" rid="F0001">Figure 1</xref>, <xref ref-type="fig" rid="F0002">Figure 2</xref>, <xref ref-type="fig" rid="F0004">Figure 4</xref>, <xref ref-type="fig" rid="F0006">Figure 6</xref>, and <xref ref-type="fig" rid="F0008">Figure 8</xref>). They craft strategic campaigns, design visuals, develop engaging content and implement marketing strategies to attract, retain and engage customers while enhancing brand visibility, loyalty and profitability across various platforms.</p>
<fig id="F0002">
<label>FIGURE 2</label>
<caption><p>Datum 2: Safaricom: (a) logo (b) A person holding mobile phone with website view of Safaricom.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g002.tif"/>
</fig>
<p>Lastly, creative economics incorporates promotional activities. Promotional activities are strategic efforts by businesses and organisations to communicate, encourage desired actions and build awareness with their target audiences for purchases or participation. These activities encompass a variety of tools and techniques, including advertising, sales promotions, personal selling, public relations and digital marketing. The goal of promotional activities is to create a favourable impression of a brand, product or service to influence consumer behaviour. Promotional activities are tailored to suit the target audience&#x2019;s preferences and cultural values. In diverse and multilingual markets, they often involve a mix of language adaptation, cultural references and emotional appeals to resonate with consumers. These activities range from large-scale advertising campaigns on traditional media platforms to localised social media promotions, influencer collaborations and grassroots marketing events. When done effectively, they not only boost visibility and sales but also foster brand loyalty and long-term consumer relationships.</p>
</sec>
<sec id="s0010">
<title>Discussion</title>
<p>The promotional activities in the analysed data illustrated an understanding of the African market&#x2019;s cultural and linguistic diversity. Brands such as MTN, Safaricom, Coca-Cola, Nigerian Breweries and Ethiopian Airlines strategically employ language and cultural elements to connect with their audiences. These activities heavily rely on linguistic strategies, such as the use of Pidgin English, Swahili and local dialects, as seen in advertisements like MTN&#x2019;s I <italic>Don Port</italic> campaign and Safaricom&#x2019;s <italic>Tuinuane</italic> (Let&#x2019;s lift each other) (see <xref ref-type="fig" rid="F0003">Figure 3</xref>). By incorporating local languages, idiomatic expressions and humour, these brands enhance relatability by breaking formal communication barriers to appeal to diverse consumer bases.</p>
<fig id="F0003">
<label>FIGURE 3</label>
<caption><p>Datum 2: Safaricom <italic>Tuinuane</italic> - Lifting each other.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g003.tif"/>
</fig>
<fig id="F0004">
<label>FIGURE 4</label>
<caption><p>Datum 3: Coca-Cola: (a &#x0026; b) cans (c) bottle.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g004.tif"/>
</fig>
<p>Emotional engagement is another standout feature of these promotional activities. Brands employ affective stylistics, such as humour, familial references and culturally rich narratives, to foster emotional connections with audiences. Coca-Cola&#x2019;s <italic>Mama di Mama</italic> advertisement exemplifies this by celebrating maternal love and care, using music, metaphors and repetition to evoke warmth and nostalgia. Similarly, Nigerian Breweries showcases Yoruba cultural pride through traditional attires, drums and marriage settings, reinforcing its alignment with local heritage while promoting its Goldberg Lager Beer.</p>
<p>The use of celebrities and symbolic imagery enhances the effectiveness of these promotional activities. By engaging popular figures like Afeez Oyetoro (Saka) for MTN and 2Face Idibia for Coca-Cola (see <xref ref-type="fig" rid="F0005">Figure 5</xref>), the brands amplify their reach and relatability. Safaricom and Ethiopian Airlines employ community-based and culturally symbolic visuals, such as children helping elders and depictions of Ethiopia&#x2019;s landscape, to emphasise values of unity, pride and support. These elements not only increase the advertisements&#x2019; memorability but also strengthen their emotional resonance with the audience.</p>
<fig id="F0005">
<label>FIGURE 5</label>
<caption><p>2Baba - Mama Di Mama.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g005.tif"/>
</fig>
<fig id="F0006">
<label>FIGURE 6</label>
<caption><p>Datum 4: Nigerian Breweries: (a) logo (b) a collection of the Nigerian Breweries products.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g006.tif"/>
</fig>
<fig id="F0007">
<label>FIGURE 7</label>
<caption><p>(a) Goldberg Nigeria-Omoluabi Twale (b) Goldberg Nigeria-Ariya Omoluabi.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g007.tif"/>
</fig>
<fig id="F0008">
<label>FIGURE 8</label>
<caption><p>Datum 5: Ethiopian Airline aircraft.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g008.tif"/>
</fig>
<fig id="F0009">
<label>FIGURE 9</label>
<caption><p>Ethiopian Airline air hostess.</p></caption>
<graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="AJCE-2-25-g009.tif"/>
</fig>
<p>The promotional activities in the analysis highlighted the importance of culturally attuned and linguistically adaptive strategies in advertising. By leveraging local languages, cultural symbols, humour and emotional storytelling, the brands effectively navigate Africa&#x2019;s complex, multilingual environment (Okonkwo et al. (<xref ref-type="bibr" rid="CIT0029">2023</xref>). These approaches build stronger brand identities, foster loyalty and deepen connections with consumers, demonstrating the value of tailoring promotional activities to the cultural and emotional realities of diverse markets. The study findings show the role of creative intermediaries in bridging language gaps with local consumers in popular brands in Africa. It demonstrates Aronczyk&#x2019;s (<xref ref-type="bibr" rid="CIT0006">2013</xref>) assertion that intermediaries play a significant role in helping brands navigate the complexity of multilingualism in African settings. These roles involve mediation, communication, consultancy and content development.</p>
<p>The analysis of the five selected brands revealed that brand intermediaries code-switch and code-mix at irregular intervals. This practice is often employed for clarification and emphasis to grab attention and create a lasting impression on the end user (Jabeen &#x0026; Ahmad <xref ref-type="bibr" rid="CIT0019">2023</xref>). This stylistic device is also used to create social bonds with the brands. Advertisers use these linguistic phenomena to enhance creativity, cultural relevance, emotional resonance and persuasiveness, among other factors. To enhance the localisation of the brand, they engage indigenous celebrities and use promotional activities such as slogans, local content, music and paralinguistic devices to demonstrate the significance of the brand they are promoting.</p>
<p>The intermediaries are faced with both opportunities and challenges. Opportunities come in the form of the ability to penetrate the market using local content. This enables them to create unique and appealing brands that stand out among their competitors. However, they also face challenges such as navigating the encumbrance of dialects and variance because of the numerous dialects and languages in African society. In addition, they confront difficulties in balancing global and local branding.</p>
<p>The findings underscore the importance of culturally attuned language use in marketing and branding efforts. They offer insights into how brands can better engage with African consumers through tailored linguistic strategies. By understanding and addressing the linguistic and cultural diversity within the African market, brands can develop more effective communication strategies that resonate with local consumers, thereby enhancing their market presence and brand loyalty.</p>
</sec>
<sec id="s0011">
<title>Conclusion</title>
<p>Language plays a pivotal role in constructing brand identity in African markets, particularly in multilingual and culturally diverse settings. Creative intermediaries such as advertising agencies and content creators employ a combination of linguistic strategies such as code-switching, use of local dialects and cultural idioms to resonate with target audiences. These strategies foster emotional connections, enhance brand authenticity and establish stronger consumer relationships. Moreover, the incorporation of affective stylistics, humour and culturally relevant narratives significantly amplifies the effectiveness of advertisements, making them memorable and impactful.</p>
<p>This study also highlights challenges associated with navigating Africa&#x2019;s linguistic diversity. Brands face difficulties in balancing local cultural relevance with global brand identity and ensuring consistency across multiple dialects. Despite these challenges, the findings underscore the importance of culturally attuned language use in marketing, emphasising that brands that adapt their communication strategies to the linguistic and cultural nuances of African markets are more likely to succeed in building loyalty and expanding their market presence.</p>
</sec>
</body>
<back>
<ack>
<title>Acknowledgements</title>
<sec id="s20012" sec-type="COI-statement">
<title>Competing interests</title>
<p>The authors declare that they have no financial or personal relationships that may have inappropriately influenced them in writing this article.</p>
</sec>
<sec id="s20013">
<title>Authors&#x2019; contributions</title>
<p>The research idea was conceived by A.A.; she researched the literature used and wrote part of the article. O.P.O. conducted the analysis and wrote the discussion section and part of the article as well.</p>
</sec>
<sec id="s20014">
<title>Ethical considerations</title>
<p>This article followed all ethical standards for research without direct contact with human or animal subjects.</p>
</sec>
<sec id="s20015" sec-type="data-availability">
<title>Data availability</title>
<p>Data sharing is not applicable to this article as no new data were created or analysed in this study.</p>
</sec>
<sec id="s20016">
<title>Disclaimer</title>
<p>The views and opinions expressed in this article are those of the authors and are the product of professional research. The article does not necessarily reflect the official policy or position of any affiliated institution, funder, agency or the publisher. The authors are responsible for this article&#x2019;s results, findings and content.</p>
</sec>
</ack>
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<fn><p><bold>How to cite this article:</bold> Ajala, A.T. &#x0026; Oluwasanmi, O.P., 2025, &#x2018;The role of language in building brand identity in African markets&#x2019;, <italic>African Journal of Creative Economy</italic> 2(1), a25. <ext-link ext-link-type="uri" xlink:href="https://doi.org/10.4102/ajce.v2i1.25">https://doi.org/10.4102/ajce.v2i1.25</ext-link></p></fn>
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