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The paper explores how consumer behavior for purchasing impulse products changed in the complex and disruptive (emergency) situation of the COVID-19 pandemic when the customer is shopping in-home and not visiting the offline stores in an emerging economy context. This paper further explores how digital transformations like the use of blockchain technology can aid offline/omnichannel retailers in reviving sales via permission marketing for impulse products.

The authors followed a qualitative research design and conducted 24 personal interviews with millennials and 15 interviews with offline/omnichannel retailers from an emerging economy. The data collected were analyzed using the thematic analysis procedure.

The authors discuss their findings under three themes – customers' conscious impulse buying during the pandemic, customers' unconscious impulse buying during the pandemic, and a viable solution for retailers in response to the pandemic.

The authors suggest that marketers primarily from an offline/omnichannel store should adapt to permission marketing and use technologies like blockchain for the digital transformation of their marketing strategies. Doing so can help offline retailers minimize future damages in the retail sector during emergency situations.

This paper is one of the first that explores how impulse – pure, suggestion, planned and reminder – purchases got affected during the COVID-19 pandemic disruptions in an emerging economy. This paper is also one of the first to explore the role of permission marketing and digital transformation by the use of blockchain in helping offline retailers in forming swift trust and practice trust-based marketing.

The purpose of this paper is to examine the meaning, in both local and international context, of the Kochi-Muziris Biennale (KMB), the first international exhibit of contemporary art in India. Kochi Biennale Foundation (KBF), which administers the KMB, identifies art as a means for transforming society, with a mission to bring global contemporary art to India and to present India’s modern art to the world. The authors further investigate the role of government sponsorship and corporate patronage in funding the KMB, and investigate how resistance through art is key to the KMB’s identity.

This study focuses primarily on published materials relating to the KMB. One of the authors attended the 2016 KMB and interviewed fellow attendees. Additionally, the authors reviewed and assessed social media postings regarding the 2016 KMB.

The authors argue that government sponsorship and corporate patronage are never solely about political or financial power. Rather, a generalized reciprocity among the three entities – corporations, the government and the artists – allows the KMB to flourish. For the artists involved, the KMB, co-founded by activist artists, sustains interest in and awareness of resistance.

Extant literature on biennales is sparse on ways in which these exhibits extend their impact beyond the art world. The authors examine issues such as India expanding its position on the world stage through art, and the implications of political resistance embraced by Indian artists on future directions for the KMB, that have heretofore been unaddressed.