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Communicating the national values of artists and the role of product benefits as symbols of national values, infuse iconic national brands. This paper aims to validate a conceptual framework that offers empirical insights for cultural identity that drives brand management.

Case studies and cross-cultural focus group research establish the present study’s conceptual framework for cultural branding.

Brand awareness of a perfume named after a Cuban dancer and a spirit named for a Chilean poet, reflect authentic emblems of national identity. Informants’ behavior confirms the study’s model of icon myth transfer effect as a heuristic for cultural branding with clear, detailed and unprompted references to the myths and brands behind these heroines.

The study’s ethnography shows how artists reflect myth and folklore in iconic brands. Future research should assess whether the icon myth transfer effect as a heuristic for cultural branding occurs with cultural icons beyond the arts and transcends national boundaries.

The study challenges conventional branding, where the brand is the myth, and the myth reflects the myth market. The authors show how the myth connects to a national identity yet exists independently of the brand. The branding strategy ties the brand to the existing myth, an alternative route for cultural branding mediated by the icon myth transfer effect.

These two Latin American brands provide a much-needed connection among the branding literatures and images surrounding gender and nationalism in lesser-known markets.

Most research explores iconic myths, brands and folklore in one country. This study extends cultural branding through social history and by testing a conceptual model that establishes how myths embody nation-specific values. Iconic myths are a heuristic for understanding and describing brands, revealing an unexamined path for cultural branding.

To introduce the concept of cultural equity and provide a theoretical framework for managing cultural equity in multi-cultural markets.

Recent research on the social psychology of globalization, cross-cultural consumer behavior, consumer culture, and global branding is reviewed to develop a theoretical framework for building, leveraging, and protecting cultural equity.

Provides an actionable definition for a brand’s cultural equity, discusses consumer responses to brands that relate to cultural equity, identifies the building blocks of cultural equity, and develops a framework for managing cultural equity.

Research conducted mainly in large cities in North and South America, Europe, the Middle East, and East Asia. Generalizations to less developed parts of the world might be limited.

A very useful theoretical framework for managers interested in building cultural equity into their brands and for leveraging this equity via new products and the development of new markets.

The paper integrates past findings across a variety of domains to develop a parsimonious framework for managing cultural equity in globalized markets.

Jacqueline Bouvier Kennedy and Michelle Robinson Obama are two First Ladies of the United States whose racial-ethnic, personal, and family characteristics made them the objects of inordinate public fascination. Using Patricia Hill Collins's concept, the “outsider within,” this chapter explores Kennedy and Obama's emergence as cultural icons and their marginal relationship with the white Protestant American governing class. As wives of presidents and specific to her generation, each woman brought superior professional credentials to their public roles. As cultural icons who differ from the white racial frame, they are subjected to excessive media scrutiny, evaluation, and supervision. Both women exercise cultural agency from their positions as cultural icons, particularly utilizing ceremonial activities and the power of the White House to oppose cultural erasure and exclusion of minority groups and to provide models of social inclusion. Analysis of their roles highlights the continuing importance of wives to the acquisition and maintenance of power and to the role of elites in offering models of social justice.

This paper seeks to highlight issues surrounding ownership and copyrights relating to intangible cultural heritage and to raise potential concerns for local (rural, remote, smaller) communities involved in cultural heritage tourism.

The objective of the paper is to provoke reflection and further discourse on how local culture in smaller rural communities has been appropriated for tourism and related issues and concerns. Selected literature, other relevant documents and data from personal observations, derived from previous research, were examined to provide insights on the subject and to help achieve this objective.

Findings suggest that an inequity gap exists in benefits distributed to many rural communities whose cultural heritages are being appropriated and exploited by multiple commercial entities for tourism purposes and personal gain. Little, if any, of the profits realized benefit the local community – the actual creators and owners of the local culture.

With a new awareness and understanding of this phenomenon, developing and implementing a new and alternative approach is possible – an alternative approach that may help narrow this inequity gap while also ensuring significant sustainable benefits to all the stakeholders.

This paper presents new perspectives about the value of intangible cultural heritage when used for tourism. This paper should be of interest and importance to community tourism planners and policy makers, industry operators/suppliers dependent on local cultural tourism products, and consumers of local intangible culture who seek unique cultural experiences.

There is no doubt that there is a need for new traditions, that is, wisdoms for enhanced responsible business in Africa. As one of the oldest world economies, Africa has a rich history of responsible indigenous business traditions that have sustained and supported her people’s principled business entrepreneurship over the centuries. However, there is little knowledge about these African responsible indigenous business traditions in the international literature. Currently, internationally familiar Western responsible business traditions dominate global responsible management knowledge and practice. The chapter explores responsible indigenous business traditions amongst the Sesotho-speaking people of Southern Africa called Basotho, bringing to light an aspect of responsible indigenous business management knowledge and practice from Southern Africa. These Basotho’s responsible indigenous business traditions embedded in Mokorotlo business model are Seahlolo, that is, communal, or mutual aid sharing, Letsema, that is, communal work party, Tsimo-ea-lira, that is, the field of enemies, Moelela, that is, food paid for work at threshing time, and Mafisa, that is, communal livestock loaning. The chapter concludes by suggesting that these Mokorotlo business traditions are prima facie attractive to be taken seriously in the global responsible management knowledge and practice.

To explore the evolution and function of the wristwatch as a contemporary cultural icon.

To apply the concepts of iconography and of postmodern cultural theory to the general history of watches and to examine the meaning watches in contemporary culture.

Because the watch oscillates between use and signal values, the watch enjoys a distinct iconic status in contemporary American culture, evoking a host of often conflicting associations: those allied to work, productivity, enterprise and success, on the one hand, and those related to self‐indulgence, status luxury and excess, on the other hand. The development of cheap electronic movements ought to have spelled disaster for the watch both as a business and as a cultural icon, but beginning in the 1980s the watch aggressively fought back within the signal economy to represent a postmodern sense of the concept of time and culture.

Wrist watches have a much fuller history, technical and cultural, than reported here and many more metonymic associations than those considered in this paper.

Considering the wrist watch, a common bit of material culture, as a cultural icon enables one better to consider and to appreciate the iconicity of common objects, as well as the iconicity of places and people.

This paper models a way of considering the meanings of things, applicable to the host of technological things that increasingly fill daily life: cell phones, PDAs, Blackberries, laptop computers, and the like.

The purpose of this paper is to propose cultural equity as a construct to better understand the characteristics that define a culturally symbolic brand and the downstream consequences for consumer behavior and nation branding in the era of globalization.

This paper is an empirical investigation of the knowledge and outcome aspects of cultural equity with a total of 1,771 consumers located in three different countries/continents, 77 different brands as stimuli, and using a variety of measures, surveys, lab experiments, procedures and consumer contexts.

Cultural equity is the facet of brand equity attributed to the brand's cultural symbolism or the favorable responses by consumers to the cultural symbolism of a brand. A brand has cultural equity if it has a distinctive cultural symbolism in consumers' minds (brand knowledge aspect of cultural equity: association with the central concept that defines the culture, embodiment of culturally relevant values and embeddedness in a cultural knowledge network), and such symbolism elicits a favorable consumer response to the marketing of the brand (outcome aspect of cultural equity: favorable evaluations and strong self-brand connections).

This paper offers a framework that allows marketers to develop cultural positioning strategies in hyper-competitive and globalized markets and identify ways for building and protecting their brands' cultural equity.

This paper advances our understanding of brands as cultural symbols by introducing cultural equity and integrates prior research on brand equity, cross-cultural differences in consumer behavior, country-of-origin effects and nation branding.

The academic discourse around celebrity and iconicity has resulted in the same human brand as labeled as an inauthentic and illegitimate celebrity and as a culturally important symbol of legitimate achievement. We address the research question of how are contradictions between celebrity and iconicity resolved in creating and managing a human brand.

Using structuration theory, we analyzed David Bowie’s 50 year career, from 1964 to 2013, totaling 562 documents. Applying Langley’s (1999) stages of data collection of grounding, organizing, and replicating, we develop a process of model of celebrity and iconicity.

We identify three stages of human brand symbolic associations: forming, fixing, and transitioning associations. These represent alternate trajectories that Bowie and Ziggy Stardust followed to become icons. In resolving his trajectories across these stages, Bowie adapts and adopts commercial materials, business practices, and new technologies to converge his symbolic associations into a coherent iconic human brand.

Limitations of this paper lie in focusing on one human brand in a particular industry. Future research is suggested in three areas: (1) the relationship between the proposed model and other human brand activities; (2) to explore how the process is manipulated by other market agents; and (3) whether a human brand’s association shifts can precede culture.

This perspective challenges existing conceptualizations of celebrity and iconicity by framing them as inter-related processes, where celebrity associations are fixed in time, while iconic associations transition across time periods to reflect changing cultural values and concerns.

We aim to understand what happens when larger social and cultural myths become the incarnate understanding of consumers within the firm. This paper uncovers the varied myths at play in one Finnish company’s status as an inadvertent cultural icon.

Through a qualitative inquiry of Finland’s largest dairy producer and by employing the theoretical lens of myth, we conceptualize the entanglement of broad cultural, social, and organizational myths within the organization.

Macro-mythic structures merge with everyday employee practice giving consumer understanding flesh within the firm (Hallet, 2010). Mythological thinking leaves organizational members inevitably bound up in a form of consumer knowing that is un-reflective and inadvertently effects brand marketing management.

Working through a nuanced typology of myth (Tillotson & Martin, 2014) provided a deeper understanding of how managers may become increasingly un-reflexive in their marketing activities. This case also provides a cautionary tale for heterogeneous communities where ideological conflict underscores development and adoption of contemporary myths.