In addition, the development of tourism that is getting better in the North Bali region is also one event for them to show their potential. Therefore, this *Kolok* community group must be prepared. This preparation is one of them by training them to become professional dancers. In the future Bengkala village can be used as a kind of project pilot for inclusive villages in the arts. This is certainly interesting to be a special destination for academics, artists, art connoisseurs, and other fields who care about this disabled group.

The next background is religious, as a form of gratitude and respect for culture. Balinese society as a cultured creature cannot be separated from its religious side [15].  Through the creation of *Janger Kolok* Dance, *Baris Bebek Bingar* Bengkala (*Bebila*) Dance, and *Jalak Anguci* Starling Dance, it is hoped that it can be a form of gratitude for God's gift to humans. Whatever form of blessing is given by God, we certainly should always be grateful, including in limited situations like this *Kolok* society. Because with this gratitude, humans can see the positive side of the shortcomings that we have. This form of gratitude can be demonstrated by making it a positive thing, one of which is a variety of special dances for the *Kolok* community in Bengkala.

**45**

*The Light Penetrates Silence:* Kolok *Dance Study in Bengkala Village, Buleleng, Bali*

This dance shows how this *Kolok* community dances happily through their lives. The dancers dance the dance with sincerity and inspiration. The assertive variety of line dance moves is also an expression of gratitude. Then it is expected in the performance when there are people watching so that they are aware and grateful for God's blessing. Because if we are grateful for whatever is given to humans it will

In the dimension of Balinese art philosophy, art is *ngayah* (doing work without thinking about results). This philosophy is also a form of religious value that is gratitude and respect for God's power. Various types of special dances for people with disabilities have also become an expression of the desire of the *Kolok* group in

First, the *Janger Kolok* dance was popular and famous in 2002 when it was staged at the Bali Arts Festival. Actually historically, it has been around since 1967, which was pioneered by Nedeng [8]. The early history of the emergence of this *janger* cannot be separated from the expression of art and gratitude from the people in the village of Bengkala when the harvest is finished. Then they made a dance in the form of a *janger*, but due to their limitations, they could not speak *Kolok* finally made a *janger* that was created using only sign language. This then makes the *janger*

Furthermore, when viewed from the dance movements are actually not much

A hiccup, namely *gambelan* in a smaller form consisting of drums, flutes, *gups*, *gongs* and *gangsa*, accompanies the *Janger Kolok* dance. To add value to the art in the performance, dancers always wear standard decoration hangers consisting of *banger janger*, *badong*, tinsel belt, *kamen* cloth, oncer, and *ampok-ampok*. In addition, there are ornaments in the form of earrings, fans (women), *udeng* (men), shorts and other accessories to support the performance of dancers to the fullest. The duration of the performance of the anger *Kolok* dance is usually between 20 and 30 minutes

Second, *Baris Bebek Bingar* Dance Bengkala is literally interpreted as a happy war dance from Bengkala. This dance illustrates the army that is ready to face the enemy with joy. Furthermore, *Baris Bebek Bingar* Dance is seen from the aspect of the movement is not much different from the line dance movements in general. But adapted to the limited ability of dancers who cannot hear and cannot speak (*Kolok*). To enrich the motion of this dance, the motion of attraction is added. *Baris Bebek Bingar* Bengkala dance dancers numbered seven people where one person serves as the leader of his troops and four dancers as members of the troops. The dancers are Ngarda, Sumendra, Subentar, Juliarta, Karyana, Sugita, and Sudarma [17]. This is in accordance with the general concept of line dance, which is a symbol of troops. The variety of dance moves is also a picture of the preparation of troops to fight

different from other dance dances. Motion is the main element in dance that involves three things, namely energy, space, and time [16]. The substantive thing that distinguishes it lies in the absence of sound or singing like a *janger* in normal. The dancers use gestures to give a sign of what is being sung. The *Kolok* dance consists of left and right *ngagem*, *nyeleog*, *ngelipur*, *nyeledet*, *ngelig*, and includes carry. In addition, because this dance also combines the movements of the *Kecak* dance when seated, there are movements of supervisors, *ngeseh*, *nuding* and *nayoh*. The pattern of the movement was divided into *pepeson*, prince, play, and sensitivity. The whole movement is done with duration of three repetitions dynamically and

*DOI: http://dx.doi.org/10.5772/intechopen.94397*

**3.2 General description of** *Kolok* **dance in Bengkala**

that was made known as the *Kolok janger* (the dancer's silent voice).

undoubtedly be beneficial.

Bengkala village:

alternately.

for each performance.

such as combat training or war strategy.

*The Light Penetrates Silence:* Kolok *Dance Study in Bengkala Village, Buleleng, Bali DOI: http://dx.doi.org/10.5772/intechopen.94397*

This dance shows how this *Kolok* community dances happily through their lives. The dancers dance the dance with sincerity and inspiration. The assertive variety of line dance moves is also an expression of gratitude. Then it is expected in the performance when there are people watching so that they are aware and grateful for God's blessing. Because if we are grateful for whatever is given to humans it will undoubtedly be beneficial.

In the dimension of Balinese art philosophy, art is *ngayah* (doing work without thinking about results). This philosophy is also a form of religious value that is gratitude and respect for God's power. Various types of special dances for people with disabilities have also become an expression of the desire of the *Kolok* group in Bengkala village:

#### **3.2 General description of** *Kolok* **dance in Bengkala**

First, the *Janger Kolok* dance was popular and famous in 2002 when it was staged at the Bali Arts Festival. Actually historically, it has been around since 1967, which was pioneered by Nedeng [8]. The early history of the emergence of this *janger* cannot be separated from the expression of art and gratitude from the people in the village of Bengkala when the harvest is finished. Then they made a dance in the form of a *janger*, but due to their limitations, they could not speak *Kolok* finally made a *janger* that was created using only sign language. This then makes the *janger* that was made known as the *Kolok janger* (the dancer's silent voice).

Furthermore, when viewed from the dance movements are actually not much different from other dance dances. Motion is the main element in dance that involves three things, namely energy, space, and time [16]. The substantive thing that distinguishes it lies in the absence of sound or singing like a *janger* in normal. The dancers use gestures to give a sign of what is being sung. The *Kolok* dance consists of left and right *ngagem*, *nyeleog*, *ngelipur*, *nyeledet*, *ngelig*, and includes carry. In addition, because this dance also combines the movements of the *Kecak* dance when seated, there are movements of supervisors, *ngeseh*, *nuding* and *nayoh*. The pattern of the movement was divided into *pepeson*, prince, play, and sensitivity. The whole movement is done with duration of three repetitions dynamically and alternately.

A hiccup, namely *gambelan* in a smaller form consisting of drums, flutes, *gups*, *gongs* and *gangsa*, accompanies the *Janger Kolok* dance. To add value to the art in the performance, dancers always wear standard decoration hangers consisting of *banger janger*, *badong*, tinsel belt, *kamen* cloth, oncer, and *ampok-ampok*. In addition, there are ornaments in the form of earrings, fans (women), *udeng* (men), shorts and other accessories to support the performance of dancers to the fullest. The duration of the performance of the anger *Kolok* dance is usually between 20 and 30 minutes for each performance.

Second, *Baris Bebek Bingar* Dance Bengkala is literally interpreted as a happy war dance from Bengkala. This dance illustrates the army that is ready to face the enemy with joy. Furthermore, *Baris Bebek Bingar* Dance is seen from the aspect of the movement is not much different from the line dance movements in general. But adapted to the limited ability of dancers who cannot hear and cannot speak (*Kolok*). To enrich the motion of this dance, the motion of attraction is added. *Baris Bebek Bingar* Bengkala dance dancers numbered seven people where one person serves as the leader of his troops and four dancers as members of the troops. The dancers are Ngarda, Sumendra, Subentar, Juliarta, Karyana, Sugita, and Sudarma [17]. This is in accordance with the general concept of line dance, which is a symbol of troops. The variety of dance moves is also a picture of the preparation of troops to fight such as combat training or war strategy.

*Creativity - A Force to Innovation*

Specifically, the background to the creation of special dances for the *Kolok* community in Bengkala is divided into three main reasons, namely esthetics, economics, and religion. The reason for the creation of art cannot be separated from the esthetic value. Likewise, the creation of *Janger Kolok* dance, *Baris Bebila* dance and *Jalak Anguci* dance is inseparable from esthetic reasons. Esthetics according to Gie [12] is the value of beauty, science of beauty, and taste. This cannot be separated from the dance work as a work of art full of beauty. This beauty can make people who dance feel happy. Likewise those who watch it feel happy. Therefore, art can be

This condition is in line with what is faced by the *Kolok* community groups in Bengkala village. People who are classified as disabled but have a high artistic interest. This society can live happily amid the physical limitations and limitations they have. This situation is certainly different from people with disabilities in general who sometimes feel embarrassed to appear because they are not confident. The spirit of art and the desire to express themselves have encouraged the *Kolok* community in Bengkala to overcome these limitations. This *Kolok* community can make

Other conditions that encourage the creation of this dance are economic reasons,

This reasoning certainly looks very pragmatic, but seeing their limited condition is an alternative solution in the long run. This development is important to answer the development of tourism so that it does not only become a spectator in the midst of globalization [14]. The economic benefits gained are not solely for economic reasons but how they can solve economic problems. Because it must be recognized that in our society not all can accept their limited conditions. In addition, limited professional access is also the reason why this group must find other solutions in the economic field. Training them to become professional dancers and performers in

In addition, the development of tourism that is getting better in the North Bali region is also one event for them to show their potential. Therefore, this *Kolok* community group must be prepared. This preparation is one of them by training them to become professional dancers. In the future Bengkala village can be used as a kind of project pilot for inclusive villages in the arts. This is certainly interesting to be a special destination for academics, artists, art connoisseurs, and other fields who

The next background is religious, as a form of gratitude and respect for culture. Balinese society as a cultured creature cannot be separated from its religious side [15].  Through the creation of *Janger Kolok* Dance, *Baris Bebek Bingar* Bengkala (*Bebila*) Dance, and *Jalak Anguci* Starling Dance, it is hoped that it can be a form of gratitude for God's gift to humans. Whatever form of blessing is given by God, we certainly should always be grateful, including in limited situations like this *Kolok* society. Because with this gratitude, humans can see the positive side of the shortcomings that we have. This form of gratitude can be demonstrated by making it a positive thing, one of which is a variety of special dances for the *Kolok* community

one of the entertainment media that makes people feel happy.

it as one of the social capital to create unique art that is second to none.

*barong* performances or in Tanah Lot with *Kecak* dance performances.

accordance with their artistic potential can be an alternative solution.

namely the existence of a desire to be one alternative income to the *Kolok* community. It is hoped that when they become professional artists, their uniqueness will attract the interest of art connoisseurs and tourists to come and watch them. Of course, there is some money that can be obtained after they perform this dance. This is in line with the views of Bandem and deBoer [13] which states that if the dance is well managed it can certainly produce economic benefits. Examples can be seen staging dance for tourists in various tourism centers such as in Ubud with

**44**

in Bengkala.

care about this disabled group.

Especially for the *Baris Bebek Bingar* (Duck dance), certainly not as detailed as the *Baris bebek* dance in general there are aspects that are omitted for example the sound and the formation is very simple. The core movements in the *Bebek Bingar* Bengkala dance line are generally divided into four parts, *pepeson*, comedians, painters and sensitizers. In addition there are some typical movements possessed by the *Baris bebek* dance, namely for *pepeson* (*gilak*) can be started from the *lawang mungkah* namely opening the door or initiating a performance. After continuing with the right *mangem* and left *mangem*. Other movements are *nayog*, and then loud, switch *pajeng*, *malpal*. The whole movement is carried out dynamically to describe the troops or soldiers who will fight.

The *Baris Bebila* dance is also filled with movements of both arms, which are always horizontal in position with firm movements, showing the readiness of a soldier. The spear is always held tight. Then these dancers move their eyes dynamically to show they are very alert as a soldier. The movements will be implemented into the performance. Where the initial staging process begins with the sound of *gambelan* (percussion). The dancer then enters the stage. Once on the stage the dancers will form formations or groups that face each other. They wag their spears if in this general line they shout, and then demonstrate the war movement. This movement characterizes line dance that the aim is to prepare troops for war.

Each group alternately moves as they fight fighting each other. The movements are carried out in a compact manner coordinating with each other. The dance leader who commands the war forces coordinates these movements. So keep alternating up to three times the repetition. Then the squad leader gave the command to stop. The dancer stops while lowering her head and holds her spear. The next movement was new information, each of them moved and looked for new friends. Movement is the same as that which begins with a combination of other war movements. Occasionally there is also a circular motion up to three repetitions. After that, then a dance ends, all dancers'line up and face the *pelinggih* or the audience, then bow their heads and return to the backstage [13]. Thus ended the performance of *Bebek Bingar* Bengkala Dance.

The *Bebek Bingar* Bengkala dance, if seen from the fashion has similarities with the Baris dance in general, especially the Baris Spear dance. A difference is using foot ornaments in the form of small bells in the form of bracelets (*gongseng*). The purpose of this decoration is the presence of a distinctive sound when the dancer snaps her feet or moves. This is to cover up the lack of dancers who cannot scream because they are mute (*Kolok*).

The other clothing used by the *Baris Bebek Bingar* Bengkala dance is a headdress consisting of a conical hat. These binds are usually decorated with flowers and various trinkets that make it look bright.  It also contains a total of 16 pieces of cloth laying down, which will have an effect when the dancer spins.  Then to accompany it, use a flute, *kenong*, *gong* and *beleq* drum as one of the musical instruments.

Third, the *Jalak Anguci* dance is a new dance created in 2018, which depicts beautiful women such as starlings who have a melodious voice. With the hope that later Bengkala village as a unique village with its *Kolok* community can be famous like the Bali Starling and can talk a lot in a wider arena. Two *Kolok* women in Bengkala village, Budarsih and Reswanadi, dance this dance. Both of them were very young when they were 19 and 13 years old. It is hoped that later they will be able to transmit this dance to other people.

*Jalak Anguci* Starling Dance has a unique uniqueness with other dances, where generally the dance follows the musicians. However, in the *Jalak Anguci* dance, the

**47**

possible.

*The Light Penetrates Silence:* Kolok *Dance Study in Bengkala Village, Buleleng, Bali*

musicians will follow the dance moves. Although it starts from the drummer to give a signal. To beautify the appearance of the dance movements Starling *Jalak Anguci* dancers wear clothes like starlings.  Then his body was wrapped with *badong* decorations, *ampok-ampok*, *kana* bracelets, anklets, and other decorations. Then for the accompanist to use *gambelan* in the form of drums, flutes, gongs, *kenong* and others. This

Each dance certainly has a value that wants to be described and conveyed to the audience [12]. Likewise, *Kolok* dances in Bengkala village. There is a transfer of values to be conveyed to the wider community, which is expected to be a guideline in shaping character [18]. If you examine the three dances in Bengkala village, there are values to be conveyed including struggle, discipline, hard work, cooperation,

The value of struggle in dance in Bengkala village can be seen from the process of a *Kolok* who can dance. The dancer has to struggle a long struggle in order to be able to dance a dance, such as when practicing *Baris Bebek Bingar* Bengkala dance and distance from the *Jalak Anguci* distance dance. Including Baris dance itself is actually full of heroic values that are synonymous with struggle [19]. These dancers need an average of up to three months to be able to dance a dance. The spirit to keep on struggling not to give up on their limitations is very much needed. This value can certainly be a guide for us to imitate and can be used as a guide in living life to

The struggle can also be seen from a limited situation because they are *Kolok* but must dance to the accompaniment of *gambelan*. Which logically is not possible, but thanks to the perseverance of the high fighting spirit, the dancers finally performed the dance well. Likewise the musicians who should accompany the dance. Because the dancers do not hear and are unable to speak, the mother beater who must be prepared always follows the dancers' movements that are sometimes unpredictable.

The next value is discipline, the key to the success of the *Janger Kolok* dance, *Baris Bebila* Dance and *Jalak Anguci* Dance. There is discipline among dancers and musicians to continue practicing. Discipline to control and defeat selfishness and feeling lazy and giving up easily. Because in the midst of these limitations, discipline is the key so that they can successfully dance the dance that is trained. If not disciplined, of course what the trainer teaches will not be done correctly. These dancers really prove that discipline can change the impossible to be

In addition to the discipline of the dancers and musicians, they also have a hardworking spirit, they do not easily give up on their condition. This situation causes the dance that was initially impossible to be able to do. These dancers must practice 2–3 times a day for three months. In the morning they work before training, in the afternoon when they break playing the video sent by their trainer, in the afternoon they train together at the village hall. Their willingness to work hard finally paid off with a good performance at the end of the event. This means that there is no wasted

This situation certainly needs not an easy thing but it requires a struggle.

effort, when we try to the maximum then the results will also be good.

The meaning of each dance developed in Bengkala Village is the value of cooperation. This can be seen in the synergy of cooperation between dancers, musicians, trainers and also the surrounding community. It is this good collaboration that led to this dance being realized. Because of the limitations and various problems that exist eventually the dances can be realized. Dancers, musicians

*DOI: http://dx.doi.org/10.5772/intechopen.94397*

dance performance takes 7–8 minutes at a time.

**3.3 The meaning of Bengkala** *Kolok* **dance**

beauty, and excitement.

always be enthusiastic.

musicians will follow the dance moves. Although it starts from the drummer to give a signal. To beautify the appearance of the dance movements Starling *Jalak Anguci* dancers wear clothes like starlings.  Then his body was wrapped with *badong* decorations, *ampok-ampok*, *kana* bracelets, anklets, and other decorations. Then for the accompanist to use *gambelan* in the form of drums, flutes, gongs, *kenong* and others. This dance performance takes 7–8 minutes at a time.

#### **3.3 The meaning of Bengkala** *Kolok* **dance**

*Creativity - A Force to Innovation*

the troops or soldiers who will fight.

Bengkala Dance.

because they are mute (*Kolok*).

Especially for the *Baris Bebek Bingar* (Duck dance), certainly not as detailed as the *Baris bebek* dance in general there are aspects that are omitted for example the sound and the formation is very simple. The core movements in the *Bebek Bingar* Bengkala dance line are generally divided into four parts, *pepeson*, comedians, painters and sensitizers. In addition there are some typical movements possessed by the *Baris bebek* dance, namely for *pepeson* (*gilak*) can be started from the *lawang mungkah* namely opening the door or initiating a performance. After continuing with the right *mangem* and left *mangem*. Other movements are *nayog*, and then loud, switch *pajeng*, *malpal*. The whole movement is carried out dynamically to describe

The *Baris Bebila* dance is also filled with movements of both arms, which are always horizontal in position with firm movements, showing the readiness of a soldier. The spear is always held tight. Then these dancers move their eyes dynamically to show they are very alert as a soldier. The movements will be implemented into the performance. Where the initial staging process begins with the sound of *gambelan* (percussion). The dancer then enters the stage. Once on the stage the dancers will form formations or groups that face each other. They wag their spears if in this general line they shout, and then demonstrate the war movement. This movement

Each group alternately moves as they fight fighting each other. The movements are carried out in a compact manner coordinating with each other. The dance leader who commands the war forces coordinates these movements. So keep alternating up to three times the repetition. Then the squad leader gave the command to stop. The dancer stops while lowering her head and holds her spear. The next movement was new information, each of them moved and looked for new friends. Movement is the same as that which begins with a combination of other war movements. Occasionally there is also a circular motion up to three repetitions. After that, then a dance ends, all dancers'line up and face the *pelinggih* or the audience, then bow their heads and return to the backstage [13]. Thus ended the performance of *Bebek Bingar*

The *Bebek Bingar* Bengkala dance, if seen from the fashion has similarities with the Baris dance in general, especially the Baris Spear dance. A difference is using foot ornaments in the form of small bells in the form of bracelets (*gongseng*). The purpose of this decoration is the presence of a distinctive sound when the dancer snaps her feet or moves. This is to cover up the lack of dancers who cannot scream

The other clothing used by the *Baris Bebek Bingar* Bengkala dance is a headdress

consisting of a conical hat. These binds are usually decorated with flowers and various trinkets that make it look bright.  It also contains a total of 16 pieces of cloth laying down, which will have an effect when the dancer spins.  Then to accompany it, use a flute, *kenong*,

Third, the *Jalak Anguci* dance is a new dance created in 2018, which depicts beautiful women such as starlings who have a melodious voice. With the hope that later Bengkala village as a unique village with its *Kolok* community can be famous like the Bali Starling and can talk a lot in a wider arena. Two *Kolok* women in Bengkala village, Budarsih and Reswanadi, dance this dance. Both of them were very young when they were 19 and 13 years old. It is hoped that later they will be

*Jalak Anguci* Starling Dance has a unique uniqueness with other dances, where generally the dance follows the musicians. However, in the *Jalak Anguci* dance, the

*gong* and *beleq* drum as one of the musical instruments.

able to transmit this dance to other people.

characterizes line dance that the aim is to prepare troops for war.

**46**

Each dance certainly has a value that wants to be described and conveyed to the audience [12]. Likewise, *Kolok* dances in Bengkala village. There is a transfer of values to be conveyed to the wider community, which is expected to be a guideline in shaping character [18]. If you examine the three dances in Bengkala village, there are values to be conveyed including struggle, discipline, hard work, cooperation, beauty, and excitement.

The value of struggle in dance in Bengkala village can be seen from the process of a *Kolok* who can dance. The dancer has to struggle a long struggle in order to be able to dance a dance, such as when practicing *Baris Bebek Bingar* Bengkala dance and distance from the *Jalak Anguci* distance dance. Including Baris dance itself is actually full of heroic values that are synonymous with struggle [19]. These dancers need an average of up to three months to be able to dance a dance. The spirit to keep on struggling not to give up on their limitations is very much needed. This value can certainly be a guide for us to imitate and can be used as a guide in living life to always be enthusiastic.

The struggle can also be seen from a limited situation because they are *Kolok* but must dance to the accompaniment of *gambelan*. Which logically is not possible, but thanks to the perseverance of the high fighting spirit, the dancers finally performed the dance well. Likewise the musicians who should accompany the dance. Because the dancers do not hear and are unable to speak, the mother beater who must be prepared always follows the dancers' movements that are sometimes unpredictable. This situation certainly needs not an easy thing but it requires a struggle.

The next value is discipline, the key to the success of the *Janger Kolok* dance, *Baris Bebila* Dance and *Jalak Anguci* Dance. There is discipline among dancers and musicians to continue practicing. Discipline to control and defeat selfishness and feeling lazy and giving up easily. Because in the midst of these limitations, discipline is the key so that they can successfully dance the dance that is trained. If not disciplined, of course what the trainer teaches will not be done correctly. These dancers really prove that discipline can change the impossible to be possible.

In addition to the discipline of the dancers and musicians, they also have a hardworking spirit, they do not easily give up on their condition. This situation causes the dance that was initially impossible to be able to do. These dancers must practice 2–3 times a day for three months. In the morning they work before training, in the afternoon when they break playing the video sent by their trainer, in the afternoon they train together at the village hall. Their willingness to work hard finally paid off with a good performance at the end of the event. This means that there is no wasted effort, when we try to the maximum then the results will also be good.

The meaning of each dance developed in Bengkala Village is the value of cooperation. This can be seen in the synergy of cooperation between dancers, musicians, trainers and also the surrounding community. It is this good collaboration that led to this dance being realized. Because of the limitations and various problems that exist eventually the dances can be realized. Dancers, musicians

and coaches work together to work together to complement their strengths and weaknesses so that this dance can be realized.

As an art of *Janger Kolok* dance, *Baris Bebila* dance and *Jalak Anguci* Starling dance, of course, is full of beauty. The beauty is illustrated by the movements, clothing, percussion and appearance of the dancers. The graceful dance movements are like starlings, emphatically vibrant like the *baris bebila* dance, and or the *Janger Kolok* pair with each other is full of beauty. The same thing also happened to the tunes that sound sweet, clothes full of beauty, and the appearance of the dancers with beautiful and handsome face decoration. Overall illustrates the beauty of highlevel art that should be appreciated.

Meaning that is no less important is the joy, facial expressions and smiles that are constantly being spread by dancers show that they are very happy. Likewise, the movements of the sweetened musicians also send joy. Excitement was also felt by the audience who were present in each of the three dances. The overall meaning of the above is very important in efforts to foster character [20].

#### **4. Conclusions**

Cultural richness can be seen from the existence of various arts ranging from dance, music, building, fine arts and painting. All art is the purest expression of the human soul in which there are symbols full of meaning. Dances are meaningful expressions of the pure soul and are created for many reasons. There are two symbols that are interrelated, namely constitutive symbols and cognitive symbols. The constitutive symbol is related to the human relationship with God, in this case art can be associated with religious rituals. Cognitive symbols relate to the level of human cognition or understanding of the development of existing situations. This phenomenon can be seen with the emergence of various types of art that have new genres such as urban art, natural, surrealism and so on.

Bali as one of the areas with cultural uniqueness also has cultural uniqueness, especially in the arts. Bali has even become one of the best regional arts centers in Indonesia and even in the world. In Bali there is a Bengkala Village, Bengkala Village Community who are generally normal people but there is a group of people with special needs, namely the deaf which is called by the local community, namely *Kolok*. This disability group consists of 42 people where they live like normal people. Their daily interactions are carried out using the typical Bengkala sign language, which is not the same as sign language in general. In Bengkala village there is an art whose results are quite phenomenal, namely the *janger kolok* dance performed at the Bali Art Week 2004. Precisely in 2017 the Indonesian Art Institute (ISI) Denpasar saw the ability of the *Kolok* community to dance at *Janger Kolok* in 2004 an idea emerged to make another dance.. Then came the idea to make *Baris Bebek Bingar* (Bebila) Dance. This idea was further developed in 2018 by creating the Long Distance *Jalak Anguci* Dance.

Currently, *Kolok* dance in Bengkala Village consists of *Janger Kolok* Dance, *Baris Bebek Bingar* Bengkala (Bebila) Dance, and *Jalak Anguci* Dance based on esthetic, economic and religious values. Esthetics related to the artistic spirit of persons with disabilities in the *Kolok* community with special needs. Then the economic reason related to the benefits of this dance is expected to have a beneficial impact in the form of income because it is performed. Furthermore, the religious reason is related to thanking God for all the blessings given. Judging from the meaning of this dance is struggle, discipline, hard work, cooperation, beauty and joy. Everything is reflected in every dance movement, percussion, dancer, coach and musician as well as the audience in the *Janger Kolok* dance, *Baris Bebila* dance and *Jalak Anguci* dance.

**49**

**Author details**

Ida Ayu Trisnawati

Denpasar, Bali, Indonesia

*The Light Penetrates Silence:* Kolok *Dance Study in Bengkala Village, Buleleng, Bali*

I thank two anonymous reviewers for their valuable suggestions on this manuscript. Thanks are conveyed to LP2MPP ISI Denpasar for the creation of the *Baris Bebek Bingar* Bengkala (*Bebila*) Dance. Research and performance of the *Baris Bebila* dance, supported by the Indonesian Science and Technology Service Forum

Dance Arts Study Program, Faculty of Performing Arts, Indonesian Art Institute

© 2020 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium,

\*Address all correspondence to<EMAIL_ADDRESS>
provided the original work is properly cited.

*DOI: http://dx.doi.org/10.5772/intechopen.94397*

(Flipmas), as well as Pertamina's CSR.

**Acknowledgements**

*The Light Penetrates Silence:* Kolok *Dance Study in Bengkala Village, Buleleng, Bali DOI: http://dx.doi.org/10.5772/intechopen.94397*

### **Acknowledgements**

*Creativity - A Force to Innovation*

weaknesses so that this dance can be realized.

level art that should be appreciated.

**4. Conclusions**

Distance *Jalak Anguci* Dance.

and coaches work together to work together to complement their strengths and

As an art of *Janger Kolok* dance, *Baris Bebila* dance and *Jalak Anguci* Starling dance, of course, is full of beauty. The beauty is illustrated by the movements, clothing, percussion and appearance of the dancers. The graceful dance movements are like starlings, emphatically vibrant like the *baris bebila* dance, and or the *Janger Kolok* pair with each other is full of beauty. The same thing also happened to the tunes that sound sweet, clothes full of beauty, and the appearance of the dancers with beautiful and handsome face decoration. Overall illustrates the beauty of high-

Meaning that is no less important is the joy, facial expressions and smiles that are constantly being spread by dancers show that they are very happy. Likewise, the movements of the sweetened musicians also send joy. Excitement was also felt by the audience who were present in each of the three dances. The overall meaning of

Cultural richness can be seen from the existence of various arts ranging from dance, music, building, fine arts and painting. All art is the purest expression of the human soul in which there are symbols full of meaning. Dances are meaningful expressions of the pure soul and are created for many reasons. There are two symbols that are interrelated, namely constitutive symbols and cognitive symbols. The constitutive symbol is related to the human relationship with God, in this case art can be associated with religious rituals. Cognitive symbols relate to the level of human cognition or understanding of the development of existing situations. This phenomenon can be seen with the emergence of various types of art that have new

Bali as one of the areas with cultural uniqueness also has cultural uniqueness, especially in the arts. Bali has even become one of the best regional arts centers in Indonesia and even in the world. In Bali there is a Bengkala Village, Bengkala Village Community who are generally normal people but there is a group of people with special needs, namely the deaf which is called by the local community, namely *Kolok*. This disability group consists of 42 people where they live like normal people. Their daily interactions are carried out using the typical Bengkala sign language, which is not the same as sign language in general. In Bengkala village there is an art whose results are quite phenomenal, namely the *janger kolok* dance performed at the Bali Art Week 2004. Precisely in 2017 the Indonesian Art Institute (ISI) Denpasar saw the ability of the *Kolok* community to dance at *Janger Kolok* in 2004 an idea emerged to make another dance.. Then came the idea to make *Baris Bebek Bingar* (Bebila) Dance. This idea was further developed in 2018 by creating the Long

Currently, *Kolok* dance in Bengkala Village consists of *Janger Kolok* Dance, *Baris Bebek Bingar* Bengkala (Bebila) Dance, and *Jalak Anguci* Dance based on esthetic, economic and religious values. Esthetics related to the artistic spirit of persons with disabilities in the *Kolok* community with special needs. Then the economic reason related to the benefits of this dance is expected to have a beneficial impact in the form of income because it is performed. Furthermore, the religious reason is related to thanking God for all the blessings given. Judging from the meaning of this dance is struggle, discipline, hard work, cooperation, beauty and joy. Everything is reflected in every dance movement, percussion, dancer, coach and musician as well as the audience in the *Janger Kolok* dance, *Baris Bebila* dance and *Jalak Anguci* dance.

the above is very important in efforts to foster character [20].

genres such as urban art, natural, surrealism and so on.

**48**

I thank two anonymous reviewers for their valuable suggestions on this manuscript. Thanks are conveyed to LP2MPP ISI Denpasar for the creation of the *Baris Bebek Bingar* Bengkala (*Bebila*) Dance. Research and performance of the *Baris Bebila* dance, supported by the Indonesian Science and Technology Service Forum (Flipmas), as well as Pertamina's CSR.

### **Author details**

Ida Ayu Trisnawati Dance Arts Study Program, Faculty of Performing Arts, Indonesian Art Institute Denpasar, Bali, Indonesia

\*Address all correspondence to<EMAIL_ADDRESS>
© 2020 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

### **References**

[1] Hadi S. Kajian Tari Teks Dan Konteks. Yogyakarta: Pustaka Book Publisher; 2007 133p

[2] Rohidi &T. Rohendi. Ekpresi Seni Orang Miskin: Adaptasi Simbolik terhadap Kesenian. Bandung: Nuansa. 2000. 360p.

[3] Ningsih ER. Mainstreaming Isu Disabilitas di Masyarakat dalam Kegiatan Penelitian Maupun Pengabdian Masyarakat di Stain Kudus. Jurnal Penelitian. 2014;**8**(1):71-91. DOI: 10.21043/jupe.v8i1.1342

[4] Undang-Undang Nomor 19 Tahun 2011 tentang Konvensi mengenai Hak-Hak Penyandang Disabilitas.

[5] Undang-Undang no 8 tahun 2013 tentang Penyandang Disabilitas.

[6] Slamet Thohari, Alies Poetri Lintangsari, Unita Werdi Rahajeng, Mahalli, Ulfa Fatmala Rizky. Laporan Penelitian Dan Pemetaan Kesenian Di Indonesia. 272 p.

[7] Febriani, Risky Tyas. Desa Bengkala Bali-Banyak Warga Tunarungu, Lihat Cara Unik Mereka Berkomunikasi yang Mendunia [Internet]. 2016. Available from: https://travel. tribunnews.com/2016/10/04/ desa-bengkala-bali-banyak-wargatunarungu-lihat-cara-unik-merekaberkomunikasi-yang-mendunia. [Accessed: 2020 Mei 28]

[8] Debiani, Ni Luh, et al. Profil Janger Kolok Desa Bengkala, Kecamatan Kubutambahan, Kabupaten Buleleng. Jurnal Bosaparis. Jurusan Pendidikan Kesejahteraan Keluarga. 5 (2). 2016. DOI: http://dx.doi.org/10.23887/jjpkk. v5i2.8310

[9] Dibia, I Wayan. Selayang Pandang Seni Pertunjukan Bali. Bandung: Arti-Line. 1999. 181p.

[10] Pane, Abu Sahma. Tari Jalak Anguci dan Tari Bebila, Tarian Ceria Walau dalam Senyap [Internet]. 2018. Available from: https://news.okezone. com/read/2018/10/09/ 1/1961450/tarijalak-anguci-dan-tari-bebila-tarianceria-walau-dalam-senyap [Accessed: 2020 Mei 28]

[11] Miles, MB and A.M. Huberman. Analisis Data Kualitatif.T. R. Rohidi (penerjemah). Jakarta: UI Press. 2002. 501p.

[12] Rianta, I. M., Santosa, H., & Sariada, I. K. Estetika Gerak Tari Rejang Sakral Lanang Di Desa Mayong, Seririt, Buleleng, Bali. Mudra Jurnal Seni Budaya, 34(3), 2019:285-393. https:// doi.org/10.31091/mudra.v34i3.678

[13] Bandem, I Made dan F. Eugene deBoer. Kaja dan Kelod Tarian Bali dalam Transisi. (I Made Marlowe M.B penerjemah). Yogyakarta: ISI Yogyakarta. 2004.

[14] Ruastiti NM. Keterpinggiran Kelompok Kesenian Cak Bedulu Dalam Seni Pertunjukan Pariwisata Bali. Mudra Jurnal Seni Budaya. 2019;**34**(2):186-198. DOI: 10.31091/mudra.v34i2.700

[15] Trisnawati, I. ayu. Deconstructing the meaning of the representation of the Sanghyang Gandrung dance. Lekesan: Interdisciplinary Journal of Asia Pacific Arts, 1(2), 2018; 93-99. https://doi. org/10.31091/lekesan.v1i2.383

[16] Khutniah, Nainul dan Veronica Eni Iryanti. Upaya Mempertahankan Eksistensi Tari Kridha Jati di Sanggar Hayu Budaya Kelurahan Pengkol Jepara. JST (Jurnal Seni Tari). 2012. 9-21. DOI : 10.15294/jst.v1i1.1804

[17] Apriani, Astri. Ketika Masyarakat Tuli-Bisu Menari di Bengkala [Internet]. 2018. Available from: https://nationalgeographic.grid.id/

**51**

*The Light Penetrates Silence:* Kolok *Dance Study in Bengkala Village, Buleleng, Bali*

*DOI: http://dx.doi.org/10.5772/intechopen.94397*

read/131247107/ ketika-masyarakat-tulibisu-menari-di-desa-bengkala?page=3

[18] Tyas, G. Nilai Pendidikan Karakter Dalam Ragam Gerak Tari Srimpi Pandelori. Mudra Jurnal Seni Budaya, 33(2), 2018; 182-190. https://doi. org/10.31091/mudra.v33i2.329

[19] Yana, Ida Bagus Candra. Gerak Tari Baris Tunggal dalam Fotografi Espresi Menggunakan Teknik Strobo Light. Jurnal Rekam. 10 (1), 2014; 1-17. DOI: https://doi.org/10.24821/rekam.

[20] Resi L, Haryono S, Subiyantoro S. Pendidikan Seni Tari Sanggar Seni Sarwi Retno Budaya Surakarta Sebagai Pengembangan Karakter Anak. Mudra Jurnal Seni Budaya. 2019;**34**(3):402- 410. DOI: 10.31091/mudra.v34i3.648

[Accessed: 2020 Mei 29]

v10i1.3242

*The Light Penetrates Silence:* Kolok *Dance Study in Bengkala Village, Buleleng, Bali DOI: http://dx.doi.org/10.5772/intechopen.94397*

read/131247107/ ketika-masyarakat-tulibisu-menari-di-desa-bengkala?page=3 [Accessed: 2020 Mei 29]

[18] Tyas, G. Nilai Pendidikan Karakter Dalam Ragam Gerak Tari Srimpi Pandelori. Mudra Jurnal Seni Budaya, 33(2), 2018; 182-190. https://doi. org/10.31091/mudra.v33i2.329

[19] Yana, Ida Bagus Candra. Gerak Tari Baris Tunggal dalam Fotografi Espresi Menggunakan Teknik Strobo Light. Jurnal Rekam. 10 (1), 2014; 1-17. DOI: https://doi.org/10.24821/rekam. v10i1.3242

[20] Resi L, Haryono S, Subiyantoro S. Pendidikan Seni Tari Sanggar Seni Sarwi Retno Budaya Surakarta Sebagai Pengembangan Karakter Anak. Mudra Jurnal Seni Budaya. 2019;**34**(3):402- 410. DOI: 10.31091/mudra.v34i3.648

**50**

v5i2.8310

*Creativity - A Force to Innovation*

[1] Hadi S. Kajian Tari Teks Dan Konteks. Yogyakarta: Pustaka Book

[2] Rohidi &T. Rohendi. Ekpresi Seni Orang Miskin: Adaptasi Simbolik terhadap Kesenian. Bandung: Nuansa. [10] Pane, Abu Sahma. Tari Jalak Anguci dan Tari Bebila, Tarian Ceria Walau dalam Senyap [Internet]. 2018. Available from: https://news.okezone. com/read/2018/10/09/ 1/1961450/tarijalak-anguci-dan-tari-bebila-tarianceria-walau-dalam-senyap [Accessed:

[11] Miles, MB and A.M. Huberman. Analisis Data Kualitatif.T. R. Rohidi (penerjemah). Jakarta: UI Press. 2002.

[12] Rianta, I. M., Santosa, H., &

[13] Bandem, I Made dan F. Eugene deBoer. Kaja dan Kelod Tarian Bali dalam Transisi. (I Made

[14] Ruastiti NM. Keterpinggiran Kelompok Kesenian Cak Bedulu Dalam Seni Pertunjukan Pariwisata Bali. Mudra Jurnal Seni Budaya. 2019;**34**(2):186-198.

DOI: 10.31091/mudra.v34i2.700

[15] Trisnawati, I. ayu. Deconstructing the meaning of the representation of the Sanghyang Gandrung dance. Lekesan: Interdisciplinary Journal of Asia Pacific Arts, 1(2), 2018; 93-99. https://doi. org/10.31091/lekesan.v1i2.383

[16] Khutniah, Nainul dan Veronica Eni Iryanti. Upaya Mempertahankan Eksistensi Tari Kridha Jati di Sanggar Hayu Budaya Kelurahan Pengkol Jepara. JST (Jurnal Seni Tari). 2012. 9-21. DOI :

[17] Apriani, Astri. Ketika Masyarakat

Tuli-Bisu Menari di Bengkala [Internet]. 2018. Available from: https://nationalgeographic.grid.id/

10.15294/jst.v1i1.1804

ISI Yogyakarta. 2004.

Marlowe M.B penerjemah). Yogyakarta:

Sariada, I. K. Estetika Gerak Tari Rejang Sakral Lanang Di Desa Mayong, Seririt, Buleleng, Bali. Mudra Jurnal Seni Budaya, 34(3), 2019:285-393. https:// doi.org/10.31091/mudra.v34i3.678

2020 Mei 28]

501p.

[3] Ningsih ER. Mainstreaming Isu Disabilitas di Masyarakat dalam

Kegiatan Penelitian Maupun Pengabdian Masyarakat di Stain Kudus. Jurnal Penelitian. 2014;**8**(1):71-91. DOI:

[4] Undang-Undang Nomor 19 Tahun 2011 tentang Konvensi mengenai Hak-Hak Penyandang Disabilitas.

[5] Undang-Undang no 8 tahun 2013 tentang Penyandang Disabilitas.

[7] Febriani, Risky Tyas. Desa Bengkala Bali-Banyak Warga Tunarungu, Lihat Cara Unik Mereka Berkomunikasi yang Mendunia [Internet]. 2016. Available from: https://travel. tribunnews.com/2016/10/04/ desa-bengkala-bali-banyak-wargatunarungu-lihat-cara-unik-merekaberkomunikasi-yang-mendunia.

[8] Debiani, Ni Luh, et al. Profil Janger Kolok Desa Bengkala, Kecamatan Kubutambahan, Kabupaten Buleleng. Jurnal Bosaparis. Jurusan Pendidikan Kesejahteraan Keluarga. 5 (2). 2016. DOI: http://dx.doi.org/10.23887/jjpkk.

[9] Dibia, I Wayan. Selayang Pandang Seni Pertunjukan Bali. Bandung:

[6] Slamet Thohari, Alies Poetri Lintangsari, Unita Werdi Rahajeng, Mahalli, Ulfa Fatmala Rizky. Laporan Penelitian Dan Pemetaan Kesenian Di

Indonesia. 272 p.

[Accessed: 2020 Mei 28]

Arti-Line. 1999. 181p.

Publisher; 2007 133p

10.21043/jupe.v8i1.1342

2000. 360p.

**References**

Section 2

Creativity and

Communication

**53**

Section 2

## Creativity and Communication

**Chapter 4**

**Abstract**

business goals.

communication

**1. Introduction**

etc. [1].

**55**

Creativity in Public Relations: The

Case from Croatia – How to Make

The chapter deals with the role of creativity in public relations. Creativity is usually associated with marketing and design, while public relations is associated with information and communication management, respectively, as the information and educational component, but often as persuasion. However, in modern conditions in which there is a kind of inflation of content transmitted by public relations experts to the media and the public, it is very difficult to fight for media attention and public attention. Therefore, the public relations professional is forced to bring creativity to the way of communicating, presenting key messages, and achieving communication goals. For that reason, creativity is becoming an essential strategic and tactical tool for public relations professionals to shift the task to a higher level. The authors present a case study of the leading Croatian insurance company—Croatia osiguranje, which had the challenging task of using the anniversary to communicate its own identity and values, strengthen its image, and attract new clients. The project "Croatia je Hrvatska" has received a number of national and international awards and can serve as an excellent example of synergy between communication management and creativity in achieving communication and

the History of the Insurance

**Keywords:** creativity, creative campaigns, public relations, Croatia,

Public relations and creativity have been linked since the beginning of the profession as evidenced by the creative campaigns of Edward Bernays—a pioneer of public relations. His professional career was marked by some of the campaigns that are still considered the most creative campaigns in public relations, so we can mention the campaign "Torches of Freedom," "Hearty Breakfast," "Ivory Soap,"

Today, in the globalized twenty-first century, when the world is exposed to a variety of messages and events, it is becoming challenging how to successfully attract the attention of the target public. Now, more than ever, public relations depends on the development of technology and human consciousness, and

Company "Cool"

*Bozo Skoko and Dejan Gluvacevic*

#### **Chapter 4**

## Creativity in Public Relations: The Case from Croatia – How to Make the History of the Insurance Company "Cool"

*Bozo Skoko and Dejan Gluvacevic*

### **Abstract**

The chapter deals with the role of creativity in public relations. Creativity is usually associated with marketing and design, while public relations is associated with information and communication management, respectively, as the information and educational component, but often as persuasion. However, in modern conditions in which there is a kind of inflation of content transmitted by public relations experts to the media and the public, it is very difficult to fight for media attention and public attention. Therefore, the public relations professional is forced to bring creativity to the way of communicating, presenting key messages, and achieving communication goals. For that reason, creativity is becoming an essential strategic and tactical tool for public relations professionals to shift the task to a higher level. The authors present a case study of the leading Croatian insurance company—Croatia osiguranje, which had the challenging task of using the anniversary to communicate its own identity and values, strengthen its image, and attract new clients. The project "Croatia je Hrvatska" has received a number of national and international awards and can serve as an excellent example of synergy between communication management and creativity in achieving communication and business goals.

**Keywords:** creativity, creative campaigns, public relations, Croatia, communication

#### **1. Introduction**

Public relations and creativity have been linked since the beginning of the profession as evidenced by the creative campaigns of Edward Bernays—a pioneer of public relations. His professional career was marked by some of the campaigns that are still considered the most creative campaigns in public relations, so we can mention the campaign "Torches of Freedom," "Hearty Breakfast," "Ivory Soap," etc. [1].

Today, in the globalized twenty-first century, when the world is exposed to a variety of messages and events, it is becoming challenging how to successfully attract the attention of the target public. Now, more than ever, public relations depends on the development of technology and human consciousness, and

creativity is imposed here as a very desirable element in communication with the public. Moreover, today, we are especially focused on creativity to get the attention of the public and the media. Nay, the public, but also clients, require public relations professionals to be creative.

precisely from "error" or from the crystallization of an idea that took time to be

The creative process can be divided into several different stages and some cases will require research into the very beginning and development of the idea through each of these stages, while in other it will develop simultaneously through all stages. Alex Osoborn, an author of creative technique named brainstorming, creative process divide on the following steps: orientation, preparation, analysis, ideation, incubation, synthesis, and evaluation [5]. Furthermore, Green brings a similar but somewhat simpler classification of the creative process using the mnemonic list of

The first stage of creative process includes two important elements as one in posing the right questions to be answered, and the second is gathering the relevant information to assist with the tasks [2]. The first part of the task in the creative process is to supply the conscious part of the mind with information and then exclude rational processes. The subconscious must be very well informed in order to the ideas were purposeful. Most creative ideas are of poor quality, and they notice that in even those who consider themselves creative. Such ideas are often not even used. Gathering information is one of the key stages to success or failure creative activities. Or as Green vividly describes it in comparison to Lego bricks—the more dice you have, the more opportunities there are to create new and different things [2]. For creativity in public relations, the first phase that involves analysis is very important because the better the analysis is, the easier it will be to find the missing puzzle pieces that will eventually lead to a creative solution. Asking the right questions at the right time is one of the key skills of a creative public relations practitioner, and only then he will be able to make a valid analysis that will lead to

The second phase of the process often exploits the subconscious in an effort to find a solution to a problem. Numerous great thinkers and literature of the functioning of the human mind and subconscious confirms that relaxation and so-called daydreaming are good for developing the subconscious in order to reach the desired solution. Sometimes public relations practitioners need to go miles away from solving the problem and go to relax, so ideas can arise and develop indefinitely. We can say that this phase requires "maturing" the idea and its solution in a way that diverts the focus from solving it and leaves it to the subconscious to do its part of the job. Thus, the incubation process will help the

born. More precisely, the idea must go through a creative process.

*Creativity in Public Relations: The Case from Croatia – How to Make the History…*

the five "I" which includes:

*DOI: http://dx.doi.org/10.5772/intechopen.93689*

• information;

• incubation;

• illumination;

• integration; and

• illustration [2].

**2.1 Information**

optimal solutions.

**2.2 Incubation**

**57**

emergence of more creative ideas.

Marketing and public relations agencies are facing this challenge on a daily basis, wanting to overcome the challenges of successfully capturing the attention of the target public and media, and increasingly relying on creativity as the so-called attention catcher. Therefore, the public relations professional is forced to bring creativity to the way of communicating, presenting key messages, and achieving communication goals. For that reason, creativity is becoming an essential strategic and tactical tool for public relations professionals to shift the task to a higher level.

Creativity is one of the most commonly used words today, but what is creativity? Sometimes creativity is easier to recognize than to define, but it is certainly something we can call "thinking outside the box." Andy Green, a leading expert on communications and creativity, states if we want to understand meaning of word "creativity," we need to observe creativity as an individual talent, as a process, as a product, and as a recognition by others [2]. Among numerous definitions and different approaches to defining creativity, Green gives his own definition for public relations practitioners, and it is as follows:

*Creativity is the ability each of us has to create something new by bringing together two or more different element sin a new context, in order to provide added value to task.*

*A creative act consists of not only originating but also evaluating the added value it contributes. It is not novelty for its own sake, but it must produce some form of value that can be recognized by a third party* [2]*.*

In order for creativity to be successfully applied in public relations activities, it is necessary to know the context under which it develops. Moreover, something that is creative and interesting for one target audience does not mean that it will be creative for another audience. Therefore, creativity in public relations requires that it be reexamined each time. Also, creativity is not inventing something completely new, but innovatively presenting something existing in a different and hitherto unseen way. So we can say that creativity in public relations uses existing content that it just "repackaged" and presented in a different form, which ultimately results in achieving communication goals such as attracting the attention of the public and the media. This is constantly confirmed by numerous public relations campaigns, from Bernays' campaigns as such as "Torches of Freedom" and "Hearty Breakfast" to the recent ones as such as "Ice Bucket Challenge," "Black Lives Matter," "Share a Coke," etc. It only confirms that creativity was and still is one of the desirable skills that a public relations practitioner should have.

#### **2. The creative process in public relations**

According to Levinson (2002) if "in art creativity is meant to cultivate, to enchant, to touche the soul," creativity in public relations is supposed to earn trust, to add value, to change the attitude, behavior, and beliefs of the company's publics. In order to achieve all above on creative way, public relations practitioners need to use some of activities as such as brainstorming, ideas' evaluation, idea-stimulating techniques, surveys, etc. [3]. All these activities require time and elaboration, so we can also consider it as a creative process. Therefore, some of research studies on the connection between mindfulness and creativity confirmed that mindfulness may be related to creativity, originality, and flexible thinking [4].

How do creative ideas come about? It is often a long and arduous process full of trials and errors, and history teaches us that many great and creative ideas arose

*Creativity in Public Relations: The Case from Croatia – How to Make the History… DOI: http://dx.doi.org/10.5772/intechopen.93689*

precisely from "error" or from the crystallization of an idea that took time to be born. More precisely, the idea must go through a creative process.

The creative process can be divided into several different stages and some cases will require research into the very beginning and development of the idea through each of these stages, while in other it will develop simultaneously through all stages. Alex Osoborn, an author of creative technique named brainstorming, creative process divide on the following steps: orientation, preparation, analysis, ideation, incubation, synthesis, and evaluation [5]. Furthermore, Green brings a similar but somewhat simpler classification of the creative process using the mnemonic list of the five "I" which includes:

• information;

creativity is imposed here as a very desirable element in communication with the public. Moreover, today, we are especially focused on creativity to get the attention

Marketing and public relations agencies are facing this challenge on a daily basis, wanting to overcome the challenges of successfully capturing the attention of the target public and media, and increasingly relying on creativity as the so-called attention catcher. Therefore, the public relations professional is forced to bring creativity to the way of communicating, presenting key messages, and achieving communication goals. For that reason, creativity is becoming an essential strategic and tactical tool for public relations professionals to shift the task to a higher level. Creativity is one of the most commonly used words today, but what is creativity? Sometimes creativity is easier to recognize than to define, but it is certainly something we can call "thinking outside the box." Andy Green, a leading expert on communications and creativity, states if we want to understand meaning of word "creativity," we need to observe creativity as an individual talent, as a process, as a product, and as a recognition by others [2]. Among numerous definitions and different approaches to defining creativity, Green gives his own definition for

*Creativity is the ability each of us has to create something new by bringing together two*

In order for creativity to be successfully applied in public relations activities, it is necessary to know the context under which it develops. Moreover, something that is creative and interesting for one target audience does not mean that it will be creative for another audience. Therefore, creativity in public relations requires that it be reexamined each time. Also, creativity is not inventing something completely new, but innovatively presenting something existing in a different and hitherto unseen way. So we can say that creativity in public relations uses existing content that it just "repackaged" and presented in a different form, which ultimately results in achieving communication goals such as attracting the attention of the public and the media. This is constantly confirmed by numerous public relations campaigns, from Bernays' campaigns as such as "Torches of Freedom" and "Hearty Breakfast" to the recent ones as such as "Ice Bucket Challenge," "Black Lives Matter," "Share a Coke," etc. It only confirms that creativity was and still is one of the desirable skills

*or more different element sin a new context, in order to provide added value to task. A creative act consists of not only originating but also evaluating the added value it contributes. It is not novelty for its own sake, but it must produce some form of value that*

According to Levinson (2002) if "in art creativity is meant to cultivate, to enchant, to touche the soul," creativity in public relations is supposed to earn trust, to add value, to change the attitude, behavior, and beliefs of the company's publics. In order to achieve all above on creative way, public relations practitioners need to use some of activities as such as brainstorming, ideas' evaluation, idea-stimulating techniques, surveys, etc. [3]. All these activities require time and elaboration, so we can also consider it as a creative process. Therefore, some of research studies on the connection between mindfulness and creativity confirmed that mindfulness may be

How do creative ideas come about? It is often a long and arduous process full of trials and errors, and history teaches us that many great and creative ideas arose

of the public and the media. Nay, the public, but also clients, require public

relations professionals to be creative.

*Creativity - A Force to Innovation*

public relations practitioners, and it is as follows:

that a public relations practitioner should have.

**2. The creative process in public relations**

related to creativity, originality, and flexible thinking [4].

**56**

*can be recognized by a third party* [2]*.*

#### **2.1 Information**

The first stage of creative process includes two important elements as one in posing the right questions to be answered, and the second is gathering the relevant information to assist with the tasks [2]. The first part of the task in the creative process is to supply the conscious part of the mind with information and then exclude rational processes. The subconscious must be very well informed in order to the ideas were purposeful. Most creative ideas are of poor quality, and they notice that in even those who consider themselves creative. Such ideas are often not even used. Gathering information is one of the key stages to success or failure creative activities. Or as Green vividly describes it in comparison to Lego bricks—the more dice you have, the more opportunities there are to create new and different things [2]. For creativity in public relations, the first phase that involves analysis is very important because the better the analysis is, the easier it will be to find the missing puzzle pieces that will eventually lead to a creative solution. Asking the right questions at the right time is one of the key skills of a creative public relations practitioner, and only then he will be able to make a valid analysis that will lead to optimal solutions.

#### **2.2 Incubation**

The second phase of the process often exploits the subconscious in an effort to find a solution to a problem. Numerous great thinkers and literature of the functioning of the human mind and subconscious confirms that relaxation and so-called daydreaming are good for developing the subconscious in order to reach the desired solution. Sometimes public relations practitioners need to go miles away from solving the problem and go to relax, so ideas can arise and develop indefinitely. We can say that this phase requires "maturing" the idea and its solution in a way that diverts the focus from solving it and leaves it to the subconscious to do its part of the job. Thus, the incubation process will help the emergence of more creative ideas.

#### **2.3 Illumination**

The third phase refers to flash of inspiration which is showing up from nowhere and arises as a consequence of the rapid action of the process that preceded it information and incubation. Illumination as such consists of perception at two previously unrelated elements and creating a connection between them in order to solve task. There are habits and techniques that help to take advantage of the illumination and one of the best and most common is to write down all information and ideas.

solutions have never even been realized just for the reason that they stuck on one of the obstacles in the way of its realization. Obstacles are like hard-to-penetrate walls which impede the performance of creativity skills. According to Wong and Pang (2003), "creative skills may be affected and reduced by various attributes which include the person's individual personality, environment, situation, motivation, cognitive development" [7]. For this reason, it is important to understand and anticipate all possible obstacles in order to eventually realize the creative idea.

*Creativity in Public Relations: The Case from Croatia – How to Make the History…*

Each problem can be classified in the line between well-defined and poorly structured, and by identifying the nature of the problem, public relations practitioners can assess the task they need to solve and determine in order to their efforts convert into an added value [2]. This obstacle could be major obstacle to creative thinking in case that public relations practitioners have lack of knowledge, experience, or understanding, which in the end results without good solution that could be applied. Public relations professionals may be tempted to seek solutions to problems before they realistically saw the problem and focus on creating solutions without pinpointing the root cause or essence of the problem [2]. It can be solved if the problem is identified as a key creative task in the information stage of the

**/red light<sup>2</sup> thinking in creative process**

thinking, being critical and negative, and the insecurities of the expert [2].

It is related to failing to understand the creative process and its five stages which result with lack of understood which one of the phases of the creative process is responsible for blocking the successful development of the idea—and if so, which one [2]. Some potential examples of poor management of the creative process obstacles are failure to define the problem in an ill-structured situation, not enough time allowed for incubation, failure to recognize and record illuminations, poor

<sup>1</sup> Green Light thinking refers to presenting all possible solutions without setting boundaries. Known as

<sup>2</sup> Red Light thinking refers to evaluation of each individual solution using clearly set criteria.

**3.3 Poor management of the creative process**

technical, professional and presentation skills, etc. [2].

Individuals may underperform or fail to creative by having poor so-called Green Light or Red Light skills. To overcome them, they need to be detected and removed in a timely manner. So, potential problems related with poor Green Light thinking skills included overcoming the fear of looking foolish, an intolerance of ambiguity, a preference for judging ideas rather than generating them, a belief that we are not creative, use of poor creative problem-solving methods, impossibility to reduce stress, laziness, habits syndrome, a functional fixation (how certain element sin the problem are perceived), and the "early bird" syndrome by doing something without considering alternatives [2]. On the other side, poor Red Light thinking skills which could be perceived as obstacles are confirmation bias, lack of motivation, following the rules excessively, a focus on the downside rather than the quality of an idea, an overreliance on logic, lack of consultation, excessive reliance on external resources, overemphasis on either competition or cooperation, emphasis on doing rather than

**3.1 The nature of the problem**

*DOI: http://dx.doi.org/10.5772/intechopen.93689*

creative process [2].

**3.2 Poor green light<sup>1</sup>**

brainstorming.

**59**

#### **2.4 Integration**

Ideas are created while the creator or in our case public relations practitioner is working or during the so-called integration phase of the creative process. The brain does not follow passively the original idea, yet it is constantly adding new element to the idea and builds on the idea by changing it fundamentally. Although this changes the original idea, the fact is that there is an upward and improving creative process that develops even more creative solutions.

#### **2.5 Illustration**

The final phase of the creative process involves many key elements that must be considered and defined in order for a public relations professional to manage this phase as effectively as possible. Key elements that need to be identified and considered include legitimizing the source of idea, timing, translating the idea, keeping within brand values, and presenting within the context of a relationship [2]. In public relations, it is very important to find a way to present the source of the idea to the public, because the way it is presented will affect how successfully the idea will be accepted. Also, the right moment is also very important because with a wellchosen way of presenting the idea, timeliness is a key element in the illustration phase. If the idea is presented to a client or public in the phase when it is too embryonic and not fully developed, there may be a danger of its rejecting before it comes to the final form [2]. This is a phase where public relations practitioner need to present and sell an idea. Moreover, a presentation and "selling process" will be effective only if there is an understanding on the client's perspective and his way of thinking before making any formal conclusions about the idea as well as being well prepared to understand the motivation and how the audience will accept new information [2].

Conceptualizing creativity as a process, no matter which authors we refer to, leads to the fact that creativity is a process rather than an intuitive act of genius or as a specific outcome, and it is useful because it identifies the attributes, behaviors, and skills required for creative performance as well as it is a learned skill that can be amplified or reduced by training, education, and environment [6].

Finally, by understanding the creative process and its distinct phases, a public relations practitioner can identify weaknesses in his efforts to produce a creative solution as well as to understand how to sell and idea can be more important than the quality of the idea itself [2].

#### **3. Obstacles to creativity in the industry of public relations**

No matter how well creative solutions may be set up, they often face challenges and obstacles to be realized. Moreover, sometimes some top-notch creative

*Creativity in Public Relations: The Case from Croatia – How to Make the History… DOI: http://dx.doi.org/10.5772/intechopen.93689*

solutions have never even been realized just for the reason that they stuck on one of the obstacles in the way of its realization. Obstacles are like hard-to-penetrate walls which impede the performance of creativity skills. According to Wong and Pang (2003), "creative skills may be affected and reduced by various attributes which include the person's individual personality, environment, situation, motivation, cognitive development" [7]. For this reason, it is important to understand and anticipate all possible obstacles in order to eventually realize the creative idea.

#### **3.1 The nature of the problem**

**2.3 Illumination**

*Creativity - A Force to Innovation*

and ideas.

**2.4 Integration**

**2.5 Illustration**

information [2].

**58**

the quality of the idea itself [2].

The third phase refers to flash of inspiration which is showing up from nowhere and arises as a consequence of the rapid action of the process that preceded it information and incubation. Illumination as such consists of perception at two previously unrelated elements and creating a connection between them in order to solve task. There are habits and techniques that help to take advantage of the illumination and one of the best and most common is to write down all information

Ideas are created while the creator or in our case public relations practitioner is working or during the so-called integration phase of the creative process. The brain does not follow passively the original idea, yet it is constantly adding new element to the idea and builds on the idea by changing it fundamentally. Although this changes the original idea, the fact is that there is an upward and improving creative

The final phase of the creative process involves many key elements that must be considered and defined in order for a public relations professional to manage this phase as effectively as possible. Key elements that need to be identified and considered include legitimizing the source of idea, timing, translating the idea, keeping within brand values, and presenting within the context of a relationship [2]. In public relations, it is very important to find a way to present the source of the idea to the public, because the way it is presented will affect how successfully the idea will be accepted. Also, the right moment is also very important because with a wellchosen way of presenting the idea, timeliness is a key element in the illustration phase. If the idea is presented to a client or public in the phase when it is too embryonic and not fully developed, there may be a danger of its rejecting before it comes to the final form [2]. This is a phase where public relations practitioner need to present and sell an idea. Moreover, a presentation and "selling process" will be effective only if there is an understanding on the client's perspective and his way of thinking before making any formal conclusions about the idea as well as being well prepared to understand the motivation and how the audience will accept new

Conceptualizing creativity as a process, no matter which authors we refer to, leads to the fact that creativity is a process rather than an intuitive act of genius or as a specific outcome, and it is useful because it identifies the attributes, behaviors, and skills required for creative performance as well as it is a learned skill that can be

Finally, by understanding the creative process and its distinct phases, a public relations practitioner can identify weaknesses in his efforts to produce a creative solution as well as to understand how to sell and idea can be more important than

No matter how well creative solutions may be set up, they often face challenges

amplified or reduced by training, education, and environment [6].

**3. Obstacles to creativity in the industry of public relations**

and obstacles to be realized. Moreover, sometimes some top-notch creative

process that develops even more creative solutions.

Each problem can be classified in the line between well-defined and poorly structured, and by identifying the nature of the problem, public relations practitioners can assess the task they need to solve and determine in order to their efforts convert into an added value [2]. This obstacle could be major obstacle to creative thinking in case that public relations practitioners have lack of knowledge, experience, or understanding, which in the end results without good solution that could be applied. Public relations professionals may be tempted to seek solutions to problems before they realistically saw the problem and focus on creating solutions without pinpointing the root cause or essence of the problem [2]. It can be solved if the problem is identified as a key creative task in the information stage of the creative process [2].

#### **3.2 Poor green light<sup>1</sup> /red light<sup>2</sup> thinking in creative process**

Individuals may underperform or fail to creative by having poor so-called Green Light or Red Light skills. To overcome them, they need to be detected and removed in a timely manner. So, potential problems related with poor Green Light thinking skills included overcoming the fear of looking foolish, an intolerance of ambiguity, a preference for judging ideas rather than generating them, a belief that we are not creative, use of poor creative problem-solving methods, impossibility to reduce stress, laziness, habits syndrome, a functional fixation (how certain element sin the problem are perceived), and the "early bird" syndrome by doing something without considering alternatives [2]. On the other side, poor Red Light thinking skills which could be perceived as obstacles are confirmation bias, lack of motivation, following the rules excessively, a focus on the downside rather than the quality of an idea, an overreliance on logic, lack of consultation, excessive reliance on external resources, overemphasis on either competition or cooperation, emphasis on doing rather than thinking, being critical and negative, and the insecurities of the expert [2].

#### **3.3 Poor management of the creative process**

It is related to failing to understand the creative process and its five stages which result with lack of understood which one of the phases of the creative process is responsible for blocking the successful development of the idea—and if so, which one [2]. Some potential examples of poor management of the creative process obstacles are failure to define the problem in an ill-structured situation, not enough time allowed for incubation, failure to recognize and record illuminations, poor technical, professional and presentation skills, etc. [2].

<sup>1</sup> Green Light thinking refers to presenting all possible solutions without setting boundaries. Known as brainstorming.

<sup>2</sup> Red Light thinking refers to evaluation of each individual solution using clearly set criteria.

#### **3.4 Cultural/socialization problems**

These obstacles relate more to our social background and practical needs of education. In that sense, we are more willing to think critically than creatively as we try to harmonize with the environment, which in a way "suffocates" our creative abilities. Likewise, the practical needs of education can contribute to eliminating our talent for fantasy, with its inherent abilities for creativity [2].

The method used in presenting this chapter is a case study, in which primary and secondary data are collected. Primary data were obtained through interviews with the project actors. On other side, secondary data were collected from already published materials and reconstructed in order to make an analysis of this case study. The secondary data are related to the numerical values of the number of visits to exhibitions, the number of media announcements, their financial value,

As many as 20 companies operate on the Croatia insurance market, and Croatia osiguranje (CO) is the largest and oldest Croatian insurance company that has been

Due to the specifics of industry and market regulation, there was no significant

Croatia osiguranje's communication efforts were to work on differentiation in relation to the competition and to emphasize its Croatian identity, as well as social

Research has shown that Croatia osiguranje has a certain advantage by which it can be differentiated, and that is precisely the long-term sustainability and tradition, which is a particularly important factor in choosing insurance [9].

In 2014, Croatia osiguranje marked 130 years of existence. On this occasion, it

An aggravating circumstance was the fact that it is a private company operating in a highly competitive environment, so any communication about its anniversary and market reach would be understood as a commercial campaign and would have

Moreover, exhibitions organized by companies are often not attractive to the

general public and therefore the communication challenge was to avoid the

Designer: Nikola Vukalovic, Bruketa&Zinic&Gray/Production Manager: Vesna Durasin,

Bruketa&Zinic&Gray/Digital Media Strategist: Iva Bolta, Bruketa&Zinic&Gray/Digital Director: Ivan Kovacevic, Bruketa&Zinic&Gray/PPC Specialist: Dubravka Srkulj, Bruketa&Zinic&Gray/PPC Specialist: Valentino Dujic, Bruketa&Zinic&Gray/Community Manager: Bernarda Amidzic, Bruketa&Zinic&Gray/Head of Digital Production: Vedran Firkelj, Bruketa&Zinic&Gray/Account

Bruketa&Zinic&Gray/Account Executive: Zrinka Pozar, Bruketa&Zinic&Gray/Product Designer: Dominik Cergna, Brigada/Event Manager: Martina Pandzic Skoko, Millenium promocija/Senior PR Consultant: Ivan Pakozdi, Millenium promocija/Junior PR Consultant: Tamara Begic, Millenium promocija/PR Assistant: Ruzica Herceg, Millenium promocija/Media Director: Maja Zrncic, Millenium promocija/Media Planer/Buyer: Ana Simic, Millenium promocija/Online Media Buying: Filip Kunder, mDigital—Millenium promocija/Online Media Buying: Maja Samardzic Gaspar, mDigital—Millenium promocija/Architect: Marina Brletic, Brigada/Account Director: Marija Lukic, Brigada/ Creative Director: Dragan Lakicevic, Bruketa&Zinic&Gray/Art Director: Andrea Knapic, Bruketa&Zinic&Gray/Senior

planned to launch a communication project, which would mark a significant anniversary in an attractive way, and through which the history, values, and

communication was mainly reduced to basic offers of products and services and

operating since 1884 with the constant goal of protecting Croatian citizens. Together with CO Health Insurance at the end of 2016, it had a 29% market share. In second place was Allianz Zagreb with 12.7%, followed by Euroherc osiguranje with 9.6%, Wiener osiguranje Vienna Insurance Group with 6.8%, Uniqa osiguranje

differentiation according to supply and pricing policy, and competitors'

their benefits, while image campaigns are rare in the market.

identity of the company would be presented to the public.

limited public relations reach and general appeal.

Director: Svjetlana Vukic, Bruketa&Zinic&Gray.

**61**

statistical data that compare the set goals and achieved results, etc.

*Creativity in Public Relations: The Case from Croatia – How to Make the History…*

**4.1 Background of Croatia osiguranje**

*DOI: http://dx.doi.org/10.5772/intechopen.93689*

d.d. with 6.6% market share [8].

responsibility.

#### **3.5 Schedule pressures**

Lack of time could be dangerous and disastrous for the development of a creative idea. The rush and need to come up with a quick solution can be counterproductive in campaigns. It is better to let go of an undeveloped idea and dedicate oneself to a safer but less creative way of solving a task than to start something that is not clearly elaborated in the beginning and thus endanger the image of one's own agency, but also of the client.

#### **3.6 Highly competitive environment**

One of the obstacles to creativity in public relations may be a fact that a private company is operating in a highly competitive environment. A private company's communication activities may be understood as a commercial campaign and would have limited public relations reach and general appeal. Because it often falls into the trap of being perceived as classic corporate projects that are not attractive to the general public and that do not interact with the general public. On the other hand, this obstacle can also be understood as an incentive because it forces some private companies to think outside the box and develop their creativity in order to cope so successfully with a competitive environment.

Therefore, these are just some of the most common obstacles that arise when developing creative solutions in the public relations industry. Their timely and valid removal increases the chances that the public relations practitioner will be able to develop a creative idea in a good and appropriate way.

#### **4. The case from Croatia: how to make the history of the insurance company "cool"**

The central part of this chapter is to present a creative campaign in public relations. It is a campaign that deals with the history of an insurance company from Croatia, and which was presented in an interesting way that ultimately invited citizens to get involved and participate in it. For this reason, the case was divided into several thematic units in order to get a clear picture of the insurance company and how the development of the campaign<sup>3</sup> and ultimately the results.

<sup>3</sup> Client: Croatia osiguranje/Co-Organizer: Zagreb Tourist Board/Advertising agency/Creative Agency: Bruketa&Zinic&Gray/PR Agency/Creative Agency: Millenium promocija/Spatial Design Agency/ Creative Agency: Brigada/Corporate Communications Director: Predrag Grubic, Adris grupa/Director of Corporate Communications Sector: Maja Weber, Croatia osiguranje/Head of Marketing Communications: Zrinka Jugec, Croatia osiguranje/Deputy Director of Corporate Communications Sector: Paola Poljak, Croatia osiguranje/Corporate Communications: Kristina Miljavac, Adris/Creative Director: Davor Bruketa, Bruketa&Zinic&Gray/Author of the Exhibition Concept: Bozo Skoko, PhD, Millenium promocija/Creative Director: Damjan Geber, Brigada/Client Service Director: Masa Ivanov,

*Creativity in Public Relations: The Case from Croatia – How to Make the History… DOI: http://dx.doi.org/10.5772/intechopen.93689*

The method used in presenting this chapter is a case study, in which primary and secondary data are collected. Primary data were obtained through interviews with the project actors. On other side, secondary data were collected from already published materials and reconstructed in order to make an analysis of this case study. The secondary data are related to the numerical values of the number of visits to exhibitions, the number of media announcements, their financial value, statistical data that compare the set goals and achieved results, etc.

#### **4.1 Background of Croatia osiguranje**

**3.4 Cultural/socialization problems**

*Creativity - A Force to Innovation*

**3.5 Schedule pressures**

agency, but also of the client.

**company "cool"**

**60**

**3.6 Highly competitive environment**

successfully with a competitive environment.

develop a creative idea in a good and appropriate way.

These obstacles relate more to our social background and practical needs of education. In that sense, we are more willing to think critically than creatively as we try to harmonize with the environment, which in a way "suffocates" our creative abilities. Likewise, the practical needs of education can contribute to eliminating

Lack of time could be dangerous and disastrous for the development of a creative idea. The rush and need to come up with a quick solution can be counterproductive in campaigns. It is better to let go of an undeveloped idea and dedicate oneself to a safer but less creative way of solving a task than to start something that is not clearly elaborated in the beginning and thus endanger the image of one's own

One of the obstacles to creativity in public relations may be a fact that a private company is operating in a highly competitive environment. A private company's communication activities may be understood as a commercial campaign and would have limited public relations reach and general appeal. Because it often falls into the trap of being perceived as classic corporate projects that are not attractive to the general public and that do not interact with the general public. On the other hand, this obstacle can also be understood as an incentive because it forces some private companies to think outside the box and develop their creativity in order to cope so

Therefore, these are just some of the most common obstacles that arise when developing creative solutions in the public relations industry. Their timely and valid removal increases the chances that the public relations practitioner will be able to

**4. The case from Croatia: how to make the history of the insurance**

The central part of this chapter is to present a creative campaign in public relations. It is a campaign that deals with the history of an insurance company from Croatia, and which was presented in an interesting way that ultimately invited citizens to get involved and participate in it. For this reason, the case was divided into several thematic units in order to get a clear picture of the insurance company

<sup>3</sup> Client: Croatia osiguranje/Co-Organizer: Zagreb Tourist Board/Advertising agency/Creative Agency: Bruketa&Zinic&Gray/PR Agency/Creative Agency: Millenium promocija/Spatial Design Agency/ Creative Agency: Brigada/Corporate Communications Director: Predrag Grubic, Adris grupa/Director of

Communications: Zrinka Jugec, Croatia osiguranje/Deputy Director of Corporate Communications Sector: Paola Poljak, Croatia osiguranje/Corporate Communications: Kristina Miljavac, Adris/Creative Director: Davor Bruketa, Bruketa&Zinic&Gray/Author of the Exhibition Concept: Bozo Skoko, PhD, Millenium promocija/Creative Director: Damjan Geber, Brigada/Client Service Director: Masa Ivanov,

and how the development of the campaign<sup>3</sup> and ultimately the results.

Corporate Communications Sector: Maja Weber, Croatia osiguranje/Head of Marketing

our talent for fantasy, with its inherent abilities for creativity [2].

As many as 20 companies operate on the Croatia insurance market, and Croatia osiguranje (CO) is the largest and oldest Croatian insurance company that has been operating since 1884 with the constant goal of protecting Croatian citizens. Together with CO Health Insurance at the end of 2016, it had a 29% market share. In second place was Allianz Zagreb with 12.7%, followed by Euroherc osiguranje with 9.6%, Wiener osiguranje Vienna Insurance Group with 6.8%, Uniqa osiguranje d.d. with 6.6% market share [8].

Due to the specifics of industry and market regulation, there was no significant differentiation according to supply and pricing policy, and competitors' communication was mainly reduced to basic offers of products and services and their benefits, while image campaigns are rare in the market.

Croatia osiguranje's communication efforts were to work on differentiation in relation to the competition and to emphasize its Croatian identity, as well as social responsibility.

Research has shown that Croatia osiguranje has a certain advantage by which it can be differentiated, and that is precisely the long-term sustainability and tradition, which is a particularly important factor in choosing insurance [9].

In 2014, Croatia osiguranje marked 130 years of existence. On this occasion, it planned to launch a communication project, which would mark a significant anniversary in an attractive way, and through which the history, values, and identity of the company would be presented to the public.

An aggravating circumstance was the fact that it is a private company operating in a highly competitive environment, so any communication about its anniversary and market reach would be understood as a commercial campaign and would have limited public relations reach and general appeal.

Moreover, exhibitions organized by companies are often not attractive to the general public and therefore the communication challenge was to avoid the

Bruketa&Zinic&Gray/Account Executive: Zrinka Pozar, Bruketa&Zinic&Gray/Product Designer: Dominik Cergna, Brigada/Event Manager: Martina Pandzic Skoko, Millenium promocija/Senior PR Consultant: Ivan Pakozdi, Millenium promocija/Junior PR Consultant: Tamara Begic, Millenium promocija/PR Assistant: Ruzica Herceg, Millenium promocija/Media Director: Maja Zrncic, Millenium promocija/Media Planer/Buyer: Ana Simic, Millenium promocija/Online Media Buying: Filip Kunder, mDigital—Millenium promocija/Online Media Buying: Maja Samardzic Gaspar, mDigital—Millenium promocija/Architect: Marina Brletic, Brigada/Account Director: Marija Lukic, Brigada/ Creative Director: Dragan Lakicevic, Bruketa&Zinic&Gray/Art Director: Andrea Knapic, Bruketa&Zinic&Gray/Senior Designer: Nikola Vukalovic, Bruketa&Zinic&Gray/Production Manager: Vesna Durasin, Bruketa&Zinic&Gray/Digital Media Strategist: Iva Bolta, Bruketa&Zinic&Gray/Digital Director: Ivan Kovacevic, Bruketa&Zinic&Gray/PPC Specialist: Dubravka Srkulj, Bruketa&Zinic&Gray/PPC Specialist: Valentino Dujic, Bruketa&Zinic&Gray/Community Manager: Bernarda Amidzic, Bruketa&Zinic&Gray/Head of Digital Production: Vedran Firkelj, Bruketa&Zinic&Gray/Account Director: Svjetlana Vukic, Bruketa&Zinic&Gray.

perception of a classic corporate event and realize an exhibition and campaign that involves the general public through direct interaction with the brand.

which an interactive overview of Croatian history and the history of Croatia

*Creativity in Public Relations: The Case from Croatia – How to Make the History…*

Through the media and social networks, citizens are invited to complement their "official" history with their own histories. They were allowed to have stories and photos from their family history, which they posted on social media with the hashtag #PovijestPisemoSami,<sup>5</sup> become part of a physical exhibition in the tunnel in real time. As the photos were constantly arriving, the setting itself changed and the

The exhibition was marked by various multimedia, digital, and interactive contents—screens, projections, music adapted to each decade, and the space of the tunnel is completely dedicated to visual and sensory installations. Some of them are installations inspired by the work of the great inventor originally from Croatia Nikola Tesla as an adaptation of his coil that produces music, creating a human chain that closes the circuit and turns on the lights, showing the tunnel during World War II where the first Croatian feature film was shown – Lisinski. A unique experience of passing through the rain in the tunnel itself, which symbolizes the "purgatory" of wartime and entering a new era, dances from the 1950s and 1960s, as well as certain places for photography with legends of the Croatian music scene

That is why this is not an ordinary presentation of important events and historical figures, but an interactive timeline that citizens filled through social networks with their family histories. Croatia was primarily interested in the citizens and their destinies. This exhibition served as proof that no matter what happened, the largest

At first glance, all insurance companies in Croatia do look the same. But Croatia osiguranje is the only one that went successfully through 133 years of turbulent Croatian history. By doing so, Croatia osiguranje proved to be the only insurance company that you can count on both in good and, more importantly, bad times.

To showcase that Croatia osiguranje can survive everything and still come through for its citizens, communication team not only created an exhibition showing 133 years of national and Croatia osiguranje history intertwined but also left gaps in-between and invited "ordinary" people to fill them with their personal stories. Family pictures were displayed side by side with "great" events from Croatia's turbulent past. The exhibition took place in a WWII shelter and was designed as a linear walk through time that combined three main parts – historic events, family stories which added emotional context to them, and Croatia osiguranje's role in both of them. Pictures of their own ancestries gave visitors the opportunity to experience the importance of having insurance by your side when times get tough. It also included interactive Tesla's experiments, a dark rainy hall depicting WWII and the "Future Wall" where visitors could display in real time

The strategy was centered round digital media. They were used to raise awareness about the exhibition itself, incentivize people to go and see the tunnel and engage users to take an active part in the exhibition's layout by posting their own photographs from the past on their own social media profiles with the hashtag

and oldest Croatian insurance company always stands by its citizens.

And what good is insurance when everything is going smoothly?

osiguranje from 1884 to the present was divided into 13 decades.

exhibition grew until the last day.

*DOI: http://dx.doi.org/10.5772/intechopen.93689*

and popular animated character Baltazar.

their wishes for the years to come.

#PovijestPisemoSami and a short caption.

<sup>5</sup> English translation: #WeWriteOurOwnHistory.

**63**

**4.3 Strategy**

Therefore, the communication team focused on the historical development of the company—the political and social specifics of the emergence, development and growth from a local cooperative to the largest insurance company in the region. In the process of research, they came across interesting historical sources about the founding of this society and realized that through the development of the company Croatian history was broken and that it continuously shared the fate of the state, or turbulent history of Central and Southeastern Europe. In fact, the corporate importance of the company outweighed its historical, cultural, and traditional significance for Croatian society.

They wanted to present this untold history in a way adapted to the modern age and the interest of the citizens. They tried to design a project that would show the social role of the corporation, its size, historical significance, and role in the development of the Croatian economy. The result was a multimedia exhibition dedicated to the common history of Croatia and Croatia osiguranje called Croatia is Hrvatska,<sup>4</sup> which was realized in the fall of 2017.

In order to make the exhibition unique and interactive, in addition to the official history of the corporation and the state, they wanted to "tell" another history—a parallel history of visitors and their families, giving them the opportunity to send their own photos to become an integral part of the exhibition. So they reminded us that in this way we do not allow others to write history for us, but "we write our own history."

The Grič tunnel, a former World War II (WWII) shelter under the Zagreb Old Town, was chosen as the exhibition space. The space provided the possibility of setting up a kind of time machine (walks through history), and special emphasis was placed on the selection of exhibits, which were borrowed from about twenty museums and other partner institutions and the design of the exhibition.

So, in order to communicate this market advantage of Croatia osiguranje (rootedness in the local community, long history and social responsibility and strength and tradition), the communication team decided to make an exhibition about 133 years of history that shows the presence and sustainability through social change—world and local wars, and changes in state and social arrangements.

#### **4.2 Idea and creativity**

Historical exhibitions are usually related to famous people and events, and in the history of Croatia osiguranje, the biggest role was played by unknown, "ordinary" people. Namely, Croatia osiguranje is the only insurance company in Croatia that have proven that, regardless of what happened, it stands firmly with its insured. For 133 years, it has been going through all the difficulties together with them—world and local wars, changes in state and social systems, a long series of national and personal challenges.

The exhibition is realized by an insurance company whose primary purpose is the protection of citizens. Therefore, the location of the exhibition was an air shelter from the Second World War, that is, the Grič tunnel below the upper town, in

<sup>4</sup> The title of the exhibition is a play on words, since Croatia and Hrvatska are synonyms (Croatia is the Latinized name of the country, which is used in English, while Croats call their country Hrvatska). The insurance company is therefore named after the Latinized (English) name of the country, so the very title of the exhibition suggests that Croatia and Hrvatska are synonymous, but at the same time speaks of the connection between the state and the insurance company.

#### *Creativity in Public Relations: The Case from Croatia – How to Make the History… DOI: http://dx.doi.org/10.5772/intechopen.93689*

which an interactive overview of Croatian history and the history of Croatia osiguranje from 1884 to the present was divided into 13 decades.

Through the media and social networks, citizens are invited to complement their "official" history with their own histories. They were allowed to have stories and photos from their family history, which they posted on social media with the hashtag #PovijestPisemoSami,<sup>5</sup> become part of a physical exhibition in the tunnel in real time. As the photos were constantly arriving, the setting itself changed and the exhibition grew until the last day.

The exhibition was marked by various multimedia, digital, and interactive contents—screens, projections, music adapted to each decade, and the space of the tunnel is completely dedicated to visual and sensory installations. Some of them are installations inspired by the work of the great inventor originally from Croatia Nikola Tesla as an adaptation of his coil that produces music, creating a human chain that closes the circuit and turns on the lights, showing the tunnel during World War II where the first Croatian feature film was shown – Lisinski. A unique experience of passing through the rain in the tunnel itself, which symbolizes the "purgatory" of wartime and entering a new era, dances from the 1950s and 1960s, as well as certain places for photography with legends of the Croatian music scene and popular animated character Baltazar.

That is why this is not an ordinary presentation of important events and historical figures, but an interactive timeline that citizens filled through social networks with their family histories. Croatia was primarily interested in the citizens and their destinies. This exhibition served as proof that no matter what happened, the largest and oldest Croatian insurance company always stands by its citizens.

#### **4.3 Strategy**

perception of a classic corporate event and realize an exhibition and campaign that

Therefore, the communication team focused on the historical development of the company—the political and social specifics of the emergence, development and growth from a local cooperative to the largest insurance company in the region. In the process of research, they came across interesting historical sources about the founding of this society and realized that through the development of the company Croatian history was broken and that it continuously shared the fate of the state, or turbulent history of Central and Southeastern Europe. In fact, the corporate importance of the company outweighed its historical, cultural, and traditional significance

They wanted to present this untold history in a way adapted to the modern age and the interest of the citizens. They tried to design a project that would show the social role of the corporation, its size, historical significance, and role in the development of the Croatian economy. The result was a multimedia exhibition dedicated to the common history of Croatia and Croatia osiguranje called Croatia is Hrvatska,<sup>4</sup>

In order to make the exhibition unique and interactive, in addition to the official history of the corporation and the state, they wanted to "tell" another history—a parallel history of visitors and their families, giving them the opportunity to send their own photos to become an integral part of the exhibition. So they reminded us that in this way we do not allow others to write history for us, but "we write our

The Grič tunnel, a former World War II (WWII) shelter under the Zagreb Old Town, was chosen as the exhibition space. The space provided the possibility of setting up a kind of time machine (walks through history), and special emphasis was placed on the selection of exhibits, which were borrowed from about twenty

So, in order to communicate this market advantage of Croatia osiguranje (rootedness in the local community, long history and social responsibility and strength and tradition), the communication team decided to make an exhibition about 133 years of history that shows the presence and sustainability through social change—world and local wars, and changes in state and social arrangements.

Historical exhibitions are usually related to famous people and events, and in the history of Croatia osiguranje, the biggest role was played by unknown, "ordinary" people. Namely, Croatia osiguranje is the only insurance company in Croatia that have proven that, regardless of what happened, it stands firmly with its insured. For 133 years, it has been going through all the difficulties together with them—world and local wars, changes in state and social systems, a long series of national and

The exhibition is realized by an insurance company whose primary purpose is the protection of citizens. Therefore, the location of the exhibition was an air shelter from the Second World War, that is, the Grič tunnel below the upper town, in

<sup>4</sup> The title of the exhibition is a play on words, since Croatia and Hrvatska are synonyms (Croatia is the Latinized name of the country, which is used in English, while Croats call their country Hrvatska). The insurance company is therefore named after the Latinized (English) name of the country, so the very title of the exhibition suggests that Croatia and Hrvatska are synonymous, but at the same time speaks of

the connection between the state and the insurance company.

museums and other partner institutions and the design of the exhibition.

involves the general public through direct interaction with the brand.

for Croatian society.

*Creativity - A Force to Innovation*

own history."

**4.2 Idea and creativity**

personal challenges.

**62**

which was realized in the fall of 2017.

At first glance, all insurance companies in Croatia do look the same. But Croatia osiguranje is the only one that went successfully through 133 years of turbulent Croatian history. By doing so, Croatia osiguranje proved to be the only insurance company that you can count on both in good and, more importantly, bad times. And what good is insurance when everything is going smoothly?

To showcase that Croatia osiguranje can survive everything and still come through for its citizens, communication team not only created an exhibition showing 133 years of national and Croatia osiguranje history intertwined but also left gaps in-between and invited "ordinary" people to fill them with their personal stories. Family pictures were displayed side by side with "great" events from Croatia's turbulent past. The exhibition took place in a WWII shelter and was designed as a linear walk through time that combined three main parts – historic events, family stories which added emotional context to them, and Croatia osiguranje's role in both of them. Pictures of their own ancestries gave visitors the opportunity to experience the importance of having insurance by your side when times get tough. It also included interactive Tesla's experiments, a dark rainy hall depicting WWII and the "Future Wall" where visitors could display in real time their wishes for the years to come.

The strategy was centered round digital media. They were used to raise awareness about the exhibition itself, incentivize people to go and see the tunnel and engage users to take an active part in the exhibition's layout by posting their own photographs from the past on their own social media profiles with the hashtag #PovijestPisemoSami and a short caption.

<sup>5</sup> English translation: #WeWriteOurOwnHistory.

#### **4.4 A target audience**

Considering the range of products that Croatia osiguranje offers, the target audiences are residents of all ages and income as current customers, potential customers, or those who have an impact on the purchase of insurance on potential customers. The target group was therefore divided into primary and secondary.

events, people, and items from a specific historical period. Its specificity was allowing citizens to actively engage in compositing its layout over digital

*Creativity in Public Relations: The Case from Croatia – How to Make the History…*

every one of us.

would be the following goals:

*DOI: http://dx.doi.org/10.5772/intechopen.93689*

this historical development.

benchmark:

channels changing it on a daily basis and embedding bits and pieces from their own past. The project was foreseen as a historical account accommodating each and

Or to present communication goals more specifically and precisely, then these

• During the 45 days of the exhibition, position Croatia osiguranje as a socially responsible company that has been in the service of the development of the Croatian economy since its establishment and which represents a significant

• During the 45 days of the exhibition, attract a minimum of 30,000 visitors and "educate" them about Croatian history and the role of the Croatia osiguranje in

◦ The client did not measure the brand value immediately after the campaign, but the number of visitors (30,000) was set as a measurable goal. Attendance at exhibitions in Zagreb in previous years was taken as a

2.10.2014.-8.2.2015. (Source: Art Pavilion in Zagreb<sup>6</sup>

a. *Exhibition Joan Miró*—35,000 visitors in 129 days in the period from

b. *Exhibition Auguste Rodin*—38,000 visitors in 138 days in the period from 5.5.2015.-20.9.2015. (Source: Art Pavilion in Zagreb7

c. *Exhibition Alberto Giacometti*—37,000 visitors in 109 days in the period from 21.9.2016.-8.1.2017. (Source: Art Pavilion in Zagreb8

d. *Pablo Picasso exhibition*—130,000 visitors in 106 days in the period March 23, 2013—July 7, 2013 (Source: Klovićevi dvori Gallery<sup>9</sup>

• Position the exhibition as a cultural project that is not of a corporate nature and ensure that in at least 70% of media publications the exhibition is characterized

population in Croatia as possible (51% on TV, 25% in print, and 1.5 million

• Inform citizens about the possibility of participating in the exhibition and ensure that they participate in a period of 45 days with a minimum of 2000 of

as a multimedia-interactive project of an educational nature.

their own photographs in the creation of the exhibition.

<sup>6</sup> These data are not made public but were obtained upon request from the source.

impressions on digital citylights).

<sup>7</sup> ibid. <sup>8</sup> ibid. <sup>9</sup> ibid.

**65**

• Using various communication channels to reach as large a part of the

)

)

)

).

part of Croatian heritage and national identity.

The primary target group consisted of young and middle-aged people (35–49), employed, highly educated, those living in families with average and above-average household incomes. The secondary target group consisted of people aged 25–55 who have at least one insurance, employees, and retirees with an average household income.

The project was also intended for foreign tourists visiting Zagreb in order to let them know Croatian history in an attractive way and to perceive the greatest Croatian insurance.

#### **4.5 Communication channels and communication goals**

Along with strong public relations, all media from TV, print, OOH posters, and digital channels were used in communication, and the ATL campaign developed in two head phases:

Digital media formed the backbone of the strategy because communication team raised awareness about the exhibition, motivated people to visit the tunnel and invited users to participate in the exhibition by posting their historical photos on their own social media profile with the hashtag #PovijestPisemoSami and a short description.

The campaign lasted 7 weeks, with a budget of approx. 17,300 € which was divided into Facebook (15%), Instagram (8%), Google (11%), and Twitter (6%), and direct lease of media space on top portals (60%). Through the digital campaign, content was placed in order to intrigue and motivate users to participate in the exhibition setup and become brand ambassadors. The target group was all internet users, and the way of targeting was adjusted to the results in real time.

For the launch of the campaign, a generic creative was created in the form of raising awareness of the event itself. Over the next 7 weeks, in order to optimize the campaign and achieve the best possible result, and based on the insights from the campaign results, new creative solutions were prepared each week for different digital channels, tailored to its individual laws. Historical photographs of users filled the exhibition on a daily basis, and became a content generator for further online and offline communication.

Unlike the usual structure of image campaigns that usually have television as the central communication channel, here all channels lead to a physical experience with an otherwise intangible brand.

As, it was mentioned earlier in the text, digital media formed the backbone of the strategy because through them communication team raised awareness about the exhibition itself, motivated people to visit the tunnel and invited users to participate in the exhibition setup.

The task was to showcase 133 years of the activity of Croatia osiguranje in a creative and appealing way. The tunnel bellow Zagreb was turned into a multimedia project that is an exhibition spanning 13 decades characterized by interesting *Creativity in Public Relations: The Case from Croatia – How to Make the History… DOI: http://dx.doi.org/10.5772/intechopen.93689*

events, people, and items from a specific historical period. Its specificity was allowing citizens to actively engage in compositing its layout over digital channels changing it on a daily basis and embedding bits and pieces from their own past. The project was foreseen as a historical account accommodating each and every one of us.

Or to present communication goals more specifically and precisely, then these would be the following goals:

	- The client did not measure the brand value immediately after the campaign, but the number of visitors (30,000) was set as a measurable goal. Attendance at exhibitions in Zagreb in previous years was taken as a benchmark:
		- a. *Exhibition Joan Miró*—35,000 visitors in 129 days in the period from 2.10.2014.-8.2.2015. (Source: Art Pavilion in Zagreb<sup>6</sup> )
		- b. *Exhibition Auguste Rodin*—38,000 visitors in 138 days in the period from 5.5.2015.-20.9.2015. (Source: Art Pavilion in Zagreb7 )
		- c. *Exhibition Alberto Giacometti*—37,000 visitors in 109 days in the period from 21.9.2016.-8.1.2017. (Source: Art Pavilion in Zagreb8 )
		- d. *Pablo Picasso exhibition*—130,000 visitors in 106 days in the period March 23, 2013—July 7, 2013 (Source: Klovićevi dvori Gallery<sup>9</sup> ).

**4.4 A target audience**

*Creativity - A Force to Innovation*

income.

Croatian insurance.

two head phases:

description.

and offline communication.

an otherwise intangible brand.

in the exhibition setup.

**64**

Considering the range of products that Croatia osiguranje offers, the target audiences are residents of all ages and income as current customers, potential customers, or those who have an impact on the purchase of insurance on potential customers. The target group was therefore divided into primary and secondary. The primary target group consisted of young and middle-aged people (35–49), employed, highly educated, those living in families with average and above-average household incomes. The secondary target group consisted of people aged 25–55 who have at least one insurance, employees, and retirees with an average household

The project was also intended for foreign tourists visiting Zagreb in order to let

Along with strong public relations, all media from TV, print, OOH posters, and digital channels were used in communication, and the ATL campaign developed in

• Part 2—emphasis on activation and the concept of #WeWriteOurOwnHistory

Digital media formed the backbone of the strategy because communication team

raised awareness about the exhibition, motivated people to visit the tunnel and invited users to participate in the exhibition by posting their historical photos on their own social media profile with the hashtag #PovijestPisemoSami and a short

The campaign lasted 7 weeks, with a budget of approx. 17,300 € which was divided into Facebook (15%), Instagram (8%), Google (11%), and Twitter (6%), and direct lease of media space on top portals (60%). Through the digital campaign, content was placed in order to intrigue and motivate users to participate in the exhibition setup and become brand ambassadors. The target group was all internet

For the launch of the campaign, a generic creative was created in the form of raising awareness of the event itself. Over the next 7 weeks, in order to optimize the campaign and achieve the best possible result, and based on the insights from the campaign results, new creative solutions were prepared each week for different digital channels, tailored to its individual laws. Historical photographs of users filled the exhibition on a daily basis, and became a content generator for further online

Unlike the usual structure of image campaigns that usually have television as the central communication channel, here all channels lead to a physical experience with

As, it was mentioned earlier in the text, digital media formed the backbone of the strategy because through them communication team raised awareness about the exhibition itself, motivated people to visit the tunnel and invited users to participate

The task was to showcase 133 years of the activity of Croatia osiguranje in a creative and appealing way. The tunnel bellow Zagreb was turned into a multimedia project that is an exhibition spanning 13 decades characterized by interesting

users, and the way of targeting was adjusted to the results in real time.

them know Croatian history in an attractive way and to perceive the greatest

**4.5 Communication channels and communication goals**

• Part 1—invitation to the exhibition

<sup>6</sup> These data are not made public but were obtained upon request from the source.

<sup>7</sup> ibid.

<sup>8</sup> ibid.

<sup>9</sup> ibid.

#### **4.6 Implementation of public relations of the project**

Implementation of public relations of the project involved the following steps: In the preparatory communication campaign (August 26–September 10, 2017), the goal was to interest the public in Croatian history and the history of the Croatia osiguranje through a series of thematic stories. It was mainly communicated through print media and portals.

media impressions can be described with following words: "it as a unique cultural project," "an interactive exhibition of turbulent history," "an exhibition we created

*Creativity in Public Relations: The Case from Croatia – How to Make the History…*

Thanks to the work of public relations, a huge media interest has been achieved. During the 2 months, 203 media announcements were made (119 web, 41 radio, 30 print, and 13 TV announcements) and in more than 70% of announcements the corporate character of the exhibition was not emphasized, but its cultural

A total of 118 different media reported on the exhibition, in 190 publications it appeared as the main subject, while in 99% the publications were positive. The exhibition ensured the favor of the cultural public and numerous positive reviews and comments from the leading media, which characterized the exhibition as one of the most attractive and production-challenging exhibitions ever held in Zagreb. Talking about online engagement, the target was exceeded by 266%, that is, in the campaign period the engagement of users on social networks was 11%. Such a result was achieved given the reach of 791,833 unique users reached by the message through all online contact points, and direct engagement of citizens was achieved with used #PovijestPisemoSami by sending 5370 personal historical photos and sharing impressions of the exhibition. Numerous citizens also showed great interest in positive reactions on social networks, where they achieved over 616,314 interactions. Namely, brand awareness amounted to about 500,000 users, which achieved

The exhibition exceeded all set goals and won the "Event of the Year 2017" award, awarded by the regional professional magazine Media Marketing. Also, the

Number of visitors 30,000 103,000 Number of media announcements 100 203 Percentage of positive media announcements 75% 99% Value of public relations effect (EUR) 200,000 € 705,845 €

Online engagement 200,000 791,833

**Set communication goals**

2000 5370

**Achieved communication goals**

ourselves," and "an exhibition with excellent results."

contribution was emphasized (**Figure 1**).

*Media announcements during the 2 months.*

*DOI: http://dx.doi.org/10.5772/intechopen.93689*

**Figure 1.**

300% higher results (**Table 1**).

historical photos

*Set and achieved communication goals.*

**Table 1.**

**67**

Direct engagement of citizens by sending personal

In the second phase (September 10–October 1, 2017), historical themes were replaced by stories about the individual attractions of the exhibition. In this phase, a press conference was organized in the most attractive part of the tunnel, to which 24 media responded, and an insight into some of the attractions of the exhibition additionally contributed to strengthening the interests of citizens.

Additional interest was stimulated by the grand opening of the exhibition for 200 VIP guests and more than 20 local and national media. At this stage, communication on social networks began.

During the exhibition, interesting facts about the exhibition were continuously presented, and influencers were introduced into communication who, through their family memories, additionally invited citizens to visit through social networks. An important communication element was live television coverage from the scene.

In the last phase (October 1–November 1, 2017), the emphasis was placed on the concept of #PovijestPisemoSami, which involved the involvement of citizens by posting their own historical photos on social networks with the appropriate hashtag and short description. Each week, a series of received photographs would be selected to be printed and fitted into the exhibition. Post-festum communication activities referred to the communication of the results achieved by the exhibition and the international awards it received.

#### **4.7 Evaluation**

The exhibition "Croatia is Hrvatska—We write our own history" was the most visited exhibition in Croatia in 2017. This is a good indication that the exhibition was not perceived as a classic corporate event but really aroused great interest.

The number of exhibition visits exceeded the target by 243%, and thus all expectations. People came to the exhibition and spent an average of 30 minutes interacting with the brand. Namely, during 45 days, the exhibition was visited by 103,000 people (the previous goal was 30,000). Furthermore, the value of public relations performance was approx. 705,845 € value of unpaid media [10], which exceeded the target by 252%. Some of the headlines that have garnered so many

<sup>10</sup> ibid.

*Creativity in Public Relations: The Case from Croatia – How to Make the History… DOI: http://dx.doi.org/10.5772/intechopen.93689*

**Figure 1.** *Media announcements during the 2 months.*

• Increase online engagement of users on social networks of Croatia osiguranje by 100%. The goal was set with regard to the planned activities on digital channels and the expected engagement of citizens. In the period of 10 months before the exhibition, user engagement was 3% (Source: Facebook Insights10).

• Value of public relations effect—200,000 €. Considering the investment in media advertising (80,000 €), the return through media impressions is

Implementation of public relations of the project involved the following steps: In the preparatory communication campaign (August 26–September 10, 2017), the goal was to interest the public in Croatian history and the history of the Croatia osiguranje through a series of thematic stories. It was mainly communicated

In the second phase (September 10–October 1, 2017), historical themes were replaced by stories about the individual attractions of the exhibition. In this phase, a press conference was organized in the most attractive part of the tunnel, to which 24 media responded, and an insight into some of the attractions of the exhibition

Additional interest was stimulated by the grand opening of the exhibition for 200 VIP guests and more than 20 local and national media. At this stage, commu-

During the exhibition, interesting facts about the exhibition were continuously presented, and influencers were introduced into communication who, through their family memories, additionally invited citizens to visit through social networks. An important communication element was live television coverage from the scene. In the last phase (October 1–November 1, 2017), the emphasis was placed on the concept of #PovijestPisemoSami, which involved the involvement of citizens by posting their own historical photos on social networks with the appropriate hashtag and short description. Each week, a series of received photographs would be selected to be printed and fitted into the exhibition. Post-festum communication activities referred to the communication of the results achieved by the exhibition