Following the first phase of the GIO-sponsored "Show Taiwan to the World" campaign, in which images to symbolize Taiwan were chosen by public online voting, came the second phase, which is concerned with the selection of icons based on the top five selections. The final results will be combined into a Taiwan "CI."

CI stands for "corporate identity." This would be, for example, the Golden Arches of McDonald's or Microsoft's four colored squares (window panes) that embody the corporation's values in a clever design and establish immediate recognition in the mind of consumers. Amidst fierce global competition in politics, economics and trade and tourism, seeking to outdo others by relying on "national branding" has become a major endeavor, whether it's creating a national image, devising a moving slogan or designing a CI for a country.

A national corporate image contains a core element but also must continue to reflect changing times. From the 1987 foreign trade campaign "We Buy American" and the "quiet democratic revolution" of 1993, to the dual emphasis on science and tech and on culture in 2001, Taiwan's image has been in a constant state of renewal.

A changing national image

GIO minister Cheng Wen-tsang points out that a national image can change and evolve over time. In the 19th century the US image was tied in with the worldwide dream of striking gold. In the 20th century the image was one of an ethnic melting pot for immigrants coming from around the world. In the 21st century the image is that of an unchallenged political, economic and military superpower. American-style cultural icons like Hollywood, McDonald's and Microsoft have conquered the world through their creativity and vitality.

Looking back over Taiwan's experience, there have been many changes over the years in the national image it has sought to project, and much effort has gone into weighing the different considerations involved.

Professor Cheng Tzu-leong of National Chengchi University's Department of Advertising, who has long paid close attention to the GIO's efforts at creating an international image for Taiwan, says that during the Cold War era, from 1950 to 1970, the Republic of China, Taiwan, had an appeal as a steadfast member of the anti-communist "Free World." At the same time, to retain a firm hold on its UN seat, Taiwan stressed that it was the legal and legitimate representative of "China."

In 1971 the ROC withdrew from the UN and in 1978 the US, Taiwan's staunchest ally, established diplomatic relations with the PRC. At this time the Cold War had already begun moving toward detente, and negotiation had replaced confrontation. The image of Taiwan as "Free China" and the notion that "only the free China can survive" lost their appeal. As a result, Taiwan began to emphasize "free enterprise" and the "economic miracle." In 1987, when Taiwan was "up to its eyes in money" and the US trade deficit with Taiwan was at its worst, Taiwan still placed a large ad in Time magazine grandly announcing "We Buy American."

By the 1990s the power and prestige of Chiang Kai-shek and Chiang Ching-kuo had become history, giving rise to various political and social forces, and Taiwan's national appeal now derived from an emphasis on "political reform." In 1993 an advertisement for a "quiet revolution," symbolized by a butterfly emerging from its cocoon, pointed up the precious achievement of Taiwan democracy.

Following the change of ruling parties, "political and economic achievement" and the idea of "a sovereign nation" represented the twin focus of the country's appeal. In 2001 Taiwan used the image of a "Green Silicon Island" to emphasize that it was a key link in the global high-tech industrial chain and to point up its firm commitment to developing the knowledge economy and protecting the environment.

What's interesting is that the No. 1 choice for a "Taiwan image" in the public online voting, hand puppet theater, had appeared on the international stage as early as 2001 as an image for Taiwan. That year the GIO promoted ads featuring puppets of Lord Guan, the God of War, holding a PDA, and Sun Wukong, the Monkey King, carrying a mobile phone, to create the perfect amalgam of technology and culture and to make prominent Taiwan's contributions to moving ahead the global information revolution. The No. 3 choice in the voting, the Taipei 101 building, had received attention in the international image ad "Taiwan Stands Tall" in 2004.

As with people, establishing a good image for a country is a long, slow struggle. Turning around a stiff, mechanical image is difficult, and just one dose of negative news can destroy the fruits of many years of effort by an entire population.

Take Korea, for example. In the last decade Korea has gone from being seen as a rigid, solemn, simple, honest, brave and aggressive country that loves to brag and show off, to an open and spirited country full of creativity and populated by handsome men and pretty women. The scope of the change is breathtaking. This is all the result of the efforts of the Korean people who, from top to bottom, struggled hard to transform themselves following the financial meltdown of 1997. After Korean soap operas and video games became popular and successful and Korea's new image was gradually established, Korea's 3C (consumer electronic, computers and communications) information products and automobiles seemed to move in lock step, bathed in dreamy hues, with consumer confidence and delight in these products rising considerably.

A national corporate image contains a core element but also must continue to reflect changing times. From the 1987 foreign trade campaign "We Buy American" and the "quiet democratic revolution" of 1993, to the dual emphasis on science and tech and on culture in 2001, Taiwan's image has been in a constant state of renewal.

Selling a country

For the world's lesser powers, politics is not the focus. It is economics and trade, culture and tourism that constitute the chief appeal. Each country vies with others in using visual advertisements with moving slogans to emphasize its own individual "unique selling point."

For example Malaysia, with its rich ethnic and religious diversity, came up with the slogan, "Malaysia, Truly Asia." Thailand, known for being a Buddhist country and for its gentle and friendly attitude, beckons, "Thailand, Be My Guest." Exciting Hong Kong says "Live It, Love It!" and stresses its internationalism--"Hong Kong, Asia's World City."

Taiwan has achieved some good results over the years in this area. For example, the ROC Tourism Bureau in 2002 promoted the slogan "Taiwan--Touch Your Heart" as part of the effort to double tourist arrivals, with the word "Taiwan" written in Chinese-style brush strokes. The letters were really a meticulously designed drawing of a guest being welcomed and served tea, displaying the spirit of a tourism that "honors the guest."

Beyond images and slogans, things suddenly get quite difficult if you want to design a unique, distinctive and memorable national CI. Thus most countries use the national flag, national symbol or traditional and non-controversial symbols, like the country's highest mountain or unique flower or animal species, as their national CI. Or else they take a piecemeal approach and use the occasion of a major event like the Olympics or the World's Fair to design different CIs based on particular requirements. As for the Australian approach used in 1999 when it publicly solicited designs for a new national flag, this is rarely seen.

As an independent country, the Republic of China on Taiwan should not be excluded from the UN and the WHO. Such powerful, issue-based international publicity in recent years has elicited a huge response.

The Danish crown

Professor Lin Pang-soong, head of the fine arts department at National Taiwan Normal University, talks about Denmark's national CI. In the 1990s there was the feeling in Denmark that the flags of the five Scandinavian countries, all displaying crosses, were too similar to each other. To emphasize their own uniqueness and distinctiveness, the Danes embarked on a ten-year project to create a national CI. The Danish ministries of education and foreign affairs first solicited designs, and a famous design company submitted the winning blueprint of the crown of the 17th-century Danish monarch Christian V. Following a series of evolutionary design changes, the crown subsequently became the national CI and was to be seen in all major government offices and public places.

But each citizen loves and understands his or her country in a different way, so just how easy is it to come up with a universally accepted national CI? Some felt Denmark was in no way unique in having a crown and that a crown was not sufficiently distinctive; others questioned the feudal meaning embodied in a crown.

But Lin Pang-soong points out that it is difficult to make a quality judgment on the selection and design of a CI. All you can say is "like your selection, use it thoroughly--and after you have used it for a long time it will be yours!" Frequency of occurrence over time is what will deepen the outside world's familiarity with your CI.

Lin suggests that Taiwan would not go wrong to select a recent, popular mascot as the basis for the design of a national IC. Like Japan's Hello Kitty or the US's Mickey Mouse, a mascot can be designed with various expressions and attire to relate to different audiences and circumstances, and family members can be added to make all kinds of interesting groupings. At sensitive international gatherings and in sensitive international organizations, a mascot is useful in breaking through political barriers and achieving the goal of giving Taiwan a chance to be seen and heard.

"Of course, if you can get a well-known international expert to do the design, you can raise your sights and ambition for the entire project," says Lin. If this is done, the creation of a CI for Taiwan would itself become an international topic of conversation, and the CI would be "merchandised" every time the designer's works are exhibited internationally. The strength derived from such a relationship would hasten the marketing of Taiwan's CI.

In the intense global marketing wars of national branding Taiwan is working especially hard. One can only hope these efforts will lead the international community to face squarely the fact of Taiwan's existence, to better understand Taiwan, to have more friendly feelings toward Taiwan and to support Taiwan with concrete actions!

Cultural tourism is a chief battleground for international marketing, and countries vie to come up with their own unique logos and slogans. Show here are designs from Malaysia (left) and Thailand (right).

Cultural tourism is a chief battleground for international marketing, and countries vie to come up with their own unique logos and slogans. Show here are designs from Malaysia (left) and Thailand (right).

(right) Over the course of ten years, Denmark produced a new national symbol. Today in Copenhagen the royal crown is seen on every street corner.

A national corporate image contains a core element but also must continue to reflect changing times. From the 1987 foreign trade campaign "We Buy American" and the "quiet democratic revolution" of 1993, to the dual emphasis on science and tech and on culture in 2001, Taiwan's image has been in a constant state of renewal.

Cultural tourism is a chief battleground for international marketing, and countries vie to come up with their own unique logos and slogans. Show here are designs from Malaysia (left) and Thailand (right).

(right) Over the course of ten years, Denmark produced a new national symbol. Today in Copenhagen the royal crown is seen on every street corner.

As an independent country, the Republic of China on Taiwan should not be excluded from the UN and the WHO. Such powerful, issue-based international publicity in recent years has elicited a huge response.