Hul Knorr Soupy Noodles Goa Research

Study on Knorr Soupy Noodles Market in Goa 1 Study on Knorr Soupy Noodles Market in Goa ACKNOWLEDGEMENTS Without the assistance of a number of people, this research could not have been completed. Therefore, we would like to take this opportunity to thank the following people: Mr. Rammurthi Naidu, Territory Sales Officer at Hindustan Unilever, Goa for providing us with the opportunity to work with an esteemed organisation and for guiding us to obtain the fresh knowledge which will be useful in our future career.Dr. Divya Singhal, our faculty guide, we really appreciate her for her patience and high efficiency in guiding us on the right track in the research. The group members would like to say a special thanks to Arul Raj, the owner of Crisp caterers/GIM canteen for his support and help in conducting our wet sampling. The group also want to thank all the lecturers and staff in the department (Marketing) for their wholehearted assistance whenever required.A special thanks to all the re spondents (general passerby’s, retailers and students of Goa Institute of Management) who filled in the questionnaire and provided with their views on the product in review. The group thanks them for their time and concern. 31-03-2012 Students of Group 6, Section C Research Methodology Goa Institute of Management 2 Study on Knorr Soupy Noodles Market in Goa TABLE OF CONTENTS ACKNOWLEDGEMENTS †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Table of Figures †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 4 EXECUTIVE SUMMARY †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 5 Purpose †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 5 The Problem †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. The Method †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 5 Conclusion †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 5 INTRODUCTION †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 6 The Objective of the study †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Value of the study †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 6 Scope and limitations†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 6 The Instant Noodles Market in India †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 7 The Battleground: †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Company profile†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 9 Brand profile †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 9 About Knorr Soupy Noodles †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 10 REVIEW OF LITERATURE†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 1 Consumption Patterns of Instant Noodles amongst Indians †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 11 Brand Awareness and Loyalty †¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 11 Factors influencing consumption †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 12 Demand estimation †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 2 METHODOLOGY †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 13 Phase 1 †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 14 Phase 2: †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 14 Phase 3: †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 4 DESCRIPTION OF STUDY AREA & SAMPLING DESIGN †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 15 DATA COLLECTION †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 16 QUESTIONNAIRE DESIGN †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 17 ANALYTICAL TOOLS †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 8 FINDINGS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 19 EXPLORATORY (CUSTOMERS): †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 19 Awareness of consumers towards Knorr Soupy Noodles †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 19 Age-wise distribution: †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 19 3Study on Knorr Soupy Noodles Market in Goa Gender Distribution: †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 19 Purchase conversion rate†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 19 Age Wise Distribution: †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 20 EXPLORATORY FINDINGS (RETAILERS INTERVIEW):†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 0 Demand potential of Knorr Soupy noodles †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 20 Distribution of Knorr Soupy noodles†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 2 1 DESCRIPTIVE FINDINGS (WET SAMPLING): †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 21 CONCLUSION†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 7 RECOMMENDATIONS †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 28 REFERENCES †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 29 APPENDIX †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 30 Table of Figures FIGURE 1 PERCENTAGE MARKET SHARE OF INSTANT NOODLES IN THE INDIAN MARKET. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 7 FIGURE 2 VARIOUS INSTANT NOODLE BRANDS IN THE INDIAN MARKET. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 8 FIGURE 3 KNORR SOUPY NOODLES BRAND PROFILE†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 9 FIGURE 4 RESEARCH DESIGN IN 3 PHASE METHODOLOGY CHART †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 14 FIGURE 5 AGE WISE POPULATION DISTRIBUTION †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 5 FIGURE 6 MALE/FEMALE RATIO IN SAMPLE POPULATION†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 15 FIGURE 7 DATA COLLECTION PROCESS CHART †¦Ã¢â‚¬ ¦Ã¢â ‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 16 FIGURE 8 PRODUCT AWARENESS DISTRIBUTION IN FEMALES AND MALES. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 19 FIGURE 9 DETERMINANTS OF CHOICE OF NOODLES †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 1 FIGURE 10 GENDER WISE CONSUMPTION PATTERN OF NOODLES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 23 FIGURE 11 GEOGRAPHIC CONSUMPTION PATTERN OF NOODLES ACROSS INDIA †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 23 FIGURE 12 RANK WISE BRAND PREFERENCE OF INSTANT NOODLES †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 24 FIGURE 13 RECOMMEND FACTOR OF KNORR SOUPY NOODLES †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 5 FIGURE 14 TASTE SATISFACTION OF SOUPY NOODLES †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 25 FIGURE 15 RANK OF VARIOUS NOODLE PRODUCTS ON BASIS OF TASTE†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 25 FIGURE 16 REASONS FOR NOT PURCHASI NG KNORR SOUPY NOODLES †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. 26 FIGURE 17 VISIBILITY OF KNORR SOUPY NOODLES †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. 26 4 Study on Knorr Soupy Noodles Market in GoaEXECUTIVE SUMMARY Purpose This report aims at giving a clear picture about the various factors that influence the perceptions of customers about Knorr Soupy Noodles and estimating the reasons for the slow growth rate of Knorr soupy noodles in Goa. The report contains suggestions and recommendations to leverage the brand of Knorr Soupy Noodles in Goa. The Problem Soupy Noodles; launched in 2010 by Hindustan Unilever, under the brand of Knorr, has not managed to significantly bite into the market share of the herit age brand- Maggi Noodles.There is a market situation in Goa wherein there exist very erratic distribution of Knorr soupy noodles and the consumer has not yet received the efficient and sufficient supply of the same. Our research problem explored the awareness, availability of Knorr Soupy noodles and the taste preferences, brand perceptions of the consumers. The Method This qualitative study on Knorr soupy noodles which contains interview, questionnaire and observation has been done to find the brand health of Knorr Soupy Noodles in Goa.The study consisted of 3 phases; two exploratory phases and a conclusive research phase. A field study of various customers via experience interviews and in-depth interviews threw light on the various factors that influence the purchase of the product. Wet sampling was effectively conducted among students of Goa Institute of Management at Sanquelim, Goa. Our area under study was that of Sanquelim, Bicholim and Mapusa which represent similar catchment profiles to areas of Ponda, Valpoi and Quepem in Goa. Our total sample size consisted of 350 people. ConclusionThrough this research, a clear answer came out: Knorr Soupy Noodles is still the second choice to Maggi noodles(but above all the other instant noodles brands) and the various factors that contributed to this in descending order of importance was availability, visibility, price and lastly taste. The demand for the product exceeds the supply and the company needs to relook at its go-tomarket strategy and disrupt the market in terms of distribution and target segment (consider 20-25 age group). Although majority of the consumers would recommend Knorr Soupy noodles, their taste preference was still inclined towards Maggi noodles.The positives that were born from this study was that â€Å"Taste† is not the main reason why consumers are not picking up Knorr Soupy noodles but other factors like availability and price were responsible for this. 5 Study on Knorr Soupy Noodle s Market in Goa INTRODUCTION Objectives of the study The aim of this study is to help Hindustan Unilever to clarify the position of its brand â€Å"Knorr Soupy Noodles† in the instant noodle market of Goa, India and to study the various factors and reasons for the slow growth rate of Knorr Soupy noodles in the market The specific objectives of the study were; i.To study the extent of awareness towards Knorr soupy noodles, ii. To analyze factors influencing the buying behaviour of Instant Food Products/Knorr soupy noodles, iii. To estimate demand potential for Knorr soupy noodles, iv. To study the extent of market penetration of Knorr soupy noodles. Value of the study Firstly, as the objective if the study indicates, it will help Hindustan Unilever to clarify the position of the â€Å"Knorr Soupy noodles† brand in current Goan instant noodle market. Secondly, the study provides current situation of the instant noodle market and customers’ responses to different i nstant noodle brands.This study shall thus paint a clear picture as to where the Knorr soupy noodles brand stands in camparison to its biggest competitor, Maggi Noodles. Thirdly, a third party view on the perceptions of retailers about the product shall decrease bias and provide a better illustration of the demand generation and customer perceptions about the product Finally, useful suggestions and recommendations are offered by doing this study. This will help Hindustan Unilever better consummate the â€Å"Knorr Soupy Noodles† brand and obtain more sales increase. Scope and Limitations The scope of the project was limited to small area of Goa ie.Mapusa, Bicholim and Sanquelim. The assumption is that the customer profiles of these catchment areas are similar to other areas in Goa like Ponda and Valpoi. 6 Study on Knorr Soupy Noodles Market in Goa We did not consider the impact of substitute products in the instant food market like pasta , ready to eat paratha , instant idli m ixes etc while conducting the research. Consumer profiles of management students of GIM were taken and consumption patterns of this group may vary from other teenage/college going population The Wet Sampling was done with only two flavours ie.Chinese chow and Tomato chatpata flavour of Knorr soupy noodles Taste and Flavour can vary with mass production in wet sampling. The entire project was completed within 2 months in a cross sectional manner. The Instant Noodles Market in India Noodles are a commodity which is consumed by everyone, right from kids and teenagers to retirees. Two-and-a-half decades since its launch, ‘2 minute Maggi Noodles’ is the numero-uno brand in the Indian market. Nestle has virtually dominated the Indian noodle market till now but lately many large FMCG players and retail chains have launched their products in this lucrative space.Maggi enjoys a market share of over 70% today, despite the presence of a number of other brands. In the early 80s, th e conservative and typical food consumption era, the concept of ‘ready-to-cook’ food was alien to the Indian market. People were sceptical to experiment with food especially food meant for their children. Despite the unfavourable circumstances, Maggi took the challenge and launched itself in 1983. Indian noodle market (instant noodles) is estimated at INR 1,300 to 1,600 crores (USD 300 – USD 350 mn) in 2010.According to estimates, the market is expected to reach INR 3,000-3,500 crore by 2015 clocking a CAGR of 20%. For much time since its launch, Nestle’s Maggi Noodles was the only kingpin in the noodle market. However, in the recent past two well-known FMCG players in the country – Hindustan Unilever (HUL) and GlaxoSmithKline (GSK) introduced their own brands of instant food noodles and have managed to put their foot into this segment. Today, Knorr Soupy noodles from HUL and Foodles from GSK are well known besides Maggi Noodles and Nissin’s Top Ramen.For FMCG behemoth Unilever promoting its noodles under the Knorr brand seems to be a wellcrafted strategy since Knorr is a direct competitor of Maggi in soup category. Therefore, the company is saved of establishing a relatively unknown brand from scratch. There is high recall of Knorr soups and some of it will rub off in the noodles space as well. Figure 1 – Market Share of various of Instant noodles in the Indian Percentage Market share instant noodles brands. Market. Source: Neilson Market Research 2011 7 Study on Knorr Soupy Noodles Market in GoaThe Battleground: Figure 2 Various Instant noodle brands in the Indian Market. Some of the newer entrants into the instant food category are Horlicks Foodles, Knorr Soupy Noodles, Nissin Top Ramen and Sunfeast Yippee. Maggi’s effective positioning and effective promotion and sales made it the most-loved noodle brand in India. In 2005, the Maggi brand was worth USD 3. 7 billion in comparison to USD 1. 7 billion rec orded in 2003. In 2005, Maggi was the highest Indian spender in the Sales Promotion department in the Noodles Category.Today, Knorr from HUL and Foodles from GSK have become well identified noodle brands besides Maggi Noodles and Nissin’s Top Ramen. New investments by HUL and GSK are paying off now. Individually, they hold 5% and 2% respectively of the noodles market share. GSK, HUL and ITC’s entry into noodles will heat up the competition for Maggi, which is already facing traction from retailers’ private labels like Tasty Treat from Future Group and Feasters from Aditya Birla Retail. According to data provided by Nielson Co. Maggi’s share of instant noodles, on an all-India basis, across urban markets, has slipped consistently between December ’09 (90. 7%) and July ’10 (86. 5%). 8 Study on Knorr Soupy Noodles Market in Goa Company profile Hindustan Unilever Limited (HUL) is India's largest Fast Moving Consumer Goods Company with a heritage of over 75 years in India and touches the lives of two out of three Indians. HUL works to create a better future every day and helps people feel good, look good and get more out of life with brands and services that are good for them and good for others.With over 35 brands spanning 20 distinct categories such as soaps, detergents, shampoos, skin care, toothpastes, deodorants, cosmetics, tea, coffee, packaged foods, ice cream, and water purifiers, the Company is a part of the everyday life of millions of consumers across India. Its portfolio includes leading household brands such as Lux, Lifebuoy, Surf Excel, Rin, Wheel, Fair & Lovely, Pond’s, Vaseline, Lakme, Dove, Clinic Plus, Sunsilk, Pepsodent, Closeup, Axe, Brooke Bond, Bru, Knorr, Kissan, Kwality Wall’s and Pureit. The Company has over 16,000 employees and has an annual turnover of around Rs. 9, 401 crores (financial year 2010 – 2011). HUL is a subsidiary of Unilever, one of the world’s leading supp liers of fast moving consumer goods with strong local roots in more than 100 countries across the globe with annual sales of about â‚ ¬44 billion in 2011. Unilever has about 52% shareholding in HUL. Brand profile 1. Knorr in India is generic to soups. 2. Knorr is the largest soup brand in India and has a lion’s share of the soup market in India – 70% 3. All Knorr products have no added preservatives and are a healthy choice option Figure 3 Knorr Soupy Noodles Brand ProfileThe Knorr range of soups is available in a number of tasty and exciting varieties. There is a flavour to literally suit every taste palate; the Classic range of soups with flavours like Thick Tomato, Mixed Vegetable Chicken Delite and Tomato Twisty Pasta, the Oriental range with flavours like Sweet Corn Vegetable, Sweet Corn Chicken and Hot n Sour and the Indian range with flavours like Tomato Makhni and Corn Mast Masala. Knorr Ready to Cook helps the consumer make her family's favorite dishes at h ome and helps her get restaurant like taste at home itself.It comes in the Indian Ready to Cook range and Chinese Ready to Cook range. 9 Study on Knorr Soupy Noodles Market in Goa About Knorr Soupy Noodles Knorr Soupy Noodles range, a unique product in the instant noodles category. Knorr Soupy Noodles, positions itself as a product with the fun of noodles with the health and goodness ‘of soups. It comes with 100% real vegetables and carries the ‘Healthy Choice' Stamp. Its key target segment is that of children and its marketing activities are mostly targeted at children. It is loved by the kids and provides mothers a tasty healthy afternoon snacking option for their children.It is available in three variants: Mast Masala, Tomato Chatpata and Chinese chow. 10 Study on Knorr Soupy Noodles Market in Goa REVIEW OF LITERATURE Consumption Patterns of Instant Noodles amongst Indians India consumes a little less than 90,000 tons of noodles every year. A decade ago the word †˜noodles’ was synonymous with Nestle’s ‘Maggi’. Indian noodle market (instant noodles) is estimated at INR 1,300 to 1,600 crores (USD 300 – USD 350 mn) in 2010. The market is dominated by instant noodles Nestle’s brand – Maggi The food habitats in India have changed due to the Western influence and the usage of these foods is on the rise.These foods are widely used in catering industries as well as at homes. There are varieties of instant/ready-to-eat foods available in the market to choose from and they have been a part of everyday life, according to the ASSOCHAM survey. Even though after being economical and convenient, 34% of the consumers prefer the traditional types of foods which are fresh and natural without any preservatives or artificial ingredients. There has been a major shift in food habits in the metropolitan cities, as about 86% of households prefer to have instant food (canned, instant mixes, baked, pasta, etc. . Reason s are the steep rise in dual income level and standard of living, convenience, influence of western countries etc. , according to a survey undertaken by the Associated Chambers of Commerce and Industry of India (ASSOCHAM). The survey points out that these convenience foods are preferred (86%) mainly by nuclear families where both husband and wife are working or by bachelors who wish to avoid hotel food or people who do not have time, patience or the expertise to prepare in a traditional method.Metropolitans are the largest consumers of processed food and are going to be the biggest consumers of processed food because of their ever increasing per capita income and lifestyle which is also changing very rapidly, points out D S Rawat, Secretary General, ASSOCHAM. There has been a surprising rise in the demand of packaged food within the Indian market, and that all happened because the lifestyle of people there has changed drastically as well as the consumer’s opinion regarding th eir eating habits. Brand Awareness and LoyaltyIt was a couple of years back when big companies like GSK, HUL, ITC and Big Bazaar decided to enter the market. They entered the market through their power brands like Horlicks and Knorr. They offered a number of variants and flavours to the customers. As it is Maggi was never considered to healthy by the Indian mom. A survey conducted by Nielsen shows that Maggi’s market share has fallen by around 15 percent since the launch of these new brands. This happened in less than 2 years. The research done by us provides an insight into what a customer wants from the instant noodles. 1 Study on Knorr Soupy Noodles Market in Goa The Indian has not been too adventurous when it comes to trying out new flavours. As a result, Maggi has settled for standard flavours like curry, tomato, masala and chicken and hasn’t done much experimentation with other flavours. But ITC, HUL and GSK now seem to have woken up to potential of this category which is growing at over twenty percent consistently for the last few years. It is these players who are introducing the Indian consumer to newer flavours and asking them to experiment beyond Maggi.HUL and GSK are playing on their strengths of their strong distribution networks and strong media presence. HUL has extended its Knorr franchise. It combines noodles with soups and soups are generally considered healthy. GSK, with its Horlicks extension has launched Foodles, which is a multigrain noodle, pegged as healthier alternative to Maida noodles which have been the most popular variant of Maggi. In terms of brand name all Horlicks, Knorr and Sunfeast have a wide ranging appeal because they have products that have extensive recall.Nestle is not sitting idle. They have reacted to the situation by launching its Multigrain noodles. It has also launched new flavours like curry and capsicum. They have come also come out with a new campaign to engage the consumer to retain brand loyalty. Through this interactive campaign they are trying to reinforce the emotional connect with its consumers. Factors influencing consumption The majority of the working class also mentioned that instant noodles are a boon to save time, energy and money by using these foods.Various foods helped to prevent the age-old traditional method of long preparation of grinding, cooking or fermenting for hours and hence making the work faster. Even the manufacturers prepared the instant foods according to the taste of the consumers. 92% of the nuclear family feel that they have less free time than before they had kids, it is now a common fact that they are spending less time in the kitchen, and are turning to takeout, delivered food, and semi-prepared meals to help feed the family at mealtime. 2% of bachelors prefer the convenience food because of less cost, time and energy saving, convenience in preparation and consumption in the busy and hectic life. The very term ‘instant† means sim ple, fast ,convenient and affordable food which is easy and fast to prepare besides being hygienic, free from microbial contamination and also convenient to eat, say the bachelors. 67% of working women revealed that the present trend changed the habits to foods which are simple and easy to digest. Hence, the existence of these foods fulfilled all the needs of modern human being. 2% of the respondent said that another advantage of instant foods that occupy less space in the kitchen or pantry, the amount of drudgery involved is less and there is a tremendous potential for commercial exploitation as it is a â€Å"rising industry†. Demand estimation Rawat says that the consumer spending rate on processed food has increased at an average rate of 7. 6% annually during the years 2008 to 2010 and this is expected to continue as the consumer expense will rise with an average of around 8. 6% till the year 2012. 12Study on Knorr Soupy Noodles Market in Goa The survey highlights that 85% of parents with children under five year are serving these easy-toprepare meals at least 7-10 times per month due to increased pressures at work, and increasing complexity in other household management areas- They would be actively looking for ways to simplify and save time, a majority of parents said. 13 Study on Knorr Soupy Noodles Market in Goa METHODOLOGY This area will focus on the process adopted to execute the research. The research has been done in three phases in a span of two months.Phase 1: Exploratory Research Phase via customer interviews Phase 2: Exploratory Research Phase via retailer interviews Phase 3: Descriptive Research Phase via detailed consumer interview (wet sampling) Figure 4 Research Design in 3 Phase Methodology Chart 14 Study on Knorr Soupy Noodles Market in Goa DESCRIPTION OF STUDY AREA & SAMPLING DESIGN This study is a qualitative field experience where in general population (customers), retailers and students had been interviewed to serve the objectiv e of the research. The study tries to include varied relevant categories to ascertain the trend among these clusters.By taking the varied category we have tried to come out with issues (if any) and the opportunities. The detailed study has been carried out on the basis of demographics of gender, age and geographical area. Non-probability sampling has been used in selecting the samples which further is a blend of quota and convenience sampling. To ascertain the awareness of Soupy noodles (phase 1), our team surveyed 180 people from various areas like Sanquelim, Bicholim, and Mapusa. Surveyed people were segmented into 5 categories in terms of age (Below 20, 20-25, 25-30, 30-35, 35 and above) and also segmented on gender basis.During our second phase of exploratory research which consisted of interviewing retailers, a sample size of 40 retailers from Sanquelim and Bicholim were taken. These retailers owned stores right from 200sq. ft to 1000sq. ft. Our third phase of research included a sample of 138 management students from Goa Institute of Management. These students were further segmented on the basis of AGE, GENDER, GEOGRAPHY (North India, Middle India, East India, West India [south India sample was too small and hence not considered]). Figure 5 Age Wise Population Distribution Figure 6 Male/Female Ratio in Sample Population. 5 Study on Knorr Soupy Noodles Market in Goa DATA COLLECTION The research is based on the primary data collected from customers, retailers and students. The approach adopted (Phase 1) was exploratory for customers who are given a semi structured questionnaire on physical paper and retailers (Phase 2) with whom we had unstructured interviews. Descriptive approach (Phase 3) via Google docs was adopted for students where in a detailed structured questionnaire had been used for interviewing the consumers after the wet sampling/tasting of soupy noodles at the GIM canteen.Students were also allowed to fill the Google doc as per their convenien ce so as to avoid long queues while collecting data. The table below gives a quick view of the data collection methodology. Figure 7 Data Collection Process Chart 16 Study on Knorr Soupy Noodles Market in Goa QUESTIONNAIRE DESIGN Questionnaire is being designed in two phases namely exploratory – customers (Phase 1) and descriptive- students (Phase 3). The questionnaire has been designed keeping in mind the research objective and the sample under study. Exploratory research of the customer, a semi structured questionnaire having three questions was prepared.The objective was to find out the awareness of Knorr Soupy Noodles. Our first question ‘Have you tasted Maggi Noodles’ was framed so as to select or target segment which in this exploratory research was assumed as ‘everyone who has tried Maggi Noodles is our target segment’. Discussion: People are asked three questions – Have you tasted Maggi noodles? (If YES then proceed to next, If NO then reject respondent) Have you heard about Knorr Soupy noodles? Have you tasted Knorr Soupy noodles? The purpose of the first question is to eliminate who do not form the part of our market i. e. ho do not consume Maggi noodles. Hence, people who have tasted Maggi noodles qualify for our target segment. The 2nd question aims at finding out the awareness level of Knorr Soupy noodles. And the next question becomes relevant as the next marketing strategy needs to cater those who have tasted Maggi. The combination of 2nd question and 3rd question will tell us the awareness translating into sales. During the2nd exploratory phase the retailers of various stores were asked question via conversation. The questions ranged from ‘What do you think about the brand Knorr soupy noodles? , ‘How is its supply? ’, ‘Do customers ask for Knorr Soupy noodles? ’, ‘Do you think it is better than Maggi noodles? ’ The Descriptive research questionnaire was a struc tured questionnaire having 35 questions. Questions were framed in order to extract their consumption behaviour and preferences of noodles so as to meet the objective of the research. For the Descriptive Research Questionnaire, the questionnaire was divided into three parts as follows: Part 1: Personal Information – To judge the impact of their background on their consumption behaviour.Part 2: Consumption Pattern – to study the knowledge of the brand and to unearth generic consumption patterns. 17 Study on Knorr Soupy Noodles Market in Goa Part 3: To analyse the tastes and preferences based on the wet sampling The reason for this division is to segregate the information gathering and understand the impact of each part on their consumption behaviour. We wanted to study each part as a separate determinant for the consumption of noodles. ANALYTICAL TOOLS Our survey has relied on qualitative data collected in the form of interviews and descriptive questionnaire.SPSS is not being used as the data collected is qualitative and the same could be illustrated effectively via MS office tools like Excel. The questionnaire includes Likert’s scale (1 being least preferred-5 being most preferred) and rank order scale technique for comparative analysis. We have used M. S. Excel for the ease of calculation. There are some over lapping questions and effect of double counting has been taken into account to arrive at a useful and practical conclusion. Pie charts and histograms are integral part of our study and of immense help in drawing inferences.The inferences have been drawn on the basis of gender, age, geographies, and preferences. The trend can be seen from the tables showing numbers and frequency of people. 18 Study on Knorr Soupy Noodles Market in Goa FINDINGS EXPLORATORY (CUSTOMERS): Awareness of consumers towards Knorr Soupy Noodles Our research shows that the targeted people are well aware of the product. Their key target group (below 20yrs) and 20- 25yrs have a high awareness rate of 78%. Awareness in older groups drops. The consumption of noodles is more frequent among the teenagers and that qualifies as our target market.Age-wise distribution: The awareness in age group below 20 is 78% (High), in the age group 20-25 is 76%, in the age group 25-30 is 57%, and in the age group 30-35 is 66%. It must be noted that the majority of people surveyed belong to age group below 25, which has high level of awareness. The consumption of noodles is more frequent among the teenagers and that qualifies as our target market. Gender Distribution: Figure 8 illustrates that there is no significant difference in the awareness between Females and Males and hence the marketing effectively targets both the genders.Figure 8 Product Awareness distribution in Females and Males. Purchase conversion rate (The number of people who are aware about Knorr Soupy Noodles and have purchased it is the purchase conversion rate) From the study we can infer that t he purchase conversion rate for Knorr Soupy noodles is low and customers who are aware of the product are not convinced to try out the product. 19 Study on Knorr Soupy Noodles Market in Goa Age Wise Distribution: In the age group below 20 the purchase conversion rate is 38%, in the age group 20-25 it is 25%, in the age group25-30 it is 100% (High), in the age group 30-35 it is 50%.As mentioned above that the majority of the people belonged to below 25, where the purchase conversion is 33% (Moderate). The combined study of awareness and purchase conversion will be very useful in ascertaining the effectiveness of promotional activities and saleability of the product. EXPLORATORY FINDINGS (RETAILERS INTERVIEW): This is the part two of our phase 1 research, where in we interviewed 40 retailers about demand and distribution of soupy noodles. This part of research aims at exploring the functioning of the noodles market, competition, price elasticity of demand, and demand affected by avail ability of the product.As retailers are in a better position to tell us what a customer asks for and how he makes his buying decision. A few statements by some retailers are: â€Å"If the supply of Soupy noodles would have been fine, they would have taken over Maggi† †¦ Owner, Jai Bhavani Sweet Mart, Sanquelim â€Å"Incentives for displays are not given, and hence I don’t push the product to my customers† †¦ Anonymous retailer â€Å"Students see the ad on TV and ask for the product, but there is never proper supply and hence they take some other product† †¦ Owner, Om Prasad Bakery, BicholimDemand potential of Knorr Soupy noodles The interviews via random conversation with retailers threw light on the high demand for Knorr Soupy noodles during a particular phase when it was marketed via mass media. They also stated that the high demand was met with very poor supply which led to consumers shifting their repurchase decision to substitute brand s dude to unavailability. Demand is a function of price, income, price of substitute goods, choice and preference. Different determinants of demand play different role and no determinant can be studied in exclusivity. Demand potential of Soupy noodles is same as it is for Maggi.In the noodles market, Maggi has been a clear leader and best competitor to Maggi is Soupy noodles. There are factors which have an impact on people making choices between these two brands. Soupy noodles are priced higher than Maggi and some of the demand of soupy noodles might get affected by it being a price elastic market. Especially, when a heritage brand like Maggi is available at a lower price. Soupy noodles have an innovative concept of providing two food items at a time which is â€Å"noodles† and â€Å"soup†. The message is being transmitted strongly and customers are aware about it.However; the purchase conversion rate is not so impressive. The biggest reason might be the brand loyalty towards Maggi 20 Study on Knorr Soupy Noodles Market in Goa and greater number of variants of Maggi. Soupy noodles have the potential of acquiring and influencing the brand loyalty but this is marred due to high recall, retention and re purchase intention of Maggi. Distribution of Knorr Soupy noodles HUL is known for its distribution and supply. However; in the case of Knorr soupy noodles, retailers have complaints about erratic distributors who do not supply sufficient stock of soupy noodles hence affect the availability.Like many other cases margins are not the issue of concern. Distributors refused to pay minimal amount for the prime facing location on the shelves and hence lose out on potential customer on account of lack of visibility even when it is available. DESCRIPTIVE FINDINGS (WET SAMPLING): 138 students from Goa Institute of Management were given tasting samples of Knorr Soupy Noodles (Chinese Chow) and were asked to respond within a questionnaire about their knowledge about and experience with the brand.There were 35 questions that had to be answered so as to acquire a deep understanding of the consumer’s perception about the brand. The findings are as below. FACTORS INFLUENCING THE CONSUMPTION OF INSTANT FOOD PRODUCTS The below chart shows a clear distribution of the various attributes that influence the consumption of instant food products. The attribute that influences the consumption the most is TASTE (42%) while PRICE (7%) and ADVERTISING (2%) are the factors that influence the purchase of instant noodles the least (assuming competitive pricing amongst competing brands).EASE OF MAKING (31%) and AVAILABILITY (18%) are factors that also significantly influence purchase decisions. Figure 9 Determinants of choice of noodles EATING PATTERNS OF STUDENTS PURCHASE FREQUENCY OF OUTSIDE FOOD (Non-canteen food) The study shows that students prefer eating outside and this could be due to the induced culture and socialising that lead students to c onsume non-canteen food. 21 Study on Knorr Soupy Noodles Market in Goa The study shows 80 students (17% + 63%) out of every 100 eat food from outside at least 1-2 times a week.Maximum number of students (63%) eat outside 1-2 times a week while only 6% of the students eat out once in a month. The study throws light on the eating habits of students and concludes that majority of the students eat out at least once in 2 weeks. This segment is thus a very lucrative segment to target for instant food companies. PURCHASE FREQUENCY OF INSTANT NOODLES The study shows that instant noodles forms an important part of students menu especially due to shortage of time and erratic eating habits.Many consumers in colleges lead time-pressured schedules and have less time available for formal meals, as a result of which demand remains high for products which can be eaten at their convenience. The study shows that 48 students out of every 100 consume instant noodles at least 1-2 times a week i. e. that 61% out of the total number of students (80% from previous chart) eating outside (non-canteen food) consume instant noodles at least 1-2 times a week, while 22% of students of the total number of students eating outside consume instant noodles once in 2 weeks.Hence there is a great demand for instant noodles among students and instant food companies should effectively tap this. Gender-wise distribution: From the data we can prove that there is no significant difference (63% and 58%) in consumption habits of instant noodles amongst male and females. 22 Study on Knorr Soupy Noodles Market in Goa Figure 10 Gender Wise Consumption pattern of noodles Geographic distribution The study reveals that there is a significant difference between the consumption patterns of customers based on geographic segmentation.The study states that maximum numbers of consumers who eat noodles on an everyday basis (19%) are from West India (Mumbai, Goa, Rajasthan, and Gujarat). Students from North India and West India have the highest frequency of instant noodles consumption (cumulative 80%). Figure 11 Geographic consumption pattern of noodles across India 23 Study on Knorr Soupy Noodles Market in Goa BRAND PREFERENCES AMONG INSTANT NOODLES The study reveals that the number one brand preference amongst instant noodles is Maggi Noodles. Knorr Soupy Noodles is at the second place with almost similar preference ratings as Sunfeast Yippee.A startling revelation was that Horlicks Foodles (2nd highest market share amongst instant noodles-AC Neilsen) ranks at the bottom. Figure 12 Rank wise Brand Preference of Instant Noodles TASTE SATISFACTION OF KNORR SOUPY NOODLES The study reveals that only 2 people out of every 100 hate soupy noodles. On wet sampling of Knorr Soupy noodles amongst students of GIM, the study revealed that majority of the sampled population(56%) found Knorr soupy noodles PRETTY TASTY while 33% of the population found the taste OK which could lead them to easily shift loya lty to other brands.A shocking revelation was that only 1% of the sampled population was blown away (SIMPLY MIND BLOWING) by the taste and hence this could directly correlate to low brand loyalty which could be the reason why the early adopters consuming the product are high, but followers are not increasing as expected by the company. Consumers are not enthralled yet not dissatisfied about the taste and this can be seen from the charts below. 1% of the consumers that would recommend the product to others would purchase more of Knorr soupy noodles if its taste were to improve, while they would also preferred increase in promotional activity and availability. On comparing taste preferences between Knorr Soupy noodles, Maggi Noodles and Maggi Atta noodles, Knorr Soupy noodles(30%) has similar preferences to Maggi Atta Noodles (31%) which is promoted as a health concept, while Maggi Noodles is the top preference(39%) in terms of Taste. 24 Study on Knorr Soupy Noodles Market in Goa Figu re 13 Recommend factor of Knorr Soupy NoodlesFigure 14 Taste Satisfaction of Soupy Noodles Figure 15 Rank of various noodle products on basis of taste REASONS FOR NOT PURCHASING KNORR SOUPY NOODLES The study reveals that bad taste (3%) had the least influence as to why customers were not purchasing Knorr soupy noodles. It need not be said that since Knorr soupy noodles is a new brand, its brand value compared to heritage brand-Maggi would be lower and hence this could be the key 25 Study on Knorr Soupy Noodles Market in Goa reason why customers do not purchase Knorr soupy noodles. On further analyses it was known that

Antonym Brutes

So remember when you are making a decision, think to yourself if there will be a consequence involved that can change your life. He lives by his wiles as well as his courage. He is an intellectual. Often he openly valuates a situation, demonstrating the logic he employs in making his choices. When it proves effective, Odysseus lies to his own family, cheats, steals, in ways that we would not expect from an epic hero. Although he IS self disciplined, his courtesy is sometimes the root of his trouble.He is willing to pay a price for knowledge, for example: he insists on hearing sirens call, even though he must have himself excruciatingly strapped to the mast of his ship so that he cannot give in to the temptation. Teeter's decision of going in the kayak by herself can bring great consequences. If she ever drowns, there loud be nobody by her side to save her, and if doesn't have a phone then nobody could come help her, unless she screams for help. Since she goes far, her parents might n ot be able to hear her.Also her disability could bring dangers, including falling out, or if the waves get big for the boat to fall over. Teeter's parents should be aware of the consequences that could happen along with her decision and her parents should always help her be prepared and be aware. Brutes and his inconsistent behavior and actions lead to his death, and brought many consequences. When he knows that he will be featured by Antonym, Brutes does not ask anybody to kill him, but instead he asks if one of the soldiers will hold a sword for him to kill himself with.Because of his decision to join the assassination, Brutes loses everything that mattered to him. He fails to follow the experience of cassias, and listen to his recommendations. In conclusion, consequences can be unpleasant, and unwelcoming to anybody on this planet. Odysseus, Teresa, and Brutes all faced consequences from there decisions made, and should have decided on something different that would bring peace a nd happiness. When faced a consequent, you might just have to bare it.

Study skill Essay

Study skill is defined as the different abilities that can be developed in order to improve a learner’s capacity to learn (MONDOFACTO, 2009). Based from the free dictionary (n. d. ), the term study skill is used for general approaches to learning, rather than skills for specific courses of study. There are many theoretical works on the subject, and a vast number of popular books and websites. In the 1950s and 1960s, college instructors in Zthe fields of psychology and the study of education used research, theory, and experience with their own students in writing manuals. Marvin Cohn based the advice for parents in his 1979 book Helping Your Teen-Age Student on his experience as a researcher and head of a university reading clinic that tutored teenagers and young adults. According to the National Commission on Excellence in Education (1984), many students are unsuccessful in school because they lack effective study skills (Mutsotso&Abenga, 2010). College students face various sources of academic stress, including demonstration of an ability to engage in challenging materials under time limitation (AfsanehHassanbeigi, JafarAskari, Mina Nakhjavani, ShimaShirkhoda, KazemBarzegar, Mohammad R. Mozayyan&HossienFallahzadeh, 2011) especially examination (Helen, 2013). To counter this, the commission recommends that study skills be introduced to students very early in the schooling process and continue throughout a student’s educational career (Mutsotso&Abenga, 2010). In a now classic study of study skills, Entwistle (1960) reported that students who voluntarily took a study skills course were more successful academically than similar students who did not voluntarily take the course(Mutsotso&Abenga, 2010). Haynes (1993) reported that improving study skills techniques can enhance academic achievement for students with poor study skills habits (Mutsotso&Abenga, 2010). One such initiative was launched by the Louisiana State Board of Elementary and Secondary Education (BESE)(Mutsotso&Abenga, 2010). This initiative, â€Å"The Dynamics of Effective Study,† was intended to help students succeed in high school by providing them with essential study skills(cited in Louisiana Department of Education, 1987)(Mutsotso&Abenga, 2010). According to documents produced by BESE, the â€Å"Dynamics of Effective Study† course was designed to help students â€Å"learn how to learn† so that they can become effective, well-organized, and self-directed learners (cited in Louisiana Department of Education, 1987)(Mutsotso&Abenga, 2010).

The Role and Value of Supervision and Appraisal in Today's Essay

The Role and Value of Supervision and Appraisal in Today's Organizations and how Leadership Helps Effective Implementation of Th - Essay Example Generally there is a form of hierarchy attached to supervision, with the supervisor being of higher authority within the organisation than the individual being supervised . An appraisal is an evaluation of the performance of an employee that occurs within an organisation and usually focuses on how individual employees perform compared to expectations, where they could improve, and where they are doing well. Appraisals provide information to the employee that allows them to know how they are performing, and also how their performance is viewed by management . Most forms of appraisal involve supervision of the employee by an external party, a supervisor, over a short or an extended period of time. In some cases multiple supervisors may be involved to decrease potential bias . Supervision is important to appraisals. Generally, an appraisal is carried out by a member of the organisation who spends time with and time supervising the employee. Supervision can occur in a number of ways. The supervisor may spend time with the employee while they are performing a practical task, it may be informal or passive, such as the supervisor working in the same room as the employee and thus aware of the employees work in this way, alternatively supervision may occur by peers, or one supervisor may simultaneously supervise many employees . An example of supervision and appraisal is within the medical industry. Here a trainee is almost constantly under supervision as they learn the processes and procedures that they are part of, and their role. Supervision has been shown to help the trainees to develop the ability to care for the patient, and those that are supervised are more effective at patient care than those that are not. Coupled with supervision of trainees is regular appraisal to ensure that both the trainee and the supervisor agree on what is expected of the trainee . Effective supervision and appraisal systems can result in the increased productivity of the company overall as well as the individual employees, as well as increased workplace morale and better relationships between employees . Supervision and Appraisal in the Workplace Generally, supervision in an organisation is with the intent either passively or actively of determining the effectiveness of employees and correcting mistakes. In the health industry supervision is also used to teach and train nurses, with this taking the predominant role over the regulatory function . However, in most organisations the regulatory function of supervision and its link to appraisals remains the key focus of supervision of employees. Within a company there may be many employees that perform the same role. However, within this group of employees, there is likely to be substantial differences in experience, knowledge and performance . As a consequence, appraisals of employee’s performance are used widely in organisations, and are often considered a key part of the success of an organisation. If done co rrectly, appraisals work to reconcile the needs and desires of the employees and management, allowing the establishment of goals that contribute to personal growth of the employee and growth of the company as

How Gorbachev's regime come to an end, collapsing the Soviet Union Research Paper

How Gorbachev's regime come to an end, collapsing the Soviet Union - Research Paper Example There are a variety of reasons why the Soviet Union collapsed, bringing the era of Communism with it. Wohlworth (1994-1995) states that the fall of the Soviet Union and the end of the Cold War is a complex event that has no easy answers. He also states that the theories which have been put forth to explain the end of the Cold War have been weak, and that it is necessary to disaggregate the end of the Cold War to get to a theory which might be plausible. He states that there were three keys to understanding what happened with the Soviet Union at the end of the Gorbachev era. The first key is that the â€Å"decision-makers' assessments of power are what matters† (Wohlworth, 1994-1995, p. 97). In particular, Wohlworth states that power is complex and it can be thought of either in terms of capabilities or influence. Capabilities are reassessed according to new and different information about non-material elements of capability, even when there is only a slight change in the mater ial measures. He also states that expectations inform policy, as all policies are future oriented. Therefore, a decision to reform, go to war, or retrench is contingent upon an assessment of what the future may hold. For instance, a nation may look and see that it is in decline. If this decline is reversible, then the nation may decide against a risky decision, such as warfare, and opt instead of a less-risky course of action, such as reform or retrenchment. The second key, according to Wohlworth (1994-1995), is that if the nation in the decline is a challenger, as opposed to a hegemon, that nation is more likely to retrench and reform instead of opting for war. This would help explain the end of the Soviet Union, as it was not a declining hegemon, but, rather, a declining challenger. The Soviet Union, while chafing against the American-dominated system of global influence, knew that it was not the predominant influence in the world. Therefore, as the Soviet Union was aware of its s tatus on the world stage – that it was not the dominant influence in the world, but, rather, a challenger, it did not want to go to war to preserve the status quo of its country. This theory is in contrast of an early theory of hegemonic war, put forth by Thucydides, that war may occur when there is a dynamic challenger and a moribund hegemon. In Thucydides' theory, the Soviet Union would have to have been dynamic, which means that it was in the process of transitioning to a hegemon, and the United States would have to be a moribund, which would mean that it was on the decline. While Wohlworth acknowledges that, at one point, the Soviet Union was a dynamic challenger, in the 1950s and 1960s, by the time the Soviet Union collapsed, it was a moribund challenger. In contrast, at this same point, the United States was a dynamic defender and hegemon. Therefore, the Soviet Union could not, rationally, have chosen to go to war to protect itself, because it saw the end

How to Define Poverty Literature review Example | Topics and Well Written Essays - 3250 words

How to Define Poverty - Literature review Example Consequently, and as Keen (1992) contends, given that development, theory embraces poverty alleviation strategies, one may assume that development policies and programmes are inherently focused upon poverty reduction/elimination. While the above assertion is valid and development policies, as does development theory, embrace poverty alleviation strategies, the fact remains that they are, more often than not, characterized by failure. The failure of development policies to successfully eradicate, or reduce poverty, is an immediate outcome of inaccurate definitions of poverty, a vague understanding of its causal factors, and a tendency to adopt prescribed development policies, as opposed to ones which have been specifically designed to address the type, cause and consequence of poverty in a specific society/nation. Through an analysis of the meaning of poverty, it variant causes and consequences, and the extent to which type and cause need inform poverty alleviation and development strategies if they are to successfully accomplish the objectives of development and poverty alleviation, the stated hypothesis will be investigated. Poverty is popularly understood as e... Until recently, the World Bank interpreted poverty in a similar manner, defining it as the "deprivation of income" (Mosley and Booth, 2003, p. 5). Realizing, however, that this definition was erroneous insofar as it imposed unjustifiable limitations on the theoretical conceptualizations of the referenced phenomenon, leading to the evolution of limited and delimiting development and poverty eradication policies, the World Bank undertook the revision of the mentioned definition. Rather than define poverty in economic terms alone, the World Bank adopted a more expansive definition of poverty as the "pronounced deprivation of well-being" (Mosley and Booth, 2003, p. 5). This definition does overcome some f the conceptual constraints imposed upon the phenomenon by the earlier definition but, as Sen (1976; 1984; 1985; 1999) has repeatedly argued, poverty is a fluid concept, most accurately defined in terms of its causal factors. Certainly, it is deprivation but it is countless forms of depr ivation, be it social, economic, political or geographic. It is not incorrect to define it as "deprivation," but it is hardly correct to leave it at that. In other words, and as Sen (1984; 1985) maintains, poverty is the absence of choice, be it on the political, economic or social levels. Â  

Innovation, Technology Essay Example | Topics and Well Written Essays - 4000 words

Innovation, Technology - Essay Example The objective of this paper is to determine whether technology significantly impacts the core strategies and organization of companies to the extent that it should be considered as the primary means of initiating innovation or development. For the purpose of this study, The validity of the statement will consider in both public as well private enterprises from small to large scale. In the course of the discussion, the research will also determine effective applications of technology, how it is changing markets and industries and the developing challenges for companies with its utilization. The application of technology necessitates a study of the relationship of productivity and technology. The debate on whether productivity paradoxes really do exist has become an issue for analysts and managers once more with the shift towards digitization. Consider the implications of the productivity paradox or the Solow computer paradox that Robert Solow theorized in response to the mechanization of clerical work. According to Solow that, "You can see the computer age everywhere but in the productivity statistics," (Greenan et al, 2002, p. 42). The productivity paradox implies that as technology is introduced to a system, in particular information technology, work productivity decreases (McGovern, 2001). If the paradox is to be accepted as true, then technology contravenes productive strategies. However, Dusharme (2001) points out that these impacts are part of the process of adaptation, similar to competency development learning curves. Furthermore, Suter (2007) points out that many companies have considered alternatives to techno-based strategies because of the cost of implementation as well as discrepancies in information literacy in international markets. In Tubbs and Schulz (2006) study, he concluded that lags in productivity in technology-related initiatives can be attributed to the lack of channels where the technology can be learned or used. Explanations for the decline in productivity pointed out the need for technology to be prevalent before it impacts productivity significantly. Thus, later adaptation to technology creates less vulnerability to productivity paradoxes: the implication is that later access to emerging technologies, with the assumption that there has bee growth in software and applications available, is a more viable choice to ensure productivity. Technology and Business Operations According to there should be a realization that the technology is a tool and the degree of its impact is dependent on other strategies (Womack et al, 1991). The bulk of technology adaptations and strategies have focused on information and communications technologies. Among the benefits that have been seen is the increase in communication and networking capacity technology provides (Insinga & Werle, 2000). For example, the utilization of VOIP (voice over internet protocol) operations has become critical in the management or trafficking PSTN calls locally and internationally as well as mobile communications; IP Multimedia Subsystems (IMS) are providing platforms for the incorporation of internet technologies with business operations; as well facilitated the actual interface of VOIP infrastructure with PSTN; and the rise of network societies, referring to online communities and feedback systems,

2 STORIES Essay Example | Topics and Well Written Essays - 500 words

2 STORIES - Essay Example To me, the two friends’ journey to the new catacomb appeared to be a simple adventure. However, as the two descended into the catacomb, the details inside the catacomb, with its hidden mazes, stacked corpses and the surrounding darkness started to take a hold over me and I began to develop the premonition that something eerie is going to take place. Then the climax came with all its hidden wrath and vengeance. I was surprised and in fact awed to realize that the emotion of hurt and revenge could turn into something so treacherous and at the same time so just. The end filled me with a feeling of fear. But, deep down within me, I was to some extent satisfied that the treatment met to Kennedy by Roger was fare and well deserved, though grotesque. Overall, I found the pace of the narrative, very disciplined, terse and exciting. While reading this story I felt that the writer left many facts and details unanswered. For example, he fails to mention the time and place in which the story takes place? One of the characters is shown as being an Italian and fond of Italian wines. Yet, it in no ways supports the conclusion that the locale of the narrative is Italy. Besides, the writer makes one of the characters narrate the story. Yet, the narrator fails to specifically mention his reasons for inflicting such a cruel revenge on Fortunato. This makes me guess that either Fortunato had committed some grave injustice to the narrator, or perhaps the narrator is mentally sick or psychotic. One more thing that I found inappropriate is that the writer conveys this at the very beginning that Montresor intends to inflict revenge on Fortunato. This stole a great deal of the suspense and apprehension, which I usually expect from such a thriller. The narrator’s understanding of the human nature and weaknesses was very realistic. Overall, I feel that the writer do

Book Analyses on Ramona by Helen Hunt Jackson Essay

Book Analyses on Ramona by Helen Hunt Jackson - Essay Example This is a strong character trait, a calm acceptance, and the ability to be grateful for the love received from others, in particular, old Father Salviederra and Felipe. At the age of 19, when the story opens, Ramona was still waiting patiently, working hard in the house, helping others and displaying a generosity of spirit which allowed her to pity the Senora, with 'gentle faithfulness' (Chap 3, p) She was thus both intuitive and perceptive. Within Ramona, there was a core of strength and pride which became apparent when faced with Senora Moreno's refusal to allow a marriage with Alessandro. Her sense of justice, love and loyalty enabled her to overcome fear and desperation as she dared to tell the Senora, "You have been cruel; God will punish you." (Chap 12 p) Evidence of a lack of material greed was presented, when all she took from the jewels and rich clothes, her potential inheritance, was a ragged silk handkerchief. "I will keep this handkerchief...I am very glad to have one thing that belonged to my father." (Chap. 11, p) Her character may be aptly described as noble. Despite all the tragedy which followed her marriage to Alessandro, Ramona showed a steadfast love and loyalty, the ability to make the best of any situation, and a willingness to stand up for what she believed in. The implications, threaded throughout the narrative, are that the character of Ramona is a positive reflection of her Indian heritage. Such positive attributes were designed by the writer to highlight the qualities, as well as the unjust situation of the Native American people at that time. Morality of Ramona: If examined on a superficial level, some might consider that her actions suggest the behavior of a disobedient, spoiled and willful young woman, driven to demanding her own way and getting what she deserved as a result of her ingratitude. This is evidently not the case, there was no other way Ramona could have behaved and stayed true to herself and her nature. From childhood to womanhood, she displayed a purity of heart, a goodness which meant she did no harm to another person, took only what was hers, expressed gratitude, and held onto her integrity when tragedy struck. Ramona showed that justice, loyalty and love were more important to her than material possessions, ideals made more evident by her willingness to leave a life of relative luxury and security, for one of poverty and dispossession, the lot of the Indian people. Her motives were not only driven by love for Alessandro, but by the realization that she 'belonged' - she acknowledged her Indian heritage, and the fact that she would never be a Spanish noblewoman. Becoming 'Majella' was symbolic of this acceptance, she was honest, and tried to live by her own code. "Nothing can be so bad as to be displeased with one's self." (Chap. 4 p.) This was Ramona's moral code. The qualities of grace, love, loyalty and courage in the face of adversity were evident in the tragic life she encountered, losing her child, then Alessandro, but holding fast to her beliefs. It is significant that wherever they went, people were impressed by her goodness. It is significant

Reflective report on your experience of the Myers Briggs Personality Essay

Reflective report on your experience of the Myers Briggs Personality Inventory - Essay Example These basic traits are the precursor to the sixteen personality types which are essentially the combination of each of the typologies. As suggested by Jung the personality type do not put people in a box but rather show the inclination of the person’s choices base on the typologies. It should be noted that as early as 1917 Katherine Briggs had already developed a way of describing the differences of accomplished individuals based on their biographies. However, when Jung’s book â€Å"Psychological Types† was translated into English in 1923, Katherine immediately devoured the book and studied it in detail since Jung went beyond what she initially conceptualized (Reinhold, 1997). Katherine’s daughter, Isabel Briggs-Myers, took over where her mother has left off and went on to construct the Myers-Briggs Type Indicator test in 1942 while apprenticing in a bank under the tutelage of Edward N. Hay (Quenk, 2000). From the 1944 publication, the Myers-Briggs Type In dicator has undergone several revisions and improvement over the years to reflect the expanding understanding of the complex human behaviour. The last of these revision happened in 1998 under Mary McCaulley (McCaulley & Myers-Briggs, 1985). The Myers-Briggs Type Indicator is rooted on dichotomies of several human traits. ... The same can be said about Sensing vs. Intuition. Rationalising facts and tangible details may be true for most of the cases but there are instances most especially if there is ambiguity in the facts and figures presented that an individual has to rely on patterns and gut feel. When it comes to decision making, not all decision that will be made by an individual relies on the objective and impersonal logic. There will definitely be instances when irrational blind belief will be relied upon. In conducting or performing something there are instances when an individual will prefer to have plans over spontaneity. Having said the differences between the dichotomies, internal conflict that will be resolved as time goes on will clarify the actual preferences of the individual. Nonetheless, there is a tendency for humans to change their mind or even their pattern. Therefore the validity of the MBTI is always under scrutiny. The National Academy of Sciences committee reviewed data from over 2 0 MBTI research studies and concluded that the Introversion-Extroversion scale has adequate construct validity (Psychometric Success, 2009). In the same article Robert Spillane, a professor of management at the graduate school of Management at Macquarie University said that â€Å"Test trivialize human behaviour assuming that fake attitudes predict performance. Not only is this incorrect but testers’ offer no explanation for behaviour beyond the circular proposition that behaviour is caused by traits which are inferred from behaviour. The technical deficiencies of most personality tests have been known for many years. Yet they are conveniently ignored by those with vested interests in their continued use.† Despite of existing criticisms, majority of organizations who conduct personality

Digital and Analog TV Essay Example for Free

Digital and Analog TV Essay On February 17, 2009, the Congress of the United States mandates the full shift to digital television transmission. The law is perceived to bring several benefits to the US viewing public. Broadcast frequency bands will be available mainly for public safety purposes, for example, police and fire department concerns. Remaining portions of the old TV broadcast spectrum can be offered for technologically advanced applications such as wireless broadband. The use of digital-capable television sets allows American viewers more choices of what programs to watch, since digital broadcasts can accommodate so much more programs (Federal Communications Commission, 2008). The law is not expected to be received openly by the television viewing public, 100 percent. Since it leaves them no choice but to convert millions of TV sets from analog to digital and give up the true fidelity that analog audio signals offer. This paper aims to point out the differences of digital and analog TV. By doing so, advantages and disadvantages of each can be compared and the individual viewer can make a better choice. Robert Silva (2008) lists differences between analog TV and Digital TV. He says these these differences lie mainly in the manner of transmitting broadcasts, signal content within a bandwidth in the broadcast spectrum, and the ability to broadcast in widescreen (169) format. Transmission Analog television transmission is based on and started after World War II with black and white broadcasts. It complied with the US analog TV standard known as NTSC. After several years, color broadcasting was introduced and accommodated under the NTSC system. The video is transmitted through the AM radio band while audio is transmitted through the FM band. The reception quality depends on the distance from the television station transmitters and obstacles in between. The farther away from the transmission station the TV reception is more prone to ghosting and other video disturbances. Although analog transmission can accommodate all the technicalities of high fidelity reception, the assigned bandwidth to a television channel restricts and limits broadcast quality. Digital TV is based on modern digital technology. It was designed for BW and color broadcasts as well as audio. It handles information in the same manner as computers: on (with a binary value of â€Å"1†) or off (with a binary value of â€Å"0†). Digital broadcasts allow viewers to see uniform reception quality regardless of the distance from the transmitter. Either the digital television receives the broadcast or the TV screen remains blank (it does not receive anything at all). Signal Content Digital TV broadcasts can accommodate complete video, audio, and other information signals within the same bandwidth. Furthermore, digital television can accommodate advances in technology like High Definition (HDTV) signals. In contrast, analog TV broadcast can only send limited traditional video signals. Format The development of wide screen format programming allows the broadcast of the 169 format. Today, widescreen LCD television are getting more popular; but still expensive. It offers the advantage of portraying on the TV screen wide footages of events without the camera lens distortion caused by distances. Furthermore, the widescreen image occupies the whole digital television screen. On the other hand, analog television sets will show widescreen images with portions on top and below blacked out. The widescreen format may not be important to the regular TV viewer. For millions of television watchers, the old analog screen is good enough. Conclusion Paul Wotel (2008) gives an objective assessment of the advantages and disadvantages of both digital and analog television. Some people may opt for the old traditional analog equipment such as phones while others prefer the cordless digital phones. If you want sound fidelity, he recommends the old phones. For more advanced applications, such as the PABX systems, he recommends a digital system. The same reasoning may be applied to television sets. However, the present situation requires new priorities which did not exist before. Today, there is much concern on security and priority is given to police and fire department communications. By requiring television stations to convert to digital transmission, most of the broadcast bandwidth can be assigned to security applications. The advantages of digital television allow the viewing public to benefit from the information age we find ourselves in. Digital television can also take advantage of the internet which has become part of the lives of many, particularly the young generation. Considering the continuing evolution in information and entertainment technology we just have to follow the trend out with old, in with the new.

Contemporary Chinese female art and artists Essay Example for Free

Contemporary Chinese female art and artists Essay Introduction In the 1990s, China adopted western feminism and it influenced and rapidly raised the Chinese feminism concept. There were many themes of exhibition focused on female art and female artists, an example of this is the â€Å"Chinese Women Art Exhibition†1 â€Å"Chinese Women Art Exhibition† in 1998, the Frauen museum (Women’s Museum), Bonn, Germany â€Å"Ã¥ Å Ã¥ ¤ ©Ã©â€šÅ -ä ¸ ­Ã¥Å"‹å ¥ ³Ã¦â‚¬ §Ã¨â€" Ã¨ ¡â€œÃ¥ ±â€¢Ã¢â‚¬ , é‚ ±Ã¨  Ã§ ­â€"åŠÆ', Ã¥ ¾ ·Ã¥Å"‹æ ³ ¢Ã¦  ©Ã¥ © ¦Ã¥ ¥ ³Ã¨â€" Ã¨ ¡â€œÃ¥ Å¡Ã§â€° ©Ã© ¤ ¨, Ã¥ Æ'Ã¥ ±â€¢Ã¨â€" Ã¨ ¡â€œÃ¥ ® ¶Ã¦Å"‰ä ¸ ­Ã¥Å"‹, æ ¸ ¯Ã¥  °Ã¥ Å Ã¦ µ ·Ã¥ ¤â€"å… ±Ã¨ ¨Ë†25ä º º. in 1998 and the â€Å"Century Female Art Exhibition†2 â€Å"Century Female Art Exhibition† in 1998, the China National Art Gallery, Beijing, China â€Å"ä ¸â€"ç ´â‚¬,Ã¥ ¥ ³Ã¦â‚¬ §Ã¨â€" Ã¨ ¡â€œÃ¥ ±â€¢Ã¢â‚¬ , Ã¥ â€¡Ã¦â€" ¹Ã¨Ë†Å¸Ã§ ­â€"åŠÆ',ä ¸ ­Ã¥Å"‹èâ€" Ã¨ ¡â€œÃ§  â€Ã§ © ¶Ã©â„¢ ¢Ã¦â€"‡åÅ'â€"èâ€" Ã¨ ¡â€œ,Ã¥ ¤ §Ã¥Å" °Ã¨ ³â€¡Ã§â€ ¢Ã§ ® ¡Ã§ â€ Ã¦Å"䎪 Ã¥â€¦ ¬Ã¥  ¸Ã¤ ¸ »Ã¦Å' ,Ã¥ ±â€¢Ã¨ ¦ ½Ã§  »Ã¥ ±â€¢(é™ ¶Ã¥â€™ Ã§â„¢ ½Ã¤ ¸ »Ã¦Å' ),èâ€" Ã¥â€œ Ã¥ ±â€¢(Ã¥ ¾ Ã¨â„¢ ¹Ã¤ ¸ »Ã¦Å' ),Ã¥ ¤â€"Ã¥Å"˜å ±â€¢(ç ¾â€¦Ã© ºâ€"ä ¸ »Ã¦Å' ),ç‰ ¹Ã¥ ±â€¢(è ³Ë†Ã¦â€" ¹Ã¨Ë†Å¸Ã¤ ¸ »Ã¦Å' )四個éÆ' ¨Ã¥Ë†â€ .Ã¥ ±â€¢Ã¨ ¦ ½Ã¨ ¨ ­Ã§ «â€¹Ã¤ ¸â€°Ã¥â‚¬â€¹Ã§ Å½Ã©  â€¦:æâ€"‡åÅ'â€"èâ€" Ã¨ ¡â€œÃ¥ ­ ¸Ã§ ¤ ¾Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ ¡Å¾Ã¥ £ ¬Ã¨â€" Ã¨ ¡â€œÃ¥ · ¥Ã¤ ½Å"Ã¥ ® ¤,劉è™ ¹,èâ€"݊ ¿ Ã§â€˜â€¢,æžâ€"Ã¥ ¤ ©Ã¨â€¹â€",æ ¢ Ã¦ ´ Ã© Ë†) æ‰ ¹Ã¨ ©â€¢Ã¥ ® ¶Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ §Å"æ  °,Ã¥ ­ «Ã¨â€˜â€º,æžâ€"Ã¥ » ¶,æâ€"‡é ³ ³Ã¥â€žâ‚¬,æ Å½Ã¨â„¢ ¹) æ” ¶Ã¨â€" Ã¥ ® ¶Ã§ Å½(ç  ²Ã§ Å½Ã¨â‚¬â€¦:Ã¥ ¤ Ã¤ ¿Å Ã¥ ¨Å",Ã¥ ¾ Ã¦Å¡ Ã§â€¡â€¢,Ã¥ ¼ µÃ¦ º «Ã¥ ¸â„¢,Ã¥ ­ «Ã© ¼Å½Ã§Å½â€°,Ã¥ ¾ Ã¨â„¢ ¹) in 1998. Only female artists could participate in this category of art exhibition. Although the exhibitions revealed the importance of women art in modern Chinese art, there was no specific description to define the quality of female art and female artists. From this it can be asked: What is Chinese female art and is it a category in the making of the modern and contemporary Chinese art? Contemporary Chinese art frequently referred to as avant-garde art, sustained to expand ever since the 1980’s as an improvement of contemporary, post-Cultural art developments. During this period, China opened the economic door to world and western influence poured into Chinese culture; bringing the concept of feminism in China. Furthermore, Chinese artist were also released from the control of extreme political condition, and female artists were set about to re-create their own image, contributing to a gradual awakening of women’s consciousness. Indeed, it is in this newly awakened consciousness that Chinese female art in contemporary world can be delineated. In this paper, I would like to discuss how three generation groups of female artists (1980s, 1990s, and overseas) present their works and how they express their female quality through those art pieces. Finally, I also would like to bring out the concept and definition of quality of female art in contemporary Chine se art. The ’85 New Wave Art’ movement brought about many young female artists who devoted themselves to approach the woman’s nature of body and also found new ways to present the attention on the female subject. Female artists alongside male artists, expressed their own attitudes towards contemporary China. In the beginning stages of this period, women artist paid little attention to their own expression through maintaining with the large scale influence and borrowing from modern western art. However, the nature of contemporary art developed so that the concept of women’s artistic consciousness started to emerge. After 1989, neo-expressionism brought new stage in China. Artists, both male and female, started to focus on the essence of human spirit and also emphasized on rational and critical concepts. Women’s consciousness began to emerge and women began to explore their own experience and find an appropriate way of expression in contemporary Chinese art. Most female artists pursued to define the essence of women’s consciousness or confirm women’s consciousness itself. They promoted freedom from traditional male-dominated society and pursued women’s equal position with men. Many women art exhibitions were also held in this period, and female art and female artists began to be paid attention. Since the 1980s, not only local Chinese female artists came about to give rise to Chinese women’s art, but some overseas Chinese female artists also worked to this end. They created the works through different experiences and feelings in looking for the essence of women’s consciousness. These artists mostly left China after the Cultural Revolution, prior to the social changes in China. They have their unique ways to present their ideas and expressions, like looking back to Chinese history and pursuing the art essences that they need. With differences in personal backgrounds and generations, female artists in all these three groups have varying and unique ways in presenting their art through different content and influence. But to Chinese female artists, the intention is to express their female touch and feeling in a changing Chinese society in which the women’s gender role is constantly changing and reshaping. In their art, females in these three groups share not only expressions and feelings based on their female sensitivity but also their observations to social concern. In the following sections, I choose three contemporary Chinese female artists, Hung Liu, Yu Hong, and Cui Xiuwen, and define the quality of female art through their works. Traditional female role in China Most literature focuses on Chinese culture and history with key stresses on the function of language, geography, philosophies, and art. On the other hand, women are missing in almost all fields. Chinese civilization’s culture and arts are male-dominated and male-oriented. Chinese art, whether primordial or contemporary, is art that instigated in or is practiced in China mostly by Chinese male artists. The arts of a society mirror man’s values and attitudes. Women were always portrayed as objects of observation by men. Moreover, according to I-Jing, â€Å"women are more naturally aligned with the spiritual and emotional bodies, which are more non-linear and spatially oriented (all those yin qualities); while men are more naturally aligned with the mental and physical bodies, which are more linear and temporally oriented (all those yang qualities).†3 Malin, David. 2006. Creating Sacred Space. Bodymath.com. http://www.bodymath.com/articles/archives/Feb06_Creating_Sacred_Space.pdf (February, 2006) Yang is mostly considered more important than yin, and is regarded as of secondary importance. This makes gender roles have typical stereotypes with women always portrayed with weakness and sickness. Chinese women had been confined to the family, at the mercy of their husbands for thousands of years. History and tradition have stifled women’s voices. In China, women lived within a society dominated by men, where women were not authorized to involve themselves in the public field and consequently were not integrated in historical descriptions. For example, in the Forbidden City, women were not allowed to walk in some public spaces because those spaces were symbolized as the male’s power and authority. â€Å"No woman ever took part in the grand ceremonies staged before the Hall of Supreme Harmony, which were supreme demonstrations of male ruling power.†4 Wu, Hung. Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the â€Å"Dream of the Red Chamber†. Writing Women in Late Imperial China, ed. Ellen Widmer Kang-I Sun Chang, 315-316. Stanford, CA: Stanford University Press, 1997. Undertakings by Chinese women highlight the custom of foot binding succeeded from late Song to Ming Dynasties and even sustained to several indications into the 20th century. Foot binding has an effect to a degree in all classes of Chinese women and at a certain point, persuaded women to have bound feet and to dwell in the private sphere of their homes. Having bound feet was directly correlated to Chinese art in modern times. Contemporary Chinese women role The year 1976 marked a shift in political, economic, and cultural policy, a shift that erupted out of the self-imported isolation of three decades and opened China up to the outside world. Western influence started to come into China and brought many new concepts to strike Chinese society. During the 1980s, the western feminism also began to influence and raised rapidly women’s consciousness. â€Å"By the mid-1980s, though, the plethora of newly founded womens magazines explicitly discussed womens problems at work and in the family. The pages of China Womens News were filled with exposà ©s and denunciations of discrimination faced by women. Feminist outcries began to appear with some regularity in print. This recognition of gender inequality also found expression in the emergence of separate womens organizationsschools, professional societies, and womens studies groups.†5 Hershatter, Gail Honig, Emily. Feminist Voices. Personal Voices: Chinese Women in the 1980’s. 308. Stanford, CA:Stanford University Press, 1988. Women became aware of their unequal state in society and began to pay attention on female issues. In 1990s, new modern women images emerged. Women focused on individual characteristic and pursued their confidence and profession. The new women were as strong and intellectual as men or better, and they could even afford more of what they desire without anymore having to depend on men and be at a lower statute in society. â€Å"Metropolis ran a special feature on women of talent in its November 1999 issue. One illustration show a confident woman pointing to the screen of her laptop computer while a male colleague with furrowed brow struggles to comprehend what he sees. An article entitled â€Å"Thirty Traits of the Talented Woman†6 â€Å"Thirty Traits of the Talented Woman† explains that the woman should be intelligent, sharp-witted, well-informed, knowledgeable, well-spoken, and has good taste; she is independent, self-respecting, and conscious of women’s equality; she if principled but gentle, with a good sense of humor, and easy to get along with. She is understanding, generous, and sensitive to the feelings to others, but not suspicious. She is a doer-straightforward, efficient, and self-controlled. She is a bit of a rebel but not confrontational. While she may be attractive to men, her attraction is based on personality, not beauty. Her life is well-balanced; love is never her only concern. Dadushi (Metropolis) 14 (November 1999): 102-103 lists her characteristics.†7 Julia F. Andrews and Kuiyi Shen. The New Chinese Woman and Lifestyle Magazines in the Late 1990s. Popular China: Unofficial Culture in a Globalizing Society. Ed. Perry Link, Richard P. Madsen, and Paul G. Pickowicz, 151. Lanham, Maryland: Rowman Littlefield Publishers, Inc., 2002 New modern women were portrayed as beautiful and intellectual individuals. They could stand in the same level in society with men. Contemporary Chinese female artists and works Contemporary Chinese female artists use a lot of ways to express and convey their feelings and this is done effectively in their image. Basically, there are five important themes involved in their works to describe their voice and thought. First, female artists usually use their sensitivity to express women’s touch through body and gesture. Body and gesture presentations help artists to voice their opinions and feelings accompanied with their understanding of being women. Cui Xiuwen8 Cui Xiuwen, born in Heilongjiang, China, 1970. She graduated with MFA from the Central Academy of Fine Art, Beijing, China in 1996. Cui Xiuwen’s works have consistently engaged themes of sexuality and gender. Her paintings show the blurred boundary between public and private, and the relationship between history and memory. She uses a wide range of media and subject matters to explore the messages she wants to pass, bringing disturbing insights to bear on those issues. , her series works, â€Å"Lovers† (1999), she creates bold and sensitive relationship and intimate activity between man and woman. In the piece, she reveals both heterosexual and homosexual features, and presents a nervous sexual interaction that hints at Paul Cezanne’s colors. In â€Å"Lovers 5† (1999), strong and intense orange color background emphasizes the two human figures in the front when having sex, and also marks the nervous and excited atmosphere between them. While seeing this painting, the feeling is along with two figures through position, activity, and touch. This is primary human nature and human form however is heterosexual or homosexual. â€Å"†I create themes about gender, not themes about sexuality,† she explains. â€Å"I focus on human beings, only the human form in the world. If you want to know what it is to be human, you have to gain an insight into the relationship between man and woman.†Ã¢â‚¬ 9 Ma, Maggie. The Colors of Cui Xiuwen. Artzine: A Chinese Contemporary Art Portal. http://www.artzinechina.com/display_vol_aid168_en.html Yu Hong’s10 Yu Hong, born in Xi’an,China, 1966. 1995 earned MFA from the Central Academy of Fine arts, Beijing, China. Simple and realistic are the two best words to describe her works. Initially, Yu Hong’s paintings combine highly realistic portraits wit unreal surroundings and colorations, suggestion a sense of dislocation from the world. She presents her world and experience through works without any extraordinary images or ideas. Though paintings often represent a tranquil feeling, they depict the significance of life. Her early work, â€Å"Nude† (1988) was against masculinity appropriation of the spectacle of woman’s body in the Cultural Revolution. She portrays realistically, woman’s naked body, smooth and soft pose which present the touch and quality of female. Yu Hong reverses the traditional must-be female image. She depicts naked woman body in front only with red high heel shoes. â€Å"Chinese pictures of the human body, clothes or semi-clothed, (in a furtive pornography [of specifically erotic pictures]), are-to Western eyes-meager, schematic and inadequate†.11 Angela Zito Tani E.Barlow.The Body Invisible in Chinese Art?. Body, Subject Power in China. Chicago: The university of Chicago Press. There were no naked body images in traditional Chinese pictures, but here Yu Hong presented the naked woman body to represent the true nature and beauty of human form intended   against masculinity of the body and tradition. Another type of presentation, like Hung Liu’s12 Hung Liu, born in China on the eve of the Cultural Revolution, 1982 earned her MFA in mural painting from the Central Academy of Fine Art, Beijing, China, immigrated to the United States later on and also earned MFA in visual arts from University of California, San Diego. She is interested in looking at how women existed in Chinese history for long time. Her works are touched with the painful reality of women’s status on China. As a Chinese woman and immigrant in the United States, Hung Liu chooses different ways to identify herself through looking back the Chinese history and portraying female issue on art work. Her paintings are based on late 19th and early 20th century Chinese photographs. Some were taken by foreign tourists, while others were taken by the Chinese. Often, the pictures are of beautiful young prostitutes. In traditional Chinese society, prostitutes belong to the low social class and disdained by people. But, indeed, they play an important role during that period, especially for photograph art and portrait paintings. In her work, â€Å"Odalisque† (1992), she creates a monumental altar to an anonymous woman, a turn of the century Chinese prostitute. Hung Liu reclaims a place in history for the Chinese prostitute by transforming the small photograph into large scale painting. â€Å"To the painting, with their flattened surfaces, Liu attaches wooden altars, on which she sets small jade-colored vases of glass flowers or tiny embroidered shoes for bound feet. Like the lacquer panels and the lifeless glass flowers, the prostitutes are mere decorations, passive, powerless, and empty in a culture that traditional counted emptiness as a female virtue.†13 Kim, Elaine H.1996. â€Å"Bad Women†: Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min. Feminist Studies, Inc. http://www.jstor.org/pss/3178131 The traditional Chinese clothing of the woman contrasts with the ornate, Western design of the sofa upon which she reclines and the flowered, Victorian-style backdrop. In addition, her gaze turns to the viewer and marks us conscious of viewer’s role as outside observers. The painting recalls the western artist, Edouard Manet’s painting, â€Å"Olympia† (1863). She touches a moment that registers the encounter between a past China and the trope of the prostitute, sexuality as commodity advertised through the relation of displayed body to the gaze of that Western technology, camera. â€Å"â€Å"I don’t want their stories to be forgotten; I don’t want them to disappear without a trace.† 14 Kim, Elaine H.1996. â€Å"Bad Women†: Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min. Feminist Studies, Inc. http://www.jstor.org/pss/3178131 As she says, she intends to document the anonymous women in history. Hung Liu’s painting combines western aesthetics with Chinese subject matter (prostitute), a cross-cultural blend that communicates her unique sense of beauty and emotion to the viewer through extraordinarily skillful handing of paint. Second, family and growing background are the significant influences to female artist when creating their works. Their works sometimes are revealed the images about family or childhood memory, and even extend to related personal expression and concern. Yu Hong, â€Å"Witness to Growth† (1966-2006), in which Yu Hong uses her own family photographs to create a self-portrait for each year of her life, and portraits for each year of her daughter’s life. The idea and composition of paintings dwell deeply in her concerned questions: What is the social expectation to female role in our society? How do these expectations build up the life of a woman? In this series of paintings, she not only narrates the story in how growing process, but also how society changes a woman’s life. Yu Hong discards an enthusiastic and rational thinking, but returns to the history by an imperturbable and objective manner instead. Yu Hong chooses a newspaper or magazine spread to complement each image of painting, and makes connection between private and public area of her own life. â€Å"Witness to Growth†(1995),a painting of herself aged twenty-nine years old, Yu Hong’s daughter lying on her body, family burden (role of mother) and society change (modern woman) bring heavy pressure and make her rethink the meaning of gender role and seek the balance between those roles. Next to the painting, artist places a contemporaneous China 1995 newspaper depicting â€Å"women waiting for job opportunity†. Chinese economy was flourishing rapidly during this period, and it also brought extremely competition in working position. Many women lost jobs, and many young girls lost opportunity of education. Society change quickly marked negative effect to female and deprived of their chance. At this time, western feminism came into China; women began to pursue their equality to men in society and also look for their female identity. This feminism trend aroused women to think about their roles between family and society as mothers and working women. In contrast, one year-old Yu Hong’s daughter, she seemed a new generation is growing. A new age is coming. The painting engages the juxtaposition of the weight of contemporary China’s history with the simplicity of life in its purest, most uncomplicated state of being. Here is a relatively quiet life lived in the midst of an almost constant political, cultural, and economic maelstrom. Yu Hong provides the necessary retreat into ordinary that enables the progression of life through the juxtaposition of the photograph and painting. Cultural Revolution was a significant historical event, especially rooted in people who grew up during this period. Hun Liu’s stunning reproductions of historical photographs of Chinese life, which address the cultural collisions she faced while coming of age during the decade of the Cultural Revolution in China. Personal items such as photographs were forbidden during Cultural Revolution, and her family destroyed most of their family photos out of fear. As a result, Hung Liu creates her paintings from anonymous photographs of historical China, particularly with reclaiming the lost histories of nameless women, has been strongly influenced by the losses she and her family suffered. Many of her paintings depict restrictive Chinese Cultural Revolution Scene and express her voice to against this history. Hung Liu’s painting, â€Å"Three Graces† (2001), the source photographs for this painting depict women in paramilitary uniforms in heroic poses, shown from below to give the appearance of greater height and stature. These fighters for Mao’s cause carry primitive rifles as they march forward to engage in the revolutionary struggle. During the Cultural Revolution, young students and young people were mobilized by Chinese government, called â€Å"red guards† or â€Å"Hong Wei Bing†. The Hong Wei Bing traveled throughout China, going to schools, universities, and institutions, spreading the teaching of Mao. They aimed to attack the old society (old ideas, cultures, manners, and customs) with violence, but indeed they followed blindly by government’s propaganda. And the Cultural Revolution also put young intellectuals and artist like Hung Liu into the rice fields to be â€Å"re-educated† by peasants. Hung Liu chooses plain clothes worn by the women in the original photographs with flowers, painted in the traditional Chinese style. The drips of oil paint that enliven the painting’s surface are a part of Western praxis with its reference to the personifications of beauty, charm, and grace. As she says, â€Å"â€Å"The oil washes and drips hat seep through my paintings contributes to a sense of loss while dissolving the historical authenticity of the photographs I paint from. Color is a way of making contact with subjects that are fading into the gray tones of history.†Ã¢â‚¬ 15 Going Away, Coming Home: 80 Blessings from Oakland Artist hung Liu. Port Of Oakland. http://www.museumca.org/press/pdf/Liu%20fact%20sheet%20fnl.pdf Through this revolutionary background, Hung Liu had experienced a deep touch. This painting not only looks for the memory of girls’ but also expresses Hung Liu’s feeling of the Cultural Revolution through the image and drip. Third, artists look for identifying women’s importance and missing recognition of social status because women in society are always ignored and made to play an unimportant role. Indeed, they are actually as significant as men in our world. Hung Liu’s paintings often narrate identity and story issues. She documents in her art the forgotten lives of anonymous people, especially those of women. She tries to recall their erased identity from society and appear their stories and meaning of existence back. Her work, â€Å"We have Been Naught We Shall Be all†(2007), a series of three canvases edged by bands to mimic widescreen film format, those works are inspired by Daughters of China (1949), a Ling Zifeng film based on the heroic actions of a group of women officers and soldiers during the Sino-Japanese War. Hung Liu’s empathetic response to the final moments of the women, as they carry a wounded comrade into the river to draw away enemy fire from the Chinese Resistance fighters, brings to the fore the theme of personal sacrifice. The images of women are taken by realistic presentation, Hung Liu bases on original photographic image of film. She reserves women’s face without any color and intends to keep their original identify and recall their heroic dignity, accompanied by respect. The paintings from left to right, it seems catching the moment and movement when women carrying the wounded body toward the front. Hung Liu uses the yellow color on three canvases, the background of left painting is coloring yellow, yellow is on wounded body and women’s figures of central canvas, and only little yellow color on right canvas. Moreover, yellow symbolizes the sharp memory. Hung Liu arranges the yellow on three canvases perfectly along with women’s action and moment. This presents a balance between image and time. Her art work is concerned about what has been lost in transit between female and history. Hung Liu desires to give those nameless women place in history, and she would like to identify those women as significant heroes in our society. As Hung Liu’s concept, Yu Hong creates the â€Å"She† series to portray the spirit and lives of women. The meaning of â€Å"existence† in our world is then recorded. Different career women have also played different roles to show their importance. â€Å"She-security guard†, Yu Hong arranges one photographic image picked by security guard aside with one oil painting made by her. The photographic image is taken in front of the museum in her leisure time. Security guard wears white shirt with likely smile. In the photo, she raises her hand and poses â€Å"YA†. Contrary to the next, the painting shows her working place. She wears yellow ochrecolor uniform and concentrate on her job with highly respect. The light is the parking light seems leading us to take a glance on her working place and tries to understand her work. Artist organizes this placement purposely and intent to show the importance of security guard in society. Yu Hong depicts the portrait image to let audience snoop security guard’s life between working place and personal life. She is the individual with singularity; no one can replace her in this career position. Yu Hong still presents her realistic style on paintings, and she intends to record different modern female in different levels of life. As she says, â€Å"If life can move slower, people can notice and pay attention in every detail and experience. I wish life could be freed from the restraint, so the essence of real life could be discovered. †16 â€Å"我å ° ±Ã¦Ëœ ¯Ã¥ ¸Å'æÅ"›ç”Ÿæ ´ »Ã§ ¯â‚¬Ã¥ ¥ Ã¦â€¦ ¢Ã¤ ¸â‚¬Ã© »Å¾, 這æ ¨ £Ã¤ º ºÃ¥â‚¬â€˜Ã¥  ¯Ã¤ » ¥Ã¥ ¾Å¾Ã¥ ® ¹Ã¥Å" °Ã§â€Å¸Ã¦ ´ », æ… ¢Ã¦â€¦ ¢Ã¥Å" °Ã© «â€Ã¦Å"Æ'. 我æ ³ ¨Ã©â€¡ Ã§ ´ °Ã§ ¯â‚¬,我å ¾Ë†Ã¥ ¸Å'æÅ"›ç”Ÿæ ´ »Ã¨Æ' ½Ã¥ ¤  Ã¦â€š  Ã§â€ž ¶Ã¤ ¸â‚¬Ã¤ ºâ€º, 這æ ¨ £Ã§â€Å¸Ã¦ ´ »Ã§Å¡â€žÃ¦Å" ¬Ã§Å"Ÿç‹€æ…‹æ‰ Ã¨Æ' ½Ã§Å"Ÿæ ­ £Ã¨ ¢ «Ã¤ º ºÃ¥â‚¬â€˜Ã§â„¢ ¼Ã¨ ¦ ºÃ¢â‚¬ . Enjoy the Life-Yu Hong. Febay.com. http://www.febay.com.cn/magazine/ArticleShow.asp?ArticleID=18433 (April, 2007) Yu Hong represents the reality of space on woman’s personal life and working life, elegant skills on portrait image, and female sensibility on woman’s experience. She also represents an inner desire of a female artist be responsible and conscious of women’s social status. Fourth, the present reality of sadness and pain of Chinese women who are suffering under a cruelly male-dominated world illustrate the image to challenge traditional patriarchy. In the works of Hung Liu, she has examined foot binding, practiced in China from the Song Dynasty until the beginning of the twentieth century. Many Chinese women’s feet were bound from birth to artificially confine their growth, distorting them into small, twisted fists that were sexually attractive to men. The painful, deforming practice of foot binding was used to make a Chinese woman walk in an extremely difficult way, but their mincing steps were considered delicate and lovely. Bound feet left women handicapped, which also ensured that they remained subservient. Moreover, it stressed the value of appearance while making a virtue of hiding one’s pain and suffering, making it a combination of esthetics and cruelty. In one piece of her work called â€Å"Bonsai† (1992), Hung Liu placed a photograph next to an anatomical line drawing showing the cross-section of a human body flanked on either side by Chinese characters. The only decipherable physiognomic attributes in this figural drawing are the heart, what appears to be a spine, and a suggestion of intestinal organs. What are most astonishing observations about this drawing are the absence of legs and the egg shape of the figure that almost mirrors the contour of the woman in the photograph. By placing these two images within the same interpretive context. Hung Liu has reinforced the notion of the woman’s incapacitated movement. Woman’s physical movement had been limited by the mutilation of her feet in the same way that a tiny bonsai tree is confined to restrict its growth. She had been bound by Chinese societal and cultural practices as an object of male gratification. Hung Liu shows the Chinese aesthetic tradition with cruel reality in male- dominated society. She also presents how unfair beauty standards were to women in the long period. As a Chinese woman, the piece would make a you think about your grand grandmother or grandmother suffering this pain in order to satisfy men’s taste and standard. Her art work is concerned about what has been severed from the surroundings. She touches the sadness and painful reality of women’s status in China. As a woman, she uses her sensibility to depict and voice for women’s gender role. From her paintings, not only narrate stories but also represent true reality in our society. The young artist Cui Xiuwen creates bold, sensitive caricatures of works as â€Å"Intersection Series† in 1998. In the piece, she records the full front side of a man’s naked body and dressed a young girl holding a rose. The painting is also done in connection with Cezanne’s colors and narrative story-telling and nervous relationship between female and male. Cui Xiuwen colors the girl’s dress and dog on green color. Green color symbolizes the protection from fears and anxieties connected with the demands of others (men). The rose is represented as girl’s pure virginity which is inviolate. Girl’s face also reveals innocence. On the contrary, man’ genitals are bit off by girl’s dog, blooding through his underwear. His extremely fearful and shocking face shows on his face with opened mouth and big eyes. In traditional Chinese society, patriarchy dominates the world and power. Genitals are the symbol of patriarchy. Cui Xiuwen boldly challenges to patriarchic society and tries to reverse the social position between female and male. In traditional Chinese art, art is confined to the men society. Women always played being viewed characters; men played viewer roles, but here, the artist breaks traditional art concept and reverses art presentation. The reversal shows Cui Xiuwen’s stance on the feminism. She makes up fictional story image to express her own challenging patriarchic desire. Intensive and extraordinary color and story throw a huge stone to the eyes of the audience. This also brings new dispute to contemporary Chinese society. Finally, concern about female and social issues, the year 1976 marked a shift in political, economic, and cultural policy, a shift that opened China up to the outside world. Afterward, society is changing rapidly. There are more and more social issues emerged such as teen-age crime and pregnant teen-age girl. Social value shifts to wrong path. Artists see this situation and use observations to bring the problem and question to audience. Yu Hong, she approaches new art presentation on â€Å"Figure and Ground†. The works portrays some young girls practicing gymnastics. Images seem simple, but paintings neatly summarized a sophisticated thread of thought the artist has been developing over the years, and they express that thought in a way that ties the works visually to certain aesthetic principles found in traditional Chinese painting. As a group, paintings represent a fresh vision and a new level in artist’s oeuvre. Each painting in the series depicts from one to three girls against a blank ground, bent into contorted positions as they practice gymnastics. Yu Hong bases the paintings on photographs she took at her daughter’s gymnastics class. The girls wear black leotards in addition to some combination of tight black pants, black and white striped shirt, and black slippers. â€Å"As the artist has said, the paintings â€Å"are all about girls doing artistic gymnastics. People, especially girls, have to change themselves to suit society.† The images are a simple but highly effective metaphor for the place of young girls in contemporary society.†17 Erickson, Britta. Figure and Ground: Yu Hong’s Gymnastics series. Yu Hong. Beijing, China: Loft. Although the students in Yu Hong’s daughter’s gymnastics class range in age from six to teenage, the age of the girls portrayed in Figure and Ground is narrowed to about nine to twelve. Those are the years when girls move from childhood to puberty and begin to come under the heavy pressure of society’s expectations. Teenage is a special period, and it is easy to lead a child to wrong path. Cui Xiuwen’s strength and certainty seems to have naturally transformed into a desire of the home, of having a family, and in a wish, difficult to admit but naturally inevitable, of maternity. This is what the images of her work, â€Å"Angel†, inspire. Artist approaches her own sensitive observation to current social issue related to young age girl. This work does not want to criticize a social and universal situation. It brings up the awareness and the realization of an individual as a singular feeling. Cui Xiuwen wants to express how a young mother, especially teen-age mother in China feels and what fears she has to face. She uses a young model to create strong emotions. Rows of white young girls, ghost like girls, and the same girl repeated over, and in the same state of pregnancy, but the figures are positioned at various scales, which express the different types of fear they have. Alone, staring at the horizon, scared and worried in a procession that goes from the Forbidden City and continues on what can be a highway such as the Beijing ring road o the expressway to the airport. This represents the time when society is changing, and girls are unable to go back to the prior time and have no choice but to go forwardt. They look at the front but only darkness is surrounding them. â€Å"â€Å"No longer wishing to see the outside world, reality, nor to be confronted by it or to have to deal with it†, is the artist’s explanation. Falling pregnant has distinctly different meanings and implications at different ages of woman. Both for the woman and it terms of how the external world judges the fact. Do they applaud or condemn. Cui Xiuwen asks â€Å"Can a woman choose to have a baby alone, single, because she bows to maternal instinct, and does not feel the need to be married?†Ã¢â‚¬ 18 Smith, Karen. Photo series â€Å"Angel† of 2006 and â€Å"One day in 2004†. Catalog of DF2 Gallery. Los Angeles:DF2 Gallery Cui Xiuwen brings the question to make the audience aware about the young pregnant girl’s problem rather than criticize her . She uses retrospective manner to represent the image on her works. Her works do not strike us, nor are they extraordinarily critical, but rather leave significant questions in our minds. Conclusion Yu Hong, Cui Xiuwen, and Hung Liu though are being in different generation groups; they all aim to represent female qualities and voice for women through their works. Yu Hong was brought into the world at the start of the Cultural Revolution in 1966, during which almost every aspect of Chinese life was being re-evaluated. When re-examining the historical evidence and cultural production of the period, it becomes difficult to imagine life being brought into the world during such a period of upheaval. In many cultural products that are marketed as personal memories, the political economic situation is placed directly into the foreground of the narrative, and personal details become a way of contextualizing the nation’s story. Yu Hong’s method of storytelling makes the personal much more central. Her generation, is a group existing between old (artists were trained as Russian realists) and young (artists were influence by emancipation movement) generations. Yu Hong’s works always present old tradition concept (family as central start point) and new social concept which is related to social issues. Cui Xiuwen has been called many things-avant-garde, transgressive, feminist, controversial, and even over-the-top-buts never creatively stagnant. She is born a new kind of human, who grew up in a relatively open social environment and came of age in the increasingly more globalised information age. Her paintings and later photographs are always with frank depictions of human sexuality and controversial issues, which present her ideas and feelings about the new modern society. But Hung Liu, she was born in 1948 in China. During the Cultural Revolution, she was sent to the country to work in the fields and be â€Å"reeducated†. Hung Liu studied the acceptable artistic style of Socialist Realism while in China. After immigrating to San Diego, she learned that it is important for an artist to think and that art is intertwined with, not separate from life. Her works depict the cultural mixing that takes place when an individual moves to a new country and also reality of hidden history in China. She much focuses on historical sources to present the image of reality. Three generation group of artists have their own unique presentations through their works and also are influenced on their own social backgrounds. But, female are the most important image and concepts of their commonality of works. By focusing on a female rather than on a male, three artists challenge a tradition of patriarchy. In the art pieces, the narrator (three female artists) and the protagonists (female image in works) are all women. As such, they present the viewer with a distinctively female view of the world. In historical constructions, women’s lives were generally touched only indirectly in contrast to their fathers, husbands, or brothers. Yu Hong, Cui Xiuwen, and Hung Liu show the women’s lives being immediately influenced by the external world and also their â€Å"existence† and â€Å"importance† in our society. History, society, and family have been great influences upon the development of female art in China. Because of the oppression that Chinese women have faced from a patriarchal society, female art exhibit intense emotions of sadness, pain, and revolution against the male dominated Chinese social stratification. There are many paintings, and photographs that depict the detrimental state that Chinese women were in during the more rigid periods of Chinese history. Various works of art from photos to paintings show female opposition against various Chinese traditions that have oppressed their gender for generations. Many female artists who driven by extreme emotion focused on work that mirrored their sense of retribution against male dominance. Art work that feature females â€Å"turning the tables† on men are common among more liberal female artists. There is also a lot of work that defy traditional Chinese art that is also patriarchal. Such works make use of non-conventional materials and subjects as a way to challenge the male dominated norms. This shows an image of the Chinese female artist as someone who wants to break free from an oppressive condition through the use of personal expression. The qualities linked with the use of the expression in art for them taking account of use of words importantly as the innermost artistic element, simplification, appropriation, representation of user or popular culture as well as art itself. The artists believe that art makes people realize the truth-at least the truth that is given to all to understand, and brings back eliminated women state in Chinese tradition. Chinese female artists have become more motivated to do art not only because of talent, but they convey reality and truth through art. In currently modern world, the majority is focusing on economic flourishing, globalization, and new technology. Most people have forgotten the essence of life and the simple things that make us live along with the many troubles of humanity and theses contemporary Chinese female artists, through exploring modern art are still preserving the real essence of making art and what art means to them, and the female artists also discover their own experience and find an appropriate way of expression in Chinese art. In relation to this, the female artist thus gives superior importance to the role of women in Chinese society. Many daring works aim to recognize female contribution to the family, government, and society which goes largely undistinguished in past generations. Here the Chinese female artists aim to open viewers’ hearts and minds to the true worth of the Chinese woman. Works of art that show how important Chinese women are also tend to show how much they are taken for granted. The Chinese woman artist was also found to be sensitive with the changing times. As society evolved over years of political, economic, and social change, so did female artistry change with it. In fact, female art can be concluded to be much more versatile than Chinese male art which is considered more traditional and unyielding to time. Another difference duly noted between male and female works of art in China was that females tend to express more depth and daringness in terms of depicting sensual subjects. Years of yearning for equality with their male partners have also implied years of dissatisfaction with how males see copulation rituals. The outlet of this repression can be observed with how meaningful and rich Chinese female works of sensual art are. The female artist takes her time to craft the intricate details that add flavor to a romantic scene. The female artist is able to bring out the humanity of a sensitive scene and does not confine the subject to feral lust. Instead, the focus is upon the intimateness of interaction that is not meant to sexually arouse but rather to emotionally move viewers. Lastly, the image of the Chinese female artist is one that is deeply devoted to the value of family. Influences from childhood memories can be seen in the works of many female artists and is regarded as a sense of personal beauty added to general themes. Those are the themes that provide the overall picture in which female art is framed. Chinese female art can be compared to a strong, demanding voice that echoes the grievances of an oppressed gender and outwardly shows how important it is and why people should take notice. It is forceful and bold, more than willing to reject the norms in order to convey its meaning to an internal society that it deems as largely unsympathetic to their concerns. At the same time, female art is delicate and sweet, showing not intent to please but a true expression of beauty. Lastly, it can be concluded that female art is greatly influenced by changing times and each generation of female artists have their own issues to face which are reflected in the works that they produce. Despite female art showing the capability of female artists, it is also a representation of quality artistic work. These qualities contents highly essence of female touch and voice, and also produce with strong female expression through the artworks. Female art is not only made by female artist, on contrary, it is an art with enthusiastic female quality. These five categories of female quality present the sense of female beauty and expression, artists’’ sensitivity of women, and extraordinary and skillful handling of paint. Observe the female art movement in the western society and Chinese society, there is no gap between them. In the west or China, the essence of quality of female art has maintained the same content and concept. In recently decade, female consciousness emerges and brings new concept to women. Women begin to understand themselves more and express their feelings to others. With a modern course of awareness in Chinese contemporary art in the global market, Chinese female artist are expectant that they will reach their ultimate objective; Chinese female artist must have a say. They will continue to explore and find a new way to express their art and voice for women, and the quality of female art will also get more abundant themes.