Same day, different story; how our New Year rituals come down to sorting and making stories

The end of the year is a reflective time for most people. But, it’s the same sun that dawns on us on the first of January. The resolutions we make at the beginning of a new year could be made on any other day. The introspective or reflective time we spend with ourselves or a close circle at the end of a year could, arguably, be more meaningful if they weren’t initiated for the social conditioning to do so. If we think about that, the new year could seem like a great commotion that interrupts the everyday flow of life, only to return to the same-same. But, the rule ‘survival of the fittest’ applies to social rituals too. There must be enough reason—even beyond the obviously commercial New Year's Eve phenomenon—for us to continue acknowledging the turn of a year the way we do.

The reason has to do with stories. More specifically, to do with sorting life stories into chapters, retelling stories through rituals, and making new ones. Across cultures, the practices of celebrating the end of a year and welcoming the new are built around our need to structure experiences through the lens of time and narrative. They help us preserve, revisit, and create stories. 

2019, palm flower, Chathuni Dewminidissa. In South Asia, the palm flower symbolises a story of family and abundance, making them part of traditional new year celebrations.

Stories are built on time

Categorizing events into beginnings, middles, and ends is the fundamental structure of any story. The calendar, with its recurring cycles, serves as one of the most enduring tools for organizing our life narratives. The end of the calendar year becomes a natural pause, a reflective juncture where the finished part of our story is examined, and the rest is imagined.

In traditional New Year rituals, this connection between time and story is more evident with stories connected to the various lunar and solar calendars, agricultural cycles and celestial rhythms. These stories become repositories of cultural memory, connecting people to their environment, ancestors, and each other through shared rituals. Even our modern New Year rituals—from going out for midnight to the mandatory social media post—reflect the global culture that dominates our lives today, like the Gregorian calendar that has minted January 1st as a shared moment of reflection and renewal around the world.

Are remembrance and celebration narrative acts?

Watching how people recount their year on social media and gravitate toward spiritual or social celebrations to mark the new year, I can’t help but notice how they all take the form of making stories and continuing or, more rarely, breaking narratives. Celebrations reaffirm shared stories with rituals and practices while creating new stories that will be retold in the years to come. Fireworks, family gatherings around, traditional festive foods, or rituals of forgiveness and gratitude all serve to bind individuals together through shared experiences. The end of a year brings about an instinct to reflect on the journey so far and assess accomplishments, challenges, and growth. This introspection usually leads to making or reaffirming stories; those countless best-of-the-year stories are evidence. 

Some deliberately break the narrative. A New Year celebration conceptualized by a Colombo collective of creatives wanted to break the hegemony of typical parties with borrowed elements from global pop culture; they wanted to create stories that are more closely linked to local habits and practices.

Rituals at the year’s turn also allow us to sort and categorize stories, dividing the sprawling continuum of existence into manageable segments—just like a writer would split a story into chapters. By marking the end of one chapter and the beginning of another, social rituals around the New Year help us frame experiences, offering clarity and perspective. They also lend an opportunity to reframe narratives; resolutions are stories we tell ourselves about how we will write the next chapter of our lives.

The universal and the particular

While the celebration of the new year is a universal phenomenon, many of the expressions are rooted in cultural particularities. The Gregorian calendar’s global adoption has established January 1st as the ‘New Year’ around the world. It’s now a shared temporal marker, coexisting with local traditions and rituals. Attend any New Year’s Eve party in Sri Lanka—all with elements from global culture like champagne and midnight counts—there will still be Kiribath served for breakfast (delicious local celebratory fare of rice cooked in coconut cream). After all, stories are not static but dynamic, capable of adapting to new contexts while retaining their essence. 

In Sri Lanka, new year celebrations are a mix of local and global narratives; people mix stories from western pop culture with those they inherited from heritage and religion. Images L to R: 2022 cocktails at Galle Face by Charles Haynes; 2016 kiribath by Antano; 2023, banana leaves, Dijaxavier. Banana leaves are a symbol of prosperity used in retail spaces at religious festivals and new years; 2016 Puja by Goutam1962, Most religious new year rituals are often built on stories of lunar and solar calendars; 2023, milk rice, Rod Waddington. Milk rice is a celebratory fare prepared across South Asia at new years, showing how foods become repositories of cultural memory; 2021 Galle Fort old church preparing for New Year's eve, Dan Arndt.

This is why I think the social ritual of marking the end of one year and the beginning of another is a narrative act, rooted in our need to retain, create, and sort stories. What was the story so far? What comes next? It reflects our desire to make sense of time, to find meaning in the past, and to shape the future. In this interplay of stories, the new year becomes more than a date on the calendar, not because it really is any different from other days; because we decided that it is so. Because, society—considering it as a single storyteller—decided that it was the end of the chapter and the start of another.

What language means to business

Photo by Pavel Danilyuk

Ever felt like you’re not getting an idea through because it’s beyond the limits of your vocabulary? Or that an idea is not grasped by your audience because it’s not presented with the right words? Clients with internal content teams often approach us with this problem. We create language catalogues that help them stay authentic and efficient in their communications; this is particularly useful for companies that have transient teams. Let’s unpack why language matters so much when sharing ideas.

It’s hard to even imagine interacting and making sense of the world without words. It almost seems that words are the very architecture of ideas. Is it possible to form or communicate ideas without words? You can definitely feel and experience without words. But, experiencing is not the same as deriving an idea. Experiencing music is not the same as processing it and deriving an idea from it.

Oscar Wilde called language “the parent, and not the child, of thought”, suggesting that thinking is shaped by our words.

But, we know artists and musicians who think in image or sound. The mathematical genius Daniel Tammet processes numbers by thinking in landscapes. Other interesting evidence is in how hearing-impaired people, who are cut off from both spoken and signed language, form ideas without the help of words.

Mundurucú, a remote Brazilian tribe, has only words for numbers up to five. When studying their capacity to understand the concept of a number higher than five, it became evident that for many Mundurucú, the idea of greater than five was a difficult one to grasp. Although some showed signs of understanding the idea of ‘something bigger than this’, they were quick to categorize it as ‘a lot’, rather than attempting to define it more specifically.

We can certainly process an idea without words; using comparison, physical memories and associations with shapes, and colors, perhaps even symbols, sound, and movement. However, some ideas can only be conceived in the presence of the word.

Mundurucú’s limitedness in grasping simple numerical concepts shows that although ideas can be actively processed without words, they may not be fully understood in such cases. Certain ideas or concepts— most certainly numerical ones, as the study with Mundurucú suggests— cannot be grasped fully without the clarity and definition that a word would lend. That is to say, there are certain kinds of thinking that are possible only with words.

So, what does this mean for businesses? Words help us quickly define and zoom in and out of ideas. Access to a vocabulary that accurately portrays the origins and cultural associations of the business, and considers relatability with the audience means efficiency in communicating. It also means consistency in vocabulary, creating the ‘brand voice’ or the persona that audiences emotionally connect with.

When we work with businesses that have internal communication teams—often transient as employees move in and out of the company—we create brand language catalogues. A brand language catalogue helps ideas to be communicated without being limited to the individual vocabulary or linguistic expressions of the employee handling the content creation at the time. They’re story-building tools that help businesses stay efficient and consistent.

We also create visual language catalogues to create sharable boards that portray the look and feel of a business using imagery. But, this insight story is only about written and spoken language.

Let’s decode the function of a language catalogue using this example that we created for Podi Scene documentary film promotions. When we create language catalogues we first have a quick conversation with the client and do a little research on their platforms to find out the typical correspondence that they have with the audience. Depending on the research insights and the client's brief on the requirement, we identify what types of language samples would be most useful to their company. In the case of Podi Scene, we prioritized descriptions for aesthetics, moods, qualities and experiences because it is a brand that often expresses appreciation. We also paid close attention to language for handling complaints because it was important for Podi Scene to maintain good relationships with people from diverse viewpoints and backgrounds as they interacted with the film and the ideas it highlighted.

A brand language catalogue is essentially a collection of written and spoken language that allows you quick access to categorized sections like greetings and sample responses to compliments or complaints. It’s like having a toolbox at hand’s reach for building narrated or written content while staying on-brand with language.

If you want to learn more about how we can help your business coin the language that’s right for it, get in touch.

Stories to stay authentic in the travel and hospitality business

Right now, everyone is a self-proclaimed adventurer. The internet is flooded with pictures of people posing from popular destinations, sitting on palm-fringed beaches and eating exotic food, hashtagged #wanderlust. So much so, that it contradicts the true meaning of exploring, which is to go where it’s uncharted, beyond the comfortable choices and off those beaten tracks. Often enough, travel and hospitality businesses use these populist narratives; so, we were quite excited to get a client that wanted to stay away from the trending narratives and lean into their authenticity. Let’s look at some story examples from our long-term client the Spice Trail—a fantastic string of boutique hotels for families and surfers—that has a pronounced Explorer archetype in their business persona.

With the Spice Trail, we make sure to bring out the traits that highlight their sense of adventure, resourcefulness and ability to stay authentic despite shifts in time and place. A business with an Explorer persona like the Spice Trail leverages visuals and themes that signify ideas of journeying, new places, and surfing, which tie in with its target audience's affinities.

When it comes to story narratives, the classic arc of adventure where a protagonist embarks on a quest, gains an extraordinary experience, and returns transformed is always a great option for Explorer businesses because it can be interpreted with new experiences beyond the beaten path; like how to get somewhere, surf expeditions, lesser-known histories, or navigating major changes through symbolic journeys. 

It’s interesting to create stories that speak to the Explorer archetype in the audience too; we created a story series to give away to guests, as postcards. This was a way to create common ground with their audience who are travelers and within a frame of mind that appreciates journeying and adventure.

The Explorer’s authenticity shines the brightest when they’re tested with challenges that make it harder to stay true to their core. We created a story to help the Spice Trail’s resident restaurant to communicate how they stayed true to their offer during Sri Lanka’s economic crisis (You get to see the backend of our story design process here; what we call a story outline identifying the key ingredients of the story from the key messages and story facts. Scroll down in the linked document to see the finished story). This was a story designed to show how an Explorer persona used its superpower to stay true to itself in the thick of changes using a seriously challenging context where the government had imposed strict import restrictions leading to ingredient limitations for their eclectic menu based on recipes around the world. 

When designing these stories, we moved away from populist travel narratives so our client’s authenticity is highlighted. As much as the popular narratives are useful pointers to what consumers want and desire right now, a business that only follows the trends misses the mark when it comes to authenticity. So, while we use popular narratives to understand what audiences are interested in, we help our clients share stories that are new, more interesting and authentic.

Our most frequent Explorer brand clients are in hospitality, food & beverages, and recreation. We encourage them to share more stories about the Explorer’s quest itself, the transformation it delivers or those involving truly uncharted experiences. To find out how we can tell your stories, get in touch. To ask us questions and get custom consultations, become a paid subscriber, or ask us about the story membership. 

Like our stories? Read these stories featuring a personal viewpoint on what it means to really travel, and how we follow a story, from our co-creators Shamalee and Alain.