The logo of the Peking Express programme conceals symbolism that captures the essence of adventure, competition and exploring the unknown.
Peking Express is a popular television format that has gained popularity around the world. In Poland, viewers know its local version as Azja Express (Asia Express, since 2016). The programme debuted in Belgium and the Netherlands in 2004. Its popularity has spread to various countries, where viewers follow the participants’ struggles with interest. The programme’s formula is based on a race between couples who travel to remote parts of the world, usually Asia, on a limited budget. They rely on the help of the local community. They rely on the help of the local community. Elements of competition and strategy play a large part in the programme. Participants not only have to move quickly between set points, but also perform tasks related to local cultures.
Peking Express and its Polish edition, Azja Express, are television programmes with a formula similar to the American show The Amazing Race. This television format was created in 2001 in the United States. The creators of the format are Elise Doganieri and Bertram van Munster. The programme quickly gained popularity due to its unique formula of a race around the world. In it, participants perform diverse tasks in different cultures and places around the world.
Denotative analysis
You can interpret the logo of the television programme Azja Express, the Polish version of the Peking Express format, on different semiotic levels. On a denotative level, the logo depicts a circular emblem with a red background and gold letters forming the word AZJA. Below it, you can see the word EXPRESS. The stylised letters of the word ‘Azja’ are elongated and have an exotic, elegant character. At the top of the logo is an icon in black and white, resembling a road or train tracks leading towards a tunnel or horizon. The background is red and the gold colour of the letters can suggest wealth, energy or prestige.
The logo invokes connotations of exoticism and myths associated with the Asian landscape as a place of challenge and discovery. This mythologisation serves to attract the Polish audience, inspiring a fascination with the ‘other’ culture and the promise of an exciting journey.
Connotative analysis of the Peking Express logo
On a connotative level, the logo carries cultural and symbolic meanings beyond the literal content. Asian cultures associate red with energy, happiness, and celebration, while they view gold as a symbol of wealth, prestige, and affluence. The combination of these colours evokes stereotypical associations with the ‘exoticness’ of Asia and promises an adventure full of intense experiences. Moreover, the symbol of a road leading towards the horizon suggests travel, exploration and dynamism. It is a direct reference to ‘Express’ as a fast journey or race against time, which corresponds to the concept of the programme where participants race through remote, often unknown places.
The stylised letters of the word ‘Azja’ introduce an oriental accent, intended to evoke in the viewer associations with the mysteriousness and uniqueness of Asian culture. This stylization resonates with the Western image of Asia as culturally ‘Other’, something distant and different. Moreover, the use of the English word ‘Express’ instead of the Polish equivalent reinforces the impression of speed and dynamism. It suggests a race and tension, typical of an adventure-type reality show, which is in line with the intention of the programme.
Commutation test
The commutation test involves swapping some elements of the logo to see how the meaning will change. So swapping the colours for blue and white would weaken the associations with energy and exoticism. The new colours would introduce a feeling of calmness and purity, changing the character of the logo to be more neutral. Replacing the road icon with another symbol, such as an aeroplane, would shift the meaning towards modernity and globalisation. The journey would take on a more commercial, perhaps even luxurious character. The road, on the other hand, suggests a more down-to-earth, intimate and direct journey. Finally, a change in font. A standard sans-serif typeface would reduce the ‘exotic’ character of the lettering, making the logo lose its oriental touch. As a result, the whole would become more universal, but less distinctive in terms of cultural connotations.
Peking Express. Myth analysis
In his works, Roland Barthes explained that myths are culturally grounded narratives that support certain ideologies or value systems. Therefore, the Azja Express logo can be interpreted through the lens of the myth of ‘Asia as an exotic adventure’. Firstly, we are dealing with the myth of the exotic Orient. The logo aligns with the Western image of Asia as a mysterious, adventurous, and exotic land. It portrays Asia as a place to be ‘discovered’ and ‘conquered’. Moreover, such orientalism positions Asia as a colourful backdrop to Western narratives of exploration and discovery.
Secondly, it is the myth of the journey as a challenge. The icon of the road and the word ‘Express’ support the myth of travel as a challenge. In this myth, the protagonists – the programme participants – confront unfamiliar and often difficult terrain. This myth corresponds to the format of the programme as a race through culturally foreign territories. Moreover, it reinforces the narrative of survival and competition in an exotic environment.
Conclusion
So the Azja Express logo serves a semiotic function, preparing the viewer for a racing adventure programme set in Asia. Every element – from the colour scheme to the iconography to the typography – supports the themes of speed, mystery and competition. The logo invokes connotations of exoticism and myths associated with the Asian landscape as a place of challenge and discovery. This mythologisation serves to attract the Polish audience, inspiring a fascination with the ‘other’ culture and the promise of an exciting journey.
Question to think about: What would the logo look like if it were designed from an Asian perspective? Would the same colours, symbols and typefaces evoke the same meanings, or would it communicate something completely different about travel, competition or an encounter with another culture?