Inuencer marketing in Honduras: conception, management and
performativity
El marketing de inuencers en Honduras: concepción, gestión y performatividad
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ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Ramos Martínez, C. M. and Villafranca Santamaría K. J. (2025). Inuencer marketing in Honduras: conception, management and performativity.
Doxa Comunicación
, 40, pp. 221-243.
https://doi.org/10.31921/doxacom.n40a2187
Carol Melissa Ramos Martínez.
Master's degree in Strategic and Digital Marketing Management from Universidad
Tecnológica Centroamericana (UNITEC) and Bachelor's degree in Marketing from Centro Tecnológico Universitario
(CEUTEC), both from Honduras. Her research interests focus on knowledge generation in marketing through
ethnomarketing studies to understand the Honduran market from a cultural and social perspective. She is also
interested in inuencer marketing. She has taken several courses and workshops on digital strategies, data analysis,
social networks, community manager and programmatic advertising. She has work experience in customer service,
nance and in marketing.
Universidad Tecnológica Centroamericana (UNITEC), Honduras
[email protected]
ORCID: 0000-0002-4359-1360
Karen Jibely Villafranca Santamaría.
Master’s degree in Strategic and Digital Marketing Management at Universidad
Tecnológica Centroamericana (UNITEC) and Bachelor’s in Pedagogy and Educational Sciences with Orientation in
Administration and Educational Planning, at Universidad Nacional Autónoma de Honduras. Her research interests
focus on inuencer marketing. Her work experience centers in educational areas, specically as a teacher in strict service
of Primary Education in rst and second cycle and in administrative areas in Governmental Educational Centers. She
has taken courses and training updates in “Results-Oriented Leadership”, “Eective Interpersonal Relationships” and
“Methodology for the Implementation of the 5s."
Universidad Tecnológica Centroamericana (UNITEC), Honduras
[email protected]
ORCID: 0009-0006-8506-8988
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Received: 04/01/2024 - Accepted: 15/04/2024 - Early access: 16/07/2024 - Published: 01/01/2025
Recibido: 04/01/2024 - Aceptado: 15/04/2024 - En edición: 16/07/2024 - Published: 01/01/2025
Abstract:
e inuencer marketing strategy (IMS) allows brands to communicate
their messages and promote their products through the voice of an
inuencer. Understanding this strategy involves three key players:
inuencers, brands and advertising agencies. is research describes
the current state of the IMS in Honduras. It identies Honduran
Resumen:
La estrategia del marketing de inuencers permite a las marcas comuni
-
car sus mensajes y promocionar productos desde la voz de un inuencer.
Comprender esta estrategia implica a tres actores fundamentales: in
-
uencers, marcas y agencias de publicidad. Esta investigación describe
la situación actual de la estrategia del marketing de inuencers (EMI)
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1. Introduction
Inuencer marketing strategy (IMS) currently gains strength within digital marketing. It helps brands connect with their
audience on social networks, where volume of followers and published content plays an important role. Technically, inuencer
marketing (IM) is dened as: the use of people with the ability to inuence a potential consumer segment to convey messages
on behalf of a brand (American Marketing Association, 2024).
Identifying and selecting inuencers is thus a challenge faced by brands. ese are called upon to persuade the target audience
to try their products (Harrigan et al., 2021). Inuencers play a fundamental role within the IMS. eir way of reaching users
through their created and shared content on social media is what captures consumer attention. erefore, using IMS implies
a strategic vision that considers the audience, the sponsor and the network manager, to make the best use of it (Campbell &
Farrell, 2020).
IM is a recent eld of research that focuses on understanding its scope, eectiveness and potential threats (Leung et al., 2022).
A scientic research approach to IMS allows formulating various theoretical and methodological positions that have an impact
on its conception. Abhishek & Srivastava´s (2021) bibliometric analysis sought to ll the existing critical gap for the mapping
of inuencer marketing. It aimed at creating knowledge to understand the strategy. Tafesse & Wood (2021) found that the
number of followers and volume of content are positively and negatively associated, respectively, with follower engagement.
Yurika et al., (2022), on their part, proofed how inuencer interactivity has a positive eect on purchase intention through
a PLS-SEM structural equation modelling analysis with electronically collected data. On the other hand, De Veirman et al.,
(2017) stated that a high number of followers can lead to a higher perception of popularity and, consequently, to a higher
inuencers and seeks to understand brand perception, as well as that
of advertising agencies, while adding performativity as a category
of analysis. ree sources of data were employed for this research:
inuencer proles in social networks through netnographic elements;
narratives through semi-structured interviews with brands and
advertising agencies; and content analysis on performative elements
present in inuencers. e IMS in Honduras is not heterogeneous
and requires consolidation. ere is a clear typology of inuencer that
corresponds to what is expressed in the literature. Advertising agencies
have a greater structure in management of IMS and performativity
allows for a broader analysis of this strategy. Continuity in the study of
IMS is suggested due the scarcity of scientic works in Honduras and
the importance of strengthening the research capabilities of marketers
in the country is ratied.
Keywords:
Marketing; inuencer; advertising; performance; social networks.
en Honduras, identicando a los inuencers hondureños, conociendo
la percepción de las marcas y agencias de publicidad e incorporando la
performatividad como categoría de análisis. Se emplearon tres fuentes
de datos: perles de inuencers en redes sociales a través de elementos
netnográcos, relatos por medio de la entrevista semiestructurada a
marcas y agencias de publicidad y análisis de contenido sobre elemen
-
tos performáticos presentes en los inuencers. La EMI en Honduras no
es heterogénea y requiere consolidación. Existe una clara tipología de
inuencer que se corresponde con lo expresado por la literatura. Las
agencias de publicidad poseen mayor estructura en el manejo de la EMI
y la performatividad permite ampliar el análisis de esta estrategia. Se
sugiere continuidad en el estudio de la EMI dada la escasez de trabajos
de carácter cientíco en Honduras y se ratica la importancia de fortale
-
cer las capacidades investigativas de los mercadólogos en el país.
Palabras clave:
Marketing; inuencer; publicidad; performance; redes sociales.
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likability. is study provided information on inuencer characteristics on Instagram in terms of their eciency and potential
reach.
1.1. Inuencers and inuencer marketing
Inuencers are personalities or celebrities who are members of the online brand community and have a large number of
followers on social media platforms: YouTube, Instagram, Snapchat or personal blogs, who exert inuence on their followers
(Lou & Yuan, 2019; Kim & Kim, 2021; Sanz-Marcos et al., 2021). Beyond the social media, the term inuencer has a necessary
path to observe from the dierent contributions made by researchers such as Katz & Lazarsfeld (1995), who in their work
Personal Inuence refer for the rst time to opinion leaders, dening them as individuals who exert inuence on people in
their environment.
Likewise, Keller & Berry (2003) introduced the term inuentials to connote the same gure, while Gómez (2018) speaks of
people with a certain authority on particular topics, whose inuence on social media makes them ideal representatives of a
particular brand. In this sense, the concept of social inuencer gained strength thanks to the emergence of web 2.0 in 2004,
with forums and later blogs being the rst digital spaces for the exchange of ideas.
ese spaces, better organized, promoted a variety of topics and interests that included more expressive options in addition
to text (Oneto et al., 2020). Likewise, the gure of the brand ambassador is similar in the eld of marketing, bearing similarity
to the inuencer of today, as Feijoo-Fernández & García-González (2020) refer to brand ambassadors as representatives of a
brand in front of the public.
Today, the typologies of inuencers are varied (SanMiguel, 2020; Velar & SanMiguel, 2020; Campbell & Farrell, 2020; Rodríguez
& Sixto, 2022). For the development of this research, a combination of the classicatory criteria of the aforementioned authors
has been estimated. is can be seen in (table 1).
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Table 1. Classication of inuencers
Inuencers Typology
FollowersObjectivesCharacteristics
Nano-Inuencers or Inuentials
1-10K
Conversion and engagement.
- Few followers.
- Lack of popularity.
- Aordable collaborations.
Micro-Inuencers10k-500k
Eective conversions and high
engagement.
- Personalized audience.
- Greater number of collaborations.
- Low cost.
Macro-Inuencers
500k- 1M
Brand recognition, generate
new audiences and reputation.
- Established popularity.
- ey have jobs as musicians, athletes, models.
- Good management of their work as inuencers.
- Mostly managed by agencies.
Mega-Inuencers1M-5M
Large-scale conversions, new
audiences, brand awareness
and reputation.
- Most of them are actors, athletes and artists.
- ey generate trends in generations.
- ey are brand ambassadors.
- Higher cost of collaboration.
Celebrities+5M
New audiences, brand aware
-
ness.
- Recognized for their popularity before having a
presence in social media.
- Popular for the career they have: Athletes, politi
-
cians, actors and singers.
Source: created by the authors based on SanMiguel, (2020); Velar & SanMiguel, (2020); Campbell & Farrell, (2020); Rodríguez & Sixto, (2022)
Brown & Hayes (2008) point out the need to distinguish between marketing through inuencers and marketing with inuencers.
e dierence lies in that “instead of you embedding your messages and collateral through inuencers (marketing through),
it’s the inuencers embedding their collateral within yours (marketing with)” (p. 113).
erefore, in marketing through inuencers, brands provide advertising content planned and thought by the brand itself
to inuencers to share with their audience. On the other hand, in marketing with inuencers, brands use the content that
the inuencer creates and shares with their audience to make their image visible and reach new audiences. ere is still a
relationship between the brand and the inuencer, but in this second approach the inuencer is the one who creates the
content, plans it and the brand takes advantage of it.
In this sense, and as previously mentioned, the relation established by a brand with the inuencer within the IMS framework
is for the inuencer to endorse the product or service it oers while helping forge an image around it (De Veirman et al., 2017).
Hence the importance of a proper selection. Inuencer agencies specialize in this (Wolf et al., 2018). Nevertheless, hiring an
agency is not mandatory for the development of the strategy since the brand can do the search or hiring on its own.
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Inuencer selection is also a central issue in IM and digital marketing studies. In this regard, Freberg et al. (2011) suggests
focusing on the daily publications on a blog, the number of times it is shared and the number of followers the inuencer has.
Enke & Borchers (2021) estimate the compatibility between the inuencer and the brand, fame, trust in their followers, style
of content, type of audience, paid collaborations and the price they charge for the work. In De Veirman et al., (2017) it is stated
that brands should choose the inuencer by the number of followers. e greater the number, the greater the reach of the
content. Likewise, the inuencer should share some aspects such as brand values, since consumers will see reected in the
inuencer the image of the brand.
1.2. Performativity
Performativity and performance are terms studied by various disciplines, each assuming its own conception. e word
performance translated into Spanish is
actuación
and implies a “presentation in front of an audience or staging” (Taylor &
Fuentes, 2011 p. 8) and is used very frequently in the dierent arts. Likewise, Ayerbe & Cuenca (2019) conceive performance
as an artistic performance that is recorded under images or videos, same that are proof of the performance carried out. On the
other hand, Phelan (1996), one of the founders of performance studies, establishes that performance as a live act cannot be
saved, because from that moment it disappears and becomes something else.
Bauman (1975) observed and dened performance as a form of oral communication in which the subject acquires a
responsibility to express in front of an audience. Such communicative action implies a competence that the speaking subject
must have to communicate correctly. With this, it is possible to approach positions regarding IM and the action of the inuencer
as a communicative act. is recognizes the seminal contribution of Austin (1962) who refers as performative to any speech or
statement that implies an action, not a simple description that pronouncing something must generate an eect.
e above refers equally to the considerations of performance and performativity from the art point of view, using the term
“performance art” (Taylor & Fuentes, 2011, p. 7). e artistic process prevails in it (San Cristóbal, 2017), and the person
performing is dened as a performative creator.
Similarly, the audience who witnesses a live performance, or who looks at a photograph or watches a video, is also part of the
performance. As Fischer-Lichte (2011) describes in an example of performance: “...the spectators became actors through the
impact of the shock” (p. 31). Emotions, reactions and audience interaction are part of the performative act. In this sense, Taylor
(2012) regarding performance from the visual, considers the concept of performative as a more precise form of enunciation.
From a digital marketing and IM viewpoint, the performance, performative and performativity have their place in social media.
ese serve as an archive space storing everything done and said (performance). is idea of archive (Ayerbe & Cuenca, 2019;
Taylor & Fuentes, 2011) refers to the possibility of saving as memory, the performances made in formats such as video, text
and images.
us, for this research, performativity implies an act and a saying by a person (the inuencer), to an audience that also becomes
part of that act. e performance can be live or recorded, but it can also be a photograph. erefore, the inuencing action of
IM, regardless of the format, allows the inuencer to be seen and analyzed from performative elements such as speech (verbal
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or written), voice, staging and body. e performativity, therefore, allows incorporating another analysis aspect to IM in the
same line that would be the metrics of digital marketing applied to this strategy.
In this way, the present study aims to know the state of IMS in Honduras through the identication of Honduran inuencers,
analysis of IMS from the perception and experience of Honduran brands and advertising agencies and through the
characterization of the inuencer marketing strategy from a performativity perspective.
2. Methodology
e study is presented as non-experimental, descriptive and transversal under the interpretative hermeneutic method. e
methodological design seeks to understand the IM from its three central actors: inuencers, brands and advertising agencies.
Table 2 shows the type of data analyzed for each of the sources consulted.
Table 2. Types of data analyzed
Data typeData collection techniqueInformation analysis technique
Inuencers proles and publications in
social networks.
Netnography
Inuencer evaluation matrix: inuencer
type, collaboration, interactions and con
-
tent, followers, among others.
Perception of inuencer marketing strategy
by brands and advertising agencies.
Semi-structured interview
Open coding, categorization and axial
coding (Strauss & Corbin, 2002).
Performative elements of inuencer mar
-
keting.
Netnography
Content analysis.
Source: created by the authors
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To determine the inuencers prole, the stages of the netnography proposed by Kozinets were followed (2010):
Figure 1. Stages of netnography applied to the research
Source: created by the authors
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Figure 2. Inuencer selection ow
Source: created by the authors
e content published by the inuencers was selected under the following criteria: (1) publications in collaboration with
brands, (2) not more than one year old. e analysis of this content was carried out by structuring an evaluation matrix (table
3). No statistical calculation was considered to obtain engagement (interaction).
e selection of key informants as brands and advertising agencies was by convenience. ree brands were chosen: one
belonging to the clothing industry, a department store and a producer of oil and soap. e collaborations and tags observed
in the proles of the inuencers to be analyzed were considered. e informants of these brands were: a marketing director,
a digital marketing coordinator and a marketing assistant, respectively. Two advertising agencies were chosen due to their
recognized track record in the country. e informants of these agencies were: a talent management manager and a media
manager.
Regarding performativity, the data collected from the inuencers proles and published content were used. We proceeded by
means of content analysis (Guix, 2008) examining the performative elements such as speech, voice, body and staging.
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3. Results
3.1. e prole of inuencers in Honduras
After a thorough immersion in the dierent digital communities in which the Honduran inuencers analyzed in (table 3)
are found, it can be recognized that in their typology (micro-macro-mega) inuencers make Instagram the most used social
network. e content published achieves good reach and engagement, evidence that it is the social network most positioned
for advertising purposes. A high level of interaction was observed in the digital community in favor of both the brand and the
inuencer.
Regarding collaborations, these are presented in large, medium and small brands in all types of inuencers. ere is no
particular preference or tendency for inuencers to work with specic brands. In this regard, mega-inuencers achieve
good reach, brand visibility and high capacity to reach new audiences in almost all social networks in which they are active.
However, they do not achieve adequate engagement due to the large number of followers they have. is makes it somewhat
impossible to achieve the close interaction that should exist with their audience, and which is relevant for any brand in terms
of its value. As for the content of this type of inuencer, it is mostly promotional, communicating to the audience key messages
that the brand wants to convey oers, promotions or giveaways.
In contrast, the performance of mega-inuencers on TikTok varies signicantly in terms of higher number of plays, positive
comments and good reach. Despite the infrequency of their posts, their content always gets a high number of plays because
they already have an established digital community. In addition, the type of content created allows them to remain trendy,
making use of humor in video format, with great acceptance by the digital community, observing a greater bond of trust and
connection. In this regard, it is important to note that micro-inuencers, despite having a much smaller audience, nd it
favorable in terms of engagement to interact more easily and more closely with their followers. e largest number of their
interactions are found on TikTok.
Only macro-inuencers bet on the YouTube social network, being the only ones with active proles. In this social network,
content has focused on being more informative, emotional, telling more in depth about what brands do through storytelling.
With this, the content is more specic and with a more segmented audience. ere is interaction from the digital community
with positive comments, they like the content and the amount of reproductions reached are numerous. is suggests that
YouTube is a viable option for inuencers looking to share more specic content or for Honduran brands seeking to reach
more personalized segments with its products.
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Table 3. Prole of Honduran inuencers
Social
Network
Selected
inuencers
Average
Followers
1
Type of
inuencer
Main topics
2
Average
Likes
3
Average
Comments
4
Average
Reproductions
5
Publications
analyzed
6
Facebook
Milagro
Flores, Fredy
J Rodríguez,
Jennifer
Aplicano.
665,500
Mega
Entertainment-
comedy, travel,
personal life.
63,8061,614915,654
7 photos, 8
reels
Instagram780,00068,666396806,817
6 photos, 9
reels
TikTok2,266,667463,9664,3175,449,867
15 reels
X3,656
--
-0
YouTube10,205---0
Facebook
Shin Fujiyama,
Adonay Bustillo,
Gustavo Leone.
405,400
Macro
Informative-
educational,
lifestyle,
comedy,
personal life.
28,981394158,650
4 photos, 2
reels
Instagram140,4673,56319643,459
8 photos, 7
reels
TikTok417,83312,213175201,128
12 reels
X4,320---0
YouTube234,6722,60016850,096
5 videos
Facebook
Rackiminchy,
Carlo Costly,
Demmy Aguilar,
Mar Samadi
136,317
Micro
Sports, beauty,
fashion,
makeup,
lifestyle.
1,958873,323
4 photos, 4
reels
Instagram50,5538,583107105,329
6 photos, 14
reels
TikTok147,03619,382107214,458
15 reels
X54,340---0
YouTube47,897---0
Source: created by the authors
1
Total followers per social network of each of the selected inuencers, then those totals averaged between the number of inuencers that compose the inuencer
type
category.
2
Type of content that predominates in the posts of the inuencers analyzed.
3
Total number of likes for each of the posts published by the inuencers on each social network and averaged across the number of inuencers representing each
inuencer type category.
4
Total number of comments per post and then averaged across the inuencers that belong to each inu
en
cer type category.
5
Total plays of each of the videos analyzed and averaged by the total number of inuencers according to the type of inuencer.
6
Total number of publications found with advertising content in each social network and analyzed by type of inuencer.
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3.2. Brands and advertising agencies in the management of inuencer marketing strategies
Table 4 presents the open coding, categorization and axial coding resulting from the analysis of the semi-structured interviews
conducted with advertising agencies and brands. In light of this, the IMS management in the Honduran case involves its
determinants, scope and content management.
Table 4. Emerging categorization of interviews
Open coding (citations)
Categorization
Axial coding
“Well established no, I think everyone handles it
informally” (Marketing Director - Brand).
Conception of the strategy
Strategy determinants
“Choosing an Inuencer is not easy because you have
to see if they have a lot of followers, you have to see
what their content is, you have to see what target that
inuence goes to” (Marketing Assistant - Brand).
“Everyone says, I want 10, but when you show them
how much they charge you for the 10, no, I don’t
want them anymore” (Head of Talent Management -
Agency).
Relationship cost-benet
“More or less, it is relative, it is relative because, well,
sometimes we work with brands and sometimes we
work with exchanges” (Digital Marketing Coordinator
- Brand).
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“e truth is that it has worked for us, it generates new
followers before a new public gets to know our product”
(Marketing Director - Brand).
Estimation of the impact of the strategy
Scope and results assessment
“We haven’t measured it that well” (Digital Marketing
Coordinator -Brand).
“It is eective from that trial and error that you manage
to verify the results of each one” (Media manager
-Agency).
“Not all the followers they have are real, some are bots,
some are not, some are just there to be there, some
only follow you because your face is pretty” (Talent
Management Manager - Agency).
Validity of inuencer metrics
“e issue of buying fake followers is real, so I need to
know what percentage of that community is really true”
(Media manager - Agency).
“e agency’s role is to recommend what works best
for the client and what can give the best results” (Media
manager - Agency).
Campaign structuring
Content generation for the
strategy
“When an Inuencer is hired, he or she is directly hired
by the public relations department, gets the company’s
story and from there prepares a script and presents it”
(Marketing Assistant - Brand).
“ey are told the do’s and don’ts, the script is sent to
them and based on the script, their creativity and their
way of addressing” (Media manager - Agency).
Content formulation
“We let people have their space to create and let them
do it the way they want” (Digital Marketing Coordinator
- Brand).
Source: created by the authors
3.2.1. Strategy determinants
e IMS cannot be thought of or formulated univocally. e vision of brands and advertising agencies regarding the management
of the IMS allows us to identify common and divergent points, being the most signicant in terms of management, the cost and
the strategic analysis of the inuencer.
Hiring an inuencer involves a cost that varies whether payment is made in cash or through the exchange of products for
content. Some brands consider the strategy as aordable if the inuencer accepts exchanges, as opposed to when they must
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pay with money. On the other hand, when the inuencer is hired through an advertising agency, most inuencers only accept
cash as payments.
e intermediation of the advertising agency increases the cost of the strategy, which is not only calculated based on the
inuencer’s payment, but also estimating the agency’s fee for the service provided. is results in a relativity of the cost of the
strategy. In both cases, but more when the agency’s intermediation is involved, it is understood that the IMS is an investment
whose expected return is the one that justies it. Likewise, in such cost estimation, the value of the inuencer is a central point.
In the case of advertising agencies, the cost of hiring the inuencer goes through a process of analysis and prior negotiation to
agree on the price for the hiring. ey use specialized digital platforms that allow them to evaluate the metrics that inuencers
have, the most common being: engagement, reach, likes and number of real followers (according to information from the
agencies, the number of followers visible in the proles is not always the real one since some inuencers buy followers). On
the other hand, each brand has its own system for analyzing inuencers and all of them measure social media metrics by
selecting people according to the type of product they want to promote. Here, the determination of costs and hiring process is
more heterogeneous.
An example of this is the dierence found in the way in which some brands choose to call the inuencer using the qualier of
talent
, because the term inuencer is related to a higher position and price. is aspect, which is sensitive to further analysis in
future research, highlights a very important factor in dening the IMS in Honduras in terms of management. It is understood
that what exists in the country are talented people who act as inuencers.
3.2.2. Scope and results assessment
e implementation of the IMS implies a post-campaign evaluation to know the results obtained from it. It is dicult for
brands to identify and quantify the results in terms of return on investment. Brands use publication statistics to reference the
behavior of some metrics of the strategy, mainly in terms of reaching new audiences, generating word-of-mouth advertising,
staying in the minds of consumers and continuing to work with it. However, the metrics provided by social media are not able
to determine how much money the hiring of inuencers generates.
In this regard, agencies opt for two ways to measure the eectiveness of IMS. One, through the level of engagement and the
video viewing rate, and the other, through publication metrics. Added to this, agencies do manage to evaluate the return on
investment generated from hiring the inuencer through the use of a digital tool. Agencies are clear in mentioning that the IMS
is eective if each inuencer is evaluated and selected correctly for each campaign.
However, the agencies themselves reported that some inuencers hide prole metrics such as tags, number of comments and
likes to have more privacy or because they did not get good results in their posts. However, through external tools, agencies can
obtain information that may be hidden.
3.2.3. Content generation for the strategy
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e implementation and development of the IMS can be carried out by an advertising agency as a specialized, knowledgeable
entity, capable of promoting the brand’s idea. is involves ltering the inuencers proles according to the proposed
objectives, negotiating hiring and following up. However, the brand is the one who makes the nal decision on who to hire.
From this point on, the content generation process begins, a highly relevant aspect for the IMS management.
To do so, brands complete the brief requested by the agency with all the required information: brand colors, strategy objectives,
messages to be communicated and other aspects. In the opposite case, when the IMS development is carried out directly by the
brand, the marketing or public relations department denes the objective of the campaign, what they want to communicate,
they look for and select the inuencers and execute the strategy.
All content created by inuencers, in most cases, goes through the approval of the brands to be published. For the creation of
this content, advertising agencies and brands share guidelines with all the details they consider relevant: objectives, colors,
message to be communicated, among others. It is important to mention that although inuencers receive indications of what
to do, what to say and what not to say, brands always try to provide some exibility in terms of creativity and personality of each
inuencer to develop the content, respecting the non-negotiable by the brand.
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3.3. Performativity in inuencer marketing
IM is performative. A whole is congured in which speech, voice, audience, body and staging take part as performative
elements found behind each content created by the inuencer. ese performative elements are specic to the inuencer’s
actions during the development of the strategy. e inclusion of this category of analysis for the Honduran case has made it
possible to expand the capacity of observation on aspects that are highly signicant and little studied in relation to the IMS.
Table 5 summarizes the most important aspects related to the categories of analysis.
Table 5. Categories of analysis of inuencer performativity
Type of
inuencer
Written Speech
In image or video
(reel)
Voice
(In video)
Audience
(Person who
comments on a
content in social
networks)
Body
In image or video
(reel)
Staging
In image or video (reel)
Micro
ey include
humorous
Honduran slang.
Cheerful, energetic
and clear tone of voice.
Voice-over: the speech
is perceived as more
structured and orderly.
Live voice: more
natural and
spontaneous.
Comments regarding
the inuencer’s good
work and very little
towards the brand
he/she promotes.
ey become an
“expert agent”
captivated by the
brand and rely on a
smile to connect.
At the brand’s
commercial location.
ey use trending music
that has gone viral on
social networks.
Macro
Slightly more formal
and concise speech.
Give their opinion
about the work of the
inuencer and the
brand or product they
promote.
In the commercial
establishment of the
brand and they use
ambient music.
Mega
ey include
humorous
Honduran slang.
ey build a
character that
represents
Hondurans in their
daily lives.
At the brand’s
commercial location.
ey frequently use
incidental music.
Source: created by the authors
e rst performative element identied in the analysis of the posts on social networks was the written discourse that
accompanies, in a descriptive sense, all the visual aspects of the posts on social networks. e use of words and phrases that
enable emotional connection and greater closeness with the digital community is central in the construction of discursive
forms complementary to the audiovisual. In these written messages, the use of hashtags, for example, congures discursive
nuclei that are shared by the digital community, thus promoting viralization and the formation of discursive trends.
e use of the voice is another attractive element closely related to the discourse within the performance, no longer written but
oral. e tone of voice used allows emphasizing what the brand wants to communicate. Emphasis in oral discourse is oriented
to the eectiveness of the strategy. e voice projects credibility, closeness, trust and authenticity to the audience.
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On the other hand, an essential element of performativity in terms of strategy is the interaction and reactions of the audience
in the comments given to the content published by the inuencers. e emotions manifested by the audience in front of
the performances are part of the performance itself. is is not separated from the act that is performed, it is its immediate
consequence. e interaction of the digital community, beyond being a data or metric of analysis, is an element in which the
performance can be re-signied from the dierent ways of interpretation that the audience has on what is communicated.
Another fundamental aspect in the analysis of the performativity in the IM is the body. In the full sense, the body is performative
as a support that makes possible the representation of an idea (the inuence) and a fundamental vehicle of connection in the
act of communicating. A clear aspect of the body as a performative element is the use of impersonation or construction of a
character by the inuencer. e use of characters allows inuencers to connect strongly with digital communities due to the
everyday and popular nature of the scenes represented. In this way, the brand achieves greater closeness with its followers.
e body is a medium that allows communicating a thought, an idea, or a message. Added to this is the facial expression (as
body language or non-verbal), which results key in the analysis of posts in image format, since through it, it seeks to transmit
approval, satisfaction, joy, security and condence for the product or service that is being promoted.
Both the body and its gestures, the voice and the speech, as well as the personication, all converge in the scene. at is, the
place where the performance takes place. e selection of a correct scene, controlling the space, the surrounding objects and
the lighting allows projecting the image desired by the brand through the inuencer. On the other hand, in a less controlled
space, the inuencer appears more natural and free, making the content even more genuine.
e scene is complemented by music, which is also part of the need for a sensory connection between the product, brand and
audience. e use of music and its style allows to create an emotional atmosphere according to the content, audience and
message to be communicated. It is worth noting that the music that becomes a trend implies almost in most cases to do similar
things to the viralized fact. at is, if a song has been used in a certain social network to make a dance, show a before and after
or record a behind the scenes, the inuencer uses it to perform the same performance adjusted to its purpose.
4. Discussion
e purpose of this paper was to describe the current situation of IMS in Honduras. e results obtained allow establishing
some relevant considerations regarding the use of this strategy in the country. It is necessary to consider the complex dynamics
established by the actions of its three actors: the brands, the inuencer and the advertising agencies.
Each of these actors assumes a very particular conception of the strategy, establishing guidelines that attempt to shape a way
of doing marketing in social networks through an inuential gure in the digital medium. is particular way of conceiving
and using IM in Honduras shows that, although it is used regularly, it shows signs of little consolidation as an advertising tool.
On the brands’ side, this little consolidation implies the lack of certain planning in the development of the strategy. Each one
assumes it in a dierent way, very trial and error, therefore it is not homogeneous. On the contrary, advertising agencies have
a better-dened way of planning the strategy since they do consider all the necessary aspects for its execution.
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Although in the marketing eld there is not a xed structure on how to implement IMS, there are authors who establish a guide
to follow to obtain good results. is type of orientation involves considering the objective of the strategy, the evaluation of the
competition, the target audience, the selection of the platform, the objective choice of inuencers according to the goals of the
campaign, consideration of their exclusivity and the costs involved in the development of the strategy (Haenlein et al., 2020).
Likewise, it is essential to measure results and provide guidelines for the inuencer to follow, without limiting their creative
freedom (Haenlein et al., 2020; SanMiguel, 2020; Glenister, 2021).
In the case of the brands consulted, the objective selection of the inuencer, the eective measurement of results and some
costs involved in the development of the strategy are determinants that require greater attention in terms of conception and
planning. In this sense and regarding the objective selection of the inuencer, Gómez, (2018) & Oneto et al., (2020) suggest
that brands should make sure to nd a person who aligns with the company’s philosophy, have a good level of engagement and
consider the use of digital tools that detail the metrics that at rst glance are not available in the inuencers’ proles. Likewise,
regarding the focus of brands on the number of followers that inuencers have on their social media proles as a central
selection criterion, “selecting proles simply based on the number of followers on social networks...is a mistake” (Castelló &
Del Pino, 2015, p. 34).
In terms of the eective measurement of results, the creation of a promotional code for each inuencer (Landreth, 2022;
Falls, 2021), analyzing the comments generated around the brand to know how consumers feel, identifying the number of
conversions generated from the inuencer’s content (SanMiguel, 2020) and trying to establish sales-oriented goals as this will
allow them to measure the ROI Glenister, (2021) are some of the strategies that can be used for an adequate measurement of
results and not rely exclusively on the metrics available in social networks. Measuring ROI is essential in the IMS.
Regarding the estimation of costs involved in the development of the strategy (SanMiguel, 2020; Glenister, 2021), the real
price of inuencers, the cost of using one social network or another, the format and type of content that also aect the total
cost of collaboration with the inuencer must be considered. In Honduras, the three aspects mentioned above are usually not
considered within the EMI cost matrix of some brands. ey agree on a limited budget that does not allow them to fully meet
the objectives proposed at the time of executing the strategy.
On the other hand, in the case of advertising agencies, the concept of IMS has a signicant element in terms of the way in
which the inuencer is recognized as a central actor in the strategy. e brands, from their experience in the management
of the strategy, prefer not to use the term inuencer because this implies placing them at a higher level and therefore, they
relate it to a higher cost. In light of what has been observed, advertising agencies decide to use the term talent in an attempt to
position the fact that brands pay for talent and not for the inuencer term. In this regard, Berlioz & Rodriguez (2023) state that
in Honduras inuencers feel that the term inuencer is treated in a derogatory manner, therefore, they choose to use other
words that identify them as “content creator, personal communicator, personal brand ambassador, or opinion leader (p.3708)”.
Although the purpose of this paper is not to delve into the concept of talent, it is inevitable not to mention it, since a change
is perceived both denotatively and connotatively in the use of the word inuencer. At the time of writing this section, the only
reference found was that of (Albuquerque, 2023) who uses the term.
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Beyond this, the typology used for the classication of inuencers in Honduras (SanMiguel, 2020) is relevant, since it has made
it possible to estimate the most relevant parameters from the perspective that facilitates the selection of inuencers. In this
sense, as far as this study is concerned, in Honduras, the category of mega-inuencers is the most relevant within the strategy.
is type of inuencer is characterized because they enjoy great recognition and develop their functions eciently (Conde &
Casais, 2023), they are inuencers who have “created a celebrity status by their established expertise (Campbell & Farrell, 2020,
p. 3)”, they help boost the image of brands (Borges-Tiago et al., 2023), they have the ability to position the brands that hire them,
reach a large number of people and reach new markets (Albuquerque, 2023).
e aforementioned characteristics are totally adjusted to the Honduran reality for this type of inuencer. eir collaboration
with small, medium, and large brands is recognized due to the exibility they have in accepting products in exchange for their
content. In this sense, micro-inuencers, who manage to achieve greater engagement (Rodríguez & Sixto, 2021; SanMiguel,
2020), collaborate with brands at more comfortable prices compared to other types of inuencers (Villena, 2018; Gan et al.,
2019). ey are ordinary people who have a little inuence over their digital community in social networks (Conde & Casais,
2023) and their audience is local. ey collaborate with brands across all industries and many people consider their content to
be more real than that of inuencers with larger followings (Campbell & Farrell, 2020).
Other categorizations such as those of Schouten et al., (2021); Gómez, (2018); Venus et al., (2018) include the celebrity gure
as a famous person who is known worldwide for his or her career in the artistic, sports or political environment and has more
than 5,000,000 followers in social networks. In Honduras there is no such gure that meets the criteria mentioned by the
aforementioned authors.
Regarding the social networks used for the development of the strategy in Honduras, Instagram and TikTok are the most used
by inuencers. e predominance of Instagram for the development of inuencer marketing has been explained in the works
of Nuñez, (2023); Zeler et al., (2020) who have shown that this social network allows access to content of interest, following
other users, interacting directly with the content, making it possible to achieve greater results in terms of engagement and
establishing links with their audiences. Similarly, Instagram allows publishing and editing content (omas, 2020), companies
can create a prole in which “reputation, trac and penetration” of these are made visible (Rivera-Abad, 2020, p.153) through
various formats such as photographs, reels and Instagram TV (IGTV) (Sánchez-Amboage et al., 2020).
TikTok oers an opportunity as a promotional medium because it has become one of the most popular social networks, due to
the ease with which content is disseminated through creative forms such as dances, video challenges, lipsync and songs (Dewa
& Satri, 2021). Likewise, it allows users to create authentic content that generates purchase interest in users (Sumanti et al.,
2022), usually homemade videos, seen by digital communities as something more intimate and personal (Martin & Micaletto,
2021).
From the above it follows that, for the Honduran case analyzed, there is no dierence between the types of inuencers to use
TikTok and Instagram. In this sense, for some brands and advertising agencies, TikTok is not considered as the rst option for
the fulllment of commercial objectives; however, as stated in the literature, this should not be handled in this way given that,
in recent years, studies conrm the boom that this platform has had in terms of product promotion.
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e inclusion of performativity as a category of analysis for IMS has made it possible to visualize clear dierences with respect
to the performative elements present in the inuencer’s performance and in the strategy itself. Studies on performativity
and IM are scarce. While this research report is being written, the literature consulted reports the contributions of Pérez and
Castro-Martínez, (2023) who, by analyzing publications on TikTok, observed the use of household objects and gures from
science ction movies to communicate messages, the written discourse accompanying the publications was of a familiar type
and the inuencers provided a response to the comments made by the digital community.
Similarly, Balseca et al. (2020), doing a content analysis of YouTube publications of two inuencers, observed that their
clothing reected their culture and traditions, they use humor to connect with their audience and make use of sound eects
to capture the attention of the digital community. Also, Alejandro et al. (2023) in their study investigated inuencers on the
TikTok platform through an exploratory qualitative method in which they aimed to know the participation of the inuencer in
the phenomenon of communication with their followers through the discourse and personal image.
In this sense, it is ratied that this category can contribute to broaden the IMS analysis framework beyond the aspects
exclusively derived from the theoretical and methodological frameworks so far developed around digital marketing and IM.
5. Conclusions
e IMS in Honduras is not heterogeneous and can be considered in the process of consolidation in terms of its conception
and use. e inuencers community has been developing as the use of IMS by brands has been gaining ground. ere is a clear
typology of inuencer that corresponds to what is expressed in the literature.
e transition from traditional to digital marketing represents one of the main challenges for the Honduran market. However,
in light of the results obtained, IM is becoming increasingly important in the design of marketing strategies regardless of the
size of the brand that employs it. e perspective of the three social actors analyzed in this study: inuencers, brands and
advertising agencies allow us to estimate in part the state of IM in Honduras.
Advertising agencies have more structure in the management of the IMS than brands. e key to this is the proper structuring
of IMS based on technical criteria in direct consonance with the evolution of the various digital platforms that serve as the basis
for its implementation. Likewise, given the characterization achieved, the IMS analysis tools should be oriented according to
the dynamics of social networks in marketing and, above all, in the country context. It is in this sense that the generation of
data from the systematic study of this type of strategies becomes more important.
e inclusion of performativity as a category of analysis in the IMS, has allowed to broaden the technical criteria that can
provide marketing a possible perspective to address aspects related to the action of inuence on the consumer, understanding
this as a doing and saying in situation, which is installed in the communicative domain with the dierent digital communities
constituted around the gure of the inuencer, from where brands nd advantages for the establishment of their own discourse.
Finally, the limitations of this study in terms of access to information by agencies and brands that were available to participate
as informants, highlights the need to continue developing further studies to cover more broadly the vision of the IM of these
participating actors.
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6. Acknowledgements
e english version of this article has been reviewed by Gustavo Peña. We are grateful to Henry Osorto for his guidance and
orientation.
7. Specic contributions from each author
Name and surname
Conception and design of the work
Carol Melissa Ramos Martínez and
Karen Jibely Villafranca Santamaría
Methodology
Carol Melissa Ramos Martínez and
Karen Jibely Villafranca Santamaría
Data collection and analysis
Carol Melissa Ramos Martínez and
Karen Jibely Villafranca Santamaría
Discussion and conclusions
Carol Melissa Ramos Martínez and
Karen Jibely Villafranca Santamaría
Drafting, formatting, review and approval of versions
Carol Melissa Ramos Martínez and
Karen Jibely Villafranca Santamaría
8. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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