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Real-time marketing on ORP Orzeł: how the Polish Navy communicates as a modern armed force

Modern military communication is increasingly intertwined with the dynamics of digital culture. In the case of the viral “aura” trend on TikTok, the Polish Navy has shown that armed forces can successfully engage in the digital space while staying true to their identity and professionalism.

Man in uniform stands with arms outstretched on the hull of a surfaced submarine at sea
fot. kpt. mar. Damian Przybysz

In brief

The Polish Navy has published a video of a sailor performing gestures from the TikTok 'aura' trend aboard the submarine ORP Orzeł. The material, based on calm, repetitive gestures popularised by videos featuring the Indonesian child Rayyan Arkan Dikha, quickly gained popularity on social media. The production from the deck of ORP Orzeł combines participation in the trend with military polish, refined staging, framing and editing. The Polish Navy points to growing interest in recruitment to the Polish Naval Academy among young women and men.

A video featuring a Polish Navy sailor performing the trend’s signature movements aboard the submarine ORP Orzeł quickly gained traction on social media. This is an example of effective real-time marketing that not only attracts attention but also reinforces the modern, open image of the Polish Armed Forces—thoughtful, dynamic, and ready to embrace new forms of public dialogue.

Communication in real time

The “aura” trend is based on calm, repetitive movements designed to convey inner balance, confidence, and positive presence. It gained popularity following viral videos of an Indonesian child, Rayyan Arkan Dikha, and quickly spread across the global internet.

The Polish Navy responded with great tact. The aesthetically refined footage on ORP Orzeł fits the current trend but does so on its own terms. Rather than mindlessly copying internet slang, it maintains a military tone and narrative discipline. This shows that promotional activities within armed forces can be both effective and consistent with institutional character.

Aesthetics, authenticity, strategy

The Polish Navy’s publication stands out from many public institutions’ attempts to adapt trends online. It:

  • maintains credibility — it doesn’t mimic youth language but communicates in its own voice;
  • is visually coherent — with carefully designed setting, rhythm, framing, and editing;
  • reaches the target audience — especially younger viewers who increasingly avoid traditional institutional media.

For modern armed forces, public communication is not just outreach—it’s part of strategic posture. In an era where soft power, digital visibility, and civil-military relations matter more than ever, establishing trust and familiarity with the public is critical. Carefully crafted media like this video enhance that trust without compromising operational seriousness.

This is evident in the growing interest among young candidates applying to the Polish Naval Academy, where both women and men increasingly aspire to serve. Communications like this are not only effective—they are mission-aligned.

Armed forces with a civil connection

The Polish Navy has consistently demonstrated high standards in public engagement, building a reputation for clarity and precision in its communications. The ORP Orzeł video is yet another example that military formations can participate in digital culture without sacrificing credibility.

In a media landscape where attention is won or lost in the first three seconds, the Navy’s execution deserves industry recognition. It proves that the Polish Armed Forces can speak the language of today’s media while holding firm to their core values and maritime identity.

As Polish Foreign Minister Józef Beck once famously said: “Poland cannot be pushed away from the Baltic.” While that quote dates from a different era, it resonates today—when maritime presence and naval visibility are key to national sovereignty and security.

Source: Gazeta Morska · Compiled by: Kamil Kusier

Kamil Kusier executive editor All articles by this author →

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