Design strategies for social change in emerging markets
I did an interview about design strategies toward social change in India for the new vlog Designwala, a platform to raise awareness of design methods in the emerging world, and to highlight design ideas to rethink public services that will lead to more sustainable and efficient models. In this excerpt, we talked about opportunities for Indian designers in the fields of service design, information design and systems design to create cross-sector relationships and communication channels that foster a climate of creation, innovation, societal resilience and risk taking in a primarily risk- averse culture.
Voice vs. Avenues for Voice
In response to a Twitter exchange among Digital Democracy, Emily Jacobi, Sam Gregory, Audacia Ray and myself, Brian Conley posted on his site a further discussion on using the word "voiceless" to describe populations in disadvantaged communities.
I've always disliked the phrase "giving voice to the voiceless." The term "voiceless" in the context of social change is pejorative, and the phrase connotes a power balance that we should try to disown. Besides, it just doesn't make any sense: As Emily says on her own website, "I’ve never met a person without a voice. Not in a refugee camp, slum or rural village, not at a guard desk or janitor’s station in a hall of power."
My own comment to Brian's post contained this: "If we seek to truly collaborate with people... to advance positive social change, we need to shift our thinking about who contributes to the “project.” It’s much more helpful to think of each other as equal partners who bring to the table various assets... For example, one partner might bring access and resources, while the other one brings local learning, stories and knowledge [cultural assets]. I’m not naive enough to believe that in our current system...there isn’t a power advantage in being the one in control of the financial resources and of the avenues that distribute information. But we have to learn and teach a different perspective on what is contribution, what are valuable assets and resources, and who plays what position on the team?... Yes, there are people who don’t know how to exercise their voice or don’t have the courage, and yes, there are a number of people lacking relevant knowledge or information. But that’s true for any group of people, disadvantaged and privileged alike...[But] calling people “voiceless” discredits their ability to contribute. All of us need to recognize participation and contributed assets as valuable tools, not for our own fundraising or report writing, but as leverage to effect positive change."
This series of posts brought back to mind a conversation I had a few years ago with Uzodinma Iweala, the author of Beasts of No Nation, to talk about "voice" in art, media and fiction relating to social change issues. I had met Uzo at the PEN American Center's World Voices Festival where he spoke about his aim to provide avenues for the voices of his protagonists, and the work that goes into constructing aesthetic frameworks (the community's or the artist's) around the subjects. He was very clear that, as an artist, he does not and can't provide "voice." He argued that, on a wide scale, we as artists, activists or media creators, need to create new tropes because our frames of references come from the privileged and from a top-down perspective. On an individual scale, we have to look at efficacy of voice-- the question of more voices vs. more effective voices (or blanket awareness vs. influence): Just because there are lots of voices doesn't mean they are effective. He therefore focuses his writing around "voice shaping," allowing his characters to speak outside of stereotypes. He resists making value judgments against others' perspectives-- "You can't blame someone for growing up with a certain framework"-- but instead focuses on his responsibility as an artist to to create new frames of reference. And each piece of work related to an issue transforms its frame of reference in an iterative process, an ever-growing body of work that provides firm grounding for shifting perspectives, through character, plot or setting. It's the role of the artist to break down the constructs and expose humanity. And it's important for an artist to move beyond what dehumanizes a subject, and look at them for their daily problems and daily lives, and provide context. This shifts the angles and puts pressure on the frames.
There's a rich analogy here for social change. As a change agent, you also are not speaking for someone else. You are primarily serving one of two functions in relation to people in an affected community: either acting as their proxy or working in collaboration with them. You might be providing access to avenues that disseminate their voice, and that's your role in the project. Either way, they're not voiceless. I think we need to shift the angles and put pressure on the frameworks in relation to communities involved in change.
I've always disliked the phrase "giving voice to the voiceless." The term "voiceless" in the context of social change is pejorative, and the phrase connotes a power balance that we should try to disown. Besides, it just doesn't make any sense: As Emily says on her own website, "I’ve never met a person without a voice. Not in a refugee camp, slum or rural village, not at a guard desk or janitor’s station in a hall of power."
My own comment to Brian's post contained this: "If we seek to truly collaborate with people... to advance positive social change, we need to shift our thinking about who contributes to the “project.” It’s much more helpful to think of each other as equal partners who bring to the table various assets... For example, one partner might bring access and resources, while the other one brings local learning, stories and knowledge [cultural assets]. I’m not naive enough to believe that in our current system...there isn’t a power advantage in being the one in control of the financial resources and of the avenues that distribute information. But we have to learn and teach a different perspective on what is contribution, what are valuable assets and resources, and who plays what position on the team?... Yes, there are people who don’t know how to exercise their voice or don’t have the courage, and yes, there are a number of people lacking relevant knowledge or information. But that’s true for any group of people, disadvantaged and privileged alike...[But] calling people “voiceless” discredits their ability to contribute. All of us need to recognize participation and contributed assets as valuable tools, not for our own fundraising or report writing, but as leverage to effect positive change."
This series of posts brought back to mind a conversation I had a few years ago with Uzodinma Iweala, the author of Beasts of No Nation, to talk about "voice" in art, media and fiction relating to social change issues. I had met Uzo at the PEN American Center's World Voices Festival where he spoke about his aim to provide avenues for the voices of his protagonists, and the work that goes into constructing aesthetic frameworks (the community's or the artist's) around the subjects. He was very clear that, as an artist, he does not and can't provide "voice." He argued that, on a wide scale, we as artists, activists or media creators, need to create new tropes because our frames of references come from the privileged and from a top-down perspective. On an individual scale, we have to look at efficacy of voice-- the question of more voices vs. more effective voices (or blanket awareness vs. influence): Just because there are lots of voices doesn't mean they are effective. He therefore focuses his writing around "voice shaping," allowing his characters to speak outside of stereotypes. He resists making value judgments against others' perspectives-- "You can't blame someone for growing up with a certain framework"-- but instead focuses on his responsibility as an artist to to create new frames of reference. And each piece of work related to an issue transforms its frame of reference in an iterative process, an ever-growing body of work that provides firm grounding for shifting perspectives, through character, plot or setting. It's the role of the artist to break down the constructs and expose humanity. And it's important for an artist to move beyond what dehumanizes a subject, and look at them for their daily problems and daily lives, and provide context. This shifts the angles and puts pressure on the frames.
There's a rich analogy here for social change. As a change agent, you also are not speaking for someone else. You are primarily serving one of two functions in relation to people in an affected community: either acting as their proxy or working in collaboration with them. You might be providing access to avenues that disseminate their voice, and that's your role in the project. Either way, they're not voiceless. I think we need to shift the angles and put pressure on the frameworks in relation to communities involved in change.
An unfolding story of a crisis: Aggregating information in response to natural disaster in Haiti
In response to the earthquake in Haiti on January 12, 2010, Ushahidi quickly built an online information resource platform for Haiti, which lets people on the ground pinpoint on a map specific places where help is immediately needed and to provide updates and stories via text, email, tweeting and an online form. The site also provides photos, videos and news about shortages, response and threats.
The earthquake was massive and catastrophic, with Red Cross estimates of 50,000 dead at this writing, and many more displaced and missing. Those on the ground believe one-third of the country's nine million people could need emergency aid (John O'Shea of GOAL). The country, already the poorest in the Western hemisphere, is going to require a huge influx of aid as well as debt relief, and efforts at reconstruction and regeneration in the longer term. These are things that will be managed (hopefully) on a global, governmental and NGO/institutional level. Beyond this, there are also opportunities for citizen action and donation, suggested at aggregation sites such as The Clinton Foundation, the Green Family Foundation, and MobileActive.org*.
But in this case, Ushahidi's site is a bit different. While a comprehensive and managed platform- a great example of the power of media and information to support immediate need in crisis situations- it is nevertheless heartbreaking to read, especially from a distance, aggregating not only necessary resources but also virtual cries for help. People trapped under rubble, families looking for the missing who may not be found, churches and homes and hospitals crumbling. All these calls for help and for action- verified or not- are detailed in the site's Reports section. Because international aid is as of this writing hampered, access to sites such as Ushahidi's platform might be the most effective way for people to activate on the ground. For the rest of us, the Reports unfold the story of the crisis in real-time, through firsthand accounts and requests for assistance from the actual people on the ground and in need, moving us from remote viewers to passive (or perhaps 'active' in the case of a few) participants. Perhaps this lens will work in an way that moves beyond short-term awareness, to influence a sustained reconstruction and regeneration effort and for preventive measures and just treatment that will reduce risks associated with other crises.
(This post excerpted and cross-posted at the Resist Network.)
*Professional affiliation
The earthquake was massive and catastrophic, with Red Cross estimates of 50,000 dead at this writing, and many more displaced and missing. Those on the ground believe one-third of the country's nine million people could need emergency aid (John O'Shea of GOAL). The country, already the poorest in the Western hemisphere, is going to require a huge influx of aid as well as debt relief, and efforts at reconstruction and regeneration in the longer term. These are things that will be managed (hopefully) on a global, governmental and NGO/institutional level. Beyond this, there are also opportunities for citizen action and donation, suggested at aggregation sites such as The Clinton Foundation, the Green Family Foundation, and MobileActive.org*.
But in this case, Ushahidi's site is a bit different. While a comprehensive and managed platform- a great example of the power of media and information to support immediate need in crisis situations- it is nevertheless heartbreaking to read, especially from a distance, aggregating not only necessary resources but also virtual cries for help. People trapped under rubble, families looking for the missing who may not be found, churches and homes and hospitals crumbling. All these calls for help and for action- verified or not- are detailed in the site's Reports section. Because international aid is as of this writing hampered, access to sites such as Ushahidi's platform might be the most effective way for people to activate on the ground. For the rest of us, the Reports unfold the story of the crisis in real-time, through firsthand accounts and requests for assistance from the actual people on the ground and in need, moving us from remote viewers to passive (or perhaps 'active' in the case of a few) participants. Perhaps this lens will work in an way that moves beyond short-term awareness, to influence a sustained reconstruction and regeneration effort and for preventive measures and just treatment that will reduce risks associated with other crises.
(This post excerpted and cross-posted at the Resist Network.)
*Professional affiliation
Mission Media in 2009: Presenting Ideas, Images, Stories + Solutions
As 2009 comes to a close, we celebrate our collaboration on the Transmedia Activism site and the launch of our new transmedia design consultancy that is thriving as we turn to 2010. To mark a good year for us, we give props to some great, innovative initiatives by others working at the intersection of media, arts, culture and social change. Each of these projects immerses us in a new world through a compelling story, crosses sectors and disciplines to create a rich experience, and/or presents a new idea or solution designed to lead to positive change.
This is not a "best of" list as much as it is a survey and an appreciation. (A list isn't our usual m.o., since our usual pathway through ideas grows in a spherical, not a linear, direction.) After enjoying the following projects we found particularly noteworthy (presented in no particular order), please add projects and sites that inspired you.
+ 3 Generations**
3 Generations works with survivors of genocide and crimes against humanity to provide opportunities for them to share their stories. In April 2009, the organization launched a beautiful cross media platform that is a study in storytelling as well as a tool for activism that distributes global information about genocide and details “cultural regeneration” as a crucial part of recovery process. The organization launched its new multimedia online platform to create a narrative thread that highlights our common humanity, presenting survivors' stories, news and information, and culture-based initiatives, such as documentary film, oral history, witness testimony, creative writing, narrative film, fiction and photography.
+ Pray the Devil Back to Hell Global Peace Tour 2009 and International Peace Day
On September 21st, 2009, individuals and organizations around the world celebrated the United Nations' International Day of Peace. As an extension of Pray the Devil Back to Hell's September Global Peace Tour, Fork Films, Film Spout and the filmmakers organized a series of successful community screenings to spur discussion and create support for international peace-building efforts. (Special mention to the curriculum the filmmakers created for inclusion with the DVD to support discussion and learning about women, peace and security.)
+ Hope House/Kids with Cameras House Parties**
On October 2, 2009, 75 hosts celebrated Gandhi's birthday by holding house parties around the world and raised more than $25,000 to support Kids with Cameras' construction of Hope House, a facility that will provide a state-of-the art learning environment and a safe haven for up to 100 girls from Calcutta's red light district--the area depicted in Born into Brothels-- to live, go to school, and develop the strength and skills to change their own circumstances. The organization has created a thorough and easy to manage party/screening hosting kit that they continue to provide to interested donors and supporters.
+ Disrobing for Climate Change
2009 saw a lot of people taking their clothes off to get you to act about climate change and environmental degradation. Greenpeace (http://www.youtube.com/watch?v=9HNnWnfOkzg and http://www.youtube.com/watch?v=LOikDujAdTc&feature=related) and 350.org (http://www.youtube.com/watch?v=kdz555JBIwY) did PETA one better in getting our attention. While not always effective (we've heard a few people say they would support global warming if it meant watching models take off their clothes-- besides being a sort of distracting, though not unpleasant visual while trying to learn about fluorocarbons), we give kudos to each for their originality, engagement and targeted action-setting.
+ Behind the Veil
Through online videos and interviews, the Globe and Mail's series Behind the Veil tells the story of the women of Afghanistan, who live under conditions of constant violence and repressive social codes. As the Globe and Mail editor notes, "Like us, these women hoped the intervention of the outside world would improve their lives; like us, they have been largely disappointed. In fact, for many of the women of Kandahar, what was to have been a march toward a brighter future has turned into a retreat back to the past and in some cases, back to the burka." But the site moves beyond a mere effort to raise awareness by not presenting only all that is wrong in these women's lives-- it too creates a connective narrative thread between the women and the larger world around them by exploring "places where our lives intersect around family and work, around their hopes for the future that aren’t much different than ours."
+ The Age of Stupid
This was perhaps one of the most innovative and robust cross platform campaigns of the year. On May 22, 2009, The Age of Stupid team launched the "Indie Screenings" (http://www.indiescreenings.net/) distribution model, which allows anyone to purchase a license to screen the film. Licensing fees are set on a sliding scale according to the purchaser's means, and licensees can charge for tickets and keep the profits. (The film's distribution model generated 682 screenings in the first four months and approximately £55,000 in revenue.) The film's launch on May 22 was followed by a panel discussion about climate change, which was broadcast online. Add the green carpet, carbon footprint stats and the soundtrack that includes Radiohead, Depeche Mode, Boots Are Made For Walking, and you have some pretty good karma released.
+ The End of the Line
This documentary's Take Action page and information handouts at screening were direct, to-the-point and easy to follow. The question of overfishing is given its due in stark, clear terms and the solutions to that are presented in the same way. Moving beyond "ambient awareness," the film's engagement and action plan can claim a direct link between its efforts and the decision of Marks & Spencer, one of the largest chains in the U.K., to turn its back against unsustainable fish.
+ Resist Network**
This initiative has created a participatory social action platform dedicated to rectifying divisions brought about borders and walls through the idea of resistance, and presents content toward the fight against systemic poverty and issues related to forced migration. The site engages participants to contribute crowdsourced ideas toward an upcoming film on the US/Mexico border wall and systemic poverty, and presents videos, art and infoactivism ideas and solutions.
+ Chez Bushwick**
This interdisciplinary arts organization has created a cross‐sector coalition dedicated to creating and demonstrating social impact in the neighborhood of Bushwick, using cultural assets that are distributed across a variety of channels.
+ United States Holocaust Memorial Museum Mapping Initiatives
An amazing site rich with vital information employing media-rich maps that document historical and contemporary accounts on global genocide. The site features the World as Witness, which provides citizen reports of genocide and related crimes against humanity ongoing today, using the web and Google Earth. With ongoing updates from at-risk areas, you can see on the ground reports of both who is targeted and efforts of response to the violence. The site also has Google Earth maps of key Holocaust sites with content from collection demonstrating the scope and impact of Holocaust. (This work started before 2009, but is ongoing and noteworthy -- so we are including it.)
+ Human Rights Watch Multimedia
The organization relaunched its website this year, building on thirty years of work utilizing both investigation and targeted advocacy in defense of human rights around the world. Noteworthy for both the scope of their work and impartial reporting, their recently relaunched and more easily navigable website in 2009 sets their rich media resources squarely at center stage and presents a rich area with podcasts, audio, photo essays as well as crucial textual documentation on diverse array of topics, such as maternal mortality in India, living with landmines across the globe, Burmese resistance to government dictatorship, and Burundi’s criminalization of the LGBT community.
+ Living Galapagos
This bilingual, interactive, multimedia storytelling site produced by students at UNC-Chapel Hill School of Journalism explores humans' impact on the Galapagos Islands. The beautifully made site uses a map platform to guide the user to discover the devastating results of environmental degradation, the introduction of non-native species, illegal fishing and unsustainable tourism.
+ Wasteland
Bombay Flying Club, an independent media company in Denmark, this year launched the Wasteland project, a series of web documentaries about industrial pollution, with the first film presenting the story of illegal coal collection workers in Jharkand, India. The site is gorgeous-- almost too much so, relying heavily on the seductive power of imagery over the solidity of information or ideas-- but is compelling in its fully-realized storytelling elements and presents stories of people most of us (even we savvy activists, mediamakers and academics) rarely consider.
+ Digital Democracy TV
This fledgling organization develops information and mobile- and internet-based communication tools to address the needs of vulnerable members of communities where they work, aimed at strengthening social bonds and fostering networking and civic participation. They've created a rich cross-media approach to engage participants, donors and beneficiaries, concentrated primarily through their video blog, broadcast online, as well as their website and social networking sites.
+ Filmmaker-in-Residence (NFB)
A collaborative cross-media project initiated by The National Film Board of Canada, this innovative project places mediamaking into the hands of citizens. For the first project, the filmmaker is detailing the stories and challenges related to health care and is working with doctors, nurses, researchers and patients to access and create media.
+ Robert Greenwald and Brave New Films
Long at the forefront of innovation of documentary form in digital era, particularly with an array of tools using social media/networking or as they say “activism 2.0.” Absolutely tireless with ongoing important updates sent via website, twitter, Facebook on contemporary political issues, from health care to war in Afghanistan, Greenwald and company recently launched Brave New Educators, generously sharing footage and resources from the recent documentary Rethink Afghanistan: http://rethinkafghanistan.com/ for university students to analyze critically and remix with complete freedom. In Los Angeles, USC’s Institute for Multimedia Literacy and Occidental College both partnered this fall with Brave New Films.
+ Open Youth Network
A program of the Department of Interactive Arts and Media at Columbia College designed “to help bridge the digital participation gap by educating girls and urban youth to use emerging technologies, games and social media so they can make a better future for themselves and their communities.” It partners with community organizations, non-profit media centers, schools both in Chicago and nationally. Check out the site especially for great blogs from the youth participants.
+ Tactical Technology Collective
This Bangalore-based international NGO helps human rights advocates use information, communications and digital technologies to maximise the impact of their advocacy, through a rich series of resource guides, toolkits, events and web-distributed videos-- including the effective "10 TACTICS" site, http://infoactivism.org, which details ways for rights advocates to capture attention and communicate a cause, including a film documenting inspiring info-activism stories from around the world and a set of cards with tips and advice. Chapters of the film and cards are serially released on the website every week.
Special Mentions:
TED, for their distribution of video talks, which cross the spectrum of ideas dealing with technology, design, arts/culture, science, global concerns. TED talks are consistently interesting and inspiring insights into cross-sector discussion, and innovation and innovators.
Pop!Tech, for its dissemination of ideas via their information platform, linking an interdisciplinary and global network of those interested in ideas around the social impact of new technologies. The site features videos from broad ranging areas of arts, technology, design with special focus on innovation with concrete outcomes for positive social change. Pop!Tech, besides sponsoring a conference and platform, places great emphasis on collaboration and cross-media project-based solutions-building throughout the year through its sponsorship of innovation fellows and an innovation lab.
Business Innovation Factory Story Studio. Another rich collection of videos featuring stories of innovation, the BIF website is a great model of spreading ideas for social innovation with material organized by innovator, theme, and channel.
P.O.V. for presenting interesting mission media and documentaries supported by a direct-action online platform which is engaging and entertaining.
Social Edge from the Skoll Foundation for links to multiple blogs on social innovation, as well as a rich stream of information via Twitter.
Stanford Social Innovation Review Rich with ideas and solutions-based social innovation projects, in text, podcasts and a blog.
Changemakers This site features storytelling from around the globe that is focused on grass roots, community-based change.
Think Social, a non-profit initiative supported by The Paley Center for Media dedicated to advance the use of social media in the public interest.
And finally, a special mention to these academic projects:
Iraqi Doctors Project. A university undergraduate class multimedia project led by IML Associate Director, Virginia Kuhn, and documentary filmmaker D.J. Johnson, which saw students remixing Johnson’s documentary film into a variety of audio-visual essays based on their particular academic area of study/interests. The result was a model we used in the Rethink Afghanistan remix class this year.
Negarpontifiles. From her site http://negarpontifiles.blogspot.com/ and twitter feeds @negaratduke, Negar Mottahedeh keeps us updated on latest news from Iran, but also all things interesting and innovative in social media and education. (And she organizes the twitter film festivals as well, now in its second year! http://twitfilmfestival.blogspot.com/)
(** Note: professional affiliation)
(Cross-posted here)
This is not a "best of" list as much as it is a survey and an appreciation. (A list isn't our usual m.o., since our usual pathway through ideas grows in a spherical, not a linear, direction.) After enjoying the following projects we found particularly noteworthy (presented in no particular order), please add projects and sites that inspired you.
+ 3 Generations**
3 Generations works with survivors of genocide and crimes against humanity to provide opportunities for them to share their stories. In April 2009, the organization launched a beautiful cross media platform that is a study in storytelling as well as a tool for activism that distributes global information about genocide and details “cultural regeneration” as a crucial part of recovery process. The organization launched its new multimedia online platform to create a narrative thread that highlights our common humanity, presenting survivors' stories, news and information, and culture-based initiatives, such as documentary film, oral history, witness testimony, creative writing, narrative film, fiction and photography.
+ Pray the Devil Back to Hell Global Peace Tour 2009 and International Peace Day
On September 21st, 2009, individuals and organizations around the world celebrated the United Nations' International Day of Peace. As an extension of Pray the Devil Back to Hell's September Global Peace Tour, Fork Films, Film Spout and the filmmakers organized a series of successful community screenings to spur discussion and create support for international peace-building efforts. (Special mention to the curriculum the filmmakers created for inclusion with the DVD to support discussion and learning about women, peace and security.)
+ Hope House/Kids with Cameras House Parties**
On October 2, 2009, 75 hosts celebrated Gandhi's birthday by holding house parties around the world and raised more than $25,000 to support Kids with Cameras' construction of Hope House, a facility that will provide a state-of-the art learning environment and a safe haven for up to 100 girls from Calcutta's red light district--the area depicted in Born into Brothels-- to live, go to school, and develop the strength and skills to change their own circumstances. The organization has created a thorough and easy to manage party/screening hosting kit that they continue to provide to interested donors and supporters.
+ Disrobing for Climate Change
2009 saw a lot of people taking their clothes off to get you to act about climate change and environmental degradation. Greenpeace (http://www.youtube.com/watch?v=9HNnWnfOkzg and http://www.youtube.com/watch?v=LOikDujAdTc&feature=related) and 350.org (http://www.youtube.com/watch?v=kdz555JBIwY) did PETA one better in getting our attention. While not always effective (we've heard a few people say they would support global warming if it meant watching models take off their clothes-- besides being a sort of distracting, though not unpleasant visual while trying to learn about fluorocarbons), we give kudos to each for their originality, engagement and targeted action-setting.
+ Behind the Veil
Through online videos and interviews, the Globe and Mail's series Behind the Veil tells the story of the women of Afghanistan, who live under conditions of constant violence and repressive social codes. As the Globe and Mail editor notes, "Like us, these women hoped the intervention of the outside world would improve their lives; like us, they have been largely disappointed. In fact, for many of the women of Kandahar, what was to have been a march toward a brighter future has turned into a retreat back to the past and in some cases, back to the burka." But the site moves beyond a mere effort to raise awareness by not presenting only all that is wrong in these women's lives-- it too creates a connective narrative thread between the women and the larger world around them by exploring "places where our lives intersect around family and work, around their hopes for the future that aren’t much different than ours."
+ The Age of Stupid
This was perhaps one of the most innovative and robust cross platform campaigns of the year. On May 22, 2009, The Age of Stupid team launched the "Indie Screenings" (http://www.indiescreenings.net/) distribution model, which allows anyone to purchase a license to screen the film. Licensing fees are set on a sliding scale according to the purchaser's means, and licensees can charge for tickets and keep the profits. (The film's distribution model generated 682 screenings in the first four months and approximately £55,000 in revenue.) The film's launch on May 22 was followed by a panel discussion about climate change, which was broadcast online. Add the green carpet, carbon footprint stats and the soundtrack that includes Radiohead, Depeche Mode, Boots Are Made For Walking, and you have some pretty good karma released.
+ The End of the Line
This documentary's Take Action page and information handouts at screening were direct, to-the-point and easy to follow. The question of overfishing is given its due in stark, clear terms and the solutions to that are presented in the same way. Moving beyond "ambient awareness," the film's engagement and action plan can claim a direct link between its efforts and the decision of Marks & Spencer, one of the largest chains in the U.K., to turn its back against unsustainable fish.
+ Resist Network**
This initiative has created a participatory social action platform dedicated to rectifying divisions brought about borders and walls through the idea of resistance, and presents content toward the fight against systemic poverty and issues related to forced migration. The site engages participants to contribute crowdsourced ideas toward an upcoming film on the US/Mexico border wall and systemic poverty, and presents videos, art and infoactivism ideas and solutions.
+ Chez Bushwick**
This interdisciplinary arts organization has created a cross‐sector coalition dedicated to creating and demonstrating social impact in the neighborhood of Bushwick, using cultural assets that are distributed across a variety of channels.
+ United States Holocaust Memorial Museum Mapping Initiatives
An amazing site rich with vital information employing media-rich maps that document historical and contemporary accounts on global genocide. The site features the World as Witness, which provides citizen reports of genocide and related crimes against humanity ongoing today, using the web and Google Earth. With ongoing updates from at-risk areas, you can see on the ground reports of both who is targeted and efforts of response to the violence. The site also has Google Earth maps of key Holocaust sites with content from collection demonstrating the scope and impact of Holocaust. (This work started before 2009, but is ongoing and noteworthy -- so we are including it.)
+ Human Rights Watch Multimedia
The organization relaunched its website this year, building on thirty years of work utilizing both investigation and targeted advocacy in defense of human rights around the world. Noteworthy for both the scope of their work and impartial reporting, their recently relaunched and more easily navigable website in 2009 sets their rich media resources squarely at center stage and presents a rich area with podcasts, audio, photo essays as well as crucial textual documentation on diverse array of topics, such as maternal mortality in India, living with landmines across the globe, Burmese resistance to government dictatorship, and Burundi’s criminalization of the LGBT community.
+ Living Galapagos
This bilingual, interactive, multimedia storytelling site produced by students at UNC-Chapel Hill School of Journalism explores humans' impact on the Galapagos Islands. The beautifully made site uses a map platform to guide the user to discover the devastating results of environmental degradation, the introduction of non-native species, illegal fishing and unsustainable tourism.
+ Wasteland
Bombay Flying Club, an independent media company in Denmark, this year launched the Wasteland project, a series of web documentaries about industrial pollution, with the first film presenting the story of illegal coal collection workers in Jharkand, India. The site is gorgeous-- almost too much so, relying heavily on the seductive power of imagery over the solidity of information or ideas-- but is compelling in its fully-realized storytelling elements and presents stories of people most of us (even we savvy activists, mediamakers and academics) rarely consider.
+ Digital Democracy TV
This fledgling organization develops information and mobile- and internet-based communication tools to address the needs of vulnerable members of communities where they work, aimed at strengthening social bonds and fostering networking and civic participation. They've created a rich cross-media approach to engage participants, donors and beneficiaries, concentrated primarily through their video blog, broadcast online, as well as their website and social networking sites.
+ Filmmaker-in-Residence (NFB)
A collaborative cross-media project initiated by The National Film Board of Canada, this innovative project places mediamaking into the hands of citizens. For the first project, the filmmaker is detailing the stories and challenges related to health care and is working with doctors, nurses, researchers and patients to access and create media.
+ Robert Greenwald and Brave New Films
Long at the forefront of innovation of documentary form in digital era, particularly with an array of tools using social media/networking or as they say “activism 2.0.” Absolutely tireless with ongoing important updates sent via website, twitter, Facebook on contemporary political issues, from health care to war in Afghanistan, Greenwald and company recently launched Brave New Educators, generously sharing footage and resources from the recent documentary Rethink Afghanistan: http://rethinkafghanistan.com/ for university students to analyze critically and remix with complete freedom. In Los Angeles, USC’s Institute for Multimedia Literacy and Occidental College both partnered this fall with Brave New Films.
+ Open Youth Network
A program of the Department of Interactive Arts and Media at Columbia College designed “to help bridge the digital participation gap by educating girls and urban youth to use emerging technologies, games and social media so they can make a better future for themselves and their communities.” It partners with community organizations, non-profit media centers, schools both in Chicago and nationally. Check out the site especially for great blogs from the youth participants.
+ Tactical Technology Collective
This Bangalore-based international NGO helps human rights advocates use information, communications and digital technologies to maximise the impact of their advocacy, through a rich series of resource guides, toolkits, events and web-distributed videos-- including the effective "10 TACTICS" site, http://infoactivism.org, which details ways for rights advocates to capture attention and communicate a cause, including a film documenting inspiring info-activism stories from around the world and a set of cards with tips and advice. Chapters of the film and cards are serially released on the website every week.
Special Mentions:
TED, for their distribution of video talks, which cross the spectrum of ideas dealing with technology, design, arts/culture, science, global concerns. TED talks are consistently interesting and inspiring insights into cross-sector discussion, and innovation and innovators.
Pop!Tech, for its dissemination of ideas via their information platform, linking an interdisciplinary and global network of those interested in ideas around the social impact of new technologies. The site features videos from broad ranging areas of arts, technology, design with special focus on innovation with concrete outcomes for positive social change. Pop!Tech, besides sponsoring a conference and platform, places great emphasis on collaboration and cross-media project-based solutions-building throughout the year through its sponsorship of innovation fellows and an innovation lab.
Business Innovation Factory Story Studio. Another rich collection of videos featuring stories of innovation, the BIF website is a great model of spreading ideas for social innovation with material organized by innovator, theme, and channel.
P.O.V. for presenting interesting mission media and documentaries supported by a direct-action online platform which is engaging and entertaining.
Social Edge from the Skoll Foundation for links to multiple blogs on social innovation, as well as a rich stream of information via Twitter.
Stanford Social Innovation Review Rich with ideas and solutions-based social innovation projects, in text, podcasts and a blog.
Changemakers This site features storytelling from around the globe that is focused on grass roots, community-based change.
Think Social, a non-profit initiative supported by The Paley Center for Media dedicated to advance the use of social media in the public interest.
And finally, a special mention to these academic projects:
Iraqi Doctors Project. A university undergraduate class multimedia project led by IML Associate Director, Virginia Kuhn, and documentary filmmaker D.J. Johnson, which saw students remixing Johnson’s documentary film into a variety of audio-visual essays based on their particular academic area of study/interests. The result was a model we used in the Rethink Afghanistan remix class this year.
Negarpontifiles. From her site http://negarpontifiles.blogspot.com/ and twitter feeds @negaratduke, Negar Mottahedeh keeps us updated on latest news from Iran, but also all things interesting and innovative in social media and education. (And she organizes the twitter film festivals as well, now in its second year! http://twitfilmfestival.blogspot.com/)
(** Note: professional affiliation)
(Cross-posted here)
Born into Brothels, Five Years Later
One of the pivotal points of my career was serving as the acting Executive Director of Kids with Cameras from 2004-2005. I started working with Ross Kauffman, Zana Briski and Geralyn Dreyfous in the organization's start-up phase, and while they were in the throes of the wildly successful film festival run of Born into Brothels.
The documentary, which would eventually win the Academy Award, was a clear demonstration of the power of film to be a strong persuasive element of a campaign for social action. And the film, along with the experience of working with the board and staff of KwC, showed me how one might harness the power of cultural assets in creating engagement and demonstrating social impact.
This December marks five years after the theatrical release of the film. This past summer, Sameer Padania of WITNESS, asked me to revisit the film during a screening at the Human Rights Watch Film Festival. I hadn't seen it in nearly three years, and it struck me how relevant the film still is, continuing to be a great example of craft and visual artistry, and of a mission media film that expertly centers is message through story, character and plot.
Social change, at its very basic foundations, begins with a shift in perception. Born into Brothels demonstrates that shift at two levels: within the film and with the film. Within the film, Zana and Ross explored how direct, personal engagement might open up avenues of expression and how visual language and the arts lead to shifts in the children's self-perception and their ability to question and ultimately accept or reject their circumstances.
With the film, KwC's staff and stakeholders participated in creating what was ultimately an organically grown cross-media platform (the film, two websites, a book, the children's photographs, exhibits, speaking engagements and the nonprofit organization) that harnessed the audience's passion and commitment and engaged them toward action, donation and volunteerism to change circumstances faced by the children in the film and those like them around the world, through arts education and stewardship. The organization's work to scale its photography workshops to other locations inspired a number of other individuals and organizations to put cameras into the hands of children and affected populations around the world.
The film continues to present relevant questions about what is possible through individual action, direct and personal engagement, the act of listening, working within and against local systems, and the use of the arts and storytelling in exploring new circumstances and identity. To this day, people tell me the film inspires their own projects and organizations. And Kids with Cameras still gives back to the original community in Calcutta. The organization's leadership remains in close contact with most of the children (now entering adulthood) and the KwC website has updates on them. The website also has information about the organization's cornerstone project, to build Hope House, which will provide a home and center for the girls of the red light district to learn and develop life skills that will break their cycle of poverty, while still remaining close to their families. In Geralyn's words, the home will be "a place to foster creativity, arts, mentorship and education for the children of prostitutes who want a different day for their children." The organization continues to remain dedicated to the core value demonstrated in the film, to work toward self-expression through arts education and stewardship, challenging the status quo for a new generation of kids.
The documentary, which would eventually win the Academy Award, was a clear demonstration of the power of film to be a strong persuasive element of a campaign for social action. And the film, along with the experience of working with the board and staff of KwC, showed me how one might harness the power of cultural assets in creating engagement and demonstrating social impact.This December marks five years after the theatrical release of the film. This past summer, Sameer Padania of WITNESS, asked me to revisit the film during a screening at the Human Rights Watch Film Festival. I hadn't seen it in nearly three years, and it struck me how relevant the film still is, continuing to be a great example of craft and visual artistry, and of a mission media film that expertly centers is message through story, character and plot.
Social change, at its very basic foundations, begins with a shift in perception. Born into Brothels demonstrates that shift at two levels: within the film and with the film. Within the film, Zana and Ross explored how direct, personal engagement might open up avenues of expression and how visual language and the arts lead to shifts in the children's self-perception and their ability to question and ultimately accept or reject their circumstances.
With the film, KwC's staff and stakeholders participated in creating what was ultimately an organically grown cross-media platform (the film, two websites, a book, the children's photographs, exhibits, speaking engagements and the nonprofit organization) that harnessed the audience's passion and commitment and engaged them toward action, donation and volunteerism to change circumstances faced by the children in the film and those like them around the world, through arts education and stewardship. The organization's work to scale its photography workshops to other locations inspired a number of other individuals and organizations to put cameras into the hands of children and affected populations around the world.
The film continues to present relevant questions about what is possible through individual action, direct and personal engagement, the act of listening, working within and against local systems, and the use of the arts and storytelling in exploring new circumstances and identity. To this day, people tell me the film inspires their own projects and organizations. And Kids with Cameras still gives back to the original community in Calcutta. The organization's leadership remains in close contact with most of the children (now entering adulthood) and the KwC website has updates on them. The website also has information about the organization's cornerstone project, to build Hope House, which will provide a home and center for the girls of the red light district to learn and develop life skills that will break their cycle of poverty, while still remaining close to their families. In Geralyn's words, the home will be "a place to foster creativity, arts, mentorship and education for the children of prostitutes who want a different day for their children." The organization continues to remain dedicated to the core value demonstrated in the film, to work toward self-expression through arts education and stewardship, challenging the status quo for a new generation of kids.
Transmedia and Social Change at MIT's Futures of Entertainment Conference
It was exciting to see a discussion of the application of transmedia storytelling to activism and social change at MIT's Futures of Entertainment conference. My own work exploring and writing about this topic a year and a half ago was inspired by Henry Jenkins' work in transmedia and I'm very happy to see that the topic is starting to be discussed on a larger scale.
In the time since I published my work, I have partnered with Vicki Callahan of UWM and USC to create the Transmedia Activism Design Group. Our aim is to create a community of practice that moves the creation and distribution of media, art and cultural assets from awareness to action. One of the primary strengths of transmedia activism is that it allows social change itself to be the hub of a campaign, with media (in whatever form, be it digital, online or real-world) providing the vehicle to generate commitment, engagement and action. As one participant at Futures of Entertainment said, media is a powerful vehicle for education and dialogue. Participatory co-creation of media, paired with a robust multi-platform distribution strategy, is one of the best and most innovative ways to have people connect to a cause, by opening up avenues for dialogue and providing an educational experience about workable solutions to real-world issues-- and also by harnessing the talents of an engaged audience to commit to action through creation, donation, knowledge-sharing, and action (through volunteerism by laypersons and solution-building by experts).
We have begun applying the framework to a variety of projects, by filmmakers and nonprofits. One dynamic example of the possibilities of co-creation and multi-platform distribution is the project (currently in production) Boomtown Babylon, which brings together a variety of filmmakers from around the world to present stories, issues and solutions for the extreme effects of global urbanization.
We invite anyone interested in delving deeper into transmedia and social change to share comments and questions further at the Ideas Exchange at http://transmedia-activism.com.
In the time since I published my work, I have partnered with Vicki Callahan of UWM and USC to create the Transmedia Activism Design Group. Our aim is to create a community of practice that moves the creation and distribution of media, art and cultural assets from awareness to action. One of the primary strengths of transmedia activism is that it allows social change itself to be the hub of a campaign, with media (in whatever form, be it digital, online or real-world) providing the vehicle to generate commitment, engagement and action. As one participant at Futures of Entertainment said, media is a powerful vehicle for education and dialogue. Participatory co-creation of media, paired with a robust multi-platform distribution strategy, is one of the best and most innovative ways to have people connect to a cause, by opening up avenues for dialogue and providing an educational experience about workable solutions to real-world issues-- and also by harnessing the talents of an engaged audience to commit to action through creation, donation, knowledge-sharing, and action (through volunteerism by laypersons and solution-building by experts).
We have begun applying the framework to a variety of projects, by filmmakers and nonprofits. One dynamic example of the possibilities of co-creation and multi-platform distribution is the project (currently in production) Boomtown Babylon, which brings together a variety of filmmakers from around the world to present stories, issues and solutions for the extreme effects of global urbanization.
We invite anyone interested in delving deeper into transmedia and social change to share comments and questions further at the Ideas Exchange at http://transmedia-activism.com.
Building Cultural Engagement for Change through Media and Narrative
The discussions on issue fatigue at both on my site and ArtTribes Network, and later at SocialEdge, prompted me to start looking at the flip side of fatigue, which in the case of social issues is engagement, participation and commitment. This is also a thread I've been examining in the engagement frameworks I've been co-creating, for Transmedia Activism, which looks at how one uses cross-platform distribution of content, co-creation networks and shared authorship to engage activists toward change; and for Modeling Global Change, which uses design thinking, user experience and structured narrative to examine partnership, influence and stakeholder collaboration toward parallel action and systemic change.
The same constructs which were discussed around combating issue fatigue can be used in creating a cultural movement around an issue. In particular, building platforms that allow for (1) storytelling and communication, and (2) effecting and demonstrating impact, allow for continuous commitment to the movement. Media and narrative play significant roles in creating and building these platforms.
It can be difficult to develop and retain engagement using cause-related media or social media for a variety of reasons, not the least of which is the dearth of financing opportunities and access to distribution in the case of film, and the consistent effort and facility with short, quick messaging and branding required in social media. Creating a sustainable engagement platform within your existing structure takes time, creativity and dedication. But it's also easier to disseminate information than ever before, since the internet, web and mobile technologies allow for more connectivity and access.
There are a few foundational questions to be asked before building a cultural movement through the use of media and storytelling. Here are the three most basic:
1) Who's the audience? Are you preaching to the "unconverted"-- that is, are you bringing in the previously disengaged or the merely aware to a social movement to strengthen its numbers and potential? Or are you preaching to a choir of engaged and activist members?
The fact is that the more people are exposed to stories around a cause and the ideas behind theories of change, the more likely that change will be effected or you'll influence the people who can help create impact. But there's a difference in how you influence previously disengaged participants vs. active participants. The messaging and stories for the unaware need to be more basic and should be targeted toward entry and inclusion. Also, the burden of influence and persuasion is higher, while you risk that return on investment may be lower in terms of actually creating change.
The Story of Stuff is an example of a viral media piece that successfully engages at the lower end of the engagement spectrum, bringing "newbies" into the discussion of consumption and climate change while also engaging more knowledgeable or activist participants. Moving further along the spectrum, the film Citizens at Risk presents a more complicated story and presupposes deeper knowledge, yet is still successful and effective in presenting the issues.
2) How will you create connection? How do you pull people in, wherever along the line of the engagement spectrum they sit? Creating the basis for empathy can be a challenge at times. Nick Kristof has noted that humans respond to the suffering of individuals rather than groups. This is a difficult obstacle to overcome when you're dealing with crises or conditions that adversely affect large numbers of people, whether climate change or mass atrocities or access/rights issues. People tend to tune out. On the other hand, people respond to compelling stories and sharp narrative. So there is great worth in storytelling to raise awareness and promote activism. But there is also risk in making a story a "hero's" story and focusing on a champion, to the exclusion of the situation and the impact. In gaining and retaining attention, the use of any media (film, art, social media) needs to be sparse, consistent and targeted and, more importantly, to create a personal connection.
Charity:Water (which uses viral and social media with great effectiveness) , and 3 Generations (which doesn't use social media, but houses its content only on its website and in partnership with The Hub at Witness) each present interesting examples of how you can use stories to create empathy, through stories that are intensely human and deeply empathic.
3) What are you trying to change? That is, what impact do you want to see and create?
It is through the loop of Issue-->Engagement-->Action-->Change that effective cultural movements move. And media (social, journalistic or arts-based) can be used at every step of that equation.
To a certain extent, the question of what you want to change should really be question number 1, every time you set out to create a movement or a program or an intervention. In the two frameworks I've been co-creating, Transmedia Activism and Modeling Global Change, we've based the frameworks on the core value of putting the social change issue first. It's important to build your platforms to both create and demonstrate impact. Institutional funders and individual donors alike would rather contribute to and participate in initiatives that make a difference and do it well.
If you can show your impact-- whether through a powerpoint presentation, a good Facebook Causes page or Twitter campaign, or a good narrative-- you're more likely to succeed in keeping attention and obtaining resources that will sustain your efforts. The use of narrative and storytelling, whether in video, photo or text form, or through personal interactions, bolsters qualitative success metrics and impact measurement, and puts a human face on change efforts and successes. (After all, what are we working towards if not a positive shift in the way lives are led and social conditions met?) Social media offers a day-to-day alternative to annual reports, press releases and grant reports in showing direct impact in a consistent, immediate way. Hope Phones, for example, has been using Twitter to good effect in the mHealth movement, showing how mobile phones contribute to assisting community health workers efforts. Using social media to present not only the issue (and not the "ask") but for donor engagement (the "thanks") and the impact can help maintain participation in the movement and may also keep effort and messaging anchored in the "change" part of the equation.
The same constructs which were discussed around combating issue fatigue can be used in creating a cultural movement around an issue. In particular, building platforms that allow for (1) storytelling and communication, and (2) effecting and demonstrating impact, allow for continuous commitment to the movement. Media and narrative play significant roles in creating and building these platforms.
It can be difficult to develop and retain engagement using cause-related media or social media for a variety of reasons, not the least of which is the dearth of financing opportunities and access to distribution in the case of film, and the consistent effort and facility with short, quick messaging and branding required in social media. Creating a sustainable engagement platform within your existing structure takes time, creativity and dedication. But it's also easier to disseminate information than ever before, since the internet, web and mobile technologies allow for more connectivity and access.
There are a few foundational questions to be asked before building a cultural movement through the use of media and storytelling. Here are the three most basic:
1) Who's the audience? Are you preaching to the "unconverted"-- that is, are you bringing in the previously disengaged or the merely aware to a social movement to strengthen its numbers and potential? Or are you preaching to a choir of engaged and activist members?
The fact is that the more people are exposed to stories around a cause and the ideas behind theories of change, the more likely that change will be effected or you'll influence the people who can help create impact. But there's a difference in how you influence previously disengaged participants vs. active participants. The messaging and stories for the unaware need to be more basic and should be targeted toward entry and inclusion. Also, the burden of influence and persuasion is higher, while you risk that return on investment may be lower in terms of actually creating change.
The Story of Stuff is an example of a viral media piece that successfully engages at the lower end of the engagement spectrum, bringing "newbies" into the discussion of consumption and climate change while also engaging more knowledgeable or activist participants. Moving further along the spectrum, the film Citizens at Risk presents a more complicated story and presupposes deeper knowledge, yet is still successful and effective in presenting the issues.
2) How will you create connection? How do you pull people in, wherever along the line of the engagement spectrum they sit? Creating the basis for empathy can be a challenge at times. Nick Kristof has noted that humans respond to the suffering of individuals rather than groups. This is a difficult obstacle to overcome when you're dealing with crises or conditions that adversely affect large numbers of people, whether climate change or mass atrocities or access/rights issues. People tend to tune out. On the other hand, people respond to compelling stories and sharp narrative. So there is great worth in storytelling to raise awareness and promote activism. But there is also risk in making a story a "hero's" story and focusing on a champion, to the exclusion of the situation and the impact. In gaining and retaining attention, the use of any media (film, art, social media) needs to be sparse, consistent and targeted and, more importantly, to create a personal connection.
Charity:Water (which uses viral and social media with great effectiveness) , and 3 Generations (which doesn't use social media, but houses its content only on its website and in partnership with The Hub at Witness) each present interesting examples of how you can use stories to create empathy, through stories that are intensely human and deeply empathic.
3) What are you trying to change? That is, what impact do you want to see and create?
It is through the loop of Issue-->Engagement-->Action-->Change that effective cultural movements move. And media (social, journalistic or arts-based) can be used at every step of that equation.
To a certain extent, the question of what you want to change should really be question number 1, every time you set out to create a movement or a program or an intervention. In the two frameworks I've been co-creating, Transmedia Activism and Modeling Global Change, we've based the frameworks on the core value of putting the social change issue first. It's important to build your platforms to both create and demonstrate impact. Institutional funders and individual donors alike would rather contribute to and participate in initiatives that make a difference and do it well.
If you can show your impact-- whether through a powerpoint presentation, a good Facebook Causes page or Twitter campaign, or a good narrative-- you're more likely to succeed in keeping attention and obtaining resources that will sustain your efforts. The use of narrative and storytelling, whether in video, photo or text form, or through personal interactions, bolsters qualitative success metrics and impact measurement, and puts a human face on change efforts and successes. (After all, what are we working towards if not a positive shift in the way lives are led and social conditions met?) Social media offers a day-to-day alternative to annual reports, press releases and grant reports in showing direct impact in a consistent, immediate way. Hope Phones, for example, has been using Twitter to good effect in the mHealth movement, showing how mobile phones contribute to assisting community health workers efforts. Using social media to present not only the issue (and not the "ask") but for donor engagement (the "thanks") and the impact can help maintain participation in the movement and may also keep effort and messaging anchored in the "change" part of the equation.
Transmedia Activism site has launched
The website for transmedia activism is now launched and open-sources the basic framework to be strategic and proactive in the use of media to create social impact. The framework encourages addressing social change first when using actionable content (essentially flipping the model of media first, outreach second), for collaboration on issue identification and storytelling between activists and content producers, and for embedding transmedia strategy from the start of a campaign.
Before creating a campaign, three foundational areas must be explored:
A. Social Change- what are you trying to change?
B. Storytelling- what is the narrative thread?
C. Resources- what do you have?
In setting up a campaign, these areas are explored and used as the basis for a plan:
A. Audience Segmentation- who are you engaging?
B. Resources- what do you need?
C. Story Universe Strategy- how do you define the story?
D. Content Strategy- how will you craft and distribute content?
E. Partners and Stakeholders- who will participate?
F. Engagement- how do you engage toward change?
With thanks to Vicki Callahan for all her help in creating the site, taking stewardship of the model and disseminating the framework.
Before creating a campaign, three foundational areas must be explored:
A. Social Change- what are you trying to change?
B. Storytelling- what is the narrative thread?
C. Resources- what do you have?
In setting up a campaign, these areas are explored and used as the basis for a plan:
A. Audience Segmentation- who are you engaging?
B. Resources- what do you need?
C. Story Universe Strategy- how do you define the story?
D. Content Strategy- how will you craft and distribute content?
E. Partners and Stakeholders- who will participate?
F. Engagement- how do you engage toward change?
With thanks to Vicki Callahan for all her help in creating the site, taking stewardship of the model and disseminating the framework.
The Stop Rape Now Campaign
Two years ago, Eve Ensler, Founder of V-Day and author of the Vagina Monologues, addressed a United Nations panel on sexual violence in conflict zones, asking “What is it about rape that isn’t grabbing people’s imagination, isn’t seizing people’s conscience or isn’t getting people to stand up?” As a result of that meeting and subsequent advocacy work by a number of UN-related agencies and governmental actors, the UN Security Council passed Resolution 1820, demanding complete cessation of sexual violence against civilians in conflict and post-conflict zones.
On the first anniversary of the resolution's passage, an interagency initiative of the United Nations is ramping up its campaign to seize people's conscience and engage them through a dynamic web campaign that allows participants to demonstrate support for the primary points of the resolution: Mass rape is not a necessary outcome of war; and sexual violence is a security problem that requires a security response, and is not simply a gender issue, but an issue that bears on the sustainability of peace agreements and post-conflict reconstruction.
The campaign's action toolkit is simple and manageable, yet engaging. The most viral part of it is the photo upload action, which in this case is more effective than an online petition would be. Site visitors are asked to participate by taking a photo of themselves with their arms folded in an 'X' and uploading it to a generally geolocated spot on a global map. As more photos are uploaded, the site becomes rich with images of people resisting and supporting with the solidarity of repeated gestures. For an issue that hasn't received the attention and intervention it should have in the past, this campaign is one good entry point to rectify the oversight.
On the first anniversary of the resolution's passage, an interagency initiative of the United Nations is ramping up its campaign to seize people's conscience and engage them through a dynamic web campaign that allows participants to demonstrate support for the primary points of the resolution: Mass rape is not a necessary outcome of war; and sexual violence is a security problem that requires a security response, and is not simply a gender issue, but an issue that bears on the sustainability of peace agreements and post-conflict reconstruction.
The campaign's action toolkit is simple and manageable, yet engaging. The most viral part of it is the photo upload action, which in this case is more effective than an online petition would be. Site visitors are asked to participate by taking a photo of themselves with their arms folded in an 'X' and uploading it to a generally geolocated spot on a global map. As more photos are uploaded, the site becomes rich with images of people resisting and supporting with the solidarity of repeated gestures. For an issue that hasn't received the attention and intervention it should have in the past, this campaign is one good entry point to rectify the oversight.
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