"This article explores the use of sound in the context of two BBC World Service development-focused social realist radio drama productions in Afghanistan (New Home, New Life) and Nepal (Sweet Tales of the Sarangi). It examines the various ‘sound strategies' employed to enhance the realist aspirati
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ons of the productions, while examining the ‘creative labour’ employed in crafting discrete ‘acoustic environments' or ‘soundscapes'. It argues that sound helps to index narrative, but in doing so suggests that too specific a rendering of sound environment may confound the abilities of listeners to construct a satisfying sense of place and therein affect any sense of social realism derived." (Abstract)
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"El presente texto es una aproximación básica a distintas cuestiones de la producción de radio que son necesarias para comenzar. No aspira a ser un manual de uso, de esos que tienen pasos a seguir para lograr el éxito, sino todo lo contrario: aspira a ser un texto de guía basado en conocimiento
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s obtenidos por la experiencia. Y cada experiencia, al ser distinta, puede generar distintos conocimientos. Por eso, en este texto se encontrarán algunas claves, algunos consejos, y la mención de algunos puntos a tener en cuenta, como para saber de su existencia, poder adentrarse en ellos y, sobre todo, animarse a investigar, intentar, equivocarse y encontrar las formas y estilos propios para encarar una producción radiofónica. Nos manejaremos otorgando conceptos habituales, herramientas útiles, caminos posibles. Hablaremos tanto sobre generalidades de la radio, sus formatos, sus características y posibilidades, la importancia de la radio social, como así también sobre claves para la producción, el guión, la edición y la difusión de contenidos. La intención es brindar herramientas para la producción independiente." (Introducción, página 7)
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"This publication looks closely at cases where Germany has supported the production and broadcast of television soap operas as key components of Behavior Change Communication (BCC) in three very different countries with three very different HIV epidemics: In Kyrgyzstan, the epidemic is largely conce
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ntrated among injecting drug users (IDUs), mostly young males but some female sex workers. It is spreading rapidly and there is concern it could soon spread into the general population. Originally broadcast in 2006, "Love as a Test" aims to get across messages that HIV affects not only "them" but could easily affect you and your loved ones and there are things you can do to prevent its spread and reduce its harm. In Dominican Republic, there are extremely high rates of HIV prevalence among ethnic Haitians who live in bateyes (settlements on agricultural plantations), rural areas and urban barrios. Originally broadcast in 2007, "Amor de Batey" aims to promote the consistent and correct use of low-cost but reliable condoms and, also, to empower women, improve their health and reduce child mortality. In Côte d'Ivoire, there are high rates of HIV prevalence throughout the country but much higher rates among women than men. Contributing factors include the common practice of having multiple concurrent sexual relations and low levels of education and specific knowledge about sexual and reproductive health. Originally broadcast in 1994, "SIDA dans la Cité" has aims similar to those of "Amor de Batey." The first series proved so successful that it lead to a second series, originally broadcast in 1996-97, and then to a third, originally broadcast in 2003. All three series have proved popular throughout French-speaking West and Central Africa. This publication shows how each series was developed, provides brief synopses, summarizes the results of formal evaluations and provides informal assessments. It draws lessons and concludes that television soap operas can make significant contributions to national responses to HIV. The most successful series are based on sound research, reflect the realities of life as it is lived by their target audiences, and are developed in a professional manner that ensures they meet high standards both as entertainment and as educational tools." (Executive summary, page 5)
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"The Untold films bear testimony to the success of the skills development element of this Regional Programme initiative. The fact that these television dramas were developed, written, directed and produced in Botswana, Lesotho, Malawi, Mozambique, Namibia, South Africa, Swaziland, Zambia and Zimbabw
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e by local people; constitutes the achievement of one of the central goals of the Untold project – to build a community of new voices and grow local skills to develop edutainment drama. The audience reception study conducted across the region has shown that the films were successful in highlighting a range of issues relating to HIV & AIDS. These issues include orphanhood, HIV testing, stigma, and gender-based violence. The dramas reinforce the complexity of the HIV & AIDS epidemic and the need for individuals and communities to develop new ways of thinking and acting to curb its spread. The Untold series has moved and entertained audiences, created dialogue and debate, and got people thinking about their lives and the choices they face in relation to HIV & AIDS. The project has thus, through successful regional collaboration, achieved its stated goals." (Conclusion)
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"Deference and dissent strike a delicate balance in any polity. Insufficient deference to authority may incapacitate government, whereas too much may allow leaders to orchestrate mass violence. Although cross-national and cross-temporal variation in deference to authority and willingness to express
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dissent has long been studied in political science, rarely have scholars studied programs designed to change these aspects of political culture. This study, situated in post-genocide Rwanda, reports a qualitative and quantitative assessment of one such attempt, a radio program aimed at discouraging blind obedience and reliance on direction from authorities and promoting independent thought and collective action in problem solving. Over the course of one year, this radio program or a comparable program dealing with HIV was randomly presented to pairs of communities, including communities of genocide survivors, Twa people, and imprisoned génocidaires. Changes in individual attitudes, perceived community norms, and deliberative behaviors were assessed using closed-ended interviews, focus group discussions, role-play exercises, and unobtrusive measures of collective decision making. Although the radio program had little effect on many kinds of beliefs and attitudes, it had a substantial impact on listeners’ willingness to express dissent and the ways they resolved communal problems." (Abstract)
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"In summary, the present chapter analyzed the role of digital games in the growing practice of entertainment-education. We argued that serious games should not be automatically labeled as E-E digital games just because they include some social content. Connections were drawn between the social inter
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actional possibilities afforded by the technology of digital games vis-a-vis the more traditional mass-mediated E-E programs, expounding on the five key attributes of experiential game play, multimodality, interactivity, persuasive, interactive narrative, and social interaction. We concluded by noting that digital games offer tremendous generative potential for broaching alternative interventional possibilities for social change, and that scholarship on digital games would benefit from questioning the dominant psychosocial theoretical leanings that privilege linearity, causality, reductionism, and individualcenteredness." (Page 285)
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"Soul Buddyz, an initiative of the Soul City Institute for Health and Development Communication (IHDC), in partnership with the South African Broadcasting Corporation (SABC), is a multi-media intervention targeting children aged 8 to 14 in South Africa. The intervention is focused on the promotion o
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f children’s wellbeing through the provision of health information and skills to lead healthy lives, especially those which relate to HIV and AIDS and sexuality. Components of the intervention include a television drama, Soul Buddyz Television; a radio intervention, Soul Buddyz Radio consisting of drama, and interactive talk between children and adults; and a Lifeskills Booklet for Grade 7. In addition, there is a face-to-face intervention Soul Buddyz Clubs, implemented in primary schools in collaboration with the Department of Education. A reality television programme, Buddyz on the Move which showcases Soul Buddyz Club activities. Complementary materials and messaging for parents and care-givers of children are also part of the intervention. This report presents an independent evaluation of Soul Buddyz conducted in 2006. Interviews were conducted with a sample of 1500 children aged 8-15 across the country, in a nationally representative sample [...] Some 82% of children in the 8-15 age group reported having watched Soul Buddyz TV. Some 63% reported having watched Buddyz on the Move. Soul Buddyz radio achieved lower reach with 32% of children in the 8-15 year age group reporting having listened to the programme on radio, although this is still substantial, given that fewer children listen to radio. Around 45% of children have heard of Soul Buddyz Clubs, while 6% of children reported ever being members. The Grade 7 Lifeskills Booklet, designed to be a user-friendly information and activity resource for Grade 7 learners in South Africa, was reportedly used by close 50% of children in the target age group. Soul Buddyz appears to appeal to both boys and girls with no significant differences in reach. Reach of Soul Buddyz is good in both rural and urban areas, but higher among urban children." (Executive summary)
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"This publication focuses on unique communication-centered approaches to social change and introduces basic concepts, strategies and theories supporting edutainment strategies to foster social change and social movement building. It provides examples of how the organizations have used edutainment st
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rategies, describing challenges, lessons learned and insights for the future, especially related to strategic planning and evaluation. It also provides references for where to find more information or who to seek for further advice on the design and implementation of these approaches." (Foreword)
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"Zusammenfassend bleibt festzustellen, dass mit Hilfe von Entertainment Education (EE) erwiesenermaßen positive Verhaltens- und Wissenseffekte zu erzielen sind. Allerdings wurde auch schon festgestellt, dass die Wirkung einzelner EE-Botschaften nicht unbedingt vorhersagbar ist: Nach der Ausstrahlun
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g der US-Serie All in the family, die auf humorvolle Weise gegen ethnische Vorurteile arbeiten wollte, wurde zum Beispiel festgestellt, dass sich einige der Zuschauer ausgerechnet mit der negativen, vorurteilsbehafteten Figur des Archie Bunker identifizierten, und dass vor allem stark voreingenommene Rezipienten die Serie lieber ansahen als weniger voreingenommene Rezipienten (sogenannter Archie Bunker-Effekt; Lampert, 2003). Schließlich muss man bei der Beurteilung von EE auch berücksichtigen, dass dahinterstehende Interessen häufig für die Zuschauer nicht transparent sind, und diese Interessen können ganz unterschiedlicher Natur sein, so zum Beispiel wenn Indhira Gandhi sich für die Umsetzung von EE im indischen Staatsfernsehen einsetzt (Poindexter, 2004), oder wenn es um die stärker ökonomisch geprägten Entscheidungen in privaten Fernsehkanälen geht." (Seite 164)
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"This study attempts to explore entertainment-education (E-E) radio drama audience responses/reactions, their motivating factors in writing letters to the drama and the relationship between audience responses and over all program goals of the drama, Menta Menged (Crossroads), in Ethiopia. Because en
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tertainment-education mass media programs which aim at promoting pro-social behavior attract huge audiences both in listening and participating due to their entertainment and educational functions, this study explores these audiences’ feedback with the aim to understand the kind of relationship that exists between audiences and the radio drama. The data was collected through a textual or qualitative content analysis of audience letters, and focus group discussions with audience members; and it was qualitatively analyzed and discussed. The data showed that audiences typically have four kinds of reactions: commentaries, appreciations, associations and reflections with the drama, characters and actors. Furthermore, a number of motivating factors, in addition to the drama (both the messages and model characters), influenced audiences to respond to the drama and involved in the writing of letters. Interestingly, their reactions are mixed when compared to the program’s intended outcomes on audience behaviors." (Abstract)
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"Community workers in developing countries can provide on-the-ground support to encourage the general public to adopt and maintain behaviour change. This book is designed specifically as a guide for the creation of distance education programmes for these community workers. Covering the whole process
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of project development, it provides detailed guidance on project start-up and management, curriculum preparation, media selection - especially radio and television -, programme format choice, scriptwriting and review, programme production, preparation of support books and participant guides and methods of audience feedback. An extended section covers Internet-based distance education. The guiding principle for the preparation of distance education materials applied in this guide is the "6T" pattern, i.e.: "Telling, Teaching, Transforming, Testing, Tasking and Telling"." (CAMECO Update 1-2009)
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"Can the media reduce intergroup prejudice and conflict? Despite the high stakes of this question, understanding of the mass media’s role in shaping prejudiced beliefs, norms, and behaviors is very limited. A year-long field experiment in Rwanda tested the impact of a radio soap opera about two Rw
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andan communities in conflict, which featured messages about reducing intergroup prejudice, violence, and trauma. Compared to communities who listened to a control radio soap opera, listeners’ perceptions of social norms and their behaviors changed concerning some of the most critical issues for Rwanda’s post conflict society, namely intermarriage, open dissent, trust, empathy, cooperation and discussion of personal trauma. However, the radio program did little to influence listeners’ personal beliefs. Group discussion was a notable feature of the listening experience. Taken together, the results suggest that radio can communicate social norms and influence behaviors that contribute to intergroup tolerance and reconciliation." (Abstract)
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"The three case studies in this report are examples of what can be achieved when the media are used creatively towards positive outcomes. They offer lessons from experience that will be of value to people everywhere who are interested in harnessing the power of the mass media to help in the response
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to AIDS." (Foreword)
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"This is a guide for those training writers of radio soap operas for peacebuilding. It contains a ten day training course, materials, and background information which are invaluable to facilitators." (Back cover)
"This manual was designed for project managers, and gives emphasis to the planning and production - not on scriptwriting - of radio soap operas for peace building in conflict areas. Its underlying assumption is that radio soap operas can, over a long term period, subtly change attitudes, and contrib
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ute to peace, because they reach people emotionally. The guide gives instructions on several steps of the planning and implementation process, such as conducting a timeline, defining the target audience, and choosing a team, recording a schedule, and planning the budget. It discusses where to record a soap opera (in studio or outside), how long a soap opera should last, and when it should be broadcast. It gives advice on the pre-test phase with focus groups, and provides a checklist with the overarching aims, ie, the intended outcomes and the emotional focus, of the soap. The appendix contains an excerpt from an Indonesian radio drama serial, produced by Common Ground Indonesia." (commbox)
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"This guide seeks to familiarise journalists and media personnel with the Sabido methodology for social change using entertainment-education format serial dramas broadcast over mass media channels (such as radio and television). The main area of focus is for HIV and AIDS prevention, especially among
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women and girls. The guide book is part of UNFPA's aim to reinforce the capacities of journalists at the country level to prepare them to be agents of gender- and culturally-sensitive HIV prevention programmes. The training guide gives detailed explanation of the eight-step Sabido methodology of "entertainment with proven social benefit."It is focused on the social-content (educational) portion of an entertainment-education programme. The guide is based on the assumption that the writers received previous training in drama and have experience in writing melodrama. The author also includes at the end of the guide an exploration of the theoretical underpinnings of the Sabido methodology." (ELDIS).
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"This book is designed to provide practical guidelines to those in the field of entertainment-education drama who want to sharpen their skills. With separate sections for various users - programme managers, writers, producers, directors and actors - the book is a structured, step-by-step manual that
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provides answers to the problems they can face. The book focuses in detail on the 'design approach' for determining and articulating effective messages that are contained in the drama. It draws on methods that have been tried and tested worldwide. In addition to a number of actual scripts that have been converted into dramas, it also contains useful appendices that provide sample documents of various procedural requirements as suggested in the book. Esta de Fossard is Senior Communication Advisor and Professor at the Johns Hopkins University's Bloomberg School of Public Health, Center for Communication Programs. She previously taught at the universities of Southern California, Ohio and George Mason. John Riber is a Independent Film-Maker and Director, Media for Development (East Africa), Dar-Es-Salaam, Tanzania." (Publisher website)
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