"The stories in this volume were gathered as part of a Writeshop held in Nairobi on 9–10 November, in the context of the Access Agriculture Week 9–13 November, 2015. People are story-tellers as well as creatures who walk and make tools. Stories are important to us. Statistics tell us what happen
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ed; stories tell us why. These stories celebrate the creativity of the many organisations involved in making, translating, distributing, and screening videos, as well as those that do follow-up studies, especially the MSc and PhD students that Access Agriculture supports. We learn what it feels like to be involved in one of the more creative efforts in international development and communication. We read, for example, about the radio producer who began to make videos because his father, a Kenyan farmer, said that farmers wanted to see the images, as well as the words. We learn why farmers in Malawi find videos from West Africa more convincing than learning from lead farmers in their own villages. We read about the journalist in Benin who is so inspired by the videos that he has become a farmer himself. We learn what it’s like to translate a video script into an African language, and other personal experiences of getting videos and DVDs into the hands of farmers." (Foreword)
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"Der fünftägige Workshop beinhaltet nicht nur die persönliche Reflektion, sondern vor allem das Ausprobieren und das eigene Erleben mit der Videokamera. Gemeinsam geht die Gruppe der Frage nach, was es heißt, eine persönliche Geschichte im Format des Digital Storytelling so zu entwickeln, dass
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sie auch andere anspricht. Wie kann man in einem kollektiven Prozess eine Geschichte über gesellschaftliche Belange filmisch entwickeln und umsetzen? In wenigen Tagen entstehen so gemeinsam entwickelte Videos. Die Gruppe erlebt systemische Methoden, wie sie der Sozialwissenschaftler Otto Scharmer in der so genannten „Theorie U“ entwickelte. Sie macht eigene Erfahrungen mit der Radikalität des filmpädagogischen Ansatzes des Participatory Video, das die Deutungshoheit über die eigene Realität komplett der Gruppe überlässt. Das ist es, was die Teilnehmenden später auch Jugendlichen und jungen Erwachsenen ermöglichen werden." (Seite 23)
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"Emerging literature highlights that in the Pacific, the use of participatory video (PV) is a new trend in research and community action. It can be employed as a tool to empower communities to have agency over their media outputs, meaning that they have full control of the content creation, producti
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on and distribution processes. But to date there is still a dearth of studies that fully explore its potential use in different contexts, especially within diasporic networks. To address this gap, a pilot project was undertaken where PV methodologies were tested in collaboration with a diasporic Pacific community group based in West Auckland, New Zealand. This report feeds back on the overall process of developing the pilot project." (Abstract)
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"Community video is a powerful approach to improving nutrition practices, even in areas beset by drought, conflict, and food shortages. When community members create and share videos that promote optimal nutrition and hygiene behaviors, friends and neighbors pay attention. This report details the po
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sitive impact of a pilot community video project for better maternal, infant, and young child feeding in Niger and offers important lessons learned." (Back cover)
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"El proyecto Videoteca de las Culturas de la Dirección de Diversidad Cultural y Eliminación de la Discriminación Racial, prioriza la utilización del medio audiovisual para generar procesos reflexivos y pedagógicos en niños, niñas y adolescentes . El lema del proyecto ‘Desde tus ojos, con tu
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voz’ plantea que a través del registro audiovisual propio, la ciudadanía, especialmente los niños, niñas y adolescentes de pueblos indígenas u originarios y población afroperuana puedan utilizar este medio para expresar su mirada, para comunicar su voz. El énfasis del proyecto está en reconocer la importancia que tienen la experiencia y subjetividad de las personas y colectividades que portan la cámara y que representan el mundo desde sus culturas. Así, el proceso audiovisual participativo puede aportar en la construcción de un ciudadano que desde su pensamiento crítico hace pleno ejercicio de su derecho a la comunicación. Al examinar esta posibilidad, debemos entender que los contenidos audiovisuales resultantes no son neutrales, siempre tienen un rol en la formación ciudadana. Es por eso que presentamos las lecciones audiovisuales para ciudadanos y ciudadanas interculturales, a partir de una selección de vídeos participativos y documentales que expresan la mirada y la voz de distintas comunidades afroperuanas, andinas y amazónicas de nuestro Perú. Proponemos estos materiales como disparadores de una reflexión y un trabajo que acerquen a nuestros estudiantes a la comprensión del nosotros peruano." (Presentación, página 4)
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"Videos have been used to successfully raise awareness on disability inclusion in many contexts. They can play a powerful role in helping transform negative attitudes that prevent the full and equal participation of persons with disabilities. Producing a video - even a short one - has many component
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s to consider, so it is important to approach it with a detailed plan, as you would with any project. This toolkit is designed to help you create video(s) that include persons with disabilities at all stages of the process. This toolkit is relevant to all video making, not just those that directly relate to disability as a topic. All videos, whether or not they are about disability, can and should take an inclusive approach. There are many talented persons with disabilities who are able and willing to contribute to making video or films." (Page 4)
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"Die Publikation "Die Trickboxx – Ein Leitfaden für die Praxis" beinhaltet umfassendes Material für die Umsetzung von Projekten mit traditioneller Technik und ist in den vergangenen zehn Jahren stark nachgefragt worden. Die vorliegende aktuelle Publikation "Trickfilm to go" knüpft daran an und
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beinhaltet Material, das sich sowohl an diejenigen richtet, die in der Trickfilmarbeit völlig neu sind und mit mobiler Technik in die Thematik einsteigen wollen, als auch an diejenigen, die bereits mit "klassischem" Equipment gearbeitet haben und nun den Umstieg testen wollen. Im ersten Teil werden die Grundlagen für die Arbeit mit mobiler Technik beschrieben. Neben allgemeinen Hinweisen gibt es ein Kapitel zur benötigten Hardware und ein Kapitel zur Software. Da es sich hierbei um einen extrem dynamischen Markt handelt, wird in beiden Kapiteln weitestgehend darauf verzichtet, einzelne Produkte im Detail zu beschreiben. Wichtig ist für die Orientierung, dass am Thema Interessierte wissen, worauf sie bei der Zusammenstellung der Technik oder beim Auswählen der Software achten müssen. Wer genaue Bedienungsanleitungen benötigt, wird im Internet und auf YouTube mit entsprechenden Videotutorials fündig. Auch auf den Seiten der filmothek der jugend sind zum Thema (Trick-)Filmproduktion mit mobiler Technik aktuelle Tipps zu finden. Im zweiten Teil geben Berichte aus der Praxis einen Einblick in schulische und außerschulische Projektarbeit mit mobilen Medien. Den Projekten ist gemeinsam, dass sie ein enges Zeitbudget zur Verfügung hatten und aus diesem Grund mit der traditionellen Technik kaum umsetzbar gewesen wären. Die Projektabläufe sind in den jeweiligen Kapiteln in übersichtlicher Form angehängt. Im letzten Teil gibt es Materialtipps in Form von Links. Diese Liste erhebt keinen Anspruch auf Vollständigkeit, möchte aber Materialien präsentieren, die die Projektarbeit bereichern können." (Seite 6)
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"This thesis offers a study on the nuanced understandings of and the interplay between participatory video (PV), citizen voice and international development. The study investigates contemporary PV practitioners’ conceptualisations of the phenomenon of using PV to raise citizen voice in internation
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al development contexts. The study participants were 25 global PV practitioners who had experience on more than 650 PV projects. Of those projects, approximately 250 specifically aimed to raise the voice of excluded groups in international development contexts. Through investigating the PV practitioners’ perceptions of the phenomenon, the study identified three distinct epistemologies relevant to PV practice and raising citizen voice. The study called these the amplified, engaged and equitable voice pathways. Making the three categories explicit is of critical value to the PV field. They provide a language and theoretical grounding for why certain PV approaches may be more effective than others for social and/or political change. Of the three pathways, the research ultimately deemed equitable voice as the most viable for citizen voice to be both authentically representative and respectively valued in decision-making spaces. Accordingly, the study drew from scholarship and the characteristics within the equitable voice pathway to develop a conceptual framework for raising valued citizen voice with PV. The framework offers five key principles; named as personal recognition, collective representation, social and political recognition, responsive listening and empathic relationships. While having a framework is valuable for PV practice, the study also recognised that a conceptual framework in itself is often insufficient. Its viability requires an enabling environment for meaningful application. Thus, the research also identified six institutional views of PV practice in international development contexts with potential to diminish voice. It named them as the output-focused, voice opportunity, apolitical, agenda-led, harmless and uncomplicated views. These were views the PV practitioners in the study described as constraining their ideals in practice. The views ranged from institutions prioritising PV film outputs over political dialogue to institutions setting agendas with potential to suppress authentic citizen voice. The study interrogated the identified institutional views to discover their differing possibilities for legitimising or limiting citizen voice. The thesis concludes by encouraging three areas of consideration for participatory video to enhance citizen voice in democratic decision-making processes. First, it proposes deliberate attention on strengthening voice representation and voice receptivity in PV activities to reduce social and political inequity. Second, it promotes recognition of how political and institutional environments influence PV’s ability to raise citizen voice sufficiently. Third, it suggests greater reflection on how PV practitioners’ conceptualisations of voice affect citizen voice outcomes; and how practitioners might use their own agency to ensure meaningful change. Such forethought and action expands possibilities for PV practice to support citizen voice in being heard, valued and influential." (Abstract)
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"Over the past decade there has been a growing interest in participatory video, but accounts have often been celebratory and uncritical. At the same time there has been an ever-increasing multiplicity of interpretations, thus making participatory video seem ‘nebulous’ and ‘perplexing’. This
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special section seeks to develop some of the critiques developed over the past five years, by bringing together a series of provocative thought pieces. Through this special section we seek to continue to develop a critique of participatory video as both a methodology and method." (Page 401)
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"Within international development, strengthening the voice of citizens living in poverty is recognised as vital to reducing inequity. In support of such endeavors, participatory video (PV) is an increasingly utilised communicative method that can stimulate community engagement and amplify the voice
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of groups often excluded from decision-making spaces. However, implementing PV processes specifically within an international development context is an immensely complex proposal. Practitioners must take into consideration the different ways institutions may understand the use of participatory video for raising citizen voice; and how therefore the practice may be influenced, co-opted or even devalued by these institutional assumptions. To this end, this article interrogates how global PV practitioners express tension in their work. Analysis of their descriptions suggests six influential views on PV practice with the potential to diminish the value of voice from the margins." (Abstract)
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"This toolkit is for organisations planning to use 'participatory video and the most significant change' (PVMSC) to evaluate their social change projects. Part one gives an overview of the key stages and things to consider when preparing for a PVMSC process and includes perspectives and feedback fro
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m partners and participants. Part two is a guide for facilitators as they carry out the games and exercises and includes case studies drawn from 10 years of InsightShare’s experience in a variety of contexts and countries." (Back cover)
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"This paper draws on the experience of conducting participatory video in the Rift Valley of Kenya after the 2007–2008 post-election crisis, when the country underwent a period of intense ethnic violence. By linking development communication to conflict transformation theory, this article offers a
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framework that highlights the impact that communication for social change can have in post-conflict settings through the use of participatory media. It shows how this type of media productions can contribute to re-establishing relationships and creating a shared understanding of the conflict, while building the view of an interconnected future among opposing groups. In this case study, I illustrate how a collection of participatory videos became a peacebuilding tool for the youth in the Rift Valley. Through the information gathered from the interviews with young victims and perpetrators of the Kenya Post-election Violence, I discuss how both the filming and the screening of these films have opened a dialogue between different groups and contributed to processes of social change." (Abstract)
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"Vietnam thrives on a rich tapestry of stories across generations; personal and collective stories that form precious threads in the fabric of a diverse nation of more than 90 million people. There are valuable stories waiting to be told by Cham fisherwomen and men living in An Giang; by Hanoi stree
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t cleaners living with disabilities; by farmers growing cassava in the Quang Tri highlands. Such stories not only help us understand the diversity of this dynamic country, but can also inform important development decisions that impact the people whose stories most need to be heard [...] CARE believes that a vibrant, diverse society becomes stronger when everyone can equally contribute their voice to decisions that impact them. This is why CARE is using Community Digital Storytelling (CDST); an innovative participatory development approach that enables people to gain knowledge, build their confidence and share their concerns with others who can address them. CDST builds on the full potential of people often unheard; strengthening the wider society in the process. Through Community Digital Storytelling, community members collectively create and share stories in their own language using audio, photos and music. The resulting photo-videos are often 3-5 minutes long and in the local language. These stories are driven by the community members themselves who develop the content and decide what photos best represent the narratives they want to tell." (Page 3)
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"Sheathed in the glamour of filmmaking and technical innovation, participatory video (PV) is often evangelised as a communication for development methodology that intrinsically fosters transformative social and political change. Such celebratory notions, however, can obscure the complexity facing pa
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rticipatory video practice in achieving significant response to the inequities PV participants face. In reply, I offer the principles of representation, recognition and response as a potential pathway for more meaningful citizen engagement and action. Doing so challenges the idea that using PV primarily to help people on the margins represent their concerns through film is enough to shift deep-rooted inequities of power. Rather, my argument suggests that participatory video approaches aimed at raising citizen voice require a broader framing of practice: one that positions key decision-makers watching the films to both value marginalised voice, and responsively listen." (Abstract)
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"This study contributes to the field of films for social change by exploring the production process of participatory film-making for social change, whereby explicit claims of community empowerment, participation and social change are the very justification of the production. To do so, it investigate
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s the definitions and production processes of community art, participatory video and mediated participation. Using ‘practice as research’ as a key method of enquiry, we examine three film practices to explore aspects of professionalism. The objective of this examination is to elucidate the process of community member participation in collaboration with film-makers, facilitators and action researchers. People participate in film production processes by contributing to the script, acting, location scouting or any other activity at any stage of the film production. In examining this collaborative process, we focus on dilemmas encountered in relation to integrating participatory qualities and artistic qualities in a work of overall interdisciplinary and professional quality. The material used for the enquiry consists of participatory observations, scripts, films, course materials, audience observations, evaluation forms and in-depth interviews collected over the years in different projects. The analysis of the material indicates that the film-makers deal with dilemmas regarding the balance of the film’s participatory and artistic qualities and the production process. The expectations of the film-making community regarding the process, the resulting film and the related audience influence the balance between the participatory quality of the process and the artistic quality of the film. Finding a balance between participatory quality and artistic quality is a challenge, and in practice the stakeholders involved experience tensions in a continuous process of negotiation. This article demonstrates the tensions and illustrates the continuous process of negotiation between the (roles of) film-makers, facilitators, action researchers and community members." (Abstract)
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